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Frederick the Great's Porcelain Diversion: the Chinese Tea House At FREDERICK THE GREAT’S PORCELAIN DIVERSION: THE CHINESE TEA HOUSE AT SANSSOUCI Tania Solweig Shamy Department of Art History and Communication Studies McGill University, Montreal October 2009 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of doctor of philosophy. ©Tania Solweig Shamy 2009 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-61824-0 Our file Notre référence ISBN: 978-0-494-61824-0 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author’s permission. In compliance with the Canadian Conformément à la loi canadienne sur la Privacy Act some supporting forms protection de la vie privée, quelques may have been removed from this formulaires secondaires ont été enlevés de thesis. cette thèse. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n’y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. Abstract This thesis signals a new approach in the study of the Chinese Tea House at Sanssouci. It argues that Frederick the Great’s exotic pavilion, although made of sandstone and stucco, is porcelain in essence. The garden building reflects the many meanings of this highly valued commodity and art form in the privileged society of the king and his contemporaries. The pavilion is unique in that it was inspired by the type of sculptural ornament designed to decorate the eighteenth- century table of the nobility. The Tea House is a thematically integrated structure that demonstrates the influence of porcelain on interior décor and architecture. The designation of the garden building as a Gesamtkunstwerk acknowledges the blending of architecture, painting, and sculpture; characteristics shared by porcelain centerpieces. They exemplify the intermediality associated with the development of eighteenth- century porcelain and the interpretation of Frederick’s pavilion. ii Résumé Cette thèse annonce une approche nouvelle dans l’étude de la Maison de Thé Chinoise à Sans-Souci. Elle soutient que le pavillon exotique de Frédéric Le Grand, fait de pierre et de stuc, représentait intrinsèquement la porcelaine. Ainsi, cette construction de jardin refléterait de fait les sens multiples accordés par la société privilégiée du Roi et de ses contemporains à cette commodité de luxe et à cette forme d’art. Le pavillon est unique parce qu’il s’inspire des ornements sculptés qui décoraient les tables de la noblesse du XVIIIème siècle. La Maison de Thé est une structure cohérente dont le thème décoratif témoigne bien de l’influence de la porcelaine sur le décor intérieur et sur l’architecture. Sa désignation en tant que ‘Gesamtkunstwerk’ lui reconnaît sa qualité d’intégrer architecture, peinture et sculpture, en un mot tous les attributs qui qualifient les centres de table en porcelaine. Ceux-ci illustrent l’intermédialité associée au développement de la porcelaine au XVIIIème siècle et éclairent d’un jour nouveau l’interprétation du pavillon de Frédéric. iii Acknowledgements I would like to acknowledge the contribution of Professor Hans Böker to this study. The idea for this dissertation was conceived of, and begun under his direction. Unfortunately his move to, and his commitments at the University of Karlsruhe, Germany, prevented him from completing this project with me. I would like to thank Professor Bronwen Wilson for assuming the responsibility of supervising my thesis for the duration, from McGill, and her new position at the University of British Columbia. She has provided continual guidance, support and advice. Finally, I would like to thank Professor Richard Taws for accepting to co-supervise this dissertation for the last several months. He has given generously of his time and his knowledge. I would like to thank Dr. Antje Adler for her help in navigating the archives of the Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg. I would also like to acknowledge my German tutor, Professor Katherina Aulls of Bishops University, without whom this thesis could not have been completed. Special mention must be made of Mrs. Marilyn Berger and Ms. Bozena Latincic of the Blackader-Lauterman Library of Architecture and Art, and Mrs. Janice Simpkins of the Department of Interlibrary loans. I would also like to thank Ms. Karin Bourgeois and Ms. Maureen Coote for their encouragement and support. Lastly, I would like to acknowledge my husband, Dr. Frank Shamy, and my son, Dr. Michel Shamy for their constant love, encouragement, and support during the last six years. I dedicate this thesis to them. iv Table of Contents Abstract Page ii Résumé Page iii Acknowledgements Page iv Table of Contents Page v List of Illustrations Page viii Frontispiece Page xix INTRODUCTION Page 1 CHAPTER ONE Page 23 THE CHINESE TEA HOUSE AT SANSSOUCI The Glowing Pavilion Design and Construction of the Tea House The Tea House and the Garden The Chinese Tea House: A Chinoiserie Folly Chinoiserie as Cultural Exchange Chinoiserie as Superficial Ornamentation The Folly The Vocabulary of Exoticism The Total Work of Art CHAPTER TWO Page 79 FREDERICK THE GREAT: ARCHITECT, PHILOSOPHER MUSICIAN AND PORCELAIN PATRON Frederick and Architecture Royal Ascension and Architectural Expansion The Chinese Taste: The Fashion for Oriental Garden Pavilions Johann Gottfried Büring The Familial Connection with Exotic Architecture v Frederick: The Philosopher of Sanssouci The Jesuit Influence Frederick and Music Frederick and Porcelain CHAPTER THREE Page 138 ORIGINS AND EVOLUTION OF A PORCELAIN PAVILION: COMMODITY, FETISH, INTERIOR DÉCOR AND ARCHITECTURE Cultural Perceptions: Asian Porcelain and the West From Commodity to Fetish: Porcelain as Treasure The East India Companies and the Porcelain Trade Porcelain for Display: The Influence of Porcelain on Interior Décor Le Petit Trianon de Porcelain: The Influence of Porcelain on Architecture The Thematically Integrated Pleasure Palace Pagodenburg CHAPTER FOUR Page 176 PORCELAIN IN ARCHITECTURE AND ARCHITECTURE IN PORCELAIN Augustus the Strong and the Porcelain Obsession Art, Science and Technology The Discovery of the Arcanum and Böttger Porcelain The Development of the Working Process Hard Paste Porcelain The Meissen Porcelain Manufactory: The Eighteenth-Century Culture of Porcelain Johann Gregorius Höroldt Porcelain for Interior Decor and Architecture Johann Joachim Kaendler The Japanese Palace: A Palace for Porcelain The Indian Palace at Pillnitz: A Palace of Porcelain Kaendler’s Repertoire Sugar Sculptures and Table Ornaments Dinner and Diplomacy Porcelain and Politics on the Table Top Architecture for the Table vi CONCLUSION Page 228 BIBLIOGRAPHY Page 239 ILLUSTRATIONS Page 269 vii LIST OF ILLUSTRATIONS Frontispiece: Aerial View of the Chinese Tea House. Preussische Schlösser und Gärten. Fig. 1. The Glowing Pavilion, The Chinese Tea House at Sanssouci. Photograph by the Author. Fig. 2. Héré de Corny, Emmanuel, Elevations a trois façes d’un Bâtiment Chinois nommé Le Trèfle situé a un des boutes du Canal du jardin Royal de Lunéville, Planche 16, Recueil des plans, élévations et coupes, tant géométrales qu’en perspective,des châteaux, jardins et dépendances que le Roy de Pologne occupe en Lorraine, y compris les bâtiments qu’il a fait élever, ainsi que les changements considérables, les decorations et les autres enrichessemens qu’il a fait faire à ceux qui éttoient déjà construits, chez François, graveur, 1752. Staatliche Museen zu Berlin, Kunstbibliothek. Fig. 3. Héré de Corny, Emmanuel, Elevations a trois façes d’un Bâtiment Chinois nommé Le Trèfle situé a un des boutes du Canal du jardin Royal de Lunéville, Planche 17, Recueil des plans, élévations et coupes, tant géométrales qu’en perspective,des châteaux, jardins et dépendances que le Roy de Pologne occupe en Lorraine, y compris les bâtiments qu’il a fait élever, ainsi que les changements considérables, les decorations et les autres enrichessemens qu’il a fait faire à ceux qui éttoient déjà construits, chez François, graveur, 1752. Staatliche Museen zu Berlin, Kunstbibliothek. Fig. 4. Héré de Corny, Emmanuel, Elevations a trois façes d’un Bâtiment Chinois nommé Le Trèfle situé a un des boutes du Canal du jardin Royal de Lunéville, Planche 18, Recueil des plans, élévations et coupes, tant géométrales qu’en perspective,des châteaux, jardins et dépendances que le Roy de Pologne occupe en Lorraine, y compris les bâtiments qu’il a fait élever, ainsi que les changements considérables, les decorations et les autres enrichessemens qu’il a fait faire à ceux qui éttoient déjà construits, chez François, graveur, 1752. Staatliche Museen zu Berlin, Kunstbibliothek. Fig. 5. Grundriss des Chinesichen Hauses,1903, Federzeichnung. Reproduced in Das Chinesische Haus im Park von Sanssouci, Stiftung Schlösser und Gärten Potsdam-Sanssouci, 1993, p. 38. viii Fig. 6. Plan von den Konigl. Lustgarten und Weinberge bey Potsdam Sanssouci gennant”unbekannter Zeichner.
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