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Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Arita's Gen-emon kiln was first established in 1753 and has throughout its long history produced beautiful porcelain in the 'Old Imari' style.<br/><br/> Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century.
Cai Lun (ca. 50 CE – 121), courtesy name Jingzhong, was a Chinese eunuch and political official. He is traditionally regarded as the inventor of paper and the papermaking process, in forms recognizable in modern times as paper (as opposed to papyrus).<br/><br/> Although early forms of paper had existed in China since the 2nd century BCE, he was responsible for the first significant improvement and standardization of paper-making by adding essential new materials into its composition.
The small Uighur-dominated oasis of Yengisar (Yingjisha) is known throughout the western Chinese province of Xinjiang for its production of handmade knives. The Small Knife Factory (Pichak Chilik Karakhana / Xiadaochang) employs skilled local craftsmen producing fine knives with inlaid handles. Just about every Uighur man carries a knife, both as a sign of manhood and for the more utilitarian purpose of cutting up melons, and the most valued (and expensive) come from Yengisar.
The small Uighur-dominated oasis of Yengisar (Yingjisha) is known throughout the western Chinese province of Xinjiang for its production of handmade knives. The Small Knife Factory (Pichak Chilik Karakhana / Xiadaochang) employs skilled local craftsmen producing fine knives with inlaid handles. Just about every Uighur man carries a knife, both as a sign of manhood and for the more utilitarian purpose of cutting up melons, and the most valued (and expensive) come from Yengisar.
The small Uighur-dominated oasis of Yengisar (Yingjisha) is known throughout the western Chinese province of Xinjiang for its production of handmade knives. The Small Knife Factory (Pichak Chilik Karakhana / Xiadaochang) employs skilled local craftsmen producing fine knives with inlaid handles. Just about every Uighur man carries a knife, both as a sign of manhood and for the more utilitarian purpose of cutting up melons, and the most valued (and expensive) come from Yengisar.
The small Uighur-dominated oasis of Yengisar (Yingjisha) is known throughout the western Chinese province of Xinjiang for its production of handmade knives. The Small Knife Factory (Pichak Chilik Karakhana / Xiadaochang) employs skilled local craftsmen producing fine knives with inlaid handles. Just about every Uighur man carries a knife, both as a sign of manhood and for the more utilitarian purpose of cutting up melons, and the most valued (and expensive) come from Yengisar.
The small Uighur-dominated oasis of Yengisar (Yingjisha) is known throughout the western Chinese province of Xinjiang for its production of handmade knives. The Small Knife Factory (Pichak Chilik Karakhana / Xiadaochang) employs skilled local craftsmen producing fine knives with inlaid handles. Just about every Uighur man carries a knife, both as a sign of manhood and for the more utilitarian purpose of cutting up melons, and the most valued (and expensive) come from Yengisar.
The small Uighur-dominated oasis of Yengisar (Yingjisha) is known throughout the western Chinese province of Xinjiang for its production of handmade knives. The Small Knife Factory (Pichak Chilik Karakhana / Xiadaochang) employs skilled local craftsmen producing fine knives with inlaid handles. Just about every Uighur man carries a knife, both as a sign of manhood and for the more utilitarian purpose of cutting up melons, and the most valued (and expensive) come from Yengisar.
The small Uighur-dominated oasis of Yengisar (Yingjisha) is known throughout the western Chinese province of Xinjiang for its production of handmade knives. The Small Knife Factory (Pichak Chilik Karakhana / Xiadaochang) employs skilled local craftsmen producing fine knives with inlaid handles. Just about every Uighur man carries a knife, both as a sign of manhood and for the more utilitarian purpose of cutting up melons, and the most valued (and expensive) come from Yengisar.
The small Uighur-dominated oasis of Yengisar (Yingjisha) is known throughout the western Chinese province of Xinjiang for its production of handmade knives. The Small Knife Factory (Pichak Chilik Karakhana / Xiadaochang) employs skilled local craftsmen producing fine knives with inlaid handles. Just about every Uighur man carries a knife, both as a sign of manhood and for the more utilitarian purpose of cutting up melons, and the most valued (and expensive) come from Yengisar.
The small Uighur-dominated oasis of Yengisar (Yingjisha) is known throughout the western Chinese province of Xinjiang for its production of handmade knives. The Small Knife Factory (Pichak Chilik Karakhana / Xiadaochang) employs skilled local craftsmen producing fine knives with inlaid handles. Just about every Uighur man carries a knife, both as a sign of manhood and for the more utilitarian purpose of cutting up melons, and the most valued (and expensive) come from Yengisar.
The small Uighur-dominated oasis of Yengisar (Yingjisha) is known throughout the western Chinese province of Xinjiang for its production of handmade knives. The Small Knife Factory (Pichak Chilik Karakhana / Xiadaochang) employs skilled local craftsmen producing fine knives with inlaid handles. Just about every Uighur man carries a knife, both as a sign of manhood and for the more utilitarian purpose of cutting up melons, and the most valued (and expensive) come from Yengisar.
Etimad-ud-Daula's Tomb (Urdu: اعتماد الدولہ کا مقبرہ‎, I'timād-ud-Daulah kā Maqbara) is a Mughal mausoleum in the city of Agra in the Indian state of Uttar Pradesh.<br/><br/>Along with the main building, the structure consists of numerous outbuildings and gardens. The tomb, built between 1622 and 1628 represents a transition between the first phase of monumental Mughal architecture - primarily built from red sandstone with marble decorations, as in Humayun's Tomb in Delhi and Akbar's tomb in Sikandra - to its second phase, based on white marble and pietra dura inlay, most elegantly realized in the Tāj Mahal.<br/><br/>The mausoleum was commissioned by Nūr Jahān, the wife of Mughal emperor Jahangir, for her father Mirzā Ghiyās Beg, originally a Persian Amir in exile, who had been given the title of I'timād-ud-Daulah (Pillar of the State). Mirzā Ghiyās Beg was also the grandfather of Mumtāz Mahāl (originally named Arjūmand Bāno, daughter of Asaf Khān), the wife of the emperor Shāh Jahān, responsible for the construction of the Tāj Mahal.
Etimad-ud-Daula's Tomb (Urdu: اعتماد الدولہ کا مقبرہ‎, I'timād-ud-Daulah kā Maqbara) is a Mughal mausoleum in the city of Agra in the Indian state of Uttar Pradesh.<br/><br/>Along with the main building, the structure consists of numerous outbuildings and gardens. The tomb, built between 1622 and 1628 represents a transition between the first phase of monumental Mughal architecture - primarily built from red sandstone with marble decorations, as in Humayun's Tomb in Delhi and Akbar's tomb in Sikandra - to its second phase, based on white marble and pietra dura inlay, most elegantly realized in the Tāj Mahal.<br/><br/>The mausoleum was commissioned by Nūr Jahān, the wife of Mughal emperor Jahangir, for her father Mirzā Ghiyās Beg, originally a Persian Amir in exile, who had been given the title of I'timād-ud-Daulah (Pillar of the State). Mirzā Ghiyās Beg was also the grandfather of Mumtāz Mahāl (originally named Arjūmand Bāno, daughter of Asaf Khān), the wife of the emperor Shāh Jahān, responsible for the construction of the Tāj Mahal.
Lacquerware is still today a traditional product in the Pagan region as lacquer resin is extracted from indigenous trees.<br/><br/> The British conquest of Burma began in 1824 in response to a Burmese attempt to invade India. By 1886, and after two further wars, Britain had incorporated the entire country into the British Raj.<br/><br/> To stimulate trade and facilitate changes, the British brought in Indians and Chinese, who quickly displaced the Burmese in urban areas. To this day Rangoon and Mandalay have large ethnic Indian populations. Railways and schools were built, as well as a large number of prisons, including the infamous Insein Prison, then and now used for political prisoners. Burmese resentment was strong and was vented in violent riots that paralysed Rangoon on occasion all the way until the 1930s.<br/><br/> Burma was administered as a province of British India until 1937 when it became a separate, self-governing colony. Burma finally gained independence from Britain on Jan. 4, 1948.
Cai Lun (simplified Chinese: 蔡伦; traditional Chinese: 蔡倫; pinyin: Cài Lún; Wade–Giles: Ts'ai Lun) (ca. 50 CE – 121), courtesy name Jingzhong (敬仲), was a Chinese eunuch and political official. He is traditionally regarded as the inventor of paper and the papermaking process, in forms recognizable in modern times as paper (as opposed to papyrus).<br/><br/>Although early forms of paper had existed in China since the 2nd century BCE, he was responsible for the first significant improvement and standardization of paper-making by adding essential new materials into its composition.
Cai Lun (simplified Chinese: 蔡伦; traditional Chinese: 蔡倫; pinyin: Cài Lún; Wade–Giles: Ts'ai Lun) (ca. 50 CE – 121), courtesy name Jingzhong (敬仲), was a Chinese eunuch and political official. He is traditionally regarded as the inventor of paper and the papermaking process, in forms recognizable in modern times as paper (as opposed to papyrus).<br/><br/>Although early forms of paper had existed in China since the 2nd century BCE, he was responsible for the first significant improvement and standardization of paper-making by adding essential new materials into its composition.
Etimad-ud-Daula's Tomb (Urdu: اعتماد الدولہ کا مقبرہ‎, I'timād-ud-Daulah kā Maqbara) is a Mughal mausoleum in the city of Agra in the Indian state of Uttar Pradesh.<br/><br/>Along with the main building, the structure consists of numerous outbuildings and gardens. The tomb, built between 1622 and 1628 represents a transition between the first phase of monumental Mughal architecture - primarily built from red sandstone with marble decorations, as in Humayun's Tomb in Delhi and Akbar's tomb in Sikandra - to its second phase, based on white marble and pietra dura inlay, most elegantly realized in the Tāj Mahal.<br/><br/>The mausoleum was commissioned by Nūr Jahān, the wife of Mughal emperor Jahangir, for her father Mirzā Ghiyās Beg, originally a Persian Amir in exile, who had been given the title of I'timād-ud-Daulah (Pillar of the State). Mirzā Ghiyās Beg was also the grandfather of Mumtāz Mahāl (originally named Arjūmand Bāno, daughter of Asaf Khān), the wife of the emperor Shāh Jahān, responsible for the construction of the Tāj Mahal.
Cai Lun (simplified Chinese: 蔡伦; traditional Chinese: 蔡倫; pinyin: Cài Lún; Wade–Giles: Ts'ai Lun) (ca. 50 CE – 121), courtesy name Jingzhong (敬仲), was a Chinese eunuch and political official. He is traditionally regarded as the inventor of paper and the papermaking process, in forms recognizable in modern times as paper (as opposed to papyrus).<br/><br/>Although early forms of paper had existed in China since the 2nd century BCE, he was responsible for the first significant improvement and standardization of paper-making by adding essential new materials into its composition.
Cai Lun (simplified Chinese: 蔡伦; traditional Chinese: 蔡倫; pinyin: Cài Lún; Wade–Giles: Ts'ai Lun) (ca. 50 CE – 121), courtesy name Jingzhong (敬仲), was a Chinese eunuch and political official. He is traditionally regarded as the inventor of paper and the papermaking process, in forms recognizable in modern times as paper (as opposed to papyrus).<br/><br/>Although early forms of paper had existed in China since the 2nd century BCE, he was responsible for the first significant improvement and standardization of paper-making by adding essential new materials into its composition.