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Toyohara Chikanobu (1838-1912), often known by his contemporaries as Yoshu Chikanobu, was a prolific woodblock artist active during the Meiji Era of Japan. He served as a soldier for the Tokugawa loyalists at first, but following the Shogitai's surrender, he was remanded to the Takada domain, and in 1875 CE, he decided to become an artist.<br/><br/> He soon become renowned as a highly skilled ukiyo-e artist, with his works ranging from Japanese mythology to depictions of the battlefields from the wars of his time to women's fashions and <i>shunga</i> (erotic art). He produced a great many war prints in triptych format, documenting the Satsuma Rebellion, the First Sino-Japanese War and the First Russo-Japanese War, among other conflicts and events.
'Vanishing Cream' is a low- to heavy-viscosity topical preparation intended for application to unbroken skin.
Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement.<br/><br/> Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century).<br/><br/> The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the expression of individual moods, but focused on strictly traditional themes of landscapes (fukeiga), famous places (meisho), beautiful women (bijinga), kabuki actors (yakusha-e), and birds and flowers (kachoga).
Nezami-ye Ganjavi (1141—1209) is considered the greatest romantic epic poet in Persian literature, who brought a colloquial and realistic style to the Persian epic. His heritage is widely celebrated and shared in Afghanistan, Azerbaijan, Iran and Tajikistan. Nezami is best known for his five long narrative poems, the ‘Panj Ganj’ or ‘Khamsa’ (Persian: Five Jewels), which are written in the Masnavi style (double-rhymed verses).
The British conquest of Burma began in 1824 in response to a Burmese attempt to invade India. By 1886, and after two further wars, Britain had incorporated the entire country into the British Raj. To stimulate trade and facilitate changes, the British brought in Indians and Chinese, who quickly displaced the Burmese in urban areas. To this day Rangoon and Mandalay have large ethnic Indian populations. Railways and schools were built, as well as a large number of prisons, including the infamous Insein Prison, then as now used for political prisoners.<br/><br/> Burmese resentment was strong and was vented in violent riots that paralysed Rangoon on occasion all the way until the 1930s. Burma was administered as a province of British India until 1937 when it became a separate, self-governing colony. Burma finally gained independence from Britain on January 4, 1948.
Ogawa Kazumasa (September 29, 1860 - September 6, 1929), also known as Ogawa Kazuma or Ogawa Isshin, was a Japanese photographer, chemigrapher, printer and publisher of the Meiji era. He was a pioneer in photomechanical printing and photography, and was born into the Matsudaira samurai clan, where he studied English and photography at the age of 15.
During late 1920s and 1930s Japan, a new poster style developed that reflected the growing influence of the masses in Japanese society. These art posters were strongly influenced by the emerging political forces of Communism and Fascism in Europe and the Soviet Union, adopting a style that incorporated bold slogans with artistic themes ranging from Leftist socialist realism through Stateism and state-directed public welfare, to Militarism and Imperialist expansionism.<br/><br/> Though diverse in their messages, all bear the stamp of the ovebearing proletarian art of the time, reflecting shades of Nazi Germany, Socialist Russia and Fascist Italy in the Far East.
In mid Imperial China, characters in theatrical performances wore elaborate costumes and stereotyped facial makeup, shown here in a large Yuan Dynasty (1279-1368 AD) mural in a hall of the Guangsheng Temple in Hongtong, Shanxi province.