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Lei Gong, sometimes known as Lei Shen, is a god of thunder in traditional Chinese religion and religious Taoism. Generally depicted as a fearsome bird-man with a blue face and a beak, bat wings and claws, wearing only a loincloth. Lei Gong is often shown wielding a drum and mallet to produce thunder, as well as a chisel with which to punish evildoers.<br/><br/> In Taoism, Lei Gong is not only the god of thunder but also a divine instrument of punishment and retribution, ordered by heaven to punish earthly mortals who have been found guilty of secret crimes or evil spirits who abuse their Taoist knowledge to do harm upon human beings. To aid in his task, he has a retinue of assistants and helpers, including his wife Dian Mu (Tian Mu or Lei Zi), the goddess of lightning, who uses flashing mirrors to send bolts of lightning streaking across the sky.<br/><br/> Lei Gong began his life as a mortal man by the name of Feng Lung, who accidentally found and ate one of the immortal peaches from heaven, which immediately transformed him into his godly form. Temples dedicated solely to Lei Gong are rare, though he is sometimes honoured by people who hope he will exact revenge upon their personal enemies. Lei Gong is also said to be extremely prudish, and will not enter a house where copulation is taking place, or even if there are pictures of this act displayed in the house.
Hans Holbein the Younger (c. 1497 – 1543) was a German and Swiss artist and printmaker who worked in a Northern Renaissance style. He is best known as one of the greatest portraitists of the 16th century. He also produced religious art, satire, and Reformation propaganda, and made a significant contribution to the history of book design. He is called 'the Younger' to distinguish him from his father, Hans Holbein the Elder, an accomplished painter of the Late Gothic school.<br/><br/> The Self Portrait is a small drawing by the German Renaissance artist and printmaker Hans Holbein the Younger, completed around 1542-1543, and housed in the Uffizi, Florence. The gold background was added later by a different artist. According to art historian John Rowlands, 'Although this drawing has been enlarged on all sides and heavily reworked, enough of it still shows to allow the assumption that the original work was executed by Holbein. The inscription, also a later addition, evidently records an even earlier one, of which slight traces remain'.
Catherine Howard (c.1521 – 13 February 1542) was Queen of England from 1540 until 1541, as the fifth wife of Henry VIII. Catherine married Henry VIII on 28 July 1540, at Oatlands Palace, in Surrey, almost immediately after the annulment of his marriage to Anne of Cleves was arranged.<br/><br/> Catherine was beheaded after less than two years of marriage to Henry on the grounds of treason by committing adultery while married to the King.
Catherine Howard (c.1521 – 13 February 1542) was Queen of England from 1540 until 1541, as the fifth wife of Henry VIII. Catherine married Henry VIII on 28 July 1540, at Oatlands Palace, in Surrey, almost immediately after the annulment of his marriage to Anne of Cleves was arranged.<br/><br/> Catherine was beheaded after less than two years of marriage to Henry on the grounds of treason by committing adultery while married to the King.
The Battle of Sekigahara, popularly known as Tenka Wakeme no Tatakai or 'the Battle for the Sundered Realm', was a decisive battle on October 21, 1600, which cleared the path to the Shogunate for Tokugawa Ieyasu.<br/><br/> Though it would take three more years for Ieyasu to consolidate his position of power over the Toyotomi clan and the daimyo, Sekigahara is widely considered to be the unofficial beginning of the Tokugawa bakufu, the last shogunate to control Japan.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Jalaluddin Muhammad Akbar, also known as Shahanshah or Akbar the Great (1542—1605), was the third Mughal Emperor. He was of Timurid descent; the son of Humayun, and the grandson of Babur, the ruler who founded the Mughal dynasty in India. By the end of his reign in 1605, the Mughal empire covered most of the northern and central India and was one of the most powerful empires of its age.
Jalaluddin Muhammad Akbar, also known as Shahanshah or Akbar the Great (1542—1605), was the third Mughal Emperor. He was of Timurid descent; the son of Humayun, and the grandson of Babur, the ruler who founded the Mughal dynasty in India. By the end of his reign in 1605, the Mughal empire covered most of the northern and central India and was one of the most powerful empires of its age.
The daughter of Sultan Süleyman the Magnificent (CPA0001204, CPA0002354, CPA0014625) and Hürrem Sultana Roxelana (CPA0000828 , CPA0000836, CPA0000842), Mihrimah Sulta was married to the Governor of Diyarbakır, Rüstem Pasha, in 1539.<br/><br/>She had two children, Ayşe Hümaşah and Osman with Rüstem Pasha, who served as grand vizier in 1544-1553 and 1555-1561. A rather influential figure at the Harem during the reigns of her father Sultan Süleyman the Magnificent and her brother Sultan Selim II, Mihrimah Sultan commissioned Mimar Sinan to build mosque complexes in her name both in Üsküdar (the Iskele or Mihrimah Mosque) and Edirnekapı (the Mihrimah Sultan Mosque).<br/><br/>The attire and headdress repeated in other examples of the portrait reflect the Turkish fashion of the period. During the 16th century, in which the Ottoman style became visible in Europe, both Mihrimah Sultan and her mother Hürrem Sultan represented the idealized Ottoman female figure.