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China: 'Night-Shining White'. Zhao Ye Bai, a favourite horse of Emperor Xuanzong (712-56). Handscroll painting by Han Gan (706-783), c. 750 CE.<br/><br/> Emperor Xuanzong of Tang (8 September 685-3 May 762), also commonly known as Emperor Ming of Tang (Tang Minghuang), personal name Li Longji, known as Wu Longji, was the seventh emperor of the Tang dynasty in China, reigning from 712 to 756. His reign of 43 years was the longest during the Tang Dynasty. In the early half of his reign he was a diligent and astute ruler, ably assisted by capable chancellors like Yao Chong and Song Jing.
China: 'Night-Shining White'. Zhao Ye Bai, a favourite horse of Emperor Xuanzong (712-56). Handscroll painting by Han Gan (706-783), c. 750 CE.<br/><br/> Emperor Xuanzong of Tang (8 September 685-3 May 762), also commonly known as Emperor Ming of Tang (Tang Minghuang), personal name Li Longji, known as Wu Longji, was the seventh emperor of the Tang dynasty in China, reigning from 712 to 756. His reign of 43 years was the longest during the Tang Dynasty. In the early half of his reign he was a diligent and astute ruler, ably assisted by capable chancellors like Yao Chong and Song Jing.
Japan: Empress Jingu (c.169 - 269 CE), supposedly setting foot in Korea, scroll painting by Utagawa Kuniyoshi (1798 - 1861), 1880. Empress Jingu was the consort to Emperor Chuai, she also served as Regent from the time of her husband's death in 209 until her son Emperor Ōjin acceded to the throne in 269.
Kshitigarbha, sometimes spelt Ksitigarbha, is a bodhisattva mainly worshipped in East Asian and Theravada Buddhism, and is often depicted as a monk with a halo around his shaved head. His name may translate to 'Earth Treasury' or 'Earth Matrix', and is renowned for his vow to instruct all beings in the six worlds between the death of Gautama Buddha and the ascendance of Maitreya, as well as his oath to not achieve Buddhahood until all hells are emptied.<br/><br/> Thus, Kshitigarbha is often associated with hell and as the bodhisattva of hell-beings. He is also the guardian of children and patrod deity for deceased children and aborted fetuses in Japanese culture, where he is known by the name Jizo or Ojizo-sama. In Thailand and Laos, a <i>bhikkhu</i> named Phra Malai is often associated with Kshitigarbha due to their similar qualities, where he descends to Hell to teach and comfort the suffering hell-beings.
Kshitigarbha, sometimes spelt Ksitigarbha, is a bodhisattva mainly worshipped in East Asian and Theravada Buddhism, and is often depicted as a monk with a halo around his shaved head. His name may translate to 'Earth Treasury' or 'Earth Matrix', and is renowned for his vow to instruct all beings in the six worlds between the death of Gautama Buddha and the ascendance of Maitreya, as well as his oath to not achieve Buddhahood until all hells are emptied.<br/><br/> Thus, Kshitigarbha is often associated with hell and as the bodhisattva of hell-beings. He is also the guardian of children and patrod deity for deceased children and aborted fetuses in Japanese culture, where he is known by the name Jizo or Ojizo-sama. In Thailand and Laos, a <i>bhikkhu</i> named Phra Malai is often associated with Kshitigarbha due to their similar qualities, where he descends to Hell to teach and comfort the suffering hell-beings.
Kshitigarbha, sometimes spelt Ksitigarbha, is a bodhisattva mainly worshipped in East Asian and Theravada Buddhism, and is often depicted as a monk with a halo around his shaved head. His name may translate to 'Earth Treasury' or 'Earth Matrix', and is renowned for his vow to instruct all beings in the six worlds between the death of Gautama Buddha and the ascendance of Maitreya, as well as his oath to not achieve Buddhahood until all hells are emptied.<br/><br/> Thus, Kshitigarbha is often associated with hell and as the bodhisattva of hell-beings. He is also the guardian of children and patron deity for deceased children and aborted fetuses in Japanese culture, where he is known by the name Jizo or Ojizo-sama. In Thailand and Laos, a <i>bhikkhu</i> named Phra Malai is often associated with Kshitigarbha due to their similar qualities, where he descends to Hell to teach and comfort the suffering hell-beings.
Kshitigarbha, sometimes spelt Ksitigarbha, is a bodhisattva mainly worshipped in East Asian and Theravada Buddhism, and is often depicted as a monk with a halo around his shaved head. His name may translate to 'Earth Treasury' or 'Earth Matrix', and is renowned for his vow to instruct all beings in the six worlds between the death of Gautama Buddha and the ascendance of Maitreya, as well as his oath to not achieve Buddhahood until all hells are emptied.<br/><br/> Thus, Kshitigarbha is often associated with hell and as the bodhisattva of hell-beings. He is also the guardian of children and patrod deity for deceased children and aborted fetuses in Japanese culture, where he is known by the name Jizo or Ojizo-sama. In Thailand and Laos, a <i>bhikkhu</i> named Phra Malai is often associated with Kshitigarbha due to their similar qualities, where he descends to Hell to teach and comfort the suffering hell-beings.
China: King Ajatasaru, his Queen and his Minister Varshakara. Mural from the Kizil Thousand Buddha Caves, Xinjiang, c. 251-403 CE.<br/><br/> The Kizil Caves (also romanized Qizil Caves, spelling variant Qyzyl; Uyghur: Qizil Ming Öy; Chinese: 克孜尔千佛洞; pinyin: Kèzīěr Qiānfú Dòng; literally 'Kizil Cave of a Thousand Buddhas') are a set of 236 Buddhist rock-cut caves located near Kizil Township (克孜尔乡) in Baicheng County, Xinjiang, China. The site is located on the northern bank of the Muzat River 75 kilometres (by road) northwest of Kucha (Kuqa). This area was a commercial hub of the Silk Road.
China: Greater Bird-of-paradise. Watercolour painting from a gouache album of various Chinese birds, 19th century.<br/><br/> The greater bird-of-paradise (Paradisaea apoda) is a bird-of-paradise found in the lowland and hill forests of southwest New Guinea and Indonesia's Aru Islands. It has the most glamorous display in the bird world, with sexually dimorphic plumage, the females being quite plain compared to the males.
China: Greater Bird-of-paradise. Watercolour painting from a gouache album of various Chinese birds, 19th century.<br/><br/> The greater bird-of-paradise (Paradisaea apoda) is a bird-of-paradise found in the lowland and hill forests of southwest New Guinea and Indonesia's Aru Islands. It has the most glamorous display in the bird world, with sexually dimorphic plumage, the females being quite plain compared to the males.
Indonesia / China: Purple-naped Lory. Watercolour painting from a gouache album of various Chinese and Indonesian birds, 19th century.<br/><br/> The purple-naped lory (Lorius domicella) is a species of parrot endemic to the Indonesian islands of Seram, Ambom, Haruku and Saparua. Its popularity with the cage-bird trade has led to it being considered an endangered species.
Indonesia / China: Purple-naped Lory. Watercolour painting from a gouache album of various Chinese and Indonesian birds, 19th century.<br/><br/> The purple-naped lory (Lorius domicella) is a species of parrot endemic to the Indonesian islands of Seram, Ambom, Haruku and Saparua. Its popularity with the cage-bird trade has led to it being considered an endangered species.
China: Satyr Tragopan. Watercolour painting from a gouache album of various Chinese birds, 19th century.<br/><br/> The satyr tragopan (Tragopan satyra), also known as the crimson horned pheasant, is a Himalayan pheasant found in India, Bhutan, Nepal and Tibet. During mating season, males grow blue horns and a gular wattle. When ready to display, they hide behind a rock and inflate their horns, and when females pass by they perform an elaborate display in front of them, stretching to their full height to show off all their ornaments.
China: Java Sparrow. Watercolour painting from a gouache album of various Chinese birds, 19th century.<br/><br/> The Java sparrow (Padda oryzivora), also known as the Java rice bird, Java rice sparrow or Java finch, is a resident breeding bird found in Java, Bali and Bawean in Indonesia. It has been a popular cage bird for centuries, especially in China and Japan, as well as in the mid-1900s United States before their import was banned.<br/><br/> From a collection of beautifully painted Chinese ornithological studies, mid-19th century, by an anonymous painter.
China: Java Sparrow. Watercolour painting from a gouache album of various Chinese birds, 19th century.<br/><br/> The Java sparrow (Padda oryzivora), also known as the Java rice bird, Java rice sparrow or Java finch, is a resident breeding bird found in Java, Bali and Bawean in Indonesia. It has been a popular cage bird for centuries, especially in China and Japan, as well as in the mid-1900s United States before their import was banned.<br/><br/> From a collection of beautifully painted Chinese ornithological studies, mid-19th century, by an anonymous painter.
China: Black-capped Kingfisher. Watercolour painting from a gouache album of various Chinese birds, 19th century.<br/><br/> The black-capped kingfisher (Halcyon pileata) is a tree Kingfisher found throughout tropical Asia, from India to China, Korea and Southeast Asia. It was much sought after for its blue feathers, especially in China where they used to make fans and women's ornaments.
China: Black-capped Kingfisher. Watercolour painting from a gouache album of various Chinese birds, 19th century.<br/><br/> The black-capped kingfisher (Halcyon pileata) is a tree Kingfisher found throughout tropical Asia, from India to China, Korea and Southeast Asia. It was much sought after for its blue feathers, especially in China where they used to make fans and women's ornaments.
China: Red-whiskered Bulbul. Watercolour painting from a gouache album of various Chinese birds, 19th century.<br/><br/> The red-whiskered bulbul (Pycnonotus jocosus), or crested bulbul, is a passerine bird and frugivore found across tropical Asia. It has since been introduced to other tropical areas in the world, such as Australia, Hawaii and the United States.
China: Red-whiskered Bulbul. Watercolour painting from a gouache album of various Chinese birds, 19th century.<br/><br/> The red-whiskered bulbul (Pycnonotus jocosus), or crested bulbul, is a passerine bird and frugivore found across tropical Asia. It has since been introduced to other tropical areas in the world, such as Australia, Hawaii and the United States.
Korea: North Korean (DPRK) propaganda poster glorifying Kim Il Sung and displaying popular and military loyalty. Photo by yeowatzup (CC BY 2.0 License). Socialist Realism is a style of realistic art which developed under Socialism in the Soviet Union and became a dominant style in other communist countries. Socialist Realism is a teleologically-oriented style having as its purpose the furtherance of the goals of socialism and communism. Although related, it should not be confused with Social Realism, a type of art that realistically depicts subjects of social concern. Unlike Social Realism, Socialist Realism generally glorifies the ideology of the communist state.
The Greater East Asia Co-Prosperity Sphere (Dai-tō-a Kyōeiken) was a concept created and promulgated during the Shōwa era by the government and military of the Empire of Japan. It represented the desire to create a self-sufficient bloc of Asian nations led by the Japanese and free of Western powers.<br/><br/> The Japanese Prime Minister Fumimaro Konoe planned the Sphere in 1940 in an attempt to create a Great East Asia, comprising Japan, Manchukuo, China, and parts of Southeast Asia, that would, according to imperial propaganda, establish a new international order seeking ‘co prosperity’ for Asian countries which would share prosperity and peace, free from Western colonialism and domination.<br/><br/> In historical fact, the Greater East Asia Co-Prosperity Sphere is remembered largely as a front for the Japanese control of occupied countries during World War II, in which puppet governments manipulated local populations and economies for the benefit of Imperial Japan.
Japan: 'A Man Reclines with one Wakashu and Converses with Another'. Ukiyo-e 'nanshoku' woodblock print by Hishikawa Moronobu (1618-1694), c. 1680.<br/><br/> Shunga is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex. The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life.
China: Empress Zhangxian Mingsu (969-1033), consort of Emperor Zhenzong, 3rd ruler of the Song Dynasty (r.997-1022). Hanging scroll painting, Song Dynasty (960-1279). Lady Liu, formally Zhangxian Mingsu, was the consort of Emperor Zhenzong of the Song Dynasty. Initially an entertainer and dancer, she caught the eye of the young Zhenzong, who back then was known as Prince Zhao Yuanxiu, and made her his consort when he became emperor. She eventually became empress and served as de facto co-ruler and regent when the emperor was sick from 1020 until 1022. She also served as regent for her adopted son, Emperor Renzong, who was still a minor at the time of his ascension.
Mazu (Wade–Giles: Matsu, Vietnamese: Ma To) is the indigenous goddess of the sea who is said to protect fishermen and sailors, and is invoked as the patron saint of all Southern Chinese and East Asian persons. Born as Lin Moniang in Fujian around 960 CE, worship of Mazu began around the Ming Dynasty, when many temples dedicated to her were erected all across Mainland China, later spreading to other countries with Overseas Chinese populations. Mazu is widely worshipped in the south-eastern coastal areas of China and neighbouring areas in Southeast Asia, especially Zhejiang, Fujian, Taiwan, Guangdong, and Vietnam, all of which have strong sea-faring traditions, as well as migrant communities elsewhere with sizeable populations from these areas. Mazu also has a significant influence on East Asian sea culture, especially in China and Taiwan.
China: Empress Zhangxian Mingsu (969-1033), consort of Emperor Zhenzong, 3rd ruler of the Song Dynasty (r.997-1022). Hanging scroll painting, Song Dynasty (960-1279). Lady Liu, formally Zhangxian Mingsu, was the consort of Emperor Zhenzong of the Song Dynasty. Initially an entertainer and dancer, she caught the eye of the young Zhenzong, who back then was known as Prince Zhao Yuanxiu, and made her his consort when he became emperor. She eventually became empress and served as de facto co-ruler and regent when the emperor was sick from 1020 until 1022. She also served as regent for her adopted son, Emperor Renzong, who was still a minor at the time of his ascension.
Mazu (Wade–Giles: Matsu, Vietnamese: Ma To) is the indigenous goddess of the sea who is said to protect fishermen and sailors, and is invoked as the patron saint of all Southern Chinese and East Asian persons. Born as Lin Moniang in Fujian around 960 CE, worship of Mazu began around the Ming Dynasty, when many temples dedicated to her were erected all across Mainland China, later spreading to other countries with Overseas Chinese populations. Mazu is widely worshipped in the south-eastern coastal areas of China and neighbouring areas in Southeast Asia, especially Zhejiang, Fujian, Taiwan, Guangdong, and Vietnam, all of which have strong sea-faring traditions, as well as migrant communities elsewhere with sizeable populations from these areas. Mazu also has a significant influence on East Asian sea culture, especially in China and Taiwan.
Mazu (Wade–Giles: Matsu, Vietnamese: Ma To) is the indigenous goddess of the sea who is said to protect fishermen and sailors, and is invoked as the patron saint of all Southern Chinese and East Asian persons. Born as Lin Moniang in Fujian around 960 CE, worship of Mazu began around the Ming Dynasty, when many temples dedicated to her were erected all across Mainland China, later spreading to other countries with Overseas Chinese populations. Mazu is widely worshipped in the south-eastern coastal areas of China and neighbouring areas in Southeast Asia, especially Zhejiang, Fujian, Taiwan, Guangdong, and Vietnam, all of which have strong sea-faring traditions, as well as migrant communities elsewhere with sizeable populations from these areas. Mazu also has a significant influence on East Asian sea culture, especially in China and Taiwan.
Mazu (Wade–Giles: Matsu, Vietnamese: Ma To) is the indigenous goddess of the sea who is said to protect fishermen and sailors, and is invoked as the patron saint of all Southern Chinese and East Asian persons. Born as Lin Moniang in Fujian around 960 CE, worship of Mazu began around the Ming Dynasty, when many temples dedicated to her were erected all across Mainland China, later spreading to other countries with Overseas Chinese populations. Mazu is widely worshipped in the south-eastern coastal areas of China and neighbouring areas in Southeast Asia, especially Zhejiang, Fujian, Taiwan, Guangdong, and Vietnam, all of which have strong sea-faring traditions, as well as migrant communities elsewhere with sizeable populations from these areas. Mazu also has a significant influence on East Asian sea culture, especially in China and Taiwan.
Mazu (Wade–Giles: Matsu, Vietnamese: Ma To) is the indigenous goddess of the sea who is said to protect fishermen and sailors, and is invoked as the patron saint of all Southern Chinese and East Asian persons. Born as Lin Moniang in Fujian around 960 CE, worship of Mazu began around the Ming Dynasty, when many temples dedicated to her were erected all across Mainland China, later spreading to other countries with Overseas Chinese populations. Mazu is widely worshipped in the south-eastern coastal areas of China and neighbouring areas in Southeast Asia, especially Zhejiang, Fujian, Taiwan, Guangdong, and Vietnam, all of which have strong sea-faring traditions, as well as migrant communities elsewhere with sizeable populations from these areas. Mazu also has a significant influence on East Asian sea culture, especially in China and Taiwan.
Mazu (Wade–Giles: Matsu, Vietnamese: Ma To) is the indigenous goddess of the sea who is said to protect fishermen and sailors, and is invoked as the patron saint of all Southern Chinese and East Asian persons. Born as Lin Moniang in Fujian around 960 CE, worship of Mazu began around the Ming Dynasty, when many temples dedicated to her were erected all across Mainland China, later spreading to other countries with Overseas Chinese populations. Mazu is widely worshipped in the south-eastern coastal areas of China and neighbouring areas in Southeast Asia, especially Zhejiang, Fujian, Taiwan, Guangdong, and Vietnam, all of which have strong sea-faring traditions, as well as migrant communities elsewhere with sizeable populations from these areas. Mazu also has a significant influence on East Asian sea culture, especially in China and Taiwan.
The Greater East Asia Co-Prosperity Sphere (Dai-tō-a Kyōeiken) was a concept created and promulgated during the Shōwa era by the government and military of the Empire of Japan. It represented the desire to create a self-sufficient bloc of Asian nations led by the Japanese and free of Western powers.<br/><br/> The Japanese Prime Minister Fumimaro Konoe planned the Sphere in 1940 in an attempt to create a Great East Asia, comprising Japan, Manchukuo, China, and parts of Southeast Asia, that would, according to imperial propaganda, establish a new international order seeking ‘co prosperity’ for Asian countries which would share prosperity and peace, free from Western colonialism and domination.<br/><br/> In historical fact, the Greater East Asia Co-Prosperity Sphere is remembered largely as a front for the Japanese control of occupied countries during World War II, in which puppet governments manipulated local populations and economies for the benefit of Imperial Japan.
China: Empress Zhangxian Mingsu (969-1033), consort of Emperor Zhenzong, 3rd ruler of the Song Dynasty (r.997-1022). Hanging scroll painting, Song Dynasty (960-1279). Lady Liu, formally Zhangxian Mingsu, was the consort of Emperor Zhenzong of the Song Dynasty. Initially an entertainer and dancer, she caught the eye of the young Zhenzong, who back then was known as Prince Zhao Yuanxiu, and made her his consort when he became emperor. She eventually became empress and served as de facto co-ruler and regent when the emperor was sick from 1020 until 1022. She also served as regent for her adopted son, Emperor Renzong, who was still a minor at the time of his ascension.
Wood carving of Empress Jingu dated 1326, Hatimangu Shrine, Shimane prefecture. Consort to Emperor Chuai, she also served as Regent from the time of her husband's death in 209 until her son Emperor Ōjin acceded to the throne in 269.No firm dates can be assigned to this historical figure's life or reign. Jingū is regarded by historians as a "legendary" figure because of the paucity of information about her. Legend has it that she led an army in an invasion of Korea and returned to Japan victorious after three years. However, this theory is widely rejected even in Japan as there is no evidence of Japanese rule in any part of Korea. Some believe that Empress Jingū's conquest is only based on the Gwanggaeto Stele (in Jilin, China). But the legend of Jingū's invasion of the Korean peninsula also appears in the ancient Japanese chronicles Kojiki written in 680 and Nihon Shoki written in 720.
Mazu (Wade–Giles: Matsu, Vietnamese: Ma To) is the indigenous goddess of the sea who is said to protect fishermen and sailors, and is invoked as the patron saint of all Southern Chinese and East Asian persons. Born as Lin Moniang in Fujian around 960 CE, worship of Mazu began around the Ming Dynasty, when many temples dedicated to her were erected all across Mainland China, later spreading to other countries with Overseas Chinese populations. Mazu is widely worshipped in the south-eastern coastal areas of China and neighbouring areas in Southeast Asia, especially Zhejiang, Fujian, Taiwan, Guangdong, and Vietnam, all of which have strong sea-faring traditions, as well as migrant communities elsewhere with sizeable populations from these areas. Mazu also has a significant influence on East Asian sea culture, especially in China and Taiwan.