Collection de porcelaine de Dresde, en Saxe, redessiné par Peter Marino. Les Kraak et les bleu et blancs Ming. 

Cup from the donation of the Grand Duke of Tuscany, Ferdinando I de 'Medici. China, Ming period, Xuande era probably (1426 - 1435). Porcelain Collection. PO 3225. Porcelain, painted in underglaze cobalt blue. H. 6.7 cm, D. 11.9 cm © Staatliche Kunstsammlungen Dresden 2013

Cup from the donation of the Grand Duke of Tuscany, Ferdinando I de 'Medici. China, Ming dynasty (1368 - 1644), Jiaqing era (1522 -1566). Porcelain Collection. PO 3226. Porcelain, painted in underglaze cobalt blue. H. 10.5 cm, D. 14.7 cm © Staatliche Kunstsammlungen Dresden 2013

Exquisite Chinese porcelain was already more than a hundred years before Augustus the Strong (1670 - 1733) come to Dresden. In 1590 the Grand Duke of Tuscany, Ferdinando I de 'Medici made (1549 to 1609), the Court of Dresden under Christian I of Saxony (1560-1591), a gift of fourteen Chinese porcelains, eight of which have up to now in the obtain Dresden porcelain collection.This includes the shell of the noble shape of a calyx, which is painted on the outside wall with a river landscape with high mountains, pagodas and multi-storey pavilions. On one side is a small boat to see on the opposite side appears a large sailing ship with two masts, the sails are hoisted by the team in the pole baskets sit sailors. The free painting executed in different shades of cobalt blue is typical of the Jiajing era (1522 -1566). Several similar shells are found in the collection of the Topkapi Museum in Istanbul Seraglio. (From: Giambologna in Dresden, The Dresden gifts of the Medici in 2006, pp. 103 -110.)

Incense burner in the form of a lion. China, Ming dynasty (1368 - 1644), Wanli era (1573 - 1619), circa 1600. Porcelain Collection. PO 3767. Porcelain, painted in underglaze cobalt blue. H. 31 cm L. 26 cm © Staatliche Kunstsammlungen Dresden 2013

The grotesque-looking incense burner in the form of a lion (in the West under the name Foh-known dog) with an underglaze blue floral decoration was created during the Wanli era in China.The animal's head can be removed to be able to insert the incense.

Covered baluster jar. China, Jingdezhen, Ming Dynasty (1368 - 1644), Wanli era (1573 - 1619). Porcelain Collection. PO 2015. Porcelain, painted in underglaze cobalt blue. H. 64 cm © Staatliche Kunstsammlungen Dresden 2013

This large pot lid and would surely was, whether its decor, an ideal birthday gift was. It symbolizes wishes for a long life, happiness, contentment and strength. Vessel and lid are painted with vines and a hundred times with the Chinese character for longevity, shou, in a stylized circular shape. A strengthening of the desire for longevity is emphasized by the lingzhi or ruyi bands. The lingzhi mushroom is covered in the Daoist imagery with immortality. Stylized lingzhi-forms are the so-called ruyi-heads. Ruyi in Chinese means, as desired. " The knob of the lid is modeled in the form of a writhing, powerful dragon. (Exhibition showcases caption "Long Life").

Kendi (Junchi?). China, Ming dynasty (1368 - 1644), Wanli era (1573 - 1619). Porcelain Collection. PO 2327. Porcelain, painted in underglaze cobalt blue. H. 19.6 cm, D. 14 cm © Staatliche Kunstsammlungen Dresden 2013

The kendi bottle belongs to a group of Ming dynasty export porcelain, known as Kraak porcelain.The name derives from the Portuguese ship type Caracca: here, the goods were shipped from the Far East to Europe (Dutch kraak). From 1602, the shipment of Chinese porcelain from the Portuguese but not Vereenigde the Dutch East India Company (VOC) was perceived. Kendi are still many countries in South and Southeast Asia popular as drinking vessels. Kendi in China were made in different materials, but not used as drinking vessels. Exported to the Middle East Kendi served as hookahs, in Europe you appreciate them because of their unusual shape. The Kendi bottle has a rounded squat reveal a squirrel sitting on the. The raised head of the beast that scratches his ear with the left paw, serves as a spout, from the back of the animal grows the neck of the vessel. The grapes painted on the soffit form with the squirrel, the popular motif of grapes in China naschenden squirrel. This design has an auspicious meaning, which arises from the homophony of the first letters of both words. Squirrels and grapes transmission as a wish for a long life. The neck of the bottle is decorated with the swastika geometric patterns. The painting in cobalt blue is run something in the fire and the neck slightly sunken. The Kendi bottle in the form of the squirrel seems to be a very rare, if not singular piece. (From: La maladie de porcelaine, East Asian Porcelain from the Collection of Augustus the Strong, Leipzig 2001, p 18);

Cup. China, Ming dynasty (1368 - 1644), probably Wanli era (1573 - 1619). Porcelain Collection. PO 1747. Porcelain, painted in underglaze cobalt blue. H. 6.3 cm, D. 9.3 cm © Staatliche Kunstsammlungen Dresden 2013

Charger. China, Ming dynasty (1368 - 1644), probably Wanli era (1573 - 1619). Porcelain Collection. PO 1401. Porcelain, painted in underglaze cobalt blue. H. 5.2 cm, D. 27.8 cm © Staatliche Kunstsammlungen Dresden 2013

Kraak porcelain is one of the Chinese export porcelain of the first half of the 17th Century. The name derives from the Portuguese Schifftsypus Caracca (Dutch: kraak) ago, were transported to the goods from the Far East to Europe. From 1602 export and shipment of Chinese porcelain were taken not by the Portuguese, but by the Dutch trading company Vereenigde Dutch East India Company (VOC). The forms of Kraak porcelain include small and large cups, mugs, bowls, bottles and vases. The decoration consists of flowers, landscapes shore with birds, insects and figures.The edges of the vessels are usually divided into frames that are filled with flowers and auspicious motifs. (Exhibition label panel arch wall Kraak porcelain)

Charger. China, Ming dynasty (1368 - 1644), probably Wanli era (1573 - 1619). Porcelain Collection. PO 1293. Porcelain, painted in underglaze cobalt blue. H. 6,9 cm, D. 27,4 cm © Staatliche Kunstsammlungen Dresden 2013 © Staatliche Kunstsammlungen Dresden 2013

Charger. China, Ming dynasty (1368 - 1644), probably Wanli era (1573 - 1619). Porcelain Collection. PO 1742. Porcelain, painted in underglaze cobalt blue. H. 4.5 cm, D. 14.4 cm © Staatliche Kunstsammlungen Dresden 2013

Covered pot. China, Jingdezhen, Ming Dynasty (1368 - 1644), Chongzheng era (1627 - 1644). Porcelain Collection. PO 3242. Porcelain with underglaze painting in cobalt blue. H. 92.3 cm, D. 52.0 cm © Staatliche Kunstsammlungen Dresden 2013

The large, egg-shaped pot lid has emerged in the era of the last emperor of the Ming Dynasty to 1640th In 1602 was the Vereenigde Dutch East India Company (VOC) was founded the East India Company of the Netherlands. She perceived the export Chinese and Japanese porcelain to Europe. Chinese traders in 1635 were Dutch decorative role models who had to copy the Chinese. With the Tulipmania flourished in Holland as the tulip came as a decorative motif on Chinese porcelain. The decor of the pot is a combination of European and Chinese motifs.Traditional Chinese motifs, for example, shore landscapes in which writers engage Mußebeschäftigungen in nature. These games are contrasted by ornamental stylized flowering branches, in their symmetrical arrangements clearly European in origin. The tulips take as the center of the flower ornaments as well as on the peripheral borders a dominant role. (From The Porcelain Collection in Dresden, China, Japan, Meissen, Dresden, 2006, p 14)

Cover pot. China, Jingdezhen, Ming Dynasty (1368 - 1644), Chongzhen era (1628 - 1644). Porcelain Collection. PO 1169. Porcelain, painted in underglaze cobalt blue. H. 30.3 cm © Staatliche Kunstsammlungen Dresden 2013

The shape of the pot lid with round lid is known as "Ginger Jar" in the West. On a blue background with an irregular pattern of "geborstenem ice" lotus vines are cut white. The cover shows lotus tendrils and stylized clouds and dragons. On the body of the pot an elephant and a phoenix are shown in two large leaf-shaped reserves. The white elephant is almost directly in front of a direction indicated by rocks and trees landscape. It is likely that the potters had never seen a live specimen. The animal has a huge, wrinkled body, a small head with leaf-like ears, a thin, short snout and narrow tusks. In China, the elephant stands for wisdom and, with Tiger, Leopard and Lion to the four animals embody the strength and energy. Another level of meaning is particularly the white elephant as a Buddhist symbol, since it presents the mount of Puxian Bodhisattva (Sanskrit Samantabhadra). The bulbous "Ginger Jars" by slightly varying shape were a popular Chinese export. The name is derived from the Dutch name confijt pot, canning pot, from which is around 1635 to refer to the loading lists of Dutch ships and certainly describes the original function of these pots. Among the canned food was also the Chinese ginger. Pots of this type seem to have been appreciated in Holland, being on numerous still lifes of the 17th Century, especially in the work of Willem Kalf (1622 - 1693), appear. (From: La maladie de porcelaine, East Asian Porcelain from the Collection of Augustus the Strong, Leipzig 2001, p 36)

Charger. China, Ming dynasty (1368 - 1644), Chongzhen era (1628 - 1644) / Shunzhi era (1644-1661). Porcelain Collection. PO 3419. Porcelain, painted in underglaze cobalt blue. H. 10.5 cm, D. 48.9 cm © Staatliche Kunstsammlungen Dresden 2013

Charger. China, Ming dynasty (1368 - 1644), Chongzhen era (1628 - 1644)-Shunzhi era (1644-1661). Porcelain Collection. PO 1272. Porcelain, painted in underglaze cobalt blue. H. 6.2 cm, D. 36.3 cm © Staatliche Kunstsammlungen Dresden 2013

Charger. China, Ming dynasty (1368 - 1644), Chongzhen era (1628 - 1644)-Shunzhi era (1644-1661). Porcelain Collection. PO 1403. Porcelain, painted in underglaze cobalt blue. H. 5,9 cm, D. 36,2 cm © Staatliche Kunstsammlungen Dresden 2013

Charger. China, Ming dynasty (1368 - 1644), Chongzhen era (1628 - 1644)-Shunzhi era (1644-1661). Porcelain Collection. PO 1271. Porcelain, painted in underglaze cobalt blue. H. 5,8 cm, D. 31,5 cm © Staatliche Kunstsammlungen Dresden 2013

Rouleau vase (yitongping?). China, Jingdezhen Qing Dynasty (1644 - 1911), Shunzhi era (1644 - 1661) or early Kangxi era (1662 - 1722). Porcelain Collection. PO 2038. Porcelain, painted in underglaze cobalt blue. H. 46.6 cm © Staatliche Kunstsammlungen Dresden 2013

Adhering to the wall of the slender vase with a wide neck pulling landscape appears as the transfer of a hanging scroll painting on porcelain vessel. The composition takes the art of traditional Chinese painting. The viewer looks into a river landscape with mountains, trees, houses and figurines. As in a Chinese landscape, the viewer from the bottom right to enter into the picture space, with offers him the wanderer on the bridge as a figure of identification.Unusual are the style and the outstanding quality of the painting. The landscape elements, especially the rocks and mountains are finely contoured and designed with sparse, delicate structure dashed lines. The painting of the Dresden vase shows similarity to the landscape painting of the monk painter Hongren (1610-1664). This was one of the influential school of the 17th Anhui Century. In this province there was the seat of the merchant guilds, which controlled the transport of porcelain produced in Jingdezhen. The rich merchants profiled itself as a collector with a taste of the literary. So Anhui experienced in the mid-17th Century painting of a flower and a wide distribution of books illustrated with woodcuts. Chinese paintings and woodcuts became models for the nearby Jingdezhen porcelain decors. The decor of many porcelains in the first term of the new Qing Dynasty, the era Shunzhi (1644 - 1661) and the early era of Kangxi 1662-1683 arisen, each carrying the individual signature of an artist, especially in the landscapes. If these designs were not created by the painters themselves, they nevertheless point to a story in the Chinese porcelain unusually close relationship between painting and porcelain décor. (From: La maladie de porcelaine, East Asian Porcelain from the Collection of Augustus the Strong, Leipzig 2001, p 40).

Bowl. China, Jingdezhen Qing Dynasty (1644 - 1911), Shunzhi era (1644 - 1661) or early Kangxi era (1662 - 1722). Porcelain Collection. PO 1357. Porcelain, painted in underglaze cobalt blue. H. 7.0 cm, D. 33.9 cm © Staatliche Kunstsammlungen Dresden 2013

The flat, round bowl is assigned to the style of the 'Master of the Rocks ", a term that was coined by the English collector Gerald Reitlinger, whose collection is now in the Ashmolean Museum in Oxford. Behind this name hides any individual painter tangible personality, but a stylistic echo of the contemporary landscape painting, especially the influential school of the painter, art collector and critic Dong Qichang (1555-1636). This style of painting is characterized by the special playback equipment, surface and volume of the often dramatic towering mountains and rocks by numerous parallel structure lines graded color intensity. It is particularly evident in the Dresden bowl with rocks in the foreground. More distant mountains often appear in darker areas maneuvered by light outlines. Characteristic of the 'Master of the Rocks' style is also the representation of the ground vegetation in the form of irregular light blue polka dots. Porcelain with a painting in the style of "Master of the Rocks" was not produced for export. It was commissioned by the local scholar layer, which they estimated as collectibles. The best Chinese potters of Jingdezhen porcelain metropolis came the demanding requirements of a new market with great creativity. The Dresden collection has several pieces that can be assigned to the "Master of the Rocks' style, including two highly-quality, painted with landscapes fish tank (PO 9055, PO 9056), who belonged to the collection of Augustus the Strong (From:. La maladie de porcelaine, East Asian Porcelain from the Collection of Augustus the Strong, Leipzig 2001, p 42).