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China: 'Orchid and Rock'. Hanging scroll painting attributed to Ma Shouzhen (1548-1604), 1572. Ma Shouzhen (1548-1604), pen names Xianglan and Yuejiao, was a Chinese artist and courtesan born in Nanjing during the latter years of the Ming Dynasty period. She was a matriarch in courtesan society, only allowing educated men or young student lords within her residence. She became a renowned composer, painter and poet, developing a brush style of delicate, monochromatic ink.
The Treaty of London, signed on 18 August 1604, concluded the nineteen-year Anglo-Spanish War. The negotiations took place at Somerset House in London and are sometimes known as the Somerset House Conference.<br/><br/> Represented in the painting: To the right, the British delegation including Thomas Sackville (by the window), Charles Howard, Charles Blount, Henry Howard and Robert Cecil. To the left, the Hispano-Flemish delegation: Juan de Velasco (by the window), Juan de Tassis and Acuna, Alessandro Robido, Charles de Ligne, Jean Louis Richardot and Verekyn.
In 1592, on the command of Japanese Shogun Toyotomi Hideyoshi, approximately 200,000 Japanese soldiers invaded Korea, and the Waeran (Japanese War) began. At the beginning of the invasion, King Seonjo fled the capital, leaving a weak, poorly trained army to defend the country. In desperation he called on Seosan to organise monks into guerilla units. Even at 73 years of age he managed to recruit and deploy some 5,000 of these warrior monks, who enjoyed some instrumental successes.<br/><br/> At first, the government armies of Joseon suffered repeated defeats, and the Japanese armies marched north up to Pyongyang and the Hamgyong provinces. At sea, however, the Joseon navy, under the command of Admiral Yi Sun-sin, enjoyed successive victories. Throughout the country, loyal volunteer armies formed and fought against the Japanese together with the warrior monks and the government armies of Joseon.<br/><br/> The presence of Seosan's monks' army, operating out of the Heungguksa temple deep in the mountain of Yeongchwisan, was a critical factor in the eventual expulsion of the Japanese invaders in 1593 and again in 1598.
Seon (Sŏn, 禪) is the Korean variant of Chán. Meaning 'meditation', the term is more widely known in the West in its Japanese variant Zen.
In 1592, on the command of Japanese Shogun Toyotomi Hideyoshi, approximately 200,000 Japanese soldiers invaded Korea, and the Waeran (Japanese War) began. At the beginning of the invasion, King Seonjo fled the capital, leaving a weak, poorly trained army to defend the country. In desperation he called on Seosan to organise monks into guerilla units. Even at 73 years of age he managed to recruit and deploy some 5,000 of these warrior monks, who enjoyed some instrumental successes.<br/><br/> At first, the government armies of Joseon suffered repeated defeats, and the Japanese armies marched north up to Pyongyang and the Hamgyong provinces. At sea, however, the Joseon navy, under the command of Admiral Yi Sun-sin, enjoyed successive victories. Throughout the country, loyal volunteer armies formed and fought against the Japanese together with the warrior monks and the government armies of Joseon.<br/><br/> The presence of Seosan's monks' army, operating out of the Heungguksa temple deep in the mountain of Yeongchwisan, was a critical factor in the eventual expulsion of the Japanese invaders in 1593 and again in 1598.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold. This is one of three miniatures from the Isfahan School contained in the collection.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold. This is one of three miniatures from the Isfahan School contained in the collection.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold. This is one of three miniatures from the Isfahan School contained in the collection.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
This manuscript of Persian poems is written in nastaliq script. The page-borders represent birds and animals in various colours outlined in gold.<br/><br/> The manuscript was produced in 1604 by Shāh Qāsim and is a copy of the original collection of poetry by Khāqānī, Afz̤al al-Dīn Shirvānī from the end of the 12th century.
Tokugawa Iemitsu (August 12, 1604 — June 8, 1651) was the third shogun of the Tokugawa dynasty. He was the eldest son of Tokugawa Hidetada, and the grandson of Tokugawa Ieyasu. Iemitsu ruled from 1623 to 1651.
Kunyu Wanguo Quantu (坤輿萬國全圖) was printed by Matteo Ricci upon request of Wanli Emperor in Beijing, 1602. Ricci's Chinese collaborators were Zhong Wentao and Li Zhizao.<br/><br/> The map was crucial in expanding Chinese knowledge of the world. It was later exported to Japan and was influential there as well. The date of the Japanese edition - which still used Chinese - is not certain but may have been c. 1604
Kunyu Wanguo Quantu (坤輿萬國全圖) was printed by Matteo Ricci upon request of Wanli Emperor in Beijing, 1602. Ricci's Chinese collaborators were Zhong Wentao and Li Zhizao.<br/><br/> The map was crucial in expanding Chinese knowledge of the world. It was later exported to Japan and was influential there as well. The date of the Japanese edition - which still used Chinese - is not certain but may have been c. 1604
Buyan Sechen Khagan (1554–1604) was a Mongol king of the Northern Yuan Dynasty in Mongolia and was the eldest son of Tumen Jasagtu Khan whom he succeeded.
Ligdan (also Ligden or Lindan) (1588–1634) was the last in the Borjigin clan of Mongol Khans who ruled the Mongols from Chahar.