Ruffed bustard (one of a pair) 1747 - 1757

Editor: So, here we have a porcelain sculpture titled "Ruffed Bustard," crafted between 1747 and 1757 by the Meissen Manufactory. It's incredibly detailed. What’s your take on this piece? Curator: Let’s look at this in terms of production and consumption. Meissen porcelain, known as ‘white gold’, was an incredibly sought-after material during this period. This bustard isn't simply a depiction of a bird; it’s a display of wealth and access to this highly prized material. Consider the labour involved, the specialized skill of the porcelain workers who molded and painted it. How does this relate to the rising merchant class of the era? Editor: So, it was less about the bird itself and more about showing off craftsmanship? Curator: Precisely. The Rococo style with its flamboyant decoration amplifies this point. Observe how the ceramic is presented almost theatrically. This base is not essential. It has been decorated to elevate the status. Also the materials are mimicking real gold, and the imitation shows a departure in values. What does it mean to society when fake becomes close enough to the real thing that it begins to stand on its own? Editor: I never thought of it like that! It's easy to just see a pretty bird, but thinking about the economic and labor aspects gives it a totally different layer of meaning. Curator: Exactly. Understanding the processes of production – from raw materials to finished object – allows us to see art as a product of specific social and economic conditions. We are no longer focused on a 'transcendent genius' as a creator, but an entire factory of specialized roles. Editor: So by examining the "how" of its creation, we unlock a deeper "why". I’ll never look at decorative art the same way again. Thanks! Curator: My pleasure.