The State Art Collections Dresden has opened a special exhibition titled "The Blue Swords: Meissen in the GDR," exploring the history of the Saxon porcelain manufacturer during the second half of the 20th century. Sebastian Bank, curator for the European Porcelain collection at the State Art Collections Dresden, reveals how the famous porcelain maker played a crucial economic role in East Germany's socialist system.
The comprehensive exhibition features over 450 exhibits spread across 685 square meters, taking a multi-perspective approach that goes beyond displaying porcelain pieces. "We don't just show porcelain, but place the porcelain in the context of culture, social policy, economics, and art history," Bank explains. The exhibition demonstrates how Meissen porcelain was embedded in various aspects of East German society during the communist era.
Among the exhibition's highlights is a design for the Lingner Frieze, whose original is located at the House of Ministries. This was the first major commission in East Germany that led to the establishment of the manufacturer's Wall Painting Department. The frieze, deliberately placed at the founding site of East Germany, depicts a new social order representing the ideal of the young socialist state. This aligned with Walter Ulbricht's call at the Leipzig Fair to portray the socialist human being in art.
Another notable highlight includes original costumes from the play "The Dragon" by Yevgeny Schwarz, directed by Benno Besson at the German Theater in Berlin. This production became a major export success and was performed in Paris and Bonn, showcasing how East German cultural products reached international audiences.
The exhibition is based on extensive research, including interviews with witnesses from that era and archival investigations. Former employees consistently described a strong sense of solidarity and awareness of being part of a truly long tradition. Workers also enjoyed significant benefits associated with employment at the manufacturer, including access to a vacation home, kindergarten facilities, and regular celebrations. Anniversary celebrations were particularly special - employees who had worked 25 years at the manufacturer were honored with parades, costumes, and transportation to work.
By the end of the East German era, 90 percent of Meissen's production was exported to non-socialist countries, generating revenue of 30 million German marks. The manufacturer served as one of East Germany's most important sources of foreign currency, ranking as the eighth-largest foreign exchange earner in the country. This export focus meant very little Meissen porcelain remained within East Germany itself.
What stayed in East Germany were primarily medals, commemorative medals, and awards. Otherwise, Meissen porcelain was extremely rare for ordinary citizens. While it could be purchased, it was very expensive and largely inaccessible to most people. The exhibition illustrates this reality through family porcelain photographed by Adrian Sauer, which shows not the famous Meissen onion pattern, but rather the onion pattern from the Kahla porcelain factory in Thuringia. Kahla porcelain remained in East Germany, while Meissen was designated as a luxury brand specifically for export.
As a state-owned enterprise, the State Porcelain Manufacturer Meissen held tremendous economic significance within the socialist economic system. Despite its importance as a foreign currency generator, the operation maintained its traditional manufacturing character, requiring skilled craftspeople. Many porcelain workers learned porcelain painting at the manufacturer and later attended the Dresden Academy of Fine Arts, eventually becoming independent artists. This demonstrates how the manufacturer served not only economic purposes but also as a training ground for artistic talent in East Germany.
