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Hsipaw State was perhaps one of the most well known and powerful saopha Shan States. According to the biography of Sao Nang Hearn Hkam (the chief wife, Madhidevi of Sao Shwe Thaik, the first president of Myanmar and another saopha of Hsenwi), Hsipaw, along with Kengtung and Yawnghwe were the wealthiest and most powerful saopha states in Shan State.<br/><br/> The Saophas played fluctuating roles in regional Shan and national Burmese politics from the 11th century all the way until the 1962 military coup by General Ne Win.
Hsipaw State was perhaps one of the most well known and powerful saopha Shan States. According to the biography of Sao Nang Hearn Hkam (the chief wife, Madhidevi of Sao Shwe Thaik, the first president of Myanmar and another saopha of Hsenwi), Hsipaw, along with Kengtung and Yawnghwe were the wealthiest and most powerful saopha states in Shan State.<br/><br/> The Saophas played fluctuating roles in regional Shan and national Burmese politics from the 11th century all the way until the 1962 military coup by General Ne Win.
Photograph of a Sawbwa’s wife and child at Wuntho in Burma (Myanmar) from the Elgin Collection: 'Autumn Tour 1898', taken by Felice Beato c.1891. The portrait was taken in front of a house at Wuntho, showing the wife and child of the Wuntho Sawbwa, a Shan feudal lord, seated on the ground with food baskets. Attendants are arranged around the pair in a semi-circle and two servants hold umbrellas over the group.<br/><br/> The woman wears a striped silk <i>hta-mein</i> (wrap-around skirt), a close-fitting jacket of fine muslin or cotton known as an <i>ein-gyi</i>, and necklaces. During the Konbaung Dynasty (1752-1885), rich jewellery, fine fabrics such as silk, and garments such as her jacket were reserved for court officials and their wives by sumptuary laws. After the fall of the Burmese monarchy they were worn by the wealthy.<br/><br/> Wuntho or Waing Hso was a native state of Upper Burma when Burma (Myanmar), was under British control. It had an area of around 6,200 square kilometres (2,400 sq mi) with 150,000 inhabitants and lay midway between the Ayeyarwady and Chindwin rivers.
Hsipaw was a Shan state in what is today Burma / Myanmar. Its capital was Hsipaw town.<br/><br/> Hsipaw State was one of the most well known and powerful saopha Shan States
Saopha, Chaofa, or Sawbwa was a royal title used by the rulers of the Shan States of Myanmar (Burma). The word means 'king' in the Shan and Tai languages.
The Battle of Sekigahara, popularly known as Tenka Wakeme no Tatakai or 'the Battle for the Sundered Realm', was a decisive battle on October 21, 1600, which cleared the path to the Shogunate for Tokugawa Ieyasu.<br/><br/> Though it would take three more years for Ieyasu to consolidate his position of power over the Toyotomi clan and the daimyo, Sekigahara is widely considered to be the unofficial beginning of the Tokugawa bakufu, the last shogunate to control Japan.
Hsipaw State was perhaps one of the most well known and powerful saopha Shan States. According to the biography of Sao Nang Hearn Hkam (the chief wife, Madhidevi of Sao Shwe Thaik, the first president of Myanmar and another saopha of Hsenwi), Hsipaw, along with Kengtung and Yawnghwe were the wealthiest and most powerful saopha states in Shan State.<br/><br/> The Saophas played fluctuating roles in regional Shan and national Burmese politics from the 11th century all the way until the 1962 military coup by General Ne Win.
Located in the northeast of the country, Shan State covers one-quarter of Burma’s land mass. It was traditionally separated into principalities and is mostly comprised of ethnic Shan, Burman Pa-O, Intha, Taungyo, Danu, Palaung and Kachin peoples.<br/><br/> The ethnic Tai-Shan people are believed to have migrated from Yunnan in China. The Shan are descendants of the oldest branch of the Tai-Shan, known as ‘Tai Long’ (Great Tai) or ‘Thai Yai’ (Big Thai). The Tai-Shan who migrated to the south and now inhabit modern-day Laos and Thailand are known as ‘Tai Noi’ (Little Tai) or ‘Tai Nyai’.<br/><br/> The Shan have inhabited the Shan Plateau and other parts of modern-day Myanmar as far back as the 10th century CE. The Shan kingdom of Mong Mao (Muang Mao) existed as early as the 10th century CE, but became a Burmese vassal state during the reign of King Anawrahta of Pagan (1044-1077).
Hishikawa Moronobu (Japanese: 菱川 師宣; 1618 – 25 July 1694) was a Japanese artist known for popularizing the ukiyo-e genre of woodblock prints and paintings in the late 17th century.
The revenge of the Forty-seven Ronin (四十七士 Shi-jū-shichi-shi), also known as the Forty-seven Samurai, the Akō vendetta, or the Genroku Akō incident (元禄赤穂事件 Genroku akō jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidō.<br/><br/> The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira.<br/><br/> In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good people should preserve in their daily lives. The popularity of the almost mythical tale was only enhanced by rapid modernization during the Meiji era of Japanese history, when it is suggested many people in Japan longed for a return to their cultural roots.<br/><br/> Fictionalized accounts of these events are known as Chūshingura. The story was popularized in numerous plays including bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names of the ronin were changed.
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The series opens with spring (春の部). Scenes 1 though 42 represent the First to the Third Months, which are considered in Japan to be the spring season. Typically, early spring is marked by the festivities celebrated at the New Year, which begins the season. Blossoming plum trees are associated with the middle of spring, signifying the end of the cold weather and the beginning of the warm season.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
The revenge of the Forty-seven Ronin (四十七士 Shi-jū-shichi-shi), also known as the Forty-seven Samurai, the Akō vendetta, or the Genroku Akō incident (元禄赤穂事件 Genroku akō jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidō.<br/><br/> The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira.<br/><br/> In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good people should preserve in their daily lives. The popularity of the almost mythical tale was only enhanced by rapid modernization during the Meiji era of Japanese history, when it is suggested many people in Japan longed for a return to their cultural roots.<br/><br/> Fictionalized accounts of these events are known as Chūshingura. The story was popularized in numerous plays including bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names of the ronin were changed.
The revenge of the Forty-seven Ronin (四十七士 Shi-jū-shichi-shi), also known as the Forty-seven Samurai, the Akō vendetta, or the Genroku Akō incident (元禄赤穂事件 Genroku akō jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidō.<br/><br/> The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira.<br/><br/> In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good people should preserve in their daily lives. The popularity of the almost mythical tale was only enhanced by rapid modernization during the Meiji era of Japanese history, when it is suggested many people in Japan longed for a return to their cultural roots.<br/><br/> Fictionalized accounts of these events are known as Chūshingura. The story was popularized in numerous plays including bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names of the ronin were changed.
Utagawa Toyokuni (1769 - February 24, 1825), also often referred to as Toyokuni I, to distinguish him from the members of his school who took over his gō (art-name after he died) was a great master of ukiyo-e, known in particular for his Kabuki actor prints.<br/><br/> Utagawa was one of the heads of the renowned Utagawa school of Japanese woodblock artists, and was the person who really moved it to the position of great fame and power it occupied for the rest of the nineteenth century.