The French collector Marquis Christophe-Paul de Robien (1698–1756) owned a qing and sheng (today partially preserved at the Musée des Beaux-Arts, Rennes) the English trader Henry Talbot (b.1700) owned a Chinese gong Jean-Benjamin de La Borde included in his Essai sur la musique ancienne et modern (1780) a picture of four instruments from the “cabinet de M. There have been so far identified nine collectors of Chinese musical instruments in Europe before 1800.

Just like the Chinese porcelain, European collectors were fond also of the Chinese musical instruments. A short supply of true Chinese objects and strong interest for them created an artistic space for the creation of fictionalized imagery of China (chinoiseries). While the Prussian royal palace in Berlin included one room with original Chinese lacquer paneling, and another full of genuine Chinese porcelain of the highest quality collected since the late seventeenth century, King Friedrich der Grosse (1712–86) built between 17 at his summer palace in Potsdam a tea pavilion in an entirely fictional Chinese style. In these places the true Chinese and the fictional Chinese crossed path.

Chinese objects were throughout the eighteenth century the most admired and desired items by the European collectors of the highest rank, and many aristocratic palaces included a Chinese room or a garden pavilion.

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