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Kathmandu is an unexpected and extravagant mixture of peoples and religions, child-goddesses, bare-foot porters padding in back alleys, and sacred cows. The Kathmandu most people come to see is the Old City, a tangled network of narrow alleys, stores and temples located around central Durbar Square.
Kathmandu is an unexpected and extravagant mixture of peoples and religions, child-goddesses, bare-foot porters padding in back alleys, and sacred cows. The Kathmandu most people come to see is the Old City, a tangled network of narrow alleys, stores and temples located around central Durbar Square.
'Founding of the Nation / Le Coq Blanc (The White Rooster)'. Oil and gold on textile painting by Kawamura Kiyoo (1852-1934), 1929.<br/><br/> Kawamura Kiyoo (1852-1934) was a Japanese painter from Edo. He became a follower of the yōga (Western-style) of painting, and journeyed for a time through France and Italy. He aided in the formation of the Meiji Bijutsukai in 1889, the first art association in Japan championing western-style painting.
A hand-drawn, hand-coloured watercolour from the late 19th century by an unknown Burmese artist.<br/><br/> The name of the ethnic group featured appears near the top of the picture in Shan script (left), Burmese script (Centre) and Khun script (right). Khun script was formerly used in Kengtung / Kyaingtong in eastern Shan State and in Lan Na or Lanna, northern Thailand.<br/><br/> The Shan, or Tai Yai (Large Tai) people are indigenous to Burma, but also have settlements in Thailand and China’s Yunnan Province. Myanmar has a northern region called Shan State; its capital is Taunggyi. The Shan have an estimated population of some 6 million.
Decoupage (or découpage) is the art of decorating an object by gluing colored paper cutouts onto it in combination with special paint effects, gold leaf and so on. Commonly an object like a small box or an item of furniture is covered by cutouts from magazines or from purpose-manufactured papers. Each layer is sealed with varnishes (often multiple coats) until the 'stuck on' appearance disappears and the result looks like painting or inlay work. The traditional technique used 30-40 layers of varnish which were then sanded to a polished finish. The Ottoman court’s interest in decoupage work goes back to the second half of the 16th century. This special technique was mastered right into the 19th century by a few specialized artists, and in contrast to miniature painting, the output was fairly small.