From Poltergeist to Preacher:

Coromandel lacquer screen is a Chinese folding screen made from the 17th century to 19th century in China. The screen is usually about 250cm high, 600cm width and consisting of twelve panels. Although these screens were made in China during the Qing dynasty, they received their name from India’s Coromandel coast, where they were transshipped to Europe in the late 17th and early 18th centuries by merchants of the English and Dutch East India companies. The Dutch traders carried these screens from Bantam in Java, and in early accounts they were frequently called Bantam screens as well as Coromandel screens. This paper examines Coromandel lacquer screen's art historical significance in the incising global interaction and consumer culture in the 17th and 18th centuries. It first discusses historical and cultural background of production in China which have been little known about. The primary sources focus on the record of <i>Xiu Shi lu</i>, the 16th century book about lacquer, and the inscriptions left on the screens. They will give information about when the screens were produced, what was the purpose of them, and the technique of decoratively incising lacquer and adding polychrome to the voids, called <i>kuan cai</i> in Chinese. The lacquer screen features a continuous scene run through all twelve panels, just like a hand-scroll painting with variety of colours. The prominent subjects for decoration are human figures, landscape and bird-and-flower. The narrative theme with human figures, such as Birthday Reception for General Guo Ziyi and the World of Immortals were shaped by literature or play. Also, the parallels between the lacquer screens and the paintings on the same theme are found. The scenes with Europeans are rare but bring various interpretations within the historical context of the time. The landscape themes, such as the Scenes of Lake Xihu and the Nine Bend in Mountain Wuyi, were depicted famous scenic spots in China. The composition and expression of the screens were probably inspired by landscape woodblock prints, it’s because the technique of lacquer screen and woodblock cutting are similar. Lastly, bird-and-flower theme has a long tradition of wishing longevity, happiness and peace in one’s life and produced in various medium. Thanks to the enormous progress in navigation and discovered sea roots in the 16th century, Dutch and England East India Companies imported quantities of Chinese lacquerworks in the 17th century. As Chinoiserie gain popularity all over Europe, Chinese objects were consumed in various ways. Imported Coromandel lacquer screens were incorporated into European interiors. They were cut into a number of panels, which mounted within wood paneling on walls and inserted into contemporary furniture. The lacquer screen also inspired European’s imitation of Asian lacquer known by a variety of names. This paper surveys Coromandel lacquer screen’s domestic production, exploding consumption and global conquest from the 17th century to 18th centuries, when the screen was explosively made. The lacquer screen is an active participant in cross-cultural interaction, not merely a passive commodity of china. Investigating the material culture of the lacquer screen, it was originally created in chinese domestic background concerned with social prestige, in Europe, consumed to show off exotic luxury and triggered a new stylistic changes in chinoiserie.

Reviewed by: Four Unruly Women: Stories of Incarceration and Resistance from Canada's Most Notorious Prison by Ted McCoy Nathalie Rech Ted McCoy, Four Unruly Women: Stories of Incarceration and Resistance from Canada's Most Notorious Prison (Vancouver: University of British Columbia Press 2019) Ted McCoy's Four Unruly Women sheds light on some of the darkest moments of Kingston Penitentiary through the stories of four women incarcerated during the 19th and 20th centuries. Adopting a critical legal studies approach and a feminist framework, he invites us to look at the prison in a broader social context in order to understand how patriarchy shaped both Canadian law and penology in response to crime, gender, and marginality. McCoy draws a gloomy picture of the everyday life at the penitentiary for the inmate population over the period from 1835 to 1935, using penitentiary records as his main source. The originality of his work stems from disciplinary reports produced by the administration on inmate infractions and the punishments inflicted to unruly prisoners, a source that contrasts with the dryness of usual penitentiary records and offers insight into human relationships inside. Bridget Donnelly, Charlotte Reveille, Kate Slattery, and Emily Boyle (pseudonym) are the four women McCoy chose to support his story. As the author warns us, these might be exceptional cases, but they illustrate what every woman incarcerated at Kingston could potentially face during their incarceration: corporal punishment, physical restraint, solitary confinement, a bread and water diet, and sexual violence. McCoy's biographical approach to these four lives also informs us about the development of the Canadian penitentiary system in relation to the development of industrial capitalism, and the elitist anxiety towards the workingclass. McCoy's book shows the extent to which patriarchy and paternalism were central to Canadian society and to the microcosm of the prison. McCoy's effort to draw the portrait of the central figure of the matron is another of his original contributions to the understanding of women's carceral environments. He shows unambiguously that far from embodying the maternal and caring ideal presented by reformers and penologists alike, she rarely protected women from prison abuses, including sexual abuses from male staff or other forms of torture. The matron was the women prisoners' [End Page 198] favourite target for insults and a plethora of other ruses, not only because she worked the closest with them but also because she was resented for her authority, being the one, more often than not, who denounced their misbehaviours and called for punishment. McCoy's most interesting contribution is undoubtedly the four biographies he presents in four successive chapters. At the centre of his storytelling lies their resistance and the acknowledgement they are, as Jackie Wang wrote, "subjects worthy of having a story of their own." Bridget Donnelly's entire adult life in and out prison exemplifies how poverty and incarceration were deeply intertwined, especially for immigrants to Canada during the 19th century. Her repeated stays at Kingston (and in local jails) for a variety of petty crimes mirror her continuing efforts to survive in times of dire needs. With Charlotte Reveille's story, McCoy explores issues of physical and mental health in confinement and how the carceral institution contributed to making individuals more vulnerable. In this chapter, McCoy exposes the complex figure of the prison surgeon and gives a glimpse on the medical experimentations to which prisoners were subject. McCoy highlights 19th-century debates in the medical field, especially when it came to "insanity" and shows how unscrupulous scientists used the penitentiary as a playing field in their dealings with individuals remote from public view and compassion. Kate Slattery, an Irish immigrant like Donnelly and the third "incorrigible" character presented in the book, is another example of a petty criminal. Her repetitive disruptive behaviours at Kingston—shouting, insulting, and attacking other prisoners—were met with inhumane treatment, justified by the labels that prison officials imposed on her. Incarcerated at the end of the 19th century when recidivism became associated with a "criminological type" and coupled with the penitentiary abandoning the possibility of reformation, she was deemed incorrigible. Moreover, when her confinement ended, she was deported to Ireland at the...

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This study offers a new perspective on the question how the Upper German Anabaptist traditions of the 16th and 17th centuries became part of the Mennonite denominational family. In modern scholarship, it is a commonly accepted usage to apply the group name "Swiss Brethren" to early Swiss Anabaptism starting with the circle around Conrad Grebel and Felix Mantz in Zurich, who introduced the practice of believers' baptism in January, 1525. It was not before 1538/9 that the name "Swiss Brethren" first ap­peared in the sources, but referring to a group in Moravia and southwest Germany rather than in Switzerland. Based on a detailed analysis and contextualization of 141 sources which bear evidence of the group name "Swiss Brethren", dating from the 1530s to c.1618, the present study suggests to abandon the commonly accepted identification of the Swiss Brethren with early Anabaptist groups on Swiss territory or with a specifically Swiss tradition within Upper German Anabaptism. Instead, the bits and pieces of in­for­mation contained in the analyzed sources adumbrate the picture of an expanding underground denomination. Until 1555, most Swiss Brethren congregations were located in Moravia and southwest Germany. In 1555, Anabaptist groups in the Lower Rhine area joined the clandestine network. In 1591, the Swiss Brethren formed a church union with the Frisian Mennonites, which was joined by the Waterlanders in 1601/2. A number of documents bear witness that even the Socinian Polish Brethren pressed to be received into the united Anabaptist church. Remnant groups of the Swiss Brethren/High German tradition survived the Thirty Years' War in the Swiss cantons of Zurich and Bern (whence many of them emigrated to Alsace and to the devastated Palatinate), in the duchies of Julich and Berg, and in the Netherlands. Most of them would eventually identify with the (Flemish) Mennonite tradition between the 1630s and the 1660s. Although the story of the Swiss Brethren can be reconstructed in outline, substantial questions remain open. It is therefore presented as a "story in fragments" rather than a synthetic narrative. Based on extensive archival research, the study is intended as the first of three volumes, the second of which will be devoted to the leadership and structures of the Swiss Brethren, and the third to their literature, doctrines and reli­gious practices.

Plant exchange networks in the 19th century have been investigated in a largescale study, firstly by identifying as many plant exchange organizations (PEOs) as possible and secondly by searching for exchange partners in a 19th century private herbarium from Southwest Germany, and by analysing exchange activities related to the rare central European endemic Saxifraga rosacea subsp. sponhemica (C.C.Gmel) D.A.Webb. In this paper a first overview on selected results is given: 101 PEOs – founded from 1819 to 1947 – with a total of 3000 to 5000 members have been found; they distributed 15 to 20 million specimens; 111 collectors have been identified in the exemplary private herbarium, from which specimens have been found in 27 herbaria; S. rosacea subsp. sponhemica has been collected by 242 individuals, 233 exchange partners received duplicates distributed by 12 PEOs.

Towards an Aesthetics of Navigation

De paletten van Rembrandt en Jozef Israëls, een onderzoek naar de relatie tussen stijl en schildertechniek

The work of Juan de Arellano, a prominent Spanish painter and creator of flower garland paintings, proved influential in the 17th century Spanish art. Arellano’s creative path was far from easy. In the early stage of Juan de Arellano’s career, he concentrated on religious themes and human figures, but neither reflected his particular talent. Inspired by Flemish (Daniel Seghers) and Italian artists (Mario Nuzzi), Arellano started to paint flower still lifes, such as flowers in a vase, flowers in a basket and images framed by a flower garland. Paintings with flower garlands gained popularity not only in Flemish art, but also in Spain in the 17th century. Nowadays flower garland paintings are still popular with viewers and researchers, hence the number of garland paintings exhibitions, for instance, «Ars vivendi. Frans Snyders and 17th century Flemish Still Lifes» in the Hermitage (2024). Arellano transitioned from religious compositions with garlands through landscapes with garlands to floral still lifes. Thus, the trend towards decorativism manifested itself as decorative art flourished in Spain in the second half of the 17th century.

Extended reality XR as the latest reality enhancement technology is regarded by many as the sum of augmented reality AR, virtual reality VR and mixed reality MR. However, this article argues otherwise. This article discusses the misconceptions of LED-based XR as the sum of AR, VR and MR. Although MR is still the combined form of AR and VR, their focuses are different from the LED-based XR. While the common features of AR, VR and MR mostly focus on the different treatments of environment as reality, their limitations lay on their inability to integrate real-time high resolution video of human figures. VR is also limited by computing power. More advanced motion and other sensory capture devices are not inaccessible to regular VR consumers. VR users can only see real-time characters or avatars in low polygon resolution. While MR is still the sum of AR and VR by combining virtual reality with the physical world, MR is not equipped with high resolution camera to achieve the real time integration of photo realistic image in the mixed reality. With some exceptional cases, most of these AR, VR and even MR are typically for the interactive experience of one single user at a time while others can only observe through the projection system. On the other hand, LED-based XR with its real time integration of high resolution camera is designed not for one single user. With motion capture devices integrated in the system, characters can interact among themselves and with the virtual environment. XR also has the power to integrate the immersive features of AR, VR and MR but more. The key feature of LED-based XR can place a high resolution moving human figure or avatar inside the virtual world real-time. However, LED-based XR is not without its limitations. This article focuses on discussing the strengths and weakness of LED-based XR and how it can achieve more than the sum of AR, VR, and MR.

Abstract“You believe animals to be wholly deprived of passions” asks the narrator of Balzac's 1836 story, “A Passion in the Desert,” and he adds, “you should know that we can give them all the vices driven by our state of civilization.” It is in the context of Balzac's questioning of animal passion that I would like to consider the striking and passionate expressions shared among the lion, dromedary and human figures in Jules Verreaux' “Lion Attacking a Dromedary.” The denial of animal passion can be understood as a Cartesian legacy that influenced both taxidermy and the illustrations of early natural histories, but would eventually be questioned during the 18th and 19th centuries. Thus, Buffon accepted that an animal might be excited or moved by passions, but also wrote that any depiction of that agitation could only distort the representation of a species' essence. During the 19th century, by contrast, both scientific and artistic representations of animals show an increasing interest in animal emotions, even as these would underscore a greater affinity between human and non‐human animals, as evidenced by Darwin's 1872 publication of The Expression of the Emotions in Man and Animals. Balzac's story and Verreaux's taxidermy question to what extent passions humanize animals or bestialize humans, a question with potential relevance, I will argue, for understanding how the vices of civilization might relate to the figure of the human Courier in the exchange of passions.

The Shortest Follies Are the Best

Architectural structures are often found in both in the monumen- tal and in the easel painting of Siena in the 15th century, but it is in the predella polyptychs that they enter into dialogue with human figures, creating harmo- nious compositions or original contrasts. In some works, they serve as a deco- rative background for narrative scenes, while in others they become integral parts of them. This article demonstrates that, despite the strong attachment of the Sienese artists of the Quattrocento era to the medieval tradition, it is in the predella polyptychs of the 15th century that innovations in the field of depicting architectural structures are adopted. Through the examination of a number of scenes from the predella of the sienese polyptychs, it became obvious that it was in the architectura picta that artists had greater freedom and depicted architec- tural innovations that had not yet been reflected in actual Sienese architecture. There are many predella fragments depicting architectural structures, but they have not been fully documented. The brief excursion reported in this study aims to review the most representative samples, organize them chronologically and analyze their evolution through almost the entire 15th century.

This paper aims to study cave paintings from an aesthetic point of view. Even though cave paintings are human artworks, researches only have been conducted from the religious, archaeological, and ecological perspectives. Therefore, it is worth studying the aesthetics of cave paintings as works of art. The main features of cave paintings are the fact that the exhibition hall is a cave rather than a white cube, and that the human iconographies are combined with other living things. Compared to general exhibition halls and iconographies of humans, those of cave paintings are unique. The inside of the cave is dark and humid, and the surface of the walls is uneven. Human figures drawn on the cave walls are combined with animals, plants, or unknown creatures. As these variations of cave interiors and human iconographies are difficult to define, predict, or imagine, viewers are puzzled and frightened. The most suitable aesthetic concept for the art work of cave paintings with these characteristics is the grotesque. The word grotesque comes from the Italian word 'grotta', meaning cave, and was first used in a 15th-century painting found in the basement of a Roman palace. According to Wolfgang Kaiser's study on the use of the word 'grotesque' in German and French, the key symbol of the grotesque is the figure of a monstrous creature, a chaotic mixture of animals, foliage, and humans in distorted proportions. Thus, the grotesque can be defined as the collapse and unfamiliar change of the world, which was familiar to us and operated according to a fixed order, is engulfed in confusion. The cave gives viewers a sense of unfamiliarity through its features of low illumination and uneven walls, which are different from general exhibition spaces. The human figure in the cave paintings is a combination of animals, plants, and something unknown to the human body that the viewer encounters daily, giving the viewer confusion. The implications of this thesis are to study cave paintings from an aesthetic point of view. And the cave paintings are grotesque works of art that cause eerie and bewildering emotions in the viewer. Also, although the concept of grotesque was formed in the 15th century, there are some artworks made before the 15th century, such as cave paintings, to which the grotesque is applied. Therefore, this study argues that it is necessary to expand the scope of research on grotesque.

The national jurisdiction of the palatine did not extend to the territories ruled by the Transylvanian voivode and the Slavonic ban, where the voivode and the ban also supervised the middle-level (county) administration. There were, however, some peripheral areas on the borders of the Transylvanian Voivodeship and the Banate of Slavonia, where the question of jurisdiction changed during the 13th and 14th centuries. In addition, a separate system was formed by the (re)organisation of the Banate of Mačva around 1320. On the side of the Transylvanian Voivodeship, the medieval counties of Solnok and Krasna are considered such a border zone. Although the title of count of Solnok was merged with that of the Transylvanian voivode in 1262 at the latest, the voivode initially exercised only county-level, i.e. intermediate-level power, and it was only in the 1320s that Solnok County came under a higher degree of voivodeal authority. In the case of Krasna County, this process took place even later, only in the 16th century, when it was integrated into Transylvania. In Slavonia, the northern border was the river Drava, and thus the political term “beyond the Drava” meant the jurisdiction of the Slavonic Ban. Apart from a few exceptional cases, the palatine did not interfere in the Ban’s territory and did not judge in matters beyond the Drava. However, from the 14th century onwards, there are indications that the county of Požega, beyond the river Drava, did come under the jurisdiction of the palatine. To the east, the situation is different in the counties of the Banate of Mačva. King Charles I added five counties to the jurisdiction of the ban of Mačva: Valko, Bodrog, Srim, Baranya, and then Bács. Although in the 14th century, the title of count of these counties was held by the respective ban of Mačva, they were also controlled at a higher level by the palatine. The powers of the ban of Mačva over the counties were only count-powers, and did not reach the level of the Slavonic ban or the Transylvanian voivode, who governed the counties under their jurisdiction in their own right and appointed their counts. In these counties, the ban of Mačva himself was the middle-level leader, the count, and the palatine also had influence at a higher level over the counties.

The interaction between mystically inspired beguines and nuns on the one hand and the friars as their confessors, on the other, that is, the male authorities in the late Middle Ages, certainly requires careful assessment because many different factors come into play here. In her monograph, Claire Taylor Jones pursues a host of different aspects pertaining to this complex issue in order to gain a grasp of those female writers particularly in the female Dominican monasteries in the Southwest of Germany and their male colleagues, or spiritual confessors, especially Heinrich Seuse and Johannes Tauler. She draws heavily from the Nuremberg Dominican convent of St. Katherine’s library (15th century), but this actually depends on the various chapters included here. It becomes very clear, however, that the notion of women’s lack of Latin needs to be reviewed carefully considering that that library contained ca. 726 manuscripts, of which 161 were in Latin.