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Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
Iwa Hanshiro VIII was a kabuki performer, one of the greatest of the 19th century. He was known mainly for his female roles and for his place in a long lineage of kabuki actors, who all took the same stage name, passed down from father to son. Iwai Hanshiro took his father's stage name and mantle in 1872.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
Traditional Vietnamese dance includes several different forms. These include: dance as performed in Vietnamese theatre and opera, dances performed at festivals, and royal dances of the imperial court. Dance is thought to have been an integral part of Vietnamese culture since ancient times, as depicted by engravings found on Dong Son drums.
All-night performances, which combine melodrama, slapstick, traditional dance, and even pop music are called 'zat pwe' in Burma. These seasonal events are staged in enclosed temporary bamboo theaters and are typically part of annual fund raising activities at pagoda festivals. The performers are traveling troupes, usually several dozen professional male and female dancers, musicians, comedians, and actors. These troupes travel widely throughout the country.<br/><br/> Generally the lead actors dance with the lead actresses. The male dancers make a display, often with highly athletic and inventive elements. The male and female dancers sing in duet and exchange lover's vows.<br/><br/> There is often a competitive aspect to see who in the troupe can win the favor of the loudest cheers. During all of this, the orchestra must synchronize to the action occurring on the stage. When done with excellence, this dance can create national fame for the troupe.
Jiang Qing (Chiang Ch'ing, March 1914 – May 14, 1991) was the pseudonym that was used by Chinese leader Mao Zedong's last wife, a major Communist Party of China power figure.<br/><br/>She went by the stage name Lan Ping during her acting career, and was known by various other names during her life. She married Mao in Yan'an in November 1938, and is sometimes referred to as Madame Mao in Western literature, serving as Communist China's first first lady.<br/><br/>Jiang Qing was most well-known for playing a major role in the Cultural Revolution (1966–76) and for forming the radical political alliance known as the 'Gang of Four'. When Mao died in 1976, Jiang lost the support and justification for her political activities. She was arrested in October 1976 by Hua Guofeng and his allies, and was subsequently accused of being counter-revolutionary.<br/><br/>Though initially sentenced to death, her sentence was commuted to life imprisonment in 1983, however, and in May 1991 she was released for medical treatment. Before returning to prison, she committed suicide.
All-night performances, which combine melodrama, slapstick, traditional dance, and even pop music are called 'zat pwe' in Burma. These seasonal events are staged in enclosed temporary bamboo theaters and are typically part of annual fund raising activities at pagoda festivals. The performers are traveling troupes, usually several dozen professional male and female dancers, musicians, comedians, and actors. These troupes travel widely throughout the country.<br/><br/> Generally the lead actors dance with the lead actresses. The male dancers make a display, often with highly athletic and inventive elements. The male and female dancers sing in duet and exchange lover's vows.<br/><br/> There is often a competitive aspect to see who in the troupe can win the favor of the loudest cheers. During all of this, the orchestra must synchronize to the action occurring on the stage. When done with excellence, this dance can create national fame for the troupe.
Legong is a form of Balinese dance. It is a refined dance form characterized by intricate finger movements, complicated footwork, and expressive gestures and facial expressions.<br/><br/> Legong probably originated in the 19th century as royal entertainment. Legend has it that a prince of Sukwati fell ill and had a vivid dream in which two maidens danced to gamelan music. When he recovered, he arranged for such dances to be performed in reality. Others believe that the Legong originated with the sanghyang dedari, a ceremony involving voluntary possession of two little girls by beneficent spirits. Legong is also danced at public festivals.
Legong is a form of Balinese dance. It is a refined dance form characterized by intricate finger movements, complicated footwork, and expressive gestures and facial expressions.<br/><br/> Legong probably originated in the 19th century as royal entertainment. Legend has it that a prince of Sukwati fell ill and had a vivid dream in which two maidens danced to gamelan music. When he recovered, he arranged for such dances to be performed in reality. Others believe that the Legong originated with the sanghyang dedari, a ceremony involving voluntary possession of two little girls by beneficent spirits. Legong is also danced at public festivals.