Die Präsentation

The exhibition ‘In Focus: Three Rare Treasures of Imperial China’ (1 April–29 June 2026) in the Sponsel Room of Dresden’s Residenzschloss (Royal Palace) presents objects from different imperial dynasties from among the holdings of the Grünes Gewölbe (Green Vault) and the Porzellansammlung (Porcelain Collection). The Ru Bowl, the so-called Dragon Vase, and a tiny snuff bottle, barely five centimetres tall, exemplify the aesthetics and exceptional craftsmanship of their respective era. 

The items from the Porzellansammlung have attracted a lot of media attention in recent weeks. The public will now be given the opportunity to discover what makes them so special.

The  Porzellansammlung of the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections, SKD) holds the largest collection of early modern porcelain from China and Japan outside of Asia. It preserves a cross-section of that which was collected in Europe in the late 17th and early 18th centuries. From the mid-19th century onwards, the Electoral and Royal collection amassed by August the Strong and August III – the historical core of the museum – was expanded, by means of exchanges and purchases, to include ceramics from all over the world, including the Ru Bowl and the Dragon Vase.

Originally created exclusively for the Chinese imperial court, these are outstanding examples of Chinese ceramic art, the likes of which were unknown in Dresden during the Augustan period. It was only in the early 20th century that such imperial pieces became available to European collectors. The Ru bowl, in particular, is regarded as one of the most beautiful and extremely rare ceramic products of the Song Dynasty (960-1279) and the crowning glory of any collection of Chinese art.

In exhibiting these two objects along with the snuff bottle from the Grünes Gewölbe, the SKD are presenting three exceptionally rare and precious Chinese imperial artefacts from different dynasties. The small snuff bottle is an original from the imperial workshops of the Chinese Qing Dynasty, where European influence led to the development of new enamelling techniques and such vessels became highly sought-after luxury objects. These outstanding pieces are exemplary of the aesthetics and exceptional craftsmanship of their time.

In a recent agreement signed with the Hong Kong Palace Museum, the SKD have committed to conducting more in-depth research into their holdings of East Asian art in collaboration with experts from the Palace Museums in Hong Kong and Beijing. The exhibition ‘In Focus: Three Rare Treasures of Imperial China’ highlights how mutual respect, as well as the pursuit of precision both in art and in scholarly research, form a strong bond between China and Germany (see media information published on 23 March 2026).

The Ru Bowl:

This small, glazed stoneware bowl from the Northern Song Dynasty (960–1127), which at first glance appears unremarkable, is one of the rarest and most precious objects of Chinese ceramic art. The vessel, which is around 900 years old, was used as a brush-washing bowl and is one of only 89 known Ru wares in the world; it is also the only specimen of its kind in Germany. It was part of a private collection acquired by the Porzellansammlung in the 1920s. These first ceramics made exclusively for the Chinese imperial court are named after their place of origin, the Ru Prefecture in the northern province of Henan.

The production of imperial Ru wares went on for only a little more than 20 years, ending when the Northern Song Dynasty was driven south in 1126. The few pieces that were produced and salvaged soon became mythologised as reminders of the empire’s former grandeur and are now considered the pinnacle of any collection of Chinese ceramics.

This perfectly preserved Dresden bowl is striking in its exceptionally simple elegance. With its gently shimmering, delicately crackled glaze in a particularly beautiful bluish-green hue, it is reminiscent of winter colours and brittle ice. 

The Dragon Vase:

The so-called Dragon Vase was commissioned for the court of Emperor Qianlong (reigned 1735–1795). Painted with nine brightly coloured dragons soaring across the sea and sky, this monumental piece is one of the rarest masterpieces of imperial porcelain art from the Qing Dynasty. Its dynamic decoration combines technical perfection with rich symbolic meaning and reflects the splendour and political ideals of the court under Emperor Qianlong.

In Chinese culture, the number nine (jiu) also signifies ‘eternity,’ whilst the dragon is the most important symbol of imperial power. The motif of nine dragons therefore reflects the desire for eternal imperial rule. On this vase, the dragons appear amidst waves and clouds, two elements traditionally associated with these mythical creatures. Flying amongst the clouds are red bats. In Chinese, the word for bat (fu) sounds the same as the word for ‘luck’ or ‘blessing.’ Along the foot and beneath the rim runs a band of heart-shaped ruyi heads; these derive from the ruyi sceptre and the lingzhi mushroom. According to Daoist beliefs, these symbols represent immortality and the fulfilment of wishes.

Vessels of this kind, adorned with imperial symbols, were often given as precious gifts to high-ranking dignitaries. Like the Ru Bowl, the Dragon Vase also found its way into the Porzellansammlung during the 20th century.

The snuff bottle:

For a long time, this delicate snuff bottle was regarded as a European piece in the chinoiserie style. It was not until 2013 that it was recognised as a rare and early example of Chinese enamel art from the Qing Dynasty. It has been possible to trace its origins to the imperial palace workshops in Beijing, where only works of the highest quality were produced for the imperial court.

Under the emperors Kangxi (r. 1661–1722) and his son Yongzheng (r. 1723–1735), the imperial workshops saw a period of significant artistic and technological innovation. Since the end of the 17th century, Jesuits had been bringing enamel objects from Europe as gifts to the imperial court, where they were greatly admired. The art-loving Emperor Kangxi subsequently took steps to recruit European artists who were familiar with the techniques, thereby promoting their further development in China.

The use of snuff, which was believed to have healing properties, had been introduced to China by European missionaries, envoys, and traders. Since the large snuff boxes commonly used in Europe proved impractical in China’s more humid climate, the use of small, tightly sealable vials soon became predominant. Particularly during the reign of Emperor Qianlong (r. 1735–1796), they were manufactured in a wide variety of shapes and designs and became sought-after collectors’ items.