papers by Cordula Bischoff
The Court Historian, 2009
Abstract The early modern idea of gift-giving primarily involved binding exchanges of a wide spec... more Abstract The early modern idea of gift-giving primarily involved binding exchanges of a wide spectrum of objects with varying degrees of value. As a rule, a gift either resulted in a gift or favour in return, or expressed gratitude for a service rendered. A 1735 German encyclopedia by Johann Zedler explained: ‘Giving gifts and to receive something in return is thus not wrong ... [although] ... wisdom is required if one wishes one’s gifts to achieve the desired effect.’. While the fiction of altruistic gift-giving — corresponding to the courtly virtue of generosity — may have been maintained, there were distinct rules of gift-giving, attesting to a multitude of presents and occasions. By today’s definitions, such gifts could be classed as awards or rewards, bribes or payments. They ranged from private, individual presents for relatives or friends to prestigious, highly symbolic public presents. Some of these were gifts of honour (Ehrengaben), acknowledging peers or persons of higher status; others were known as ‘gifts of grace’ (Gnadengaben) and presented to those of lower rank, usually in recognition of some service or event. Then there were ceremonially regulated diplomatic gifts, donations to churches, monasteries and convents, prizes for festivals and contests, testamentary donations and so on. As the exchange of presents occurred purposefully, with a specified goal, it was subject to certain standards and ceremonies similar to those governing other courtly behaviour patterns. These rules were probably implicit; they were rarely written down. Occasionally there were infringements of rules, and these instances are especially revealing. Focusing principally on paintings, this paper considers the rules and handling of authorised and unauthorised royal gifts. Schencken also, daß uns der andere wieder was dagegen erweise, ist gar nichts unrechtes (...) Es gehöret Klugheit dazu, wenn man seine Geschencke so anbringen will, daß sie die abgezielte Würckung thun. ‘Geschencke’, in Johann Heinrich Zedler, Grosses vollständiges Universal-Lexicon [...] , vol. 10 (1735, reprint, Graz, 1961), col. 1218. Cf. Maureen Cassidy-Geiger and Jochen Vötsch, ‘Documents of Court Gifts Collected by Johann von Besser (1654–1729)’, Studies in the Decorative Arts 15, no. 1 (Autumn / Winter 2007–8), PP.114–77.
Freemasonry and the Visual Arts from the Eighteenth Century Forward, 2020
RACAR : Revue d'art canadienne
Markgräfin Wilhelmine von Bayreuth und die Erlanger Universität – Künste und Wissenschaften im Dialog. Ed. by. Christina Strunck. Petersberg 2019, p. 172-187, 2019
Research on the Chinoiserie rooms of Margravine Wilhelmine of Bayreuth
Träume von Kunstliebhabern. Dilettantismus in der deutschen Moderne. Ed. by Naoki Sato. Tokio: Sangen-sha 2019, p. 33-35 (German), p. 218-242 (Japanese), 2019
United in dilettantism? Princesses and townswomen around 1800.
Non-professional female artists.
E... more United in dilettantism? Princesses and townswomen around 1800.
Non-professional female artists.
Essay in German and in Japanese
Ritsumeikan Studies in Language and Culture, Vol. 30, No. 3, p 133-148, 2019
Bücherwelten – Raumwelten. Zirkulation von Wissen und Macht im Zeitalter des Barock. Ed. by Elisabeth Tiller. Köln / Weimar / Wien 2015, p. 307-334, 2015
Dresdner Kunstblätter (Welt Bilder), No. 1, p. 38-47, 2015
L Neujahrsbitd >Zwei sich batgende Katzen< Suzhor, r. Vierl:eL 18. Jahrhufdert' Fa rbholzsch nitt... more L Neujahrsbitd >Zwei sich batgende Katzen< Suzhor, r. Vierl:eL 18. Jahrhufdert' Fa rbholzsch nitt 360 r 190 nm ' K!plerstich Knbinett irv.-Nr. Ca 136//02 Chjna, das während der Herrschaft der Ming-Dynastie (1368-164a) fÜr Europäer kaum zugäng[ich war, avancierte durch die wenigen verfügbaren Reisebeschreibungen zum fantasievo[[ imaginierten Land des irdischen Gl,ücks. Sehnsüchtig richtete sjch der B|tick Europas auf das vermeintliche Reich des Ü berf tusses. dessen kaiserhch e vern unftgetejtete Staatsregierung den Bewohnern ein Leben in Harmonje garantierte. Philosophen von Gottfried wiLheLm Leibniz bis Vol"taire idea[isierten das konfuzianische staatswesen. Mit den im lT.Jahrhundert verstärkt einsetzenden Handelsbeziehungen entstand in Europa eine China-Begeisterung und -Bewunderung, die zur Ausprägung eines asiatisch inspirierten Kunststits, der sogenannten Chinoiserie, führte. Chinesische. japanische, indische und pseudo-asiatische Motive, 0rnamente, Formen und Materialien versch molzen zu ej nem mitteteuropäischen Konstru kt des Fern östlichen. Das Mitte des lT.Jahrhunderts entwickeLte chinoise Prunkkabinett, ein
Frau und Bildnis 1600-1750. Barocke Repräsentationskultur an europäischen Fürstehöfen. Ed. by Gabriele Baumbach / Cordula Bischoff. Kassel University Press 2003, p. 245-271 , 2003
Princesses doing needlework - the emergence of a new type of portrait
Visuelle Repräsentanz und soziale Wirklichkeit. Bild, Geschlecht und Raum in der Kunstgeschichte: Festschrift für Ellen Spickernagel. Ed. by Christiane Keim, Ulla Merle, Christina Threuter. Herbolzheim 2001, p. 37-51, 2001
Needleworks by princesses in 17th/18th centuries
Japanisches Palais zu Dresden. Die Königliche Porzellansammlung Augusts des Starken. Ed. by Ulrich Pietsch / Cordula Bischoff. München 2014, p. 287-299, 2014
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papers by Cordula Bischoff
Non-professional female artists.
Essay in German and in Japanese
Non-professional female artists.
Essay in German and in Japanese