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Hyakki Yagyo, variation: hyakki yako, (lit. 'Night Parade of One Hundred Demons') is a concept in Japanese folklore. It is a parade which is composed of a hundred kinds of <i>yokai</i> (supernatural monsters).<br/><br/> Legend has it that every year the yokai Nurarihyon, will lead all of the yokai through the streets of Japan during summer nights. Anyone who comes across the procession will perish or be spirited away by the yokai, unless protected by handwritten scrolls by anti-yokai onmyoji spellcasters.<br/><br/> According to the account in the Shugaisho, a medieval Japanese encyclopedia, the only way to be kept safe from the night parade if it comes by your house is to stay inside on the specific nights associated with the Chinese zodiac or to chant a magic spell.
Osrushana, also known as Istarawshan, Sudujshana, Usrushana, or Ustrushana, was a former Iranian region in Transoxiana. Osrushana lay to the south of the great, southernmost bend of the Syr Darya and extended roughly from Samarkand to Khujand.<br/><br/> The capital city of Osrushana was Banjikat.
Nurarihyon or Nurihyon is a Japanese <i>yokai</i> (a supernatural monster in folklore) said to originate from Wakayama Prefecture. Nurarihyon is usually depicted as an old man with a gourd-shaped head and wearing a kesa robe. He is sometimes said to be leader of the yōkai.<br/><br/> Nurarihyon will sneak into someone's house while they are away, drink their tea, and act as if it is his own house. Because it looks human, anyone who sees him will mistake him for the owner of the house, making it very hard to expel him. Nurarihyon is the leader of the Hyakki Yako Night Parade of 100 Demons.
<i>Naraka</i> (Sanskrit; Pali: <i>Niraya</i>) is a term in Buddhist cosmology usually referred to in English as 'hell'. The <i>Naraka</i> of Buddhism is closely related to <i>Diyu</i>, the hell of Chinese mythology.<br/><br/> A <i>Naraka</i> differs from the hell of Christianity in two respects: firstly, beings are not sent to <i>Naraka</i> as the result of a divine judgment and punishment; secondly, the length of a being's stay in a <i>Naraka</i> is not eternal, though it is usually very long.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892), also named Taiso Yoshitoshi was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Utagawa Kuniyoshi (January 1, 1798 - April 14, 1861) was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He is associated with the Utagawa school.<br/><br/> The range of Kuniyoshi's preferred subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of samurai and legendary heroes. His artwork was affected by Western influences in landscape painting and caricature.<br/><br/> Minamoto no Yoshitsune (1159-1189) was a general of the Minamoto clan of Japan in the late Heian and early Kamakura period. Yoshitsune was the ninth son of Minamoto no Yoshitomo, and the third and final son and child that Yoshitomo would father with Tokiwa Gozen. Yoshitsune's older brother Minamoto no Yoritomo (the third son of Yoshitomo) founded the Kamakura shogunate. He is considered one of the greatest and the most popular warriors of his era, and one of the most famous samurai fighters in the history of Japan.
Hyakki Yagyo, variation: hyakki yako, (lit. 'Night Parade of One Hundred Demons') is a concept in Japanese folklore. It is a parade which is composed of a hundred kinds of <i>yokai</i> (supernatural monsters).<br/><br/> Legend has it that every year the yokai Nurarihyon, will lead all of the yokai through the streets of Japan during summer nights. Anyone who comes across the procession will perish or be spirited away by the yokai, unless protected by handwritten scrolls by anti-yokai onmyoji spellcasters.<br/><br/> According to the account in the Shugaisho, a medieval Japanese encyclopedia, the only way to be kept safe from the night parade if it comes by your house is to stay inside on the specific nights associated with the Chinese zodiac or to chant a magic spell.
Utagawa Kuniyoshi (January 1, 1798 - April 14, 1861) was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He is associated with the Utagawa school.<br/><br/> The range of Kuniyoshi's preferred subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of samurai and legendary heroes. His artwork was affected by Western influences in landscape painting and caricature.
Hyakki Yagyo, variation: hyakki yako, (lit. 'Night Parade of One Hundred Demons') is a concept in Japanese folklore. It is a parade which is composed of a hundred kinds of <i>yokai</i> (supernatural monsters).<br/><br/> Legend has it that every year the yokai Nurarihyon, will lead all of the yokai through the streets of Japan during summer nights. Anyone who comes across the procession will perish or be spirited away by the yokai, unless protected by handwritten scrolls by anti-yokai onmyoji spellcasters.<br/><br/> According to the account in the Shugaisho, a medieval Japanese encyclopedia, the only way to be kept safe from the night parade if it comes by your house is to stay inside on the specific nights associated with the Chinese zodiac or to chant a magic spell.
The Ramayana is a story as old as time and - at least in the Indian subcontinent and across much of Southeast Asia - of unparalleled popularity. More than two thousand three hundred years ago the scholar-poet Valmiki sat down to write his definitive epic of love and war.<br/><br/> The poem Valmiki composed is styled the Ramayana, or 'Romance of Rama' in Sanskrit. In its present form, the Sanskrit version consists of some 24,000 couplets divided into seven books.<br/><br/> The Ramakien is the Thai version of this epic and has an important influence on Thai literature, art and drama. It is regarded as the National Epic of Thailand.<br/><br/> Wat Phra Kaew (Temple of the Emerald Buddha); full official name Wat Phra Si Rattana Satsadaram is regarded as the most sacred Buddhist temple in Thailand. It is located within the precincts of the Grand Palace.<br/><br/> The Grand Palace served as the official residence of the Kings of Thailand from the 18th century onwards. Construction of the Palace began in 1782, during the reign of King Rama I, when he moved the capital across the river from Thonburi to Bangkok.
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.<br/><br/>It seems likely that certain paintings contained in the 'Conqueror's Albums' are of Chinese origin and may have been used as stylistic guides for painters in the Siyah Kalem tradition.
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.<br/><br/>It seems likely that certain paintings contained in the 'Conqueror's Albums' are of Chinese origin and may have been used as stylistic guides for painters in the Siyah Kalem tradition.
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.<br/><br/> It seems likely that certain paintings contained in the 'Conqueror's Albums' are of Chinese origin and may have been used as stylistic guides for painters in the Siyah Kalem tradition.
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.
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.
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.
Wat Suan Dok (Thai: วัดสวนดอก, which roughly translates as Flower Garden Temple) was founded by King Kue Na of Lanna for the monk Sumana Thera in the year 1370 CE. The temple was built in the centre of Wiang Suan Dok, a walled settlement of the Lawa people older than Chiang Mai itself.<br/><br/> Chiang Mai, sometimes written as 'Chiengmai' or 'Chiangmai', is the largest and most culturally significant city in northern Thailand, and is the capital of Chiang Mai Province. It is located 700 km (435 mi) north of Bangkok, among the highest mountains in the country. The city is on the Ping river, a major tributary of the Chao Phraya river.<br/><br/> King Mengrai founded the city of Chiang Mai (meaning 'new city') in 1296, and it succeeded Chiang Rai as capital of the Lanna kingdom. The ruler was known as the Chao. The city was surrounded by a moat and a defensive wall, since nearby Burma was a constant threat.<br/><br/> Chiang Mai formally became part of Siam in 1774 by an agreement with Chao Kavila, after the Thai King Taksin helped drive out the Burmese. Chiang Mai then slowly grew in cultural, trading and economic importance to its current status as the unofficial capital of northern Thailand, second in importance only to Bangkok.
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. 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.
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. 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.
Wat Buak Khrok Luang, located in Ban Buak Khrok Luang Moo 1, Chiang Mai – Sankamphaeng Road, Chiang Mai, is a small and typically northern Thai Buddhist temple. It is believed to have been founded in the 15th century during the time of the independent Lan Na Kingdom (1292-1558), and was extensively restored during the reign of Chao Kaew Naowarat (r.1911-1939), the last King of Chiang Mai.<br/><br/> The temple is chiefly noteworthy for its main viharn, which is purely Lan Na in inspiration, with a four-tiered roof and elegant naga balustrade entrance. The most remarkable aspect of the viharn is its extensive mural paintings, dating from around 1835 during the reign of Chao Phuttawong (r.1826-1846), the fourth ruler of the Chiang Mai Thipchang Dynasty. The murals, which are northern Thai in style with clear elements of Shan State and Konbaung Dynasty Burmese influence, are among the best in northern Thailand. They feature the jataka stories, past lives of the Buddha, and are interspersed with vernacular scenes from everyday early 19th century northern Thai life.
Hyakki Yakō ('Night Parade of One Hundred Demons') is a Japanese folk belief. The belief holds that every year yōkai, the Japanese supernatural beings, will take to the streets during summer nights. Anyone who comes across the procession will die, unless protected by some Buddhist sutra. It is a popular theme in Japanese visual art.
Hyakki Yakō ('Night Parade of One Hundred Demons') is a Japanese folk belief. The belief holds that every year yōkai, the Japanese supernatural beings, will take to the streets during summer nights. Anyone who comes across the procession will die, unless protected by some Buddhist sutra. It is a popular theme in Japanese visual art.
Hyakki Yakō ('Night Parade of One Hundred Demons') is a Japanese folk belief. The belief holds that every year yōkai, the Japanese supernatural beings, will take to the streets during summer nights. Anyone who comes across the procession will die, unless protected by some Buddhist sutra. It is a popular theme in Japanese visual art.
Hyakki Yakō ('Night Parade of One Hundred Demons') is a Japanese folk belief. The belief holds that every year yōkai, the Japanese supernatural beings, will take to the streets during summer nights. Anyone who comes across the procession will die, unless protected by some Buddhist sutra. It is a popular theme in Japanese visual art.
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. 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.
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 Secretum Secretorum is a medieval treatise also known as Secret of Secrets, or The Book of the Secret of Secrets, or in Arabic: كتاب سر الأسرار‎ (Kitab sirr al-asrar), or the Book of the Science of Government: on the good ordering of statecraft.<br/><br/> It is a mid-12th century Latin translation of a 10th-century Arabic encyclopedic treatise on a wide range of topics, including statecraft, ethics, physiognomy, astrology, alchemy, magic and medicine. It was influential in Europe during the High Middle Ages.
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.
An untitled cover from 'Shanghai Manhua' (Shanghai Sketch) shows a naked young woman in flames surrounded by demons about to devour her. Later social critics have interpreted this as a portrayal of Old Shanghai as an urban dystopia.<br/><br/> The pictorial 'Shanghai Manhua' (Shanghai Sketch), published between April 21, 1928 and June 7, 1930, was a mixture of drawings, photographs and images ranging from advertisements to social criticism and political caricatures.<br/><br/> Shanghai Manhua was an outlet for professional cartoonists and sketch masters, generally of an avant garde or progressive nature. Many of the images printed in 'Shanghai Manhua' are observations of urban life in contemporaneous Shanghai, as well as often critical comment on the social mores of the time.
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.
Shadow play (Chinese: 皮影戏, pí yĭng xì) or shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.<br/><br/>Shadow puppetry originated during the Han Dynasty when one of the concubines of Emperor Wu of Han died from an illness. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries.<br/><br/>The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
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.
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.
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.<br/><br/>It seems likely that certain paintings contained in the 'Conqueror's Albums' are of Chinese origin and may have been used as stylistic guides for painters in the Siyah Kalem tradition.
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.
Labrang Monastery is one of the six great monasteries of the Gelug (Yellow Hat) school of Tibetan Buddhism. Its formal name is Gandan Shaydrup Dargay Tashi Gyaysu Khyilway Ling, commonly known as Labrang Tashi Khyil, or simply Labrang. The monastery was founded in 1709 by the first Jamyang Zhaypa, Ngawang Tsondru. It is Tibetan Buddhism's most important monastery town outside the Tibetan Autonomous Region.
Labrang Monastery is one of the six great monasteries of the Gelug (Yellow Hat) school of Tibetan Buddhism. Its formal name is Gandan Shaydrup Dargay Tashi Gyaysu Khyilway Ling, commonly known as Labrang Tashi Khyil, or simply Labrang. The monastery was founded in 1709 by the first Jamyang Zhaypa, Ngawang Tsondru. It is Tibetan Buddhism's most important monastery town outside the Tibetan Autonomous Region.
According to legend, Watanabe no Tsuna was challenged by a friend to spend the night at the Hojo Temple in Kyoto where he could have an encounter with the only demon left in Japan.<br/><br/> Disturbed in the middle of the night, he flailed wildly with his sword, cutting off the arm of the awful Ibaraki, the Demon of Rashomon. Later as Watanabe performs Shinto rights over the arm, Ibaraki returns disguised as his elderly aunt, retrieves the arm, and flies away.
According to legend, Watanabe no Tsuna was challenged by a friend to spend the night at the Hojo Temple in Kyoto where he could have an encounter with the only demon left in Japan.<br/><br/> Disturbed in the middle of the night, he flailed wildly with his sword, cutting off the arm of the awful Ibaraki, the Demon of Rashomon. Later as Watanabe performs Shinto rights over the arm, Ibaraki returns disguised as his elderly aunt, retrieves the arm, and flies away.<br/><br/> Here Watanabe sits before a box containing the arm, wrapped with sacred ropes known as shimenawa, used for purification. The disguised Ibaraki peers into the container, a look of alarm on her wizened face, her long white hair flowing down her back.
The Ramayana is a story as old as time and - at least in the Indian subcontinent and across much of Southeast Asia - of unparalleled popularity. More than two thousand three hundred years ago the scholar-poet Valmiki sat down to write his definitive epic of love and war.<br/><br/> The poem Valmiki composed is styled the Ramayana, or 'Romance of Rama' in Sanskrit. In its present form, the Sanskrit version consists of some 24,000 couplets divided into seven books.<br/><br/> The Ramakien is the Thai version of this epic and has an important influence on Thai literature, art and drama. It is regarded as the National Epic of Thailand.<br/><br/> Wat Phra Kaew (Temple of the Emerald Buddha); full official name Wat Phra Si Rattana Satsadaram is regarded as the most sacred Buddhist temple in Thailand. It is located within the precincts of the Grand Palace.<br/><br/> The Grand Palace served as the official residence of the Kings of Thailand from the 18th century onwards. Construction of the Palace began in 1782, during the reign of King Rama I, when he moved the capital across the river from Thonburi to Bangkok.
Wat Phra Mahathat Woramahawihan, generally shortened to Wat Mahathat, or ‘Temple of the Great Chedi’ is the most revered and important temple in Nakhon Si Thammarat and indeed in southern Thailand. It is considered to have been built at the time of the founding of the town, and is said to contain a tooth relic of the Lord Buddha.<br/><br/> Southern Thai lore records that the founders of the temple were Prince Thanakuman and his Queen Hemchala, who brought Buddha relics to Hat Sai Kaeo and built a small pagoda to mark the location. Subsequently, in the 13th century, King Si Thamma Sokharat founded the city of Nakhon Si Thammarat and built a new temple around the great chedi.
Wat Phra Mahathat Woramahawihan, generally shortened to Wat Mahathat, or ‘Temple of the Great Chedi’ is the most revered and important temple in Nakhon Si Thammarat and indeed in southern Thailand. It is considered to have been built at the time of the founding of the town, and is said to contain a tooth relic of the Lord Buddha.<br/><br/> Southern Thai lore records that the founders of the temple were Prince Thanakuman and his Queen Hemchala, who brought Buddha relics to Hat Sai Kaeo and built a small pagoda to mark the location. Subsequently, in the 13th century, King Si Thamma Sokharat founded the city of Nakhon Si Thammarat and built a new temple around the great chedi.
Wat Phra Mahathat Woramahawihan, generally shortened to Wat Mahathat, or ‘Temple of the Great Chedi’ is the most revered and important temple in Nakhon Si Thammarat and indeed in southern Thailand. It is considered to have been built at the time of the founding of the town, and is said to contain a tooth relic of the Lord Buddha.<br/><br/> Southern Thai lore records that the founders of the temple were Prince Thanakuman and his Queen Hemchala, who brought Buddha relics to Hat Sai Kaeo and built a small pagoda to mark the location. Subsequently, in the 13th century, King Si Thamma Sokharat founded the city of Nakhon Si Thammarat and built a new temple around the great chedi.
Wat Phra Mahathat Woramahawihan, generally shortened to Wat Mahathat, or ‘Temple of the Great Chedi’ is the most revered and important temple in Nakhon Si Thammarat and indeed in southern Thailand. It is considered to have been built at the time of the founding of the town, and is said to contain a tooth relic of the Lord Buddha.<br/><br/> Southern Thai lore records that the founders of the temple were Prince Thanakuman and his Queen Hemchala, who brought Buddha relics to Hat Sai Kaeo and built a small pagoda to mark the location. Subsequently, in the 13th century, King Si Thamma Sokharat founded the city of Nakhon Si Thammarat and built a new temple around the great chedi.
Wat Phra Mahathat Woramahawihan, generally shortened to Wat Mahathat, or ‘Temple of the Great Chedi’ is the most revered and important temple in Nakhon Si Thammarat and indeed in southern Thailand. It is considered to have been built at the time of the founding of the town, and is said to contain a tooth relic of the Lord Buddha.<br/><br/> Southern Thai lore records that the founders of the temple were Prince Thanakuman and his Queen Hemchala, who brought Buddha relics to Hat Sai Kaeo and built a small pagoda to mark the location. Subsequently, in the 13th century, King Si Thamma Sokharat founded the city of Nakhon Si Thammarat and built a new temple around the great chedi.
Nurarihyon or Nurihyon is a Japanese <i>yokai</i> (a supernatural monster in folklore) said to originate from Wakayama Prefecture. Nurarihyon is usually depicted as an old man with a gourd-shaped head and wearing a kesa robe. He is sometimes said to be leader of the yōkai.<br/><br/> Nurarihyon will sneak into someone's house while they are away, drink their tea, and act as if it is his own house. Because it looks human, anyone who sees him will mistake him for the owner of the house, making it very hard to expel him. Nurarihyon is the leader of the Hyakki Yako Night Parade of 100 Demons.
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.
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.