scholarly journals Manufacturing and Diffusion of Blue and White Porcelain in the Seventeenth Century of Joseon Dynasty

2019 ◽  
Vol 302 (302) ◽  
pp. 147-171
Author(s):  
이슬찬
2001 ◽  
Vol 28 ◽  
pp. 187-201
Author(s):  
Giacomo Macola

Most precolonial African states were characterized by a manifest disparity of control between center and periphery. This was certainly true of the kingdom of Kazembe, founded as a result of the collapse of the Ruund colony on the Mukulweji River towards the end of the seventeenth century and the subsequent eastward migration of an heterogeneous group of “Lundaized” titleholders. A set of flexible institutions and symbols of power helped the rulers of the emerging kingdom to maintain a degree of influence over much of southern Katanga and the westernmost reaches of the plateau to the east of the Luapula river. But in the lower Luapula valley, the heartland of the polity from about the mid-eighteenth century, eastern Lunda rule impinged more profoundly on the prerogatives of autochthonous communities and hence called for the elaboration of legitimizing devices of a special kind. In this latter context, the production and diffusion of an account of the prestigious beginnings of the Mwata Kazembes dynasty, its early dealings with the original inhabitants of the area, and later evolution served the dual purpose of fostering a dominant and discrete Lunda identity and cementing the links of subordination between foreign conquerors and local lineage or sub-clan leaders. This paper is an extended commentary on Ifikolwe Fyandi na Bantu Bandi, a mid-twentieth century offshoot of this royal tradition and a fine example of vernacular “literate ethnohistory.”Nowadays, Ifikolwe Fyandi is first and foremost the “tribal bible” that shapes the ethnic consciousness of eastern Lunda royals and aristocrats and stifles the emergence of alternative historical discourses. Ifikolwe Fyandi, however, is more than yet another manifestation of the “ubiquity” of “feedback,” for its local hegemony is mirrored by its pervasiveness within the historiography of the eastern savanna of central Africa.


2021 ◽  
Vol 310 ◽  
pp. 77-99
Author(s):  
Ming-Liang Hsieh

The so-called Dao Guan Hu (bottom-filled ewer), also referred to as Dao Liu Hu (reverse-flow ewer), and Dao Zhu Hu (reverse-filled ewer), is a type of pouring vessel designed with Stevin’s Law, a formula in physics which employs a communicating tube to balance out the equilibrium of the liquid levels via a vacuum lock. The structure has a small hole at the bottom of a ewer, a jar, or a trompe-l'œil figure connected to a hollow tube inside the vessel. The liquid will not leak out when turning the vessel upright after it is filled. The current evidence attests that China started producing such wares in the ninth century during the late Tang dynasty. The production continued throughout the Song, Liao, Jin, Ming, and Qing dynasties, and the products were traded to Europe as export ceramics in the seventeenth century. They were also found on the Korean peninsula as Goryeo celadon in the twelfth century and in addition as Buncheong ware during the Joseon dynasty in the fifteenth century. The blue and white teapots with overglaze decoration retrieved from a shipwreck assemblage near Hội An in Vietnam also testify the production of this type of vessels with the same structure in Vietnam in the fifteenth and early sixteenth centuries. In the early eighteenth century, the Meissen porcelain manufactory in Germany copied peach-shaped white porcelain pots with overglaze polychrome enamels from imported Chinese bottom-filled prototypes. Dutch potters also decorated imported white porcelain Dao Guan Hu from China with overglaze polychrome enamels.


Author(s):  
Nicola Michelassi

The first part of this paper consists of a theatre play written specifically for the international congress El teatro Español en Europa and performed on that occasion by the Segugi theatre company. The play stages the generational and poetic conflict between two seventeenth-century Florentine playwrights: the tragedian Girolamo Bartolommei (1584-1662) and his son, the comedian Mattias Maria (1640-1695). Girolamo, contrary to the innovations of modern comedy and the mixture of tragic and comic, dedicated in 1658 a treatise entitled Didascalia comica to Mattias in which he sought to bring his son to traditional positions; nevertheless, Mattias became a leading exponent of that new Spanish imitation comic theatre that, since the times of Giacinto Andrea Cicognini (1606-1649), had found in Florence a fertile place of reworking and diffusion. The second part offers a critical note on the historical issues illustrated in the pièce.


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