Order and aura of courtly things: the Dresden Kunstkammer of the 16th and 17th centuries as a place of political interaction, dynastic memoria and princely knowledge practice

该项目于16世纪末在选帝侯奥古斯特（Elector August）的领导下成立，由他的儿子克里斯蒂安一世（Christian I）首次系统化，并于17世纪在约翰格奥尔格一世（Johann Georg I）的领导下扩大，该项目将德累斯顿“艺术馆”（Kunstkammer）作为调查的中心，它比其他任何一种艺术都更适合于一方面在宫廷文化实践中展示事物的物质和象征意义，另一方面分析事物交换、转移和排列的动态过程。其中特别包括，在相互访问或通过公使馆或通信进行调解的情况下，它们的君主所有者与宫廷和宫廷外的接受者之间发生的互动。因此，德累斯顿城堡内的“艺术之屋”及其物品被有目的地设计成一个政治-王朝互动和记忆维护的中心位置，以及主权的展示，其类别和系统以及它们的空间配置值得仔细研究。研究的时间有意识地限定在16和17世纪，即。在选帝侯八月至选帝侯约翰·格奥尔格三世的统治时期，由于德累斯顿“艺术家”的库存在八月强和他的儿子在各种特殊的收藏品划分，从而原来，为这个研究项目的各种收藏品的本质联系得到了解决。德累斯顿“艺术家”的历史近年来得到了广泛的研究“Staatliche Kunstsammlungen德累斯顿”。尽管准备工作做得很好，但在迄今所做的基本工作范围内，无法系统地分析事物的内容结构或安排、其功能及其象征意义等关键方面。这首先适用于宫廷文化实践背景下事物的物质和象征意义，与事物交换和转移相关的跨文化、君主-王朝互动过程，由此产生的“艺术家”的政治维度，以及实用君主的工具和手段中可见的方面，以及非欧洲收藏品对于系统化和产生当时世界偏远地区知识的重要性问题，最后是公主在“艺术家”主题取向中的比例以及事物的选择和安排。此外，没有系统的比较与其他帝国或帝国艺术商会（特别是在维也纳，布拉格和慕尼黑）的16和17世纪。

Founded under Elector August in the late sixteenth century, systematized by his son Christian I for the first time and enlarged under Johann Georg I in the seventeenth century, the project places with the Dresden “Kunstkammer” a courtly collection type and location at the center of the investigation, that is better suited than any other to focus on the one hand to show the material and symbolic meaning of things in the context of courtly cultural practices and on the other to analyze the dynamic processes associated with the exchange, transfer and arrangement of things. These included, in particular, the interactions taking place between their princely owners and the courtly and out-of-court recipients on the occasion of mutual visits or mediated through legations or by correspondence. As a result, the “Kunstkammer” and its objects within the Dresden Castle were purposefully designed into a central location for political-dynastic interaction and memory maintenance, as well as a demonstration of sovereignty, whose categories and systematics as well as their spatial disposition deserve closer examination. The study period is consciously limited on the time of the 16th and 17th centuries, i. the reign of Elector August to Elector Johann Georg III, since the inventory of the Dresden “Kunstkammer” under August the Strong and his son in various special collections divided and thus the original, for this research project essential connection of the various collection items was resolved.The history of the Dresden “Kunstkammer” has been extensively researched in recent years by the “Staatliche Kunstsammlungen Dresden”. Despite the very good preparatory work, it was not possible to systematically analyze key aspects of the content structure or arrangement of things, their function and their symbolic meaning within the scope of the basic work done so far. This applies above all to the material and symbolic significance of things in the context of courtly cultural practices, the processes of intercultural, princely-dynastic interaction connected with the exchange and transfer of things, the resulting political dimension of the “Kunstkammer” and those in the tools and instruments visible aspect of the practical Prince, as well as the question of the importance of non-European collection objects for the systematization and generation of knowledge of remote parts of the world at that time, and finally the proportion of princesses in the thematic orientation of the “Kunstkammer” and the selection and arrangement of things. In addition, there is no systematic comparison with other imperial or imperial art chambers (especially in Vienna, Prague and Munich) of the 16th and 17th centuries.