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拍品專文
Numerous pieces from the service are illustrated by Georg Lenz, op. cit. (n.d.), Vol. II, pl. 68. See also Erich Köllmann and Margarete Jarchow, op. cit. (Munich 1987), Vol. II, fig. 273 for two further dessert plates from this service now in the National Museum of Stockholm, and Vol I, p. 49, pl. 19 for a dinner-plate.
The Japani-sches Tafelservice was used in the Chinese pavilion in the grounds of the palace of Sanssouci at Potsdam. The service was ordered between Autumn 1769 and Spring 1770, consisting of 24 place-settings, and as Frederick did not use the pavilion regularly, the service was also used in the Schloss. In the 18th century the pavilion was hidden from view in a dense structure of hedges, as seen in the engraving on the previos page. The palace itself, Frederick the Great's favourite, was conceived as a small temple to Bacchus, a summer retreat for himself and his most intimate friends, a place for the arts and where they were able to live freely 'without a care', as the name Sanssouci implies. He made a sketch of how he would like the palace to be while taking a picnic on the site in August 1743. Knobelsdorff, Superintendent of the Royal Buildings, was given the task of interpreting the drawing and detailed designs were then executed by Friedrich Wilhelm Diterichs. Knobelsdorff, Diterichs and Boumann all collaborated in the construction of the palace which started in April 1745. The exterior was finished in November 1747 and the interiors in July 1748. The terraces below were planted with vineyards, and the King ordered his scouts to bring an example of every known vine back to Potsdam. Vegetables and 3,000 fruit trees were also planted, as well as melons, oranges, peaches and bananas. The vineyard theme was carried throughout the palace with ornament incorporating Silenus, Bacchus and their retinue of cavorting nymphs and satyrs.
Frederick preferred to dine with his friends in intimate spaces, particularly in circular or oval rooms as this created a greater sense of enclosed intimacy. Numerous circular buildings1 had been constructed for him, the libraries at both Sanssouci and Rheinsberg were circular and the informal dinners at Sanssouci usually took place in the oval Marmorsaal (Marble Hall). Even when Frederick was still Crown Prince, the first building that Knobelsdorff built for him was a circular Doric temple of friendship at Amalthea in Rheinsberg where he was able to dine with friends (there was a kitchen in the basement).
The Chinese Pavilion at Sanssouci was no exception. Although it was of clover-leaf shape in plan, it had a circular central hall in which intimate dinners took place. The building was inspired by the pavilion erected by the French architect Emmanuel Héré de Corny (1705-1763) for the exiled Polish King Stanislaus Lesczynski in the gardens of his palace at Lunéville. The architect, Johann Gottfried Büring, used its clover-leaf shaped ground plan at Sanssouci, where three anterooms adjoined a central circular hall. Although construction started in 1755, its completion was delayed by the Seven Years' War and the building wasn't finished until 1764. The exterior is embellished with gilded stone Oriental figures playing instruments, drinking tea and eating fruit sculpted by Johann Gottlieb Heymüller and Johann Peter Benckert. Between the anterooms on the exterior are open bays where the conical copper roof is supported by gilded palm-trees, and at the top of the roof is a seated gilded mandarin with a parasol. The principal circular hall is lined with marble dyed pale-green and the tops of the windows and doors are decorated with gilded Oriental figures and monkeys. Above the entablature is a dome painted with a continuous scene of Orientals on a balustraded terrace below monkeys and parrots perched on festoons of vine. The distant landscape filled with mythical buildings and pavilions. The cartoon for the dome was provided by the Parisian artist Blaise Nicolas Le Sueur (1716-1783) and it was painted by Thomas Huber (1700-1779).
When the main pavilion was completed in 1764, Büring added a kitchen building nearby, also in the Chinese style, so the pavilion could be used for small intimate parties. The decoration of the Japani-sches Tafelservice corresponds with the ornament of the pavilion. The Oriental figures at the centres of the plates have much in common with those painted by Huber on the ceiling of the dome. There were two print sources for the Oriental figures on the plates; the engravings by Laurent Cars after François Boucher, and Pillement's The Ladies Amusement: or, Whole Art of Japanning Made Easy published in London in circa 1760. The borders of the plates also echo the borders on the exterior of the pavilion, as seen in the details of the engraving on page 22.
Frederick very much saw himself as both Roman philosopher and warrior; as early as 1747 he signed his literary publications 'Philosophe de Sanssouci' (even though the interiors at Sanssouci weren't finished until 1748). At his dinners there the guests frequently addressed each other either by classical philosopher's names or by Frederick's nicknames for them, which often had references from antiquity. Voltaire, who had entered Frederick's service in 1750, recorded the spectacle of these intimate gatherings at Sanssouci. His description below is a blend of events and the surrounding ornament of the room (the Marble Hall): 'You saw young men kissing women, nymphs under satyrs, putti playing games of Tag and Blind man's Buff, sodomites and catamites, several people who stared as in amazement at the different romps, doves kissing one another, billy goats mounting nanny goats, and rams mounting ewes. Often the meals were no less philosophical affairs. Anyone entering unexpectedly and listening to our conversations would have thought they were listening to the Seven Sages of Greece in a house of pleasure'.
1. The Antikentemple at Sanssouci (for his growing collection of antiquities), the French Church in Potsdam and the Catholic church, St. Hedwig's in Berlin.
The Japani-sches Tafelservice was used in the Chinese pavilion in the grounds of the palace of Sanssouci at Potsdam. The service was ordered between Autumn 1769 and Spring 1770, consisting of 24 place-settings, and as Frederick did not use the pavilion regularly, the service was also used in the Schloss. In the 18th century the pavilion was hidden from view in a dense structure of hedges, as seen in the engraving on the previos page. The palace itself, Frederick the Great's favourite, was conceived as a small temple to Bacchus, a summer retreat for himself and his most intimate friends, a place for the arts and where they were able to live freely 'without a care', as the name Sanssouci implies. He made a sketch of how he would like the palace to be while taking a picnic on the site in August 1743. Knobelsdorff, Superintendent of the Royal Buildings, was given the task of interpreting the drawing and detailed designs were then executed by Friedrich Wilhelm Diterichs. Knobelsdorff, Diterichs and Boumann all collaborated in the construction of the palace which started in April 1745. The exterior was finished in November 1747 and the interiors in July 1748. The terraces below were planted with vineyards, and the King ordered his scouts to bring an example of every known vine back to Potsdam. Vegetables and 3,000 fruit trees were also planted, as well as melons, oranges, peaches and bananas. The vineyard theme was carried throughout the palace with ornament incorporating Silenus, Bacchus and their retinue of cavorting nymphs and satyrs.
Frederick preferred to dine with his friends in intimate spaces, particularly in circular or oval rooms as this created a greater sense of enclosed intimacy. Numerous circular buildings1 had been constructed for him, the libraries at both Sanssouci and Rheinsberg were circular and the informal dinners at Sanssouci usually took place in the oval Marmorsaal (Marble Hall). Even when Frederick was still Crown Prince, the first building that Knobelsdorff built for him was a circular Doric temple of friendship at Amalthea in Rheinsberg where he was able to dine with friends (there was a kitchen in the basement).
The Chinese Pavilion at Sanssouci was no exception. Although it was of clover-leaf shape in plan, it had a circular central hall in which intimate dinners took place. The building was inspired by the pavilion erected by the French architect Emmanuel Héré de Corny (1705-1763) for the exiled Polish King Stanislaus Lesczynski in the gardens of his palace at Lunéville. The architect, Johann Gottfried Büring, used its clover-leaf shaped ground plan at Sanssouci, where three anterooms adjoined a central circular hall. Although construction started in 1755, its completion was delayed by the Seven Years' War and the building wasn't finished until 1764. The exterior is embellished with gilded stone Oriental figures playing instruments, drinking tea and eating fruit sculpted by Johann Gottlieb Heymüller and Johann Peter Benckert. Between the anterooms on the exterior are open bays where the conical copper roof is supported by gilded palm-trees, and at the top of the roof is a seated gilded mandarin with a parasol. The principal circular hall is lined with marble dyed pale-green and the tops of the windows and doors are decorated with gilded Oriental figures and monkeys. Above the entablature is a dome painted with a continuous scene of Orientals on a balustraded terrace below monkeys and parrots perched on festoons of vine. The distant landscape filled with mythical buildings and pavilions. The cartoon for the dome was provided by the Parisian artist Blaise Nicolas Le Sueur (1716-1783) and it was painted by Thomas Huber (1700-1779).
When the main pavilion was completed in 1764, Büring added a kitchen building nearby, also in the Chinese style, so the pavilion could be used for small intimate parties. The decoration of the Japani-sches Tafelservice corresponds with the ornament of the pavilion. The Oriental figures at the centres of the plates have much in common with those painted by Huber on the ceiling of the dome. There were two print sources for the Oriental figures on the plates; the engravings by Laurent Cars after François Boucher, and Pillement's The Ladies Amusement: or, Whole Art of Japanning Made Easy published in London in circa 1760. The borders of the plates also echo the borders on the exterior of the pavilion, as seen in the details of the engraving on page 22.
Frederick very much saw himself as both Roman philosopher and warrior; as early as 1747 he signed his literary publications 'Philosophe de Sanssouci' (even though the interiors at Sanssouci weren't finished until 1748). At his dinners there the guests frequently addressed each other either by classical philosopher's names or by Frederick's nicknames for them, which often had references from antiquity. Voltaire, who had entered Frederick's service in 1750, recorded the spectacle of these intimate gatherings at Sanssouci. His description below is a blend of events and the surrounding ornament of the room (the Marble Hall): 'You saw young men kissing women, nymphs under satyrs, putti playing games of Tag and Blind man's Buff, sodomites and catamites, several people who stared as in amazement at the different romps, doves kissing one another, billy goats mounting nanny goats, and rams mounting ewes. Often the meals were no less philosophical affairs. Anyone entering unexpectedly and listening to our conversations would have thought they were listening to the Seven Sages of Greece in a house of pleasure'.
1. The Antikentemple at Sanssouci (for his growing collection of antiquities), the French Church in Potsdam and the Catholic church, St. Hedwig's in Berlin.