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Toyohara Chikanobu (1838-1912), often known by his contemporaries as Yoshu Chikanobu, was a prolific woodblock artist active during the Meiji Era of Japan. He served as a soldier for the Tokugawa loyalists at first, but following the Shogitai's surrender, he was remanded to the Takada domain, and in 1875, he decided to become an artist.<br/><br/> He soon become renowned as a highly skilled <i>ukiyo-e</i> artist, with his works ranging from Japanese mythology to depictions of the battlefields from the wars of his time to women's fashions and <i>shunga</i> (erotic art). He produced a great many war prints in triptych format, documenting the Satsuma Rebellion, the First Sino-Japanese War and the First Russo-Japanese War, among other conflicts and events.
Toyohara Chikanobu (1838-1912), often known by his contemporaries as Yoshu Chikanobu, was a prolific woodblock artist active during the Meiji Era of Japan. He served as a soldier for the Tokugawa loyalists at first, but following the Shogitai's surrender, he was remanded to the Takada domain, and in 1875, he decided to become an artist.<br/><br/> He soon become renowned as a highly skilled <i>ukiyo-e</i> artist, with his works ranging from Japanese mythology to depictions of the battlefields from the wars of his time to women's fashions and <i>shunga</i> (erotic art). He produced a great many war prints in triptych format, documenting the Satsuma Rebellion, the First Sino-Japanese War and the First Russo-Japanese War, among other conflicts and events.
Sri Dalada Maligawa or The Temple of the Sacred Tooth Relic is located in the royal palace complex and houses the Relic of the tooth of Buddha. Since ancient times, the relic has played an important role in local politics because it is believed that whoever holds the relic holds the governance of the country.<br/><br/> Kandy is Sri Lanka's second biggest city with a population of around 170,000 and is the cultural centre of the whole island. For about two centuries (until 1815) it was the capital of Sri Lanka.
This Zen, or Chan, Buddhist temple, is the oldest in Guangzhou, dating back to the Eastern Jin dynasty (265 - 420 CE). It was originally built around 400 CE by an Indian monk. Hui Neng, the Sixth Patriarch of Zen Buddhism, served as a novice monk here in the 600s.<br/><br/> Most of the present structures date back to 1832, the time of the last big renovation. The Great Hall, with its impressive pillars, is still architecturally interesting. There are two pagodas behind the hall: the stone Yifa Pagoda built in 676 on top of a hair of Hui Neng, and the Song-dynasty Eastern Iron Pagoda, made of gilt iron.
Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement.<br/><br/> Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century).<br/><br/> The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the expression of individual moods, but focused on strictly traditional themes of landscapes (fukeiga), famous places (meisho), beautiful women (bijinga), kabuki actors (yakusha-e), and birds and flowers (kachoga).
Vladimir Vasilyevich Lebedev (14 May 1891, Saint Petersburg – 21 November 1967) was a Soviet painter and graphic artist. He became famous for his exceptional illustrations of the poems of the prominent poet and translator Samuil Marshak, such as Circus, Ice Cream, Tale About a Foolish Mouse, Moustached and Striped, Book of Many Colours, Twelve Months and Luggage.<br/><br/> As a young boy, Lebedev started to paint postcards that were sold in a shop in Saint Petersburg. At the age of nineteen, he held his first exhibit at the Academy of Fine Arts. In 1913, he began work as a cartoonist for several satirical journals, including the famed 'Satirikon'). From 1920-1922, Lebedev worked for The Russian Telegraph Agency (ROSTA) and The Department of Agitation (Agitprop) designing propaganda posters.
Yashima Gakutei was a Japanese artist and poet who was a pupil of both Totoya Hokkei and Hokusai. Gakutei is best known for his <i>kyoka</i> poetry and <i>surimono</i> woodblock works.
Rati is the Hindu goddess of love, carnal desire, lust, passion and sexual pleasure. Usually described as the daughter of Prajapati Daksha, Rati is the female counterpart, the chief consort and the assistant of Kama (Kamadeva), the god of love. A constant companion of Kama, she is often depicted with him in legend and temple sculpture. She also enjoys worship along with Kama. Rati is often associated with the arousal and delight of sexual activity, and many sex techniques and positions derive their Sanskrit names from hers.<br/><br/> The Hindu scriptures stress her beauty and sensuality. They depict her as a maiden who has the power to enchant the god of love. When the god Shiva burnt her husband to ashes, it was Rati, whose beseeching or penance, leads to the promise of Kama's resurrection. Often, this resurrection occurs when Kama is reborn as Pradyumna, the son of Krishna. Separated from his parents at birth, Rati – under the name of Mayavati – plays a critical role in the upbringing of Pradyumna. She acts as his nanny, as well as his lover, and tells him the way to return to his parents by slaying the demon-king, who is destined to die at his hands. Later, Kama-Pradyumna accepts Rati-Mayavati as his wife.
Yoshifuji was a pupil of Kuniyoshi Utagawa. He specialzed in subjects of warriors and toy paintings. He also worked as an illustrator for children's books.<br/><br/> The Obake monster is variously described as pitch black and velvet.
The Bakemono Zukushi handscroll, painted in the Edo period (18th-19th century) by an unknown artist, depicts 24 traditional monsters that traditionally haunt people and localities in Japan.
Toyohara Kunichika (30 June 1835 – 1 July 1900) was a Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of ukiyo-e actor-prints, which are woodblock prints of kabuki actors and scenes from popular plays of the time.<br/><br/> A drinker and womanizer, Kunichika also portrayed women deemed beautiful (bijinga), contemporary social life, and a few landscapes and historical scenes. He worked successfully in the Edo period, and carried those traditions into the Meiji period. To his contemporaries and now to some modern art historians, this has been seen as a significant achievement during a transitional period of great social and political change in Japan's history.
Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement.<br/><br/> Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century).<br/><br/> The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the expression of individual moods, but focused on strictly traditional themes of landscapes (fukeiga), famous places (meishō), beautiful women (bijinga), kabuki actors (yakusha-e), and birds and flowers (kachōga).
Oiran (花魁) were the courtesans of Edo period Japan. The oiran were considered a type of yūjo (遊女) 'woman of pleasure' or prostitute. However, they were distinguished from the yūjo in that they were entertainers, and many became celebrities of their times outside the pleasure districts. Their art and fashions often set trends among the wealthy and, because of this, cultural aspects of oiran traditions continue to be preserved to this day.<br/><br/> The oiran arose in the Edo period (1600–1868). At this time, laws were passed restricting brothels to walled districts set some distance from the city center. In the major cities these were the Shimabara in Kyoto, the Shinmachi in Osaka, and the Yoshiwara in Edo (present-day Tokyo).<br/><br/> These rapidly grew into large, self-contained 'pleasure quarters' offering all manner of entertainments. Within, a courtesan’s birth rank held no distinction, which was fortunate considering many of the courtesans originated as the daughters of impoverished families who were sold into this lifestyle as indentured servants. Instead, they were categorized based on their beauty, character, education, and artistic ability.<br/><br/> Among the oiran, the tayū (太夫) was considered the highest rank of courtesan and were considered suitable for the daimyo or feudal lords. In the mid-1700s courtesan rankings began to disappear and courtesans of all classes were collectively known simply as 'oiran'.<br/><br/> The word oiran comes from the Japanese phrase oira no tokoro no nēsan (おいらの所の姉さ) which translates as 'my elder sister'. When written in Japanese, it consists of two kanji, 花 meaning 'flower', and 魁 meaning 'leader' or 'first', hence 'Leading Flower' or 'First Flower'.
Seoul is the capital and largest metropolis of South Korea. A megacity with a population of more than 10 million, it is the largest city proper in the developed world. The Seoul Capital Area, which includes the surrounding Incheon metropolis and Gyeonggi province, is the world's second largest metropolitan area with over 25.6 million people, home to over half of South Koreans along with 632,000 international residents.<br/><br/>During the Korean War, Seoul changed hands between the Chinese-backed North Korean forces and the UN-backed South Korean forces several times, leaving the city heavily damaged after the war. One estimate of the extensive damage states that after the war, at least 191,000 buildings, 55,000 houses, and 1,000 factories lay in ruins. In addition, a flood of refugees had entered Seoul during the war, swelling the population of Seoul and its metropolitan area to an estimated 2.5 million, more than half of them homeless.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) 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.
Japan: Gongsun Sheng or Nyuunryo Kosonsho, one of the 'One Hundred and Eight Heroes of the Water Margin', hair and garments blown by the wind, seated in meditation on a rock overhanging water. Woodblock print by Utagawa Kuniyoshi (1797-1863), 1827-1830. The Water Margin (known in Chinese as Shuihu Zhuan, sometimes abbreviated to Shuihu, known as Suikoden in Japanese, as well as Outlaws of the Marsh, Tale of the Marshes, All Men Are Brothers, Men of the Marshes, or The Marshes of Mount Liang in English, is a 14th century novel and one of the Four Great Classical Novels of Chinese literature. Attributed to Shi Nai'an and written in vernacular Chinese.
Sick Guan Suo Yang Xiong, Japanese name Byokansaku Yoyu, gazing at the severed head of his adulterous wife, which he holds in one hand by the hair.<br/><br/> The Water Margin (known in Chinese as Shuihu Zhuan, sometimes abbreviated to Shuihu, 水滸傳), known as Suikoden in Japanese, as well as Outlaws of the Marsh, Tale of the Marshes, All Men Are Brothers, Men of the Marshes, or The Marshes of Mount Liang in English, is a 14th century novel and one of the Four Great Classical Novels of Chinese literature.<br/><br/> Attributed to Shi Nai'an and written in vernacular Chinese, the story, set in the Song Dynasty, tells of how a group of 108 outlaws gathered at Mount Liang (or Liangshan Marsh) to form a sizable army before they are eventually granted amnesty by the government and sent on campaigns to resist foreign invaders and suppress rebel forces.<br/><br/> In 1827, Japanese publisher Kagaya Kichibei commissioned Utagawa Kuniyoshi to produce a series of woodblock prints illustrating the 108 heroes of the Suikoden. The 1827-1830 series, called '108 Heroes of the Water Margin' or 'Tsuzoku Suikoden goketsu hyakuhachinin no hitori', made Utagawa Kuniyoshi's famous.
This Zen, or Chan, Buddhist temple, is the oldest in Guangzhou, dating back to the Eastern Jin dynasty (265 - 420 CE). It was originally built around 400 CE by an Indian monk. Hui Neng, the Sixth Patriarch of Zen Buddhism, served as a novice monk here in the 600s.<br/><br/> Most of the present structures date back to 1832, the time of the last big renovation. The Great Hall, with its impressive pillars, is still architecturally interesting. There are two pagodas behind the hall: the stone Yifa Pagoda built in 676 on top of a hair of Hui Neng, and the Song-dynasty Eastern Iron Pagoda, made of gilt iron.
Suzuki Harunobu (鈴木 春信, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.<br/><br/> During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.
Suzuki Harunobu (鈴木 春信4, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.<br/><br/> During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.
Suzuki Harunobu (鈴木 春信4, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.<br/><br/> During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.
Keisai Eisen (渓斎 英泉, 1790 – 1848) was a Japanese ukiyo-e artist who specialised in bijinga (pictures of beautiful women). His best works, including his ōkubi-e ('large head pictures'), are considered to be masterpieces of the 'decadent' Bunsei Era (1818–1830). He was also known as Ikeda Eisen, and wrote under the name of Ippitsuan.
Majapahit was a vast island-based empire centred on the island of Java (modern-day Indonesia) from 1293 to around 1500. Majapahit reached its peak of glory during the era of Hayam Wuruk, whose reign from 1350 to 1389 marked by conquest which extended through Southeast Asia. His achievement is also credited to his prime minister, Gajah Mada.<br/><br/>According to the Nagarakretagama (Desawarñana) written in 1365, Majapahit was an empire of 98 tributaries, stretching from Sumatra to New Guinea; consisting of present day Indonesia, Singapore, Malaysia, Brunei, southern Thailand, Sulu Archipelago, Manila, and East Timor, although the true nature of the Majapahit sphere of influence is still the subject of study among historians.<br/><br/>Majapahit was one of the last major empires of the region and is considered to be one of the greatest and most powerful empires in the history of Indonesia and Southeast Asia, one that is sometimes seen as the precedent for Indonesia's modern boundaries.
Peranakan Chinese and Baba-Nyonya are terms used for the descendants of late 15th and 16th-century Chinese immigrants to the Malay-Indonesian archipelago of Nusantara during the Colonial era.<br/><br/> Members of this community in Malaysia identify themselves as 'Nyonya-Baba' or 'Baba-Nyonya'. Nyonya is the term for the females and Baba for males. It applies especially to the ethnic Chinese populations of the British Straits Settlements of Malaya and the Dutch-controlled island of Java and other locations, who adopted partially or in full Malay-Indonesian customs to become partially assimilated into the local communities.<br/><br/> While the term Peranakan is most commonly used among the ethnic Chinese for those of Chinese descent also known as Straits Chinese (土生華人; named after the Straits Settlements), it may also be applied to the Baba-Yaya community in Phuket and other provinces of southern Thailand.
Peranakan Chinese and Baba-Nyonya are terms used for the descendants of late 15th and 16th-century Chinese immigrants to the Malay-Indonesian archipelago of Nusantara during the Colonial era.<br/><br/> Members of this community in Malaysia identify themselves as 'Nyonya-Baba' or 'Baba-Nyonya'. Nyonya is the term for the females and Baba for males. It applies especially to the ethnic Chinese populations of the British Straits Settlements of Malaya and the Dutch-controlled island of Java and other locations, who adopted partially or in full Malay-Indonesian customs to become partially assimilated into the local communities.<br/><br/> While the term Peranakan is most commonly used among the ethnic Chinese for those of Chinese descent also known as Straits Chinese (土生華人; named after the Straits Settlements), it may also be applied to the Baba-Yaya community in Phuket and other provinces of southern Thailand.
Kitagawa Utamaro (ca. 1753 - October 31, 1806) was a Japanese printmaker and painter, who is considered one of the greatest artists of woodblock prints (ukiyo-e). He is known especially for his masterfully composed studies of women, known as bijinga. He also produced nature studies, particularly illustrated books of insects.
Phra Mae Thorani (Thai: พระแม่ธรณี), Mae Phra Thorani (Thai: แม่พระธรณี) or Nang Thorani (นางธรณี), known as Wathondara or Wathondare in Burmese, from Pali Vasudhara are Thai and Lao language names for the Khmer language Preah Thorani, an earth goddess of the Buddhist mythology of the region. She is also known as Suvathara or Sowathara.<br/><br/> Located 70 kilometres due north of Chiang Mai (northern Thailand) on the road to Fang, Chiang Dao shelters beneath the impressive bulk of Doi Chiang Dao, a massive outcrop of rock which rises steeply over the town to a height of 2,175 metres. The peak—Thailand's third highest—is usually shrouded in clouds, and is home to a number of hilltribe villages, including Lisu, Lahu and Karen settlements.<br/><br/> Chiang Dao is a small, rather traditional town of two-storey teak shop-houses and quiet back streets. About 5 kilometres distant, on the eastern side of Doi Chiang Dao, lies the entrance to the extensive subterranean network which makes up the Chiang Dao caves. Various stories and legends surround these caverns, which are reported to extend as far as 14 kilometres under the mountain—though they are only illuminated by electric light for the first kilometre or so.
The story of the River Ganga's descent from heaven is told in the Ramayana, the Mahabharata and several Puranas. It begins with the sage, Kapila, whose intense meditation has been disturbed by the sixty thousand sons of King Sagara. Livid at being disturbed, Kapila sears them with his angry gaze, reduces them to ashes, and dispatches them to the netherworld.<br/><br/> Only the waters of the Ganga, then in heaven, can bring the dead sons their salvation. A descendant of these sons, King Bhagiratha, anxious to restore his ancestors, undertakes rigorous penance and is eventually granted the prize of Ganga's descent from heaven. However, since her turbulent force will also shatter the earth, Bhagiratha persuades Shiva in his abode on Mount Kailash to receive Ganga in the coils of his tangled hair and break her fall.<br/><br/> Ganga descends, is tamed in Shiva's locks, and arrives in the Himalayas. She is then led by the waiting Bhagiratha down into the plains at Haridwar, across the plains first to the confluence with the Yamuna at Prayag and then to Varanasi, and eventually to Ganga Sagar, where she meets the ocean, sinks to the netherworld, and saves the sons of Sagara.
Princess Dara Rasmi (August 26, 1873 – December 9, 1933), was the Princess of Chiang Mai and Siam (later Thailand) and the daughter of King Inthawichayanon and Queen Thipkraisorn Rajadewi of Chang Mai, a scion of the Chao Chet Ton Dynasty. She was one of the princess consorts of Chulalongkorn, King Rama V of Siam and gave birth to one daughter by King Chulalongkorn, Princess Vimolnaka Nabisi.<br/><br/> In 1886, she left Chiang Mai to enter the Grand Palace in Bangkok, where she was given the title Chao Chom Dara Rasami of the Chakri Dynasty. While she lived in the Grand Palace, Dara Rasami and the ladies in her entourage were ribbed and called 'Lao ladies', as well as teased that they smelled of fermented fish. Despite these difficulties, Dara Rasami and her entourage always wore Chiang Mai style textiles for their skirts (known as pha sin) with their long hair pulled up into a bun on the back of the head, in contrast to the clothing and hairstyles of the Siamese women.<br/><br/> After King Chulalongkorn died in 1910, Dara Rasmi continued to live in Dusit Palace until 1914, when she asked for permission from King Vajiravudh to return to Chiang Mai to retire. The King granted her permission, and she returned to Chiang Mai on 22 January 1914.<br/><br/> Princess Dara Rasmi continued with her royal duties for the people of Lanna. In later life, she lived in the Darabhirom Palace that King Vajiravudh built for her and her official attendants. On 30 June 1933, an old lung ailment recurred. Both Western and Thai doctors tried to cure her, but no one succeeded. Her half brother, King Chao Keo Naowarat moved her into his palace at Khum Rin Keaw for treatment, but on 9 December 1933, she died there peacefully at the age of 60.
Princess Dara Rasmi (August 26, 1873 – December 9, 1933), was the Princess of Chiang Mai and Siam (later Thailand) and the daughter of King Inthawichayanon and Queen Thipkraisorn Rajadewi of Chang Mai, a scion of the Chao Chet Ton Dynasty. She was one of the princess consorts of Chulalongkorn, King Rama V of Siam and gave birth to one daughter by King Chulalongkorn, Princess Vimolnaka Nabisi.<br/><br/> In 1886, she left Chiang Mai to enter the Grand Palace in Bangkok, where she was given the title Chao Chom Dara Rasami of the Chakri Dynasty. While she lived in the Grand Palace, Dara Rasami and the ladies in her entourage were ribbed and called 'Lao ladies', as well as teased that they smelled of fermented fish. Despite these difficulties, Dara Rasami and her entourage always wore Chiang Mai style textiles for their skirts (known as pha sin) with their long hair pulled up into a bun on the back of the head, in contrast to the clothing and hairstyles of the Siamese women.<br/><br/> After King Chulalongkorn died in 1910, Dara Rasmi continued to live in Dusit Palace until 1914, when she asked for permission from King Vajiravudh to return to Chiang Mai to retire. The King granted her permission, and she returned to Chiang Mai on 22 January 1914.<br/><br/> Princess Dara Rasmi continued with her royal duties for the people of Lanna. In later life, she lived in the Darabhirom Palace that King Vajiravudh built for her and her official attendants. On 30 June 1933, an old lung ailment recurred. Both Western and Thai doctors tried to cure her, but no one succeeded. Her half brother, King Chao Keo Naowarat moved her into his palace at Khum Rin Keaw for treatment, but on 9 December 1933, she died there peacefully at the age of 60.
Princess Dara Rasmi (August 26, 1873 – December 9, 1933), was the Princess of Chiang Mai and Siam (later Thailand) and the daughter of King Inthawichayanon and Queen Thipkraisorn Rajadewi of Chang Mai, a scion of the Chao Chet Ton Dynasty. She was one of the princess consorts of Chulalongkorn, King Rama V of Siam and gave birth to one daughter by King Chulalongkorn, Princess Vimolnaka Nabisi.<br/><br/> In 1886, she left Chiang Mai to enter the Grand Palace in Bangkok, where she was given the title Chao Chom Dara Rasami of the Chakri Dynasty. While she lived in the Grand Palace, Dara Rasami and the ladies in her entourage were ribbed and called 'Lao ladies', as well as teased that they smelled of fermented fish. Despite these difficulties, Dara Rasami and her entourage always wore Chiang Mai style textiles for their skirts (known as pha sin) with their long hair pulled up into a bun on the back of the head, in contrast to the clothing and hairstyles of the Siamese women.<br/><br/> After King Chulalongkorn died in 1910, Dara Rasmi continued to live in Dusit Palace until 1914, when she asked for permission from King Vajiravudh to return to Chiang Mai to retire. The King granted her permission, and she returned to Chiang Mai on 22 January 1914.<br/><br/> Princess Dara Rasmi continued with her royal duties for the people of Lanna. In later life, she lived in the Darabhirom Palace that King Vajiravudh built for her and her official attendants. On 30 June 1933, an old lung ailment recurred. Both Western and Thai doctors tried to cure her, but no one succeeded. Her half brother, King Chao Keo Naowarat moved her into his palace at Khum Rin Keaw for treatment, but on 9 December 1933, she died there peacefully at the age of 60.
Princess Dara Rasmi (August 26, 1873 – December 9, 1933), was the Princess of Chiang Mai and Siam (later Thailand) and the daughter of King Inthawichayanon and Queen Thipkraisorn Rajadewi of Chang Mai, a scion of the Chao Chet Ton Dynasty. She was one of the princess consorts of Chulalongkorn, King Rama V of Siam and gave birth to one daughter by King Chulalongkorn, Princess Vimolnaka Nabisi.<br/><br/> In 1886, she left Chiang Mai to enter the Grand Palace in Bangkok, where she was given the title Chao Chom Dara Rasami of the Chakri Dynasty. While she lived in the Grand Palace, Dara Rasami and the ladies in her entourage were ribbed and called 'Lao ladies', as well as teased that they smelled of fermented fish. Despite these difficulties, Dara Rasami and her entourage always wore Chiang Mai style textiles for their skirts (known as pha sin) with their long hair pulled up into a bun on the back of the head, in contrast to the clothing and hairstyles of the Siamese women.<br/><br/> After King Chulalongkorn died in 1910, Dara Rasmi continued to live in Dusit Palace until 1914, when she asked for permission from King Vajiravudh to return to Chiang Mai to retire. The King granted her permission, and she returned to Chiang Mai on 22 January 1914.<br/><br/> Princess Dara Rasmi continued with her royal duties for the people of Lanna. In later life, she lived in the Darabhirom Palace that King Vajiravudh built for her and her official attendants. On 30 June 1933, an old lung ailment recurred. Both Western and Thai doctors tried to cure her, but no one succeeded. Her half brother, King Chao Keo Naowarat moved her into his palace at Khum Rin Keaw for treatment, but on 9 December 1933, she died there peacefully at the age of 60.
A longyi is a sheet of cloth widely worn in Burma. It is approximately 2 m (6½ ft.) long and 80 cm (2½ ft.) wide. The cloth is often sewn into a cylindrical shape. It is worn around the waist, running to the feet. It is held in place by folding fabric over, without a knot. It is also sometimes folded up to the knee for comfort. Similar garments are found in India, Bangladesh, Sri Lanka, the Malay Archipelago, and Juiz de Fora. In the Indian subcontinent (Bangladesh, West Bengal, South India, and Sri Lanka), it is known variously as a lungi, longi, kaili or saaram.
The Assembly Hall of the Chaozhou Chinese Congregation (Triều Châu) was originally built in 1776.<br/><br/> The small but historic town of Hoi An is located on the Thu Bon River 30km (18 miles) south of Danang. During the time of the Nguyen Lords (1558 - 1777) and even under the first Nguyen Emperors, Hoi An - then known as Faifo - was an important port, visited regularly by shipping from Europe and all over the East.<br/><br/> By the late 19th Century the silting up of the Thu Bon River and the development of nearby Danang had combined to make Hoi An into a backwater. This obscurity saved the town from serious fighting during the wars with France and the USA, so that at the time of reunification in 1975 it was a forgotten and impoverished fishing port lost in a time warp.
Dream of the Red Chamber (pinyin: Hóng Lóu Mèng; Wade–Giles: Hung Lou Meng), composed by Cao Xueqin, is one of China's Four Great Classical Novels. It was composed sometime in the middle of the 18th century during the Qing Dynasty. It is a masterpiece of Chinese vernacular literature and is generally acknowledged to be the pinnacle of classical Chinese novels.<br/><br/> Red Chamber is believed to be semi-autobiographical, mirroring the fortunes of author Cao Xueqin's own family. As the author details in the first chapter, it is intended to be a memorial to the women he knew in his youth: friends, relatives and servants. The novel is remarkable not only for its huge cast of characters and psychological scope, but also for its precise and detailed observation of the life and social structures typical of 18th-century Chinese aristocracy.
The Bakemono Zukushi handscroll, painted in the Edo period (18th-19th century) by an unknown artist, depicts 24 traditional monsters that traditionally haunt people and localities in Japan.
The Bakemono Zukushi handscroll, painted in the Edo period (18th-19th century) by an unknown artist, depicts 24 traditional monsters that traditionally haunt people and localities in Japan.
The Bakemono Zukushi handscroll, painted in the Edo period (18th-19th century) by an unknown artist, depicts 24 traditional monsters that traditionally haunt people and localities in Japan.
In the classic tale from the Hebrew Bible, or Christian Old Testament, Samson is an Israelite of great physical strength. He confides in his lover, Delilah, that the secret of his strength is his long hair, which has never been cut since the day he was born. Delilah—perhaps one of history’s first ‘femmes fatales’—betrays Samson by informing his enemies.<br/><br/> In this famous scene, Samson is asleep in the lap of his mistress who urges two accomplices to cut Samson’s hair with the scissors she wields.<br/><br/> His hair cut and strength diminished, Samson is overpowered and arrested by the soldiers at the door. But when he is taken in chains to a temple feast, Samson pushes over two great pillars causing the entire temple to fall down, killing everyone inside, including himself.
In the classic tale from the Hebrew Bible, or Christian Old Testament, Samson is an Israelite of great physical strength. He confides in his lover, Delilah, that the secret of his strength is his long hair, which has never been cut since the day he was born. Delilah betrays Samson by informing his enemies.<br/><br/> In this famous scene, Samson is asleep in the lap of his mistress who urges an accomplice to cut Samson’s hair with the scissors she wields. He is hesitant and afraid.<br/><br/> Eventually, the servant cuts Samson’s hair. Samson is overpowered and arrested. But when he is taken in chains to a temple feast, Samson pushes over two great pillars causing the entire temple to fall down, killing everyone inside, including himself.
Dandan Oilik is a deserted historical town and desert oasis in the Taklamakan Desert of China. Dandan Oilik was an important (though small) centre of local Buddhism and trade on the Silk Road. Its name means 'Houses of Ivory' and has been the site of a small number of significant archeological finds.<br/><br/> Having been abandoned many hundreds of years ago, the oasis was found and lost to shifting desert sands several times. Most recently, a German expedition led by Christoph Baumer found the city based on the accounts of previous explorers such as Sir Aurel Stein, and uncovered relics dating to the 7th and 8th centuries. They also marked its GPS position, and the city is now being studied by Chinese archeologists.
The Swahili people are a Bantu ethnic group and culture found on the coast of East Africa. The Swahili people mainly reside on the Swahili Coast, in an area encompassing Zanzibar archipelago, coastal Kenya, the Tanzanian coast and northern Mozambique. The name Swahili is derived from the Arabic word Sawahil, meaning 'coastal', and they speak the Swahili language.
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.
The history of Northern Thailand is dominated by the Lanna Kingdom, which was founded in 1259 by King Mangrai and remained an independent force until the 16th century. Much of Northern Thailand is mountainous.
Bijinga (lit., 'beautiful person picture') is a generic term for pictures of beautiful women in Japanese art, especially in woodblock printing of the ukiyo-e genre, which predate photography. Nearly all ukiyo-e artists produced bijinga, it being one of the central themes of the genre.<br/><br/> Kitagawa Utamaro (ca. 1753 - October 31, 1806) was a Japanese printmaker and painter, who is considered one of the greatest artists of woodblock prints (ukiyo-e). He is known especially for his masterfully composed studies of women, known as bijinga. He also produced nature studies, particularly illustrated books of insects.
Goyō Hashiguchi (橋口 五葉 Hashiguchi Goyō, December 21, 1880 - February 24, 1921) was a Japanese painter and woodblock artist.<br/><br/> Hashiguchi was born Hashiguchi Kiyoshi in Kagoshima Prefecture. His father Hashiguchi Kanemizu was a samurai and amateur painter in the Shijo style. His father hired a teacher in the Kano style of painting in 1899 when Kiyoshi was only ten. Kiyoshi took the name of Goyo while attending the Tokyo School of Fine Arts, from which he graduated best in his class in 1905.
The Swahili people are a Bantu ethnic group and culture found in East Africa, mainly in the coastal regions and the islands of Kenya, Tanzania and northern Mozambique. The name Swahili is derived from the Arabic word Sawahil, meaning 'coastal dwellers', and they speak the Swahili language.<br/><br/> The Swahili are original Bantu inhabitants on the coast of East Africa, in Kenya, Tanzania and Mozambique. They are mainly united by culture and under the mother tongue of Kiswahili, a Bantu language. This also extends to Arab, Persian, and other migrants who reached the coast some believe as early as the 7th-8th c. CE, and mixed with the local people there, providing considerable cultural infusion and numerous loan words from Arabic and Persian.
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.
Shiva bearing the descent of the Ganges River as Parvati and Bhagiratha and the bull Nandi look on, folio from a Hindi manuscript by the saint Narayan, circa 1740.<br/><br/> Told and retold in the Ramayana, the Mahabharata and several Puranas, the story begins with a sage, Kapila, whose intense meditation has been disturbed by the sixty thousand sons of King Sagara. Livid at being disturbed, Kapila sears them with his angry gaze, reduces them to ashes, and dispatches them to the netherworld.<br/><br/> Only the waters of the Ganga, then in heaven, can bring the dead sons their salvation. A descendant of these sons, King Bhagiratha, anxious to restore his ancestors, undertakes rigorous penance and is eventually granted the prize of Ganga's descent from heaven. However, since her turbulent force will also shatter the earth, Bhagiratha persuades Shiva in his abode on Mount Kailash to receive Ganga in the coils of his tangled hair and break her fall.<br/><br/> Ganga descends, is tamed in Shiva's locks, and arrives in the Himalayas. She is then led by the waiting Bhagiratha down into the plains at Haridwar, across the plains first to the confluence with the Yamuna at Prayag and then to Varanasi, and eventually to Ganga Sagar, where she meets the ocean, sinks to the netherworld, and saves the sons of Sagara.
Wat Pa Daet (วัดป่าแดด), the name – ‘sunlit woodland’ – indicates this was formerly a forest temple. A walled enclosure contains a viharn, sala and ho trai or library, while just outside stands an ubosot in traditional northern style, surrounded by a narrow moat.<br/><br/> The viharn dates from 1877 and was painstakingly restored in the mid-1980s. Decorated in black and gold, the three-tiered roof sweeps low in typical Lan Na style, with elaborate winged gables supporting flaring naga. The steps leading to the portico are guarded by Burmese-style chinthe lions and naga-makara balustrades, with the chinthe emerging from the makara mouths, an unusual synthesis found elsewhere in the Mae Chaem Valley as well as at the ho trai of Wat Phra Singh in Chiang Mai.<br/><br/> Within the viharn, after passing beneath gilded eyebrow pelmets, are a series of relatively well-preserved late 19th century murals, some of which appear to have been restored, while others are fading almost completely away due perhaps to salinity in the plaster. Of particular interest are panels showing northern Thai women with their long tresses, quite different to Bangkok fashions of the time, and a Buddha birth-scene, northern Thai style, with women crowding around Gautama’s mother as she gives birth standing upright, holding on to the branches of a tree.<br/><br/> Tucked away in a narrow valley, Mae Chaem (แม่แจ่ม) must rank as one of the least accessible corners of Chiang Mai. Located on the westernmost frontier of the province, it is isolated from the main Chiang Mai valley by the East Thanon Thongchai Range dominated by Doi Inthanon (ดอยอินทนนท์; at 2,565m Thailand’s highest mountain), and from neighbouring Mae Hong Son province to the west by the Central Thanon Thongchai Range, including Doi Khun Bong (ดอยขุนบง; 1,772m).
Japan: 'The Monkey King Blows Hair Away', woodblock print by Katsushika Taito II (active 1810-1853), 1836, Rijksmuseum, Amsterdam. The Monkey King Sun Wukong is a mythological character in Chinese folk religion and literature. An important figure in various legends and stories, he is perhaps bestl known for his starring role in the 16th century classical novel 'Journey to the West'.
In the mid-to-late 19th century Siam, women wore their hair short and combed back. However, Peguan, Burmese and Mon women were noticeable by always wearing their hair long. Whereas Siamese women wore mid-length trousers, or 'pha nung', which were supported by a belt or tied in a knot, Mon women generally wore sarongs, longyis or ankle-length 'pha sin'. Siamese women mostly wore a cloth over their left shoulder to cover their breasts, while their Burmese counterparts wore tunics, as in this photo.
In the mid-to-late 19th century Siam, women wore their hair short and combed back. They wore mid-length trousers, or 'pha nung', which were supported by a belt or tied in a knot. Middle and upper-class women generally wore a cloth over their left shoulder to cover their breasts, leaving their right arm free. Before this time, the midriff and chest were usually left exposed with tattoos decorating the torso. However, when King Chulalongkorn (r. 1868—1910) returned from Europe, he decreed that all women must cover their chests.
In the mid-to-late 19th century Siam, women wore their hair short and combed back. They wore mid-length trousers, or 'pha nung', which were supported by a belt or tied in a knot. Middle and upper-class women generally wore a cloth over their left shoulder to cover their breasts, leaving their right arm free. Before this time, the midriff and chest were usually left exposed with tattoos decorating the torso. However, when King Chulalongkorn (r. 1868—1910) returned from Europe, he decreed that all women must cover their chests.
In the mid-to-late 19th century Siam, women wore their hair short and combed back. They wore mid-length trousers, or 'pha nung', which were supported by a belt or tied in a knot. Middle and upper-class women generally wore a cloth over their left shoulder to cover their breast, leaving their right arm free. Before this time, the midriff and chest were usually left exposed with tattoos decorating the torso. However, when King Chulalongkorn (r. 1868—1910) returned from Europe, he decreed that all women must cover their chests.
During the reign of King Mongkut, Rama IV (1851—68), both men and women wore wore similar hairstyles, with the head shaved except for a round tuft on the crown which was spiked like a brush. Both sexes also wore mid-length trousers, or 'pha nung', which were supported by a belt or tied in a knot. Middle and upper-class women frequently wore a sarong or 'pha sin'. Women generally wore a cloth over their left shoulder to cover their breast, leaving their right arm free. Before this time, the midriff and chest were usually left exposed with tattoos decorating the torso.
In mid-19th century Siam, both men and women wore wore similar hairstyles, with the head shaved except for a round tuft on the crown which was spiked like a brush. Both sexes also wore mid-length trousers, or 'pha nung', which were supported by a belt or tied in a knot. Middle and upper-class women generally wore a sarong or cloth over their left shoulder to cover their breast, leaving their right arm free. Before this time, the midriff and chest were usually left exposed with tattoos decorating the torso.
In mid-19th century Siam, both men and women wore wore similar hairstyles, with the head shaved except for a round tuft on the crown which was spiked like a brush. Both sexes also wore mid-length trousers, or 'pha nung', which were supported by a belt, often made from silver. Middle and upper-class women generally wore a sarong or cloth over their left shoulder to cover their breast, leaving their right arm free. Before this time, the midriff and chest were usually left exposed with tattoos decorating the torso.
Kitagawa Utamaro (ca. 1753 - October 31, 1806) was a Japanese printmaker and painter, who is considered one of the greatest artists of woodblock prints (ukiyo-e). He is known especially for his masterfully composed studies of women, known as bijinga. He also produced nature studies, particularly illustrated books of insects.
The Mogao Caves, or Mogao Grottoes (Chinese: mò gāo kū), also known as the Caves of the Thousand Buddhas and Dunhuang Caves, form a system of 492 temples 25 km (15.5 miles) southeast of the center of Dunhuang, an oasis strategically located at a religious and cultural crossroads on the Silk Road, in Gansu province, China.<br/><br/> The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years. The first caves were dug out 366 CE as places of Buddhist meditation and worship. The Mogao Caves are the best known of the Chinese Buddhist grottoes and, along with Longmen Grottoes and Yungang Grottoes, are one of the three famous ancient sculptural sites of China. The caves also have famous wall paintings.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
The Benin Empire (1440–1897) was a pre-colonial African state in what is now modern Nigeria. It is not to be confused with the modern-day country called Benin (and formerly called Dahomey).