Refine your search

The results of your search are listed below alongside the search terms you entered on the previous page. You can refine your search by amending any of the parameters in the form and resubmitting it.

Select all Deselect all Add selection to lightbox
Large Small
Thumbnails per page
The <i>Anwar-i Suhayli</i> or 'The Lights of Canopus', commonly known as the <i>Fables of Bidpai</i> in the West, is a Persian version of the ancient Indian collection of animal fables, the <i>Panchatantra</i>. It tells a tale of a Persian physician, Burzuyah, and his mission to India, where he stumbles upon a book of stories collected from the animals who reside there.<br/><br/> In a similar vein to the <i>Arabian Nights</i>, the fables in the manuscript are inter-woven as the characters of one story recount the next, leading up to three or four degrees of narrative embedding. Many usually have morals or offer philosophical glimpses into human behaviour, emphasising loyalty and teamwork.
The <i>Anwar-i Suhayli</i> or 'The Lights of Canopus', commonly known as the <i>Fables of Bidpai</i> in the West, is a Persian version of the ancient Indian collection of animal fables, the <i>Panchatantra</i>. It tells a tale of a Persian physician, Burzuyah, and his mission to India, where he stumbles upon a book of stories collected from the animals who reside there.<br/><br/> In a similar vein to the <i>Arabian Nights</i>, the fables in the manuscript are inter-woven as the characters of one story recount the next, leading up to three or four degrees of narrative embedding. Many usually have morals or offer philosophical glimpses into human behaviour, emphasising loyalty and teamwork.
The <i>Anwar-i Suhayli</i> or 'The Lights of Canopus', commonly known as the <i>Fables of Bidpai</i> in the West, is a Persian version of the ancient Indian collection of animal fables, the <i>Panchatantra</i>. It tells a tale of a Persian physician, Burzuyah, and his mission to India, where he stumbles upon a book of stories collected from the animals who reside there.<br/><br/> In a similar vein to the <i>Arabian Nights</i>, the fables in the manuscript are inter-woven as the characters of one story recount the next, leading up to three or four degrees of narrative embedding. Many usually have morals or offer philosophical glimpses into human behaviour, emphasising loyalty and teamwork.
The <i>Anwar-i Suhayli</i> or 'The Lights of Canopus', commonly known as the <i>Fables of Bidpai</i> in the West, is a Persian version of the ancient Indian collection of animal fables, the <i>Panchatantra</i>. It tells a tale of a Persian physician, Burzuyah, and his mission to India, where he stumbles upon a book of stories collected from the animals who reside there.<br/><br/> In a similar vein to the <i>Arabian Nights</i>, the fables in the manuscript are inter-woven as the characters of one story recount the next, leading up to three or four degrees of narrative embedding. Many usually have morals or offer philosophical glimpses into human behaviour, emphasising loyalty and teamwork.
This picture scroll is a copy of selected sections of the <i>Ezo Shima Kikan</i> (Unusual Views of the Island of Ezo [Hokkaido]) by Hata Awagimaro, completed in Kansei 11 (1799) and considered the most notable work depicting the contemporaneous lives of the Ainu.<br/><br/> The Ainu or in historical Japanese texts Ezo, are an indigenous people of Japan (Hokkaido, and formerly northeastern Honshu) and Russia (Sakhalin and the Kuril Islands).
This picture scroll is a copy of selected sections of the <i>Ezo Shima Kikan</i> (Unusual Views of the Island of Ezo [Hokkaido]) by Hata Awagimaro, completed in Kansei 11 (1799) and considered the most notable work depicting the contemporaneous lives of the Ainu.<br/><br/> The Ainu or in historical Japanese texts Ezo, are an indigenous people of Japan (Hokkaido, and formerly northeastern Honshu) and Russia (Sakhalin and the Kuril Islands).
This picture scroll is a copy of selected sections of the <i>Ezo Shima Kikan</i> (Unusual Views of the Island of Ezo [Hokkaido]) by Hata Awagimaro, completed in Kansei 11 (1799) and considered the most notable work depicting the contemporaneous lives of the Ainu.<br/><br/> The Ainu or in historical Japanese texts Ezo, are an indigenous people of Japan (Hokkaido, and formerly northeastern Honshu) and Russia (Sakhalin and the Kuril Islands).
This picture scroll is a copy of selected sections of the <i>Ezo Shima Kikan</i> (Unusual Views of the Island of Ezo [Hokkaido]) by Hata Awagimaro, completed in Kansei 11 (1799) and considered the most notable work depicting the contemporaneous lives of the Ainu.<br/><br/> The Ainu or in historical Japanese texts Ezo, are an indigenous people of Japan (Hokkaido, and formerly northeastern Honshu) and Russia (Sakhalin and the Kuril Islands).
The <i>Anwar-i Suhayli</i> or 'The Lights of Canopus', commonly known as the <i>Fables of Bidpai</i> in the West, is a Persian version of the ancient Indian collection of animal fables, the <i>Panchatantra</i>. It tells a tale of a Persian physician, Burzuyah, and his mission to India, where he stumbles upon a book of stories collected from the animals who reside there.<br/><br/> In a similar vein to the <i>Arabian Nights</i>, the fables in the manuscript are inter-woven as the characters of one story recount the next, leading up to three or four degrees of narrative embedding. Many usually have morals or offer philosophical glimpses into human behaviour, emphasising loyalty and teamwork.
The <i>Anwar-i Suhayli</i> or 'The Lights of Canopus', commonly known as the <i>Fables of Bidpai</i> in the West, is a Persian version of the ancient Indian collection of animal fables, the <i>Panchatantra</i>. It tells a tale of a Persian physician, Burzuyah, and his mission to India, where he stumbles upon a book of stories collected from the animals who reside there.<br/><br/> In a similar vein to the <i>Arabian Nights</i>, the fables in the manuscript are inter-woven as the characters of one story recount the next, leading up to three or four degrees of narrative embedding. Many usually have morals or offer philosophical glimpses into human behaviour, emphasising loyalty and teamwork.
The Hermitage of San Baudelio de Berlanga (Ermita de San Baudelio de Berlanga) is an early 11th-century church at Caltojar in the province of Soria, Spain, 80 km south of Berlanga de Duero. It is an example of Mozarabic architecture and was built in the 11th century, in what was then the frontier between Islamic and Christian lands. It is dedicated to Saint Baudilus or Baudel.<br/><br/> The hermitage housed many fine Romanesque frescoes from about 1125; most of these have been removed, but some have remained. Two sections, transferred to canvas, are now in the Indianapolis Museum of Art, showing the Entry of Christ into Jerusalem and the Wedding at Cana.<br/><br/> The paintings were done by the Catalan Master of Tahull (Taüll in Catalan), whose best known works are in Sant Climent de Taüll and the Museu Nacional d'Art de Catalunya in Barcelona, with two other painters. The frescoes include that of a camel and of a war elephant, which were inspired by Muslim motifs.
The Matagi (Japanese: 又鬼) are traditional winter hunters of the Tōhoku region of northern Japan, most famously today in the Shirakami-Sanchi forest between Akita and Aomori. They hunt deer and bear, and their culture has much in common with the bear cult of the Ainu.<br/><br/> They live in small hamlets of the mountain beech forests of Tōhoku and engage in agriculture during the planting and harvest season. In the winter and early spring, they form hunting bands that spend weeks at a time in the forest. With the introduction of guns in the 20th century, the need for group hunting for bear has diminished, leading to a decline in Matagi culture.<br/><br/> Matagi hamlets are found in the districts of Nishitsugaru and Nakatsugaru (Aomori), Kitaakita and Senboku (Akita), Waga (Iwate), Nishiokitama and Tsuruoka (Yamagata), Murakami and Nakauonuma (Niigata and Nagano).<br/><br/> The Matagi are attested from the Medieval period, but continue to hunt today. They have come into conflict with environmentalists now that the forest has been partly cleared. They no longer hunt the serow, which is protected, but continue to hunt bear.<br/><br/> Specialized Matagi hunting vocabulary contains Ainu words. Indeed, the word matagi itself may be Ainu, from matangi or matangitono 'man of winter, hunter.
The Matagi (Japanese: 又鬼) are traditional winter hunters of the Tōhoku region of northern Japan, most famously today in the Shirakami-Sanchi forest between Akita and Aomori. They hunt deer and bear, and their culture has much in common with the bear cult of the Ainu.<br/><br/> They live in small hamlets of the mountain beech forests of Tōhoku and engage in agriculture during the planting and harvest season. In the winter and early spring, they form hunting bands that spend weeks at a time in the forest. With the introduction of guns in the 20th century, the need for group hunting for bear has diminished, leading to a decline in Matagi culture.<br/><br/> Matagi hamlets are found in the districts of Nishitsugaru and Nakatsugaru (Aomori), Kitaakita and Senboku (Akita), Waga (Iwate), Nishiokitama and Tsuruoka (Yamagata), Murakami and Nakauonuma (Niigata and Nagano).<br/><br/> The Matagi are attested from the Medieval period, but continue to hunt today. They have come into conflict with environmentalists now that the forest has been partly cleared. They no longer hunt the serow, which is protected, but continue to hunt bear.<br/><br/> Specialized Matagi hunting vocabulary contains Ainu words. Indeed, the word matagi itself may be Ainu, from matangi or matangitono 'man of winter, hunter.
Dvarapala (Sanskrit) is a door or gate guardian often portrayed as warrior or fearsome asura giant, usually armed with a weapon. The statue of dvarapala is a widespread architectural element throughout Hindu and Buddhist cultures, as well as in areas influenced by them like Java.<br/><br/> The kingdom of Champa (Campadesa or nagara Campa) Chăm Pa in Vietnamese, 占城 Chiêm Thành in Hán Việt and Zhàn chéng in Chinese records) was an Indianized kingdom that controlled much of southern and central Vietnam from approximately the 7th century through to 1832.<br/><br/> Champa reached its apogee in the 9th and 10th centuries. Then began a gradual decline under pressure from Đại Việt, the Vietnamese polity centered in the region of modern Hanoi. In 1471, Viet troops sacked the northern Cham capital of Vijaya, and in 1697 the southern principality of Panduranga became a vassal of the Vietnamese emperor.<br/><br/> In 1832, the Vietnamese emperor Minh Mạng annexed the remaining Cham territories. Mỹ Sơn, a former religious center, and Hội An, one of Champa's main port cities, are now UNESCO World Heritage sites.
World War One was to have a devastating impact on Russia. When World War One started in August 1914, Russia responded by patriotically rallying around Nicholas II.<br/><br/> Military disasters at the Masurian Lakes and Tannenburg greatly weakened the Russian Army in the initial phases of the war. The growing influence of Gregory Rasputin over the Romanov’s did a great deal to damage the royal family and by the end of the spring of 1917, the Romanovs, who had ruled Russia for just over 300 years, were no longer in charge of a Russia that had been taken over by Kerensky and the Provisional Government.<br/><br/> By the end of 1917, the Bolsheviks led by Lenin had taken power in the major cities of Russia and introduced communist rule in those areas it controlled. The transition in Russia over the space of four years was remarkable – the fall of an autocracy and the establishment of the world’s first communist government.
The Admonitions Scroll is a Chinese narrative painting on silk that is traditionally ascribed to Gu Kaizhi (c.345-c.406 CE), but which modern scholarship regards as a 5th to 8th century work that may be a copy of an original Jin Dynasty (265–420 CE) court painting by Gu Kaizhi. The full title of the painting is Admonitions of the Court Instructress (Chinese: Nushi Zhentu). It was painted to illustrate a poetic text written in 292 by the poet-official Zhang Hua (232–300). The text itself was composed to reprimand Empress Jia (257–300) and to provide advice to imperial wives and concubines on how to behave. The painting illustrates this text with scenes depicting anecdotes about exemplary behaviour of historical palace ladies, as well as with more general scenes showing aspects of life as a palace lady. The painting is reputed to be the earliest extant example of a Chinese handscroll painting.
The Admonitions Scroll is a Chinese narrative painting on silk that is traditionally ascribed to Gu Kaizhi (c.345-c.406 CE), but which modern scholarship regards as a 5th to 8th century work that may be a copy of an original Jin Dynasty (265–420 CE) court painting by Gu Kaizhi. The full title of the painting is Admonitions of the Court Instructress (Chinese: Nushi Zhentu). It was painted to illustrate a poetic text written in 292 by the poet-official Zhang Hua (232–300). The text itself was composed to reprimand Empress Jia (257–300) and to provide advice to imperial wives and concubines on how to behave. The painting illustrates this text with scenes depicting anecdotes about exemplary behaviour of historical palace ladies, as well as with more general scenes showing aspects of life as a palace lady. The painting is reputed to be the earliest extant example of a Chinese handscroll painting.
Kita Ezo Zusetsu, dictated by Mamiya Rinzō (1775-1844). 4 vols, published in Tokyo, 1855.<br/><br/> Commissioned by the Shogunte government (Bakufu), Mamiya Rinzō traveled to northern Sakhalin and established as a fact, for the first time in history, that Sakhalin was an island, not a part of the Asian continent.<br/><br/> He produced valuable maps and geographic, topographic and climatic information of Sakhalin as well descriptions of the daily lives of the Sakhalin Ainu, Oroks, Nivkhs (also known as Gilyaks) , including their economic activities, customs, and the individuals.
Siyah Kalem or 'Black Pen' is the name given to the 15th century school of painting attributed to Mehmed Siyah Kalem. Nothing is known of his life, but his work indicates that he was of Central Asian Turkic origin, and thoroughly familiar with camp and military life. The paintings appear in the 'Conqueror’s Albums', so named because two portraits of Sultan Mehmed II the Conqueror are present in one of them.<br/><br/> The albums are made up of miniatures taken from manuscripts of the 14th, 15th, and early 16th centuries, and one series of paintings is inscribed 'work of Master Muḥammad Siyah Kalem'. Something of the style and techniques of Chinese paintings is apparent in these, and an acquaintance with Buddhist art, particularly in the depictions of grotesque demonic figures.
The Hatfield–McCoy feud (1863–1891) involved two families of the West Virginia–Kentucky area along the Tug Fork of the Big Sandy River.<br/><br/> The Hatfields of West Virginia were led by William Anderson 'Devil Anse' Hatfield while the McCoys of Kentucky were under the leadership of Randolph 'Ole Ran'l, McCoy. Those involved in the feud were descended from Ephraim Hatfield (born c. 1765) and William McCoy (born c. 1750).<br/><br/> The feud has entered the American folklore lexicon as a metonym for any bitterly feuding rival parties. More than a century later, the feud has become synonymous with the perils of family honor, justice, and revenge.