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In the <i>Calumny of Apelles</i>, Botticelli drew on the description of a painting by Apelles, a Greek painter of the Hellenistic Period. Though Apelles' works have not survived, Lucian recorded details of one in his On Calumny:<br/><br/> 'On the right of it sits Midas with very large ears, extending his hand to Slander while she is still at some distance from him. Near him, on one side, stand two women—Ignorance and Suspicion. On the other side, Slander is coming up, a woman beautiful beyond measure, but full of malignant passion and excitement, evincing as she does fury and wrath by carrying in her left hand a blazing torch and with the other dragging by the hair a young man who stretches out his hands to heaven and calls the gods to witness his innocence.<br/><br/> She is conducted by a pale ugly man who has piercing eye and looks as if he had wasted away in long illness; he represents envy. There are two women in attendance to Slander, one is Fraud and the other Conspiracy. They are followed by a woman dressed in deep mourning, with black clothes all in tatters—she is Repentance. At all events, she is turning back with tears in her eyes and casting a stealthy glance, full of shame, at Truth, who is slowly approaching'.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
The Order of Cistercians (Latin: Ordo Cisterciensis or, alternatively, O.C.S.O. for the Trappists [Order of Cistercians of the Strict Observance]) is a Catholic religious order of enclosed monks and nuns. They are sometimes also called the Bernardines or the White Monks, in reference to the colour of the habit, over which a black scapular is worn.<br/><br/> The emphasis of Cistercian life is on manual labour and self-sufficiency, and many abbeys have traditionally supported themselves through activities such as agriculture and brewing ales.
Suleiman I was the tenth and longest-reigning Sultan of the Ottoman Empire, from 1520 to his death in 1566. He is known in the West as Suleiman the Magnificent and in the East, as the Lawmaker for his complete reconstruction of the Ottoman legal system. Suleiman became a prominent monarch of 16th century Europe, presiding over the apex of the Ottoman Empire's military, political and economic power.
Qiu Ying (Chinese: 仇英; pinyin: Qiú Yīng; Wade–Giles: Ch'iu Ying) was a Chinese painter who specialized in the gongbi brush technique.<br/><br/> Qiu Ying's courtesy name was Shifu (实父), and his pseudonym was Shizhou (十洲). He was born to a peasant family in Taicang (太仓 - now Jiangsu Province) and studied painting under Zhou Chen in Suzhou.<br/><br/> Though Suzhou's Wu School encouraged painting in ink washes, Qiu Ying also painted in the green-and-blue style. He painted with the support of wealthy patrons, creating images of flowers, gardens, religious subjects, and landscapes in the fashions of the Ming dynasty.<br/><br/> He incorporated different techniques into his paintings, and acquired a few wealthy patrons. His talent and versatility allowed him to become regarded as one of the Four Masters of the Ming dynasty.
Qiu Ying (Chinese: 仇英; pinyin: Qiú Yīng; Wade–Giles: Ch'iu Ying) was a Chinese painter who specialized in the gongbi brush technique.<br/><br/> Qiu Ying's courtesy name was Shifu (实父), and his pseudonym was Shizhou (十洲). He was born to a peasant family in Taicang (太仓 - now Jiangsu Province) and studied painting under Zhou Chen in Suzhou.<br/><br/> Though Suzhou's Wu School encouraged painting in ink washes, Qiu Ying also painted in the green-and-blue style. He painted with the support of wealthy patrons, creating images of flowers, gardens, religious subjects, and landscapes in the fashions of the Ming dynasty.<br/><br/> He incorporated different techniques into his paintings, and acquired a few wealthy patrons. His talent and versatility allowed him to become regarded as one of the Four Masters of the Ming dynasty.
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, and was credited with bringing Tang China to a pinnacle of culture and power. Emperor Xuanzong, however, was blamed for over-trusting Li Linfu, Yang Guozhong and An Lushan during his late reign, with Tang's golden age ending in the great Anshi Rebellion of An Lushan.