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China: Hong Kong Convention and Exhibition Centre (HKCEC) and the Central Plaza building next to Victoria Harbour, Wan Chai, Hong Kong Island.<br/><br/> Originally a sparsely populated area of farming and fishing villages, Hong Kong has become one of the world's most significant financial centres and commercial ports. It is the world's tenth-largest exporter and ninth-largest importer.
China: Hong Kong cityscape including the Central Plaza Building and the Hong Kong Convention and Exhibition Centre. Looking towards Hong Kong Island from Kowloon.<br/><br/> Originally a sparsely populated area of farming and fishing villages, Hong Kong has become one of the world's most significant financial centres and commercial ports. It is the world's tenth-largest exporter and ninth-largest importer.<br/><br/> Hong Kong became a colony of the British Empire after the Qing Empire ceded Hong Kong Island at the end of the First Opium War in 1842.
China: A view from inside the Hong Kong Convention and Exhibition Centre (HKCEC) next to Victoria Harbour, Wan Chai, Hong Kong Island.<br/><br/> Originally a sparsely populated area of farming and fishing villages, Hong Kong has become one of the world's most significant financial centres and commercial ports. It is the world's tenth-largest exporter and ninth-largest importer.
China: Hong Kong Convention and Exhibition Centre (HKCEC) next to Victoria Harbour, Wan Chai, Hong Kong Island.<br/><br/> Originally a sparsely populated area of farming and fishing villages, Hong Kong has become one of the world's most significant financial centres and commercial ports. It is the world's tenth-largest exporter and ninth-largest importer.<br/><br/> Hong Kong became a colony of the British Empire after the Qing Empire ceded Hong Kong Island at the end of the First Opium War in 1842.
China: Hong Kong Convention and Exhibition Centre (HKCEC) next to Victoria Harbour, Wan Chai, Hong Kong Island.<br/><br/> Originally a sparsely populated area of farming and fishing villages, Hong Kong has become one of the world's most significant financial centres and commercial ports. It is the world's tenth-largest exporter and ninth-largest importer.<br/><br/> Hong Kong became a colony of the British Empire after the Qing Empire ceded Hong Kong Island at the end of the First Opium War in 1842.
China: The Reunification Monument and the Hong Kong Convention and Exhibition Centre (HKCEC) next to Victoria Harbour, Wan Chai, Hong Kong Island.<br/><br/> Originally a sparsely populated area of farming and fishing villages, Hong Kong has become one of the world's most significant financial centres and commercial ports. It is the world's tenth-largest exporter and ninth-largest importer.<br/><br/> Hong Kong became a colony of the British Empire after the Qing Empire ceded Hong Kong Island at the end of the First Opium War in 1842.
China: Hong Kong Convention and Exhibition Centre (HKCEC) next to Victoria Harbour, Wan Chai, Hong Kong Island.<br/><br/> Originally a sparsely populated area of farming and fishing villages, Hong Kong has become one of the world's most significant financial centres and commercial ports. It is the world's tenth-largest exporter and ninth-largest importer.<br/><br/> Hong Kong became a colony of the British Empire after the Qing Empire ceded Hong Kong Island at the end of the First Opium War in 1842.
The Turin International was a world's fair held in Turin in 1911 titled <i>Esposizione internazionale dell'industria e del lavoro</i>. It received 4,012,776 visitors and covered 247 acres.
China: The Reunification Monument at the Hong Kong Convention and Exhibition Centre (HKCEC) next to Victoria Harbour, Wan Chai, Hong Kong Island.<br/><br/> Originally a sparsely populated area of farming and fishing villages, Hong Kong has become one of the world's most significant financial centres and commercial ports. It is the world's tenth-largest exporter and ninth-largest importer.<br/><br/> Hong Kong became a colony of the British Empire after the Qing Empire ceded Hong Kong Island at the end of the First Opium War in 1842.
Alfons Maria Mucha (24 July 1860 – 14 July 1939), often known in English and French as Alphonse Mucha, was a Czech Art Nouveau painter and decorative artist, celebrated for his distinctive style.<br/><br/> He produced numerous paintings, illustrations, advertisements, postcards, and designs
The British Empire Exhibition was a colonial exhibition held at Wembley, Middlesex (now part of Greater London) in 1924 and 1925.
The British Empire Exhibition was a colonial exhibition held at Wembley, Middlesex (now part of Greater London) in 1924 and 1925.
The Soviet-built Shanghai Exhibition Centre (上海展 览中心; Shanghai Zhanlan Zhongxin) is a fine example of high Socialist Realist architecture and dates from the early 1950s, a time noted for its Sino-Soviet solidarity. The building was designed by a Soviet architect and combines communist symbolism with elements inspired by Eastern Orthodox church architecture. <br/><br/> Shanghai began life as a fishing village, and later as a port receiving goods carried down the Yangzi River. From 1842 onwards, in the aftermath of the first Opium War, the British opened a ‘concession’ in Shanghai where drug dealers and other traders could operate undisturbed. French, Italians, Germans, Americans and Japanese all followed. By the 1920s and 1930s, Shanghai was a boom town and an international byword for dissipation. When the Communists won power in 1949, they transformed Shanghai into a model of the Revolution.
The Soviet-built Shanghai Exhibition Centre (上海展 览中心; Shanghai Zhanlan Zhongxin) is a fine example of high Socialist Realist architecture and dates from the early 1950s, a time noted for its Sino-Soviet solidarity. The building was designed by a Soviet architect and combines communist symbolism with elements inspired by Eastern Orthodox church architecture. <br/><br/> Shanghai began life as a fishing village, and later as a port receiving goods carried down the Yangzi River. From 1842 onwards, in the aftermath of the first Opium War, the British opened a ‘concession’ in Shanghai where drug dealers and other traders could operate undisturbed. French, Italians, Germans, Americans and Japanese all followed. By the 1920s and 1930s, Shanghai was a boom town and an international byword for dissipation. When the Communists won power in 1949, they transformed Shanghai into a model of the Revolution.
The Soviet-built Shanghai Exhibition Centre (上海展 览中心; Shanghai Zhanlan Zhongxin) is a fine example of high Socialist Realist architecture and dates from the early 1950s, a time noted for its Sino-Soviet solidarity. The building was designed by a Soviet architect and combines communist symbolism with elements inspired by Eastern Orthodox church architecture. <br/><br/> Shanghai began life as a fishing village, and later as a port receiving goods carried down the Yangzi River. From 1842 onwards, in the aftermath of the first Opium War, the British opened a ‘concession’ in Shanghai where drug dealers and other traders could operate undisturbed. French, Italians, Germans, Americans and Japanese all followed. By the 1920s and 1930s, Shanghai was a boom town and an international byword for dissipation. When the Communists won power in 1949, they transformed Shanghai into a model of the Revolution.
The Soviet-built Shanghai Exhibition Centre (上海展 览中心; Shanghai Zhanlan Zhongxin) is a fine example of high Socialist Realist architecture and dates from the early 1950s, a time noted for its Sino-Soviet solidarity. The building was designed by a Soviet architect and combines communist symbolism with elements inspired by Eastern Orthodox church architecture. <br/><br/> Shanghai began life as a fishing village, and later as a port receiving goods carried down the Yangzi River. From 1842 onwards, in the aftermath of the first Opium War, the British opened a ‘concession’ in Shanghai where drug dealers and other traders could operate undisturbed. French, Italians, Germans, Americans and Japanese all followed. By the 1920s and 1930s, Shanghai was a boom town and an international byword for dissipation. When the Communists won power in 1949, they transformed Shanghai into a model of the Revolution.
The Soviet-built Shanghai Exhibition Centre (上海展 览中心; Shanghai Zhanlan Zhongxin) is a fine example of high Socialist Realist architecture and dates from the early 1950s, a time noted for its Sino-Soviet solidarity. The building was designed by a Soviet architect and combines communist symbolism with elements inspired by Eastern Orthodox church architecture. <br/><br/> Shanghai began life as a fishing village, and later as a port receiving goods carried down the Yangzi River. From 1842 onwards, in the aftermath of the first Opium War, the British opened a ‘concession’ in Shanghai where drug dealers and other traders could operate undisturbed. French, Italians, Germans, Americans and Japanese all followed. By the 1920s and 1930s, Shanghai was a boom town and an international byword for dissipation. When the Communists won power in 1949, they transformed Shanghai into a model of the Revolution.
The Paris Colonial Exhibition (or 'Exposition coloniale internationale', International Colonial Exhibition) was a six-month colonial exhibition held in Paris, France in 1931 that attempted to display the diverse cultures and immense resources of France's colonial possessions.
The Kansai Prefecture Union Exhibition was started in 1883 and has been held (almost) every three years since then.
Originally named after a French archeologist and researcher, the Louis Finot Museum is located in the Hoan Kien district of Hanoi. It is housed in a colonial French building which was completed in 1932. The building, designed by the architect Ernest Hebrard, is considered a successful blend of French colonial and traditional Vietnamese architecture known as Indochina architecture. Hebrard created double walls and balconies for a natural ventilation system and protection from sunshine. Today, it is a museum showcasing Vietnam's history with very large displays covering every period.
Between the end of the First World War in 1918 and the outbreak of the Pacific War in 1941, Japanese graphic design as represented in advertsing posters, magazine covers and book covers underwent a series of changes characterised by increasing Western influence, a growing middle class, industrialisation and militarisation, as well as (initially) left wing political ideals and (subsequently) right wing nationalism and the influence of European Fascist art forms.
World War I (WWI or WW1 or World War One), also known as the First World War or the Great War, was a global war centred in Europe that began on 28 July 1914 and lasted until 11 November 1918. More than 9 million combatants and 7 million civilians died as a result of the war, a casualty rate exacerbated by the belligerents' technological and industrial sophistication, and tactical stalemate. It was one of the deadliest conflicts in history, paving the way for major political changes, including revolutions in many of the nations involved.<br/><br/> The war drew in all the world's economic great powers, which were assembled in two opposing alliances: the Allies (based on the Triple Entente of the United Kingdom, France and the Russian Empire) and the Central Powers of Germany and Austria-Hungary. Although Italy had also been a member of the Triple Alliance alongside Germany and Austria-Hungary, it did not join the Central Powers, as Austria-Hungary had taken the offensive against the terms of the alliance.<br/><br/> These alliances were reorganised and expanded as more nations entered the war: Italy, Japan and the United States joined the Allies, and the Ottoman Empire and Bulgaria the Central Powers. Ultimately, more than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history.
World War I (WWI or WW1 or World War One), also known as the First World War or the Great War, was a global war centred in Europe that began on 28 July 1914 and lasted until 11 November 1918. More than 9 million combatants and 7 million civilians died as a result of the war, a casualty rate exacerbated by the belligerents' technological and industrial sophistication, and tactical stalemate. It was one of the deadliest conflicts in history, paving the way for major political changes, including revolutions in many of the nations involved.<br/><br/> The war drew in all the world's economic great powers, which were assembled in two opposing alliances: the Allies (based on the Triple Entente of the United Kingdom, France and the Russian Empire) and the Central Powers of Germany and Austria-Hungary. Although Italy had also been a member of the Triple Alliance alongside Germany and Austria-Hungary, it did not join the Central Powers, as Austria-Hungary had taken the offensive against the terms of the alliance.<br/><br/> These alliances were reorganised and expanded as more nations entered the war: Italy, Japan and the United States joined the Allies, and the Ottoman Empire and Bulgaria the Central Powers. Ultimately, more than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history.
The Hurricane of 1900 made landfall on September 8, 1900, in the city of Galveston, Texas, in the United States. It had estimated winds of 145 miles per hour (233 km/h) at landfall, making it a Category 4 storm on the Saffir–Simpson Hurricane Scale. It was the deadliest hurricane in US history.<br/><br/> The hurricane caused great loss of life with the estimated death toll between 6,000 and 12,000 individuals; the number most cited in official reports is 8,000, giving the storm the third-highest number of deaths or injuries of any Atlantic hurricane, after the Great Hurricane of 1780 and 1998's Hurricane Mitch. The Galveston Hurricane of 1900 is the deadliest natural disaster ever to strike the United States.<br/><br/> The hurricane occurred before the practice of assigning official code names to tropical storms was instituted, and thus it is commonly referred to under a variety of descriptive names. Typical names for the storm include the Galveston Hurricane of 1900, the Great Galveston Hurricane, and, especially in older documents, the Galveston Flood. It is often referred to by Galveston locals as The Great Storm or The 1900 Storm.
During late 1920s and 1930s Japan, a new poster style developed that reflected the growing influence of the masses in Japanese society. These art posters were strongly influenced by the emerging political forces of Communism and Fascism in Europe and the Soviet Union, adopting a style that incorporated bold slogans with artistic themes ranging from Leftist socialist realism through Stateism and state-directed public welfare, to Militarism and Imperialist expansionism.<br/><br/> Though diverse in their messages, all bear the stamp of the ovebearing proletarian art of the time, reflecting shades of Nazi Germany, Socialist Russia and Fascist Italy in the Far East.
During late 1920s and 1930s Japan, a new poster style developed that reflected the growing influence of the masses in Japanese society. These art posters were strongly influenced by the emerging political forces of Communism and Fascism in Europe and the Soviet Union, adopting a style that incorporated bold slogans with artistic themes ranging from Leftist socialist realism through Stateism and state-directed public welfare, to Militarism and Imperialist expansionism.<br/><br/> Though diverse in their messages, all bear the stamp of the ovebearing proletarian art of the time, reflecting shades of Nazi Germany, Socialist Russia and Fascist Italy in the Far East.
During late 1920s and 1930s Japan, a new poster style developed that reflected the growing influence of the masses in Japanese society. These art posters were strongly influenced by the emerging political forces of Communism and Fascism in Europe and the Soviet Union, adopting a style that incorporated bold slogans with artistic themes ranging from Leftist socialist realism through Stateism and state-directed public welfare, to Militarism and Imperialist expansionism.<br/><br/> Though diverse in their messages, all bear the stamp of the ovebearing proletarian art of the time, reflecting shades of Nazi Germany, Socialist Russia and Fascist Italy in the Far East.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
The Suan Hong Residential Hall was originally built by King Chulalongkorn (Rama V) for his grandmother, Queen Savang Vadhana. This old wooden two storey building now houses pictures portraying key events in the life of King Bhumibol Adulyadej (Rama IX), the present King of Thailand.<br/><br/> The Vimanmek Mansion is a former royal palace and is also known as the Vimanmek Teak Mansion or Vimanmek Palace.<br/><br/> Vimanmek Mansion was built in 1900 by King Rama V (King Chulalongkorn) by having the Munthatu Rattanaroj Residence in Chuthathuj Rachathan at Ko Sichang, Chonburi, dismantled and reassembled in Dusit Garden. It was completed on March 27, 1901 and used as a royal palace by King Rama V for five years.<br/><br/> In 1982 Queen Sirikit asked permission of King Rama IX (Bhumibol Adulyadej) to renovate Vimanmek Palace for use as a museum to commemorate King Rama V by displaying his photographs, personal art and handicrafts. The palace is the world's largest golden teakwood mansion.
The Suan Hong Residential Hall was originally built by King Chulalongkorn (Rama V) for his grandmother, Queen Savang Vadhana. This old wooden two storey building now houses pictures portraying key events in the life of King Bhumibol Adulyadej (Rama IX), the present King of Thailand.<br/><br/> The Vimanmek Mansion is a former royal palace and is also known as the Vimanmek Teak Mansion or Vimanmek Palace.<br/><br/> Vimanmek Mansion was built in 1900 by King Rama V (King Chulalongkorn) by having the Munthatu Rattanaroj Residence in Chuthathuj Rachathan at Ko Sichang, Chonburi, dismantled and reassembled in Dusit Garden. It was completed on March 27, 1901 and used as a royal palace by King Rama V for five years.<br/><br/> In 1982 Queen Sirikit asked permission of King Rama IX (Bhumibol Adulyadej) to renovate Vimanmek Palace for use as a museum to commemorate King Rama V by displaying his photographs, personal art and handicrafts. The palace is the world's largest golden teakwood mansion.
Huang Tingjian (1045–1105) was a Chinese artist. He is predominantly known as a calligrapher, but was also admired for his painting and poetry. He was one of the Four masters of the Song Dynasty, and was a student of Su Shi at his school of literati painting.<br/><br/> Du Fu (Dù Fǔ; Wade–Giles: Tu Fu, 712–770) was a prominent Chinese poet of the Tang Dynasty. Along with Li Bai (Li Bo), he is frequently called the greatest of the Chinese poets. In 759 Du Fu moved to Chengdu, built a thatched hut near the Flower Rinsing Creek and lived there for four years. The 'thatched hut' period was the peak of Du Fu's creativity. He wrote two hundred and forty poems, among them: 'My Thatched Hut was torn apart by Autumn Wind' and 'The Prime Minister of Shu'.<br/><br/> Chengdu, known formerly as Chengtu, is the capital of Sichuan province in Southwest China. In the early 4th century BC, the 9th Kaiming king of the ancient Shu moved his capital to the city's current location from today's nearby Pixian.