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Guanyin, short for Guanshiyin, is a bodhisattva in Mahayana Buddhism often associated with compassion and mercy. While she is often portrayed as a woman, she is beyond gender and can be depicted as both male and female.<br/><br/> Guanyin is often referred to as the 'most widely beloved Buddhist Divinity', due to her miraculous powers and her loving compassion. She is not only worshipped in Buddhism, but also in Taoism and Chinese folk religion, with various stories and legends about her. Guanyin plays a very important role in the classic Chinese novel 'Journey to the West.'<br/><br/> She is known by various names in different nations, with the Japanese calling her Kannon/Kwannon, or more formally Kanzeon, while in Thailand she is called Kuan Im. She is extremely popular, with temples dedicated to her found throughout South and East Asia, especially in China and Chinese folk religion.
Amitabha is a celestial buddha described in the scriptures of the Mahayana school of Buddhism. Amitabha is the principal Buddha in the Pure Land sect, a branch of Buddhism practiced mainly in East Asia, while in Vajrayana Amitabha is known for his longevity attribute, magnetising red fire element, the aggregate of discernment, pure perception and the deep awareness of emptiness of phenomena.<br/><br/> According to these scriptures, Amitabha possesses infinite merits resulting from good deeds over countless past lives as a bodhisattva named Dharmakara. 'Amitabha' is translated as 'Infinite Light', hence Amitabha is also called 'The Buddha of Immeasurable Life and Light'.
Amitabha is a celestial buddha described in the scriptures of the Mahayana school of Buddhism. Amitabha is the principal Buddha in the Pure Land sect, a branch of Buddhism practiced mainly in East Asia, while in Vajrayana Amitabha is known for his longevity attribute, magnetising red fire element, the aggregate of discernment, pure perception and the deep awareness of emptiness of phenomena.<br/><br/> According to these scriptures, Amitabha possesses infinite merits resulting from good deeds over countless past lives as a bodhisattva named Dharmakara. 'Amitabha' is translated as 'Infinite Light', hence Amitabha is also called 'The Buddha of Immeasurable Life and Light'.
Kara Khoto city was founded in 1032 and became a thriving center of Tangut Empire trade in the 11th century. There are remains of 30-foot (9.1 m)-high ramparts and 12-foot (3.7 m)-thick outer walls. The outer walls ran for some 421 m (1,381 ft) east-west by 374 m (1,227 ft) north-south.<br/><br/> The walled fortress was first taken by Genghis Khan in 1226, but—contrary to a widely circulated misunderstanding—the city continued to flourish under Mongol overlordship. During Kublai Khan's time, the city was expanded, reaching a size three times bigger than during the Tangut Empire. Togoontemur Khan concentrated his preparation for reconquest of China at Khara-Khoto. The city was located on the crossroads connecting Karakorum, Xanadu and Kumul.<br/><br/> In The Travels of Marco Polo, Marco Polo describes a visit to a city called Etzina or Edzina, which has been identified with Khara-Khoto.
The Mogao Caves, or Mogao Grottoes (Chinese: mò gāo kū), also known as the Caves of the Thousand Buddhas and Dunhuang Caves, form a system of 492 temples 25 km (15.5 miles) southeast of the center of Dunhuang, an oasis strategically located at a religious and cultural crossroads on the Silk Road, in Gansu province, China.<br/><br/> The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years. The first caves were dug out 366 AD as places of Buddhist meditation and worship. The Mogao Caves are the best known of the Chinese Buddhist grottoes and, along with Longmen Grottoes and Yungang Grottoes, are one of the three famous ancient sculptural sites of China. The caves also have famous wall paintings.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
Hōryū-ji (Temple of the Flourishing Law) is a Buddhist temple in Ikaruga, Nara Prefecture, Japan. Its full name is Hōryū Gakumonji, or Learning Temple of the Flourishing Law, the complex serving both as a seminary and a monastery.<br/><br/> In 1993, Hōryū-ji was inscribed as a UNESCO World Heritage Site under the name Buddhist Monuments in the Hōryū-ji Area. The Japanese government lists several of its structures, sculptures and artifacts as National Treasures.<br/><br/> The kondo, or great hall of the temple, dating in part to the 7th century, is famous for its 7th century Buddhist murals. Unfortunately, on January 26, 1949, a fire in the kondo caused very severe damage to the murals, many of which were destroyed.<br/><br/> The murals of the kondō comprise fifty walls; four larger walls, eight mid-sized walls and thirty-eight small wall areas inside the building. The original murals were removed after the fire incident in 1949 and are kept in storage. Twenty small wall paintings that escaped the fire remain in place, while reproductions have replaced the lost frescoes. The ancient Horyu-ji frescoes represent Pure Land Shaka, Amida, Miroku and Yakushi Nyorai Bhuddas. There are artistic links with similar murals in Dunhuang, China and Ajanta, India. Some authorities link the paintings to a Goguryeo monk named Tamjing who lived in 7th century Ikaruga, but this is disputed.
Hōryū-ji (Temple of the Flourishing Law) is a Buddhist temple in Ikaruga, Nara Prefecture, Japan. Its full name is Hōryū Gakumonji, or Learning Temple of the Flourishing Law, the complex serving both as a seminary and a monastery.<br/><br/> In 1993, Hōryū-ji was inscribed as a UNESCO World Heritage Site under the name Buddhist Monuments in the Hōryū-ji Area. The Japanese government lists several of its structures, sculptures and artifacts as National Treasures.<br/><br/> The kondo, or great hall of the temple, dating in part to the 7th century, is famous for its 7th century Buddhist murals. Unfortunately, on January 26, 1949, a fire in the kondo caused very severe damage to the murals, many of which were destroyed.<br/><br/> The murals of the kondō comprise fifty walls; four larger walls, eight mid-sized walls and thirty-eight small wall areas inside the building. The original murals were removed after the fire incident in 1949 and are kept in storage. Twenty small wall paintings that escaped the fire remain in place, while reproductions have replaced the lost frescoes. The ancient Horyu-ji frescoes represent Pure Land Shaka, Amida, Miroku and Yakushi Nyorai Bhuddas. There are artistic links with similar murals in Dunhuang, China and Ajanta, India. Some authorities link the paintings to a Goguryeo monk named Tamjing who lived in 7th century Ikaruga, but this is disputed.
Hōryū-ji (Temple of the Flourishing Law) is a Buddhist temple in Ikaruga, Nara Prefecture, Japan. Its full name is Hōryū Gakumonji, or Learning Temple of the Flourishing Law, the complex serving both as a seminary and a monastery.<br/><br/> In 1993, Hōryū-ji was inscribed as a UNESCO World Heritage Site under the name Buddhist Monuments in the Hōryū-ji Area. The Japanese government lists several of its structures, sculptures and artifacts as National Treasures.<br/><br/> The kondo, or great hall of the temple, dating in part to the 7th century, is famous for its 7th century Buddhist murals. Unfortunately, on January 26, 1949, a fire in the kondo caused very severe damage to the murals, many of which were destroyed.<br/><br/> The murals of the kondō comprise fifty walls; four larger walls, eight mid-sized walls and thirty-eight small wall areas inside the building. The original murals were removed after the fire incident in 1949 and are kept in storage. Twenty small wall paintings that escaped the fire remain in place, while reproductions have replaced the lost frescoes. The ancient Horyu-ji frescoes represent Pure Land Shaka, Amida, Miroku and Yakushi Nyorai Bhuddas. There are artistic links with similar murals in Dunhuang, China and Ajanta, India. Some authorities link the paintings to a Goguryeo monk named Tamjing who lived in 7th century Ikaruga, but this is disputed.
Hōryū-ji (Temple of the Flourishing Law) is a Buddhist temple in Ikaruga, Nara Prefecture, Japan. Its full name is Hōryū Gakumonji, or Learning Temple of the Flourishing Law, the complex serving both as a seminary and a monastery.<br/><br/> In 1993, Hōryū-ji was inscribed as a UNESCO World Heritage Site under the name Buddhist Monuments in the Hōryū-ji Area. The Japanese government lists several of its structures, sculptures and artifacts as National Treasures.<br/><br/> The kondo, or great hall of the temple, dating in part to the 7th century, is famous for its 7th century Buddhist murals. Unfortunately, on January 26, 1949, a fire in the kondo caused very severe damage to the murals, many of which were destroyed.<br/><br/> The murals of the kondō comprise fifty walls; four larger walls, eight mid-sized walls and thirty-eight small wall areas inside the building. The original murals were removed after the fire incident in 1949 and are kept in storage. Twenty small wall paintings that escaped the fire remain in place, while reproductions have replaced the lost frescoes. The ancient Horyu-ji frescoes represent Pure Land Shaka, Amida, Miroku and Yakushi Nyorai Bhuddas. There are artistic links with similar murals in Dunhuang, China and Ajanta, India. Some authorities link the paintings to a Goguryeo monk named Tamjing who lived in 7th century Ikaruga, but this is disputed.
Hōryū-ji (Temple of the Flourishing Law) is a Buddhist temple in Ikaruga, Nara Prefecture, Japan. Its full name is Hōryū Gakumonji, or Learning Temple of the Flourishing Law, the complex serving both as a seminary and a monastery.<br/><br/> In 1993, Hōryū-ji was inscribed as a UNESCO World Heritage Site under the name Buddhist Monuments in the Hōryū-ji Area. The Japanese government lists several of its structures, sculptures and artifacts as National Treasures.<br/><br/> The kondo, or great hall of the temple, dating in part to the 7th century, is famous for its 7th century Buddhist murals. Unfortunately, on January 26, 1949, a fire in the kondo caused very severe damage to the murals, many of which were destroyed.<br/><br/> The murals of the kondō comprise fifty walls; four larger walls, eight mid-sized walls and thirty-eight small wall areas inside the building. The original murals were removed after the fire incident in 1949 and are kept in storage. Twenty small wall paintings that escaped the fire remain in place, while reproductions have replaced the lost frescoes. The ancient Horyu-ji frescoes represent Pure Land Shaka, Amida, Miroku and Yakushi Nyorai Bhuddas. There are artistic links with similar murals in Dunhuang, China and Ajanta, India. Some authorities link the paintings to a Goguryeo monk named Tamjing who lived in 7th century Ikaruga, but this is disputed.
Hōryū-ji (Temple of the Flourishing Law) is a Buddhist temple in Ikaruga, Nara Prefecture, Japan. Its full name is Hōryū Gakumonji, or Learning Temple of the Flourishing Law, the complex serving both as a seminary and a monastery.<br/><br/> In 1993, Hōryū-ji was inscribed as a UNESCO World Heritage Site under the name Buddhist Monuments in the Hōryū-ji Area. The Japanese government lists several of its structures, sculptures and artifacts as National Treasures.<br/><br/> The kondo, or great hall of the temple, dating in part to the 7th century, is famous for its 7th century Buddhist murals. Unfortunately, on January 26, 1949, a fire in the kondo caused very severe damage to the murals, many of which were destroyed.<br/><br/> The murals of the kondō comprise fifty walls; four larger walls, eight mid-sized walls and thirty-eight small wall areas inside the building. The original murals were removed after the fire incident in 1949 and are kept in storage. Twenty small wall paintings that escaped the fire remain in place, while reproductions have replaced the lost frescoes. The ancient Horyu-ji frescoes represent Pure Land Shaka, Amida, Miroku and Yakushi Nyorai Bhuddas. There are artistic links with similar murals in Dunhuang, China and Ajanta, India. Some authorities link the paintings to a Goguryeo monk named Tamjing who lived in 7th century Ikaruga, but this is disputed.
The Mogao Caves, or Mogao Grottoes (Chinese: mò gāo kū), also known as the Caves of the Thousand Buddhas and Dunhuang Caves, form a system of 492 temples 25 km (15.5 miles) southeast of the center of Dunhuang, an oasis strategically located at a religious and cultural crossroads on the Silk Road, in Gansu province, China.<br/><br/> The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years. The first caves were dug out 366 AD as places of Buddhist meditation and worship. The Mogao Caves are the best known of the Chinese Buddhist grottoes and, along with Longmen Grottoes and Yungang Grottoes, are one of the three famous ancient sculptural sites of China. The caves also have famous wall paintings.
The Mogao Caves, or Mogao Grottoes (Chinese: Mògāo kū) (also known as the Caves of the Thousand Buddhas and Dunhuang Caves) form a system of 492 temples 25 km (15.5 miles) southeast of the center of Dunhuang, an oasis strategically located at a religious and cultural crossroads on the Silk Road, in Gansu province, China.<br/><br/> The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years. The first caves were dug out 366 CE as places of Buddhist meditation and worship. The Mogao Caves are the best known of the Chinese Buddhist grottoes and, along with Longmen Grottoes and Yungang Grottoes, are one of the three famous ancient sculptural sites of China. The caves also have famous wall paintings.
Maijishan Shiku (Maiji Shan Grottoes) are one of China’s four most important Buddhist temple groups (the others being Datong, Luoyang, and the Mogao Caves at Dunhuang).<br/><br/> Starting from the Northern Wei (386-535) and Northern Zhou (557-81) Dynasties, Buddhists cut caves into the sides of a red outcrop rising from the surrounding foliage-covered hills. Figures of the Buddha, of bodhisattvas and disciples were carved in harder rock brought from elsewhere, and installed in the caves.<br/><br/> At their height, the Maijishan caves are believed to have numbered almost 800, but they suffered serious damage during an earthquake in 734. This event, combined with the exigencies of time, has reduced the number of extant caves to 194.<br/><br/> The existing rock cut architecture contains over 7,200 Buddhist sculptures and over 1,000 square meters of murals.<br/><br/> Maiji Shan translates literally as 'Wheatstack Mountain'.
Maijishan Shiku (Maiji Shan Grottoes) are one of China’s four most important Buddhist temple groups (the others being Datong, Luoyang, and the Mogao Caves at Dunhuang).<br/><br/> Starting from the Northern Wei (386-535) and Northern Zhou (557-81) Dynasties, Buddhists cut caves into the sides of a red outcrop rising from the surrounding foliage-covered hills. Figures of the Buddha, of bodhisattvas and disciples were carved in harder rock brought from elsewhere, and installed in the caves.<br/><br/> At their height, the Maijishan caves are believed to have numbered almost 800, but they suffered serious damage during an earthquake in 734. This event, combined with the exigencies of time, has reduced the number of extant caves to 194.<br/><br/> The existing rock cut architecture contains over 7,200 Buddhist sculptures and over 1,000 square meters of murals.<br/><br/> Maiji Shan translates literally as 'Wheatstack Mountain'.
Maijishan Shiku (Maiji Shan Grottoes) are one of China’s four most important Buddhist temple groups (the others being Datong, Luoyang, and the Mogao Caves at Dunhuang).<br/><br/> Starting from the Northern Wei (386-535) and Northern Zhou (557-81) Dynasties, Buddhists cut caves into the sides of a red outcrop rising from the surrounding foliage-covered hills. Figures of the Buddha, of bodhisattvas and disciples were carved in harder rock brought from elsewhere, and installed in the caves.<br/><br/> At their height, the Maijishan caves are believed to have numbered almost 800, but they suffered serious damage during an earthquake in 734. This event, combined with the exigencies of time, has reduced the number of extant caves to 194.<br/><br/> The existing rock cut architecture contains over 7,200 Buddhist sculptures and over 1,000 square meters of murals.<br/><br/> Maiji Shan translates literally as 'Wheatstack Mountain'.
Maijishan Shiku (Maiji Shan Grottoes) are one of China’s four most important Buddhist temple groups (the others being Datong, Luoyang, and the Mogao Caves at Dunhuang).<br/><br/> Starting from the Northern Wei (386-535) and Northern Zhou (557-81) Dynasties, Buddhists cut caves into the sides of a red outcrop rising from the surrounding foliage-covered hills. Figures of the Buddha, of bodhisattvas and disciples were carved in harder rock brought from elsewhere, and installed in the caves.<br/><br/> At their height, the Maijishan caves are believed to have numbered almost 800, but they suffered serious damage during an earthquake in 734. This event, combined with the exigencies of time, has reduced the number of extant caves to 194.<br/><br/> The existing rock cut architecture contains over 7,200 Buddhist sculptures and over 1,000 square meters of murals.<br/><br/> Maiji Shan translates literally as 'Wheatstack Mountain'.
Maijishan Shiku (Maiji Shan Grottoes) are one of China’s four most important Buddhist temple groups (the others being Datong, Luoyang, and the Mogao Caves at Dunhuang).<br/><br/> Starting from the Northern Wei (386-535) and Northern Zhou (557-81) Dynasties, Buddhists cut caves into the sides of a red outcrop rising from the surrounding foliage-covered hills. Figures of the Buddha, of bodhisattvas and disciples were carved in harder rock brought from elsewhere, and installed in the caves.<br/><br/> At their height, the Maijishan caves are believed to have numbered almost 800, but they suffered serious damage during an earthquake in 734. This event, combined with the exigencies of time, has reduced the number of extant caves to 194.<br/><br/> The existing rock cut architecture contains over 7,200 Buddhist sculptures and over 1,000 square meters of murals.<br/><br/> Maiji Shan translates literally as 'Wheatstack Mountain'.
Maijishan Shiku (Maiji Shan Grottoes) are one of China’s four most important Buddhist temple groups (the others being Datong, Luoyang, and the Mogao Caves at Dunhuang).<br/><br/> Starting from the Northern Wei (386-535) and Northern Zhou (557-81) Dynasties, Buddhists cut caves into the sides of a red outcrop rising from the surrounding foliage-covered hills. Figures of the Buddha, of bodhisattvas and disciples were carved in harder rock brought from elsewhere, and installed in the caves.<br/><br/> At their height, the Maijishan caves are believed to have numbered almost 800, but they suffered serious damage during an earthquake in 734. This event, combined with the exigencies of time, has reduced the number of extant caves to 194.<br/><br/> The existing rock cut architecture contains over 7,200 Buddhist sculptures and over 1,000 square meters of murals.<br/><br/> Maiji Shan translates literally as 'Wheatstack Mountain'.
Hōryū-ji (Temple of the Flourishing Law) is a Buddhist temple in Ikaruga, Nara Prefecture, Japan. Its full name is Hōryū Gakumonji, or Learning Temple of the Flourishing Law, the complex serving both as a seminary and a monastery.<br/><br/> In 1993, Hōryū-ji was inscribed as a UNESCO World Heritage Site under the name Buddhist Monuments in the Hōryū-ji Area. The Japanese government lists several of its structures, sculptures and artifacts as National Treasures.<br/><br/> The kondo, or great hall of the temple, dating in part to the 7th century, is famous for its 7th century Buddhist murals. Unfortunately, on January 26, 1949, a fire in the kondo caused very severe damage to the murals, many of which were destroyed.<br/><br/> The murals of the kondō comprise fifty walls; four larger walls, eight mid-sized walls and thirty-eight small wall areas inside the building. The original murals were removed after the fire incident in 1949 and are kept in storage. Twenty small wall paintings that escaped the fire remain in place, while reproductions have replaced the lost frescoes. The ancient Horyu-ji frescoes represent Pure Land Shaka, Amida, Miroku and Yakushi Nyorai Bhuddas. There are artistic links with similar murals in Dunhuang, China and Ajanta, India. Some authorities link the paintings to a Goguryeo monk named Tamjing who lived in 7th century Ikaruga, but this is disputed.
Amitabha is a celestial buddha described in the scriptures of the Mahayana school of Buddhism. Amitabha is the principal Buddha in the Pure Land sect, a branch of Buddhism practiced mainly in East Asia, while in Vajrayana Amitabha is known for his longevity attribute, magnetising red fire element, the aggregate of discernment, pure perception and the deep awareness of emptiness of phenomena.<br/><br/> According to these scriptures, Amitabha possesses infinite merits resulting from good deeds over countless past lives as a bodhisattva named Dharmakara. 'Amitabha' is translated as 'Infinite Light', hence Amitabha is also called 'The Buddha of Immeasurable Life and Light'.
The Mogao Caves, or Mogao Grottoes (Chinese: mò gāo kū), also known as the Caves of the Thousand Buddhas and Dunhuang Caves, form a system of 492 temples 25 km (15.5 miles) southeast of the center of Dunhuang, an oasis strategically located at a religious and cultural crossroads on the Silk Road, in Gansu province, China.<br/><br/> The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years. The first caves were dug out 366 AD as places of Buddhist meditation and worship. The Mogao Caves are the best known of the Chinese Buddhist grottoes and, along with Longmen Grottoes and Yungang Grottoes, are one of the three famous ancient sculptural sites of China. The caves also have famous wall paintings.
Hōryū-ji (Temple of the Flourishing Law) is a Buddhist temple in Ikaruga, Nara Prefecture, Japan. Its full name is Hōryū Gakumonji, or Learning Temple of the Flourishing Law, the complex serving both as a seminary and a monastery.<br/><br/> In 1993, Hōryū-ji was inscribed as a UNESCO World Heritage Site under the name Buddhist Monuments in the Hōryū-ji Area. The Japanese government lists several of its structures, sculptures and artifacts as National Treasures.<br/><br/> The kondo, or great hall of the temple, dating in part to the 7th century, is famous for its 7th century Buddhist murals. Unfortunately, on January 26, 1949, a fire in the kondo caused very severe damage to the murals, many of which were destroyed.<br/><br/> The murals of the kondō comprise fifty walls; four larger walls, eight mid-sized walls and thirty-eight small wall areas inside the building. The original murals were removed after the fire incident in 1949 and are kept in storage. Twenty small wall paintings that escaped the fire remain in place, while reproductions have replaced the lost frescoes. The ancient Horyu-ji frescoes represent Pure Land Shaka, Amida, Miroku and Yakushi Nyorai Bhuddas. There are artistic links with similar murals in Dunhuang, China and Ajanta, India. Some authorities link the paintings to a Goguryeo monk named Tamjing who lived in 7th century Ikaruga, but this is disputed.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.