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Shigeru Aoki (1882-1911) was a Japanese painter famed for his combining of Japanese mythology and legends with the Western-style art movement that could be found in some late 19th and early 20th century Japanese paintings.<br/><br/> Aoki was born into an ex-samurai household in northern Kyushu. He left his home in 1899 to pursue artistic studies in Tokyo, and soon began to accumulate critical acclaim for his artwork and its use of Pre-Raphaelite Brotherhood techniques mixed with Kojiki themes. He died in March 1911 from tuberculosis, aged only 28.
The Hemudu culture (5500 to 3300 BCE) was a Neolithic culture that flourished just south of the Hangzhou Bay area in Jiangnan in modern Yuyao, Zhejiang Province. The culture may be divided into early and late phases, before and after 4000 BCE respectively.<br/><br/> The Hemudu people lived in long, stilt houses. Communal longhouses were also common in Hemudu settlements. The Hemudu were one of the earliest cultures to cultivate rice. Scholars view the Hemudu culture as a source of many proto-Austronesian cultures.
Seoul is the capital and largest metropolis of South Korea. A megacity with a population of more than 10 million, it is the largest city proper in the developed world. The Seoul Capital Area, which includes the surrounding Incheon metropolis and Gyeonggi province, is the world's second largest metropolitan area with over 25.6 million people, home to over half of South Koreans along with 632,000 international residents.<br/><br/>During the Korean War, Seoul changed hands between the Chinese-backed North Korean forces and the UN-backed South Korean forces several times, leaving the city heavily damaged after the war. One estimate of the extensive damage states that after the war, at least 191,000 buildings, 55,000 houses, and 1,000 factories lay in ruins. In addition, a flood of refugees had entered Seoul during the war, swelling the population of Seoul and its metropolitan area to an estimated 2.5 million, more than half of them homeless.
Hand-coloured illustration from a Japanese miscellany on traditional trades, crafts and customs in mid-18th century Japan, dated Meiwa Era (1764-1772) Year 6 (c. 1770 CE).
Illustration by the Austrian artist Friedrich Schiff, who lived in Shanghai during the 1930s and 1940s. His images generally exemplify the 'anything goes' atmosphere and indulgence amidst poverty that characterised Old Shanghai and which would soon be brought to an abrupt end by Japanese invasion (1937) and Communist revolution (1949).<br/><br/> Here, however, he turns his hand to an altogether more austere and painful subject, the plight of Chinese driven from their homes by Japanese aggression in 1937.
Illustration by the Austrian artist Friedrich Schiff, who lived in Shanghai during the 1930s and 1940s. His images generally exemplify the 'anything goes' atmosphere and indulgence amidst poverty that characterised Old Shanghai and which would soon be brought to an abrupt end by Japanese invasion (1937) and Communist revolution (1949).<br/><br/> Here, however, he turns his hand to an altogether more austere and painful subject, the plight of Chinese driven from their homes by Japanese aggression in 1937.
Illustration by the Austrian artist Friedrich Schiff, who lived in Shanghai during the 1930s and 1940s. His images generally exemplify the 'anything goes' atmosphere and indulgence amidst poverty that characterised Old Shanghai and which would soon be brought to an abrupt end by Japanese invasion (1937) and Communist revolution (1949).<br/><br/> Here, however, he turns his hand to an altogether more austere and painful subject, the plight of Chinese driven from their homes by Japanese aggression in 1937.
Illustration by the Austrian artist Friedrich Schiff, who lived in Shanghai during the 1930s and 1940s. His images generally exemplify the 'anything goes' atmosphere and indulgence amidst poverty that characterised Old Shanghai and which would soon be brought to an abrupt end by Japanese invasion (1937) and Communist revolution (1949).<br/><br/> Here, however, he turns his hand to an altogether more austere and painful subject, the plight of Chinese driven from their homes by Japanese aggression in 1937.
Illustration by the Austrian artist Friedrich Schiff, who lived in Shanghai during the 1930s and 1940s. His images generally exemplify the 'anything goes' atmosphere and indulgence amidst poverty that characterised Old Shanghai and which would soon be brought to an abrupt end by Japanese invasion (1937) and Communist revolution (1949).<br/><br/> Here, however, he turns his hand to an altogether more austere and painful subject, the plight of Chinese driven from their homes by Japanese aggression in 1937.
Mandalay, a sprawling city of more than 1 million people, was founded in 1857 by King Mindon to coincide with an ancient Buddhist prophecy. It was believed that Gautama Buddha visited the sacred mount of Mandalay Hill with his disciple Ananda, and proclaimed that on the 2,400th anniversary of his death, a metropolis of Buddhist teaching would be founded at the foot of the hill.
Once one of Thailand’s remotest provinces, Mae Hong Son is now readily accessible by air from Chiang Mai, as well as by a wonderful loop drive through Mae Sariang and back via Pai and Soppong– or vice versa. Singularly isolated, Mae Hong Son is not yet very developed. The townsfolk may be citizens of Thailand, but most are Shan, Karen, Yunnanese Chinese or Hill Tribes. The temples are Burmese in style, and the pace of life amazingly tranquil.
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.
Pierre Sonnerat (1748-1814) was a French naturalist and explorer who made several voyages to Southeast Asia between 1769 and 1781. He published this two-volume account of his voyage of 1774-81 in 1782.<br/><br/> Volume 1 deals exclusively with India, whose culture Sonnerat very much admired, and is especially noteworthy for its extended discussion of religion in India, Hinduism in particular.<br/><br/> Volume 2 covers Sonnerat’s travels to China, Burma, Madagascar, the Maldives, Mauritius, Ceylon (present-day Sri Lanka), Indonesia, and the Philippines. The book is illustrated with engravings based on Sonnerat’s drawings. Among the most interesting illustrations are Sonnerat’s pictures of various Hindu deities. Sonnerat was also a dedicated ornithologist and bird collector, and the book describes and depicts a number of species that he was the first to identify.
Pierre Sonnerat (1748-1814) was a French naturalist and explorer who made several voyages to Southeast Asia between 1769 and 1781. He published this two-volume account of his voyage of 1774-81 in 1782.<br/><br/> Volume 1 deals exclusively with India, whose culture Sonnerat very much admired, and is especially noteworthy for its extended discussion of religion in India, Hinduism in particular.<br/><br/> Volume 2 covers Sonnerat’s travels to China, Burma, Madagascar, the Maldives, Mauritius, Ceylon (present-day Sri Lanka), Indonesia, and the Philippines. The book is illustrated with engravings based on Sonnerat’s drawings. Among the most interesting illustrations are Sonnerat’s pictures of various Hindu deities. Sonnerat was also a dedicated ornithologist and bird collector, and the book describes and depicts a number of species that he was the first to identify.
Hand-coloured illustration from a Japanese miscellany on traditional trades, crafts and customs in mid-18th century Japan, dated Meiwa Era (1764-1772) Year 6 (c. 1770 CE).
The Japanese tea ceremony, also called the Way of Tea, is a Japanese cultural activity involving the ceremonial preparation and presentation of matcha, powdered green tea. In Japanese, it is called chanoyu (茶の湯) or chadō, sadō (茶道). The manner in which it is performed, or the art of its performance, is called otemae (お手前; お点前). Zen Buddhism was a primary influence in the development of the tea ceremony.<br/><br/> Tea gatherings are classified as chakai (茶会) or chaji (茶事). A chakai is a relatively simple course of hospitality that includes confections, thin tea (薄茶 usucha), and perhaps a light meal. A chaji is a much more formal gathering, usually including a full-course kaiseki meal followed by confections, thick tea (濃茶 koicha), and thin tea. A chaji can last up to four hours.