Parrot (one of a pair) 1736 - 1746

Editor: Here we have "Parrot (one of a pair)," created by the Meissen Manufactory between 1736 and 1746. They're porcelain sculptures, and I'm immediately struck by their whimsical, almost comical expressions. What story do you think they tell? Curator: I see these parrots as potent symbols of colonialism and the exoticized "Other" so prevalent in the Rococo period. Aristocrats collected such items as status symbols, demonstrating their worldly reach and economic power. The very act of sculpting a parrot—taking it from its natural habitat and rendering it in porcelain—speaks to the violence inherent in such appropriation. How do you see that tension playing out? Editor: That’s fascinating. I hadn’t considered the power dynamics at play. I was mostly focused on the artistry, the delicate detail in the feathers, the vibrant colours…but you’re right. It’s a captured image, isn’t it? Curator: Exactly! The parrot, native to other lands, becomes a mute object on display. It raises important questions about who has the right to represent whom and the ethics of turning living beings into mere decorative objects. And consider, too, how porcelain itself was a coveted commodity, connecting to trade routes and the exploitation of resources. Editor: So it's not just about the parrot itself, but also the material? Porcelain as a symbol of wealth and exploitation… it's all tied together. It definitely makes me see it in a different, much more critical light. Curator: Precisely! This work isn't just a pretty sculpture; it’s a reflection of complex socio-political relationships of the time. Looking at art through this lens allows us to challenge and understand the historical roots of contemporary inequalities. Editor: This has been so insightful! I will definitely rethink what "decorative art" might really mean. Thank you. Curator: Indeed. These objects can hold up a mirror to our past, urging us to examine its darker corners and reflect on the legacies we still grapple with today.