鹰鸮 - 美国大都会艺术博物馆展品查阅

品名（中）	鹰鸮
品名（英）	Eagle owl
入馆年号	1977年，1977.216.9
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Meissen Manufactory【1710 至现在】【德国人】
创作年份	公元 1730 - 公元 1740
创作地区
分类	陶瓷-瓷器（Ceramics-Porcelain）
尺寸	整体 (confirmed): 20 1/2 x 11 9/16 x 9 3/8 英寸, 27.5磅 (52.1 x 29.4 x 23.8 厘米, 12.4739kg)
介绍（中）	这只鹰鸮属于为德国德累斯顿的一座撒克逊皇家宫殿订购的一大群瓷制哺乳动物和鸟类。该建筑被称为日本宫，旨在收藏萨克森选帝侯、波兰国王奥古斯都二世（1670–1733）的大量瓷器。18世纪初，奥古斯都是中国和日本瓷器的狂热收藏家，他对亚洲陶瓷的兴趣促使他于1710年在德累斯顿附近建立了迈森工厂。迈森的早期生产受到奥古斯都的中国和日本瓷器的强烈影响，日本宫的内部设计融合了亚洲和迈森的例子 1730年，奥古斯都发起了一项大型动物委员会，将在日本宫展出。最初的秩序要求近600种生物的大小尽可能接近受试者的真实尺寸。考虑到委员会的范围、雕塑的规模和所需造型的复杂性，这项工作在亚洲或欧洲的瓷器媒介中都没有先例。这些人物最初是用自然主义的颜色绘制的，以增强真实感，但很快人们发现，珐琅颜色所需的额外烧制使最大的雕塑面临过度开裂或其他技术问题的风险。在众多用搪瓷装饰的中型雕塑中，有一只鹰鸮抓着一只死鸽子。建模师Eberlein不仅通过猫头鹰头部的角度和富有表情的凝视，还通过描绘一个特定的时刻，在这种情况下，猫头鹰刚刚捕捉到猎物之后，为雕塑注入了动画和存在感。这只猫头鹰是1736年日本宫内记录的五只鹰鸮之一，但它是迄今为止唯一一只完好无损的猫头鹰。
介绍（英）	This figure of an eagle owl belongs to a large group of porcelain mammals and birds ordered for one of the Saxon royal palaces in Dresden, Germany. Known as the Japanese Palace, the building was intended to house the vast porcelain collection of Augustus II (1670–1733), the elector of Saxony and King of Poland. Augustus was a voracious collector of both Chinese and Japanese porcelains in the early eighteenth century, and his interest in Asian ceramics led to his establishment of the Meissen factory near Dresden in 1710. The early production at Meissen was strongly influenced by Augustus’s Chinese and Japanese porcelains, and the designs for the interiors of the Japanese Palace incorporated both Asian and Meissen examples. In 1730, Augustus initiated a commission for large-scale animals that would be displayed in the Japanese Palace. The original order called for almost six hundred creatures in sizes approximating, when possible, the subjects’ true dimensions. Given the scope of the commission, the scale of the sculptures, and the complexity of the required modeling, this undertaking had no precedent in the medium of porcelain in either Asia or Europe. The figures were originally to be painted in naturalistic colors to enhance the sense of realism, but it was soon discovered that the additional firing required for the enamel colors subjected the largest sculptures to excessive risk of cracking or other technical problems. Among the many mid-sized sculptures that were decorated with enamels is this eagle owl clutching a dead dove. The modeler Eberlein has imbued the sculpture with animation and a sense of presence not only through the angle of the owl’s head and its expressive gaze, but also by depicting a specific moment in time, in this case just after it has caught its prey. This example was one of five eagle owls recorded in the Japanese Palace in 1736, but is the only one to have survived intact to the present day.