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Japan: 'Album of Hawks and Calligraphy'. Album of nine paintings by Kano Tsunenobu (1636-1713), late 17th century. Kano Tsunenobu was a Japanese painter who lived during the Edo Period. He was a student of the Kano school of painting, and had a particular interest in Chinese art styles, often copying or emulating Chinese paintings with very little Japanese influence. He became a second-generation head of the Kano school's Kobikicho branch in Edo (Tokyo).
Japan: 'Album of Hawks and Calligraphy'. Album of nine paintings by Kano Tsunenobu (1636-1713), late 17th century. Kano Tsunenobu was a Japanese painter who lived during the Edo Period. He was a student of the Kano school of painting, and had a particular interest in Chinese art styles, often copying or emulating Chinese paintings with very little Japanese influence. He became a second-generation head of the Kano school's Kobikicho branch in Edo (Tokyo).
Japan: 'Album of Hawks and Calligraphy'. Album of nine paintings by Kano Tsunenobu (1636-1713), late 17th century. Kano Tsunenobu was a Japanese painter who lived during the Edo Period. He was a student of the Kano school of painting, and had a particular interest in Chinese art styles, often copying or emulating Chinese paintings with very little Japanese influence. He became a second-generation head of the Kano school's Kobikicho branch in Edo (Tokyo).
Japan: 'Album of Hawks and Calligraphy'. Album of nine paintings by Kano Tsunenobu (1636-1713), late 17th century. Kano Tsunenobu was a Japanese painter who lived during the Edo Period. He was a student of the Kano school of painting, and had a particular interest in Chinese art styles, often copying or emulating Chinese paintings with very little Japanese influence. He became a second-generation head of the Kano school's Kobikicho branch in Edo (Tokyo).
Japan: 'Album of Hawks and Calligraphy'. Album of nine paintings by Kano Tsunenobu (1636-1713), late 17th century. Kano Tsunenobu was a Japanese painter who lived during the Edo Period. He was a student of the Kano school of painting, and had a particular interest in Chinese art styles, often copying or emulating Chinese paintings with very little Japanese influence. He became a second-generation head of the Kano school's Kobikicho branch in Edo (Tokyo).
Japan: 'Album of Hawks and Calligraphy'. Album of nine paintings by Kano Tsunenobu (1636-1713), late 17th century. Kano Tsunenobu was a Japanese painter who lived during the Edo Period. He was a student of the Kano school of painting, and had a particular interest in Chinese art styles, often copying or emulating Chinese paintings with very little Japanese influence. He became a second-generation head of the Kano school's Kobikicho branch in Edo (Tokyo).
Japan: 'Album of Hawks and Calligraphy'. Album of nine paintings by Kano Tsunenobu (1636-1713), late 17th century. Kano Tsunenobu was a Japanese painter who lived during the Edo Period. He was a student of the Kano school of painting, and had a particular interest in Chinese art styles, often copying or emulating Chinese paintings with very little Japanese influence. He became a second-generation head of the Kano school's Kobikicho branch in Edo (Tokyo).
Japan: 'Album of Hawks and Calligraphy'. Album of nine paintings by Kano Tsunenobu (1636-1713), late 17th century. Kano Tsunenobu was a Japanese painter who lived during the Edo Period. He was a student of the Kano school of painting, and had a particular interest in Chinese art styles, often copying or emulating Chinese paintings with very little Japanese influence. He became a second-generation head of the Kano school's Kobikicho branch in Edo (Tokyo).
Japan: 'Album of Hawks and Calligraphy'. Album of nine paintings by Kano Tsunenobu (1636-1713), late 17th century. Kano Tsunenobu was a Japanese painter who lived during the Edo Period. He was a student of the Kano school of painting, and had a particular interest in Chinese art styles, often copying or emulating Chinese paintings with very little Japanese influence. He became a second-generation head of the Kano school's Kobikicho branch in Edo (Tokyo).
Kano Motonobu (1476-1559 CE) was a Japanese painter born in 1476, in the Kano district (modern-day Shizuoka Prefecture). Motonobu was a member of the Kano school of painting, which was founded by his father, Kano Masanobu, though it was Motonobu that established the distinctive techniques and styles the school would become famous for.<br/><br/> Motonobu's clients were primarily from the imperial court and merchant classes of Kyoto and Sakai, which gave him a lot of political pull and influence, and allowed the Kano school to grow and prosper. His most famous achievement was a new technique of painting known as <i>wa-kan</i>, a mixture of Chinese and Japanese painting styles.<br/><br/> The Kano family would go on to dominate the Japanese painting world from the end of the Muromachi Period all the way through to the end of the Edo Period, their creativity and flexibility allowing them to survive for centuries.
Hosokawa Takakuni (1484-1531) was the most powerful military commander in the Muromachi Period under the 12th shogun, Ashikaga Yoshiharu. He was a member of the Hosokawa clan, and adopted brother to Hosokawa Sumimoto.<br/><br/> In 1507, he aided his brother in avenging the death of their adopted father, Hosokawa Masamoto, at the hands of Hosokawa Sumiyuki. However, he betrayed his adopted brother and the head of the Hosokawa clan when the previous shogun, Ashikaga Yoshiki, was returned to power in 1508. He became the new head of the clan, monopolising much of the shogunate's power in the next few years, turning Yoshiki into a puppet shogun.<br/><br/> When Yoshiki escaped his 'captivity' in 1521, Takakuni made Ashikaga Yoshiharu the new shogun. He was eventually purged from Kyoto, the capital, in 1527, by an alliance between Myoshi Motonaga and Hosokawa Harumoto. His army was defeated in 1531, and he tried to hide in an alcohol storage room in Amagasaki, Settsu Province, before he was discovered and, rather than be captured, committed suicide.
Hosokawa Sumimoto (1489-1520) was a samurai commander who lived during the Muromachi Period, in 16th century Japan. A member of the Hosokawa Clan in Awa Province, he succeeded his adopted father Hosokawa Masamoto as leader of the clan, creating a rift between Sumimoto and Hosokawa Sumiyuki, who was originally going to succeed.<br/><br/> In 1507, Masamoto was killed by a servant of Sumiyuki's, while Sumimoto was attacked by a retainer but managed to escape to take refuge at Rokkaku Takayori, in Omi Province. A loyal follower of Sumimoto's, Miyoshi Yukinaga, raised an army and destroyed Sumiyaki, allowing Sumimoto to return and succeed the house in proper form.<br/><br/> When Ashikaga Yoshiki, the previous Shogun who had been deposed by Sumimoto's adopted father, was returned to power in 1508, Sumimoto was forced to flee and rebel. He fought and lost multiple battles, and eventually died after fleeing back to his home province of Awa.
Huang Chuping, sometimes known as Wong Cho Ping, was the human form of the Chinese Daoist deity Huang Daxian, also known as Wong Tai Sin. The name Huang Daxian translates as 'Great Immortal Huang (Wong)'.<br/><br/> Huang Chuping was a Daoist hermit from Zheijang, born in 238 CE, though some Western sources list his birth as c. 284 to 364 CE. Huang Chuping was said to have experienced great hunger and poverty in his youth, becoming a shepherd by his eighth birthday. One day, when he was fifteen years old, he met an immortal on Red Pine Mountain, and began practising Daoism as a result. After forty years, he was able to transform stones into sheep, and eventually became known as the Red Pine Immortal.<br/><br/> Worship of him is popular in Jinhua, Zhejiang and Hong Kong, where he is often prayed to for his powers of healing.
Kano Motonobu (1476-1559) was a Japanese painter born in 1476, in the Kano district (modern-day Shizuoka Prefecture). Motonobu was a member of the Kano school of painting, which was founded by his father, Kano Masanobu, though it was Motonobu that established the distinctive techniques and styles the school would become famous for.<br/><br/> Motonobu's clients were primarily from the imperial court and merchant classes of Kyoto and Sakai, which gave him a lot of political pull and influence, and allowed the Kano school to grow and prosper. His most famous achievement was a new technique of painting known as <i>wa-kan</i>, a mixture of Chinese and Japanese painting styles.<br/><br/> The Kano family would go on to dominate the Japanese painting world from the end of the Muromachi Period all the way through to the end of the Edo Period, their creativity and flexibility allowing them to survive for centuries.
<i>Bugaku</i>, a court dance accompanied by <i>Gagaku</i> music, is a Japanese traditional dance blending Buddhist and Shinto elements that has been performed to select elites mostly in Japanese imperial courts for over twelve hundred years.<br/><br/> In this way it has been an upper class secret, although after World War II the dance was opened to the public and has even toured around the world in 1959. The dance is marked by its slow, precise and regal movements.<br/><br/> The dancers wear intricate traditional Buddhist costumes, which usually include equally beautiful masks. The music and dance pattern is often repeated several times. It is performed on a square platform, usually 6m by 6m.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kano Eitoku (February 16, 1543 - October 12, 1590) was a Japanese painter who lived during the Azuchi–Momoyama period (1568-1600) and is considered one of the most prominent patriarchs of the Kano school of Japanese painting.<br/><br/> The Kano school of painting was the dominant style of painting from the late 15th century until the Meiji period which began in 1868. The school began by reflecting a renewed influence from Chinese painting, but developed a brightly coloured and firmly outlined style for large panels decorating the castles of the nobility which reflected distinctively Japanese traditions, while continuing to produce monochrome brush paintings in Chinese styles.
Guanyin, short for Guanshiyin, is a bodhisattva in Mahayana Buddhism often associated with compassion and mercy. While she is often portrayed as a woman, she is beyond gender and can be depicted as both male and female.<br/><br/> Guanyin is often referred to as the 'most widely beloved Buddhist Divinity', due to her miraculous powers and her loving compassion. She is not only worshipped in Buddhism, but also in Taoism and Chinese folk religion, with various stories and legends about her. Guanyin plays a very important role in the classic Chinese novel 'Journey to the West.'<br/><br/> She is known by various names in different nations, with the Japanese calling her Kannon/Kwannon, or more formally Kanzeon, while in Thailand she is called Kuan Im. She is extremely popular, with temples dedicated to her found throughout South and East Asia, especially in China and Chinese folk religion.
Kano Naizen (1570 - 1616) was a Japanese painter of the Kano school, particularly known for his screen paintings (byobu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
<i>Bugaku</i>, a court dance accompanied by <i>Gagaku</i> music, is a Japanese traditional dance blending Buddhist and Shinto elements that has been performed to select elites mostly in Japanese imperial courts for over twelve hundred years.<br/><br/> In this way it has been an upper class secret, although after World War II the dance was opened to the public and has even toured around the world in 1959. The dance is marked by its slow, precise and regal movements.<br/><br/> The dancers wear intricate traditional Buddhist costumes, which usually include equally beautiful masks. The music and dance pattern is often repeated several times. It is performed on a square platform, usually 6m by 6m.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Nichiren Buddhism (日蓮系諸宗派: Nichiren-kei sho shūha) is a branch of Mahāyāna Buddhism based on the teachings of the 13th century Japanese Buddhist reformer Nichiren (1222–1282).<br/><br/> Nichiren Buddhism is based on the Lotus Sutra, which teaches that all people have an innate Buddha nature and are therefore inherently capable of attaining enlightenment in their current form and present lifetime. Nichiren Buddhism is a comprehensive term covering several major schools and many sub-schools.<br/><br/> Nichiren Buddhists believe that the spread of Nichiren's teachings and their effect on practitioners' lives will eventually bring about a peaceful, just, and prosperous society.
Green tea is made solely from the leaves of Camellia sinensis that have undergone minimal oxidation during processing.<br/><br/> Green tea originates in China and has become associated with many cultures throughout Asia. It has recently become more widespread in the West, where black tea is traditionally consumed. Many varieties of green tea have been created in countries where they are grown. These varieties can differ substantially due to variable growing conditions, horticulture, production processing, and harvesting time.<br/><br/> Over the last few decades green tea has been subjected to many scientific and medical studies to determine the extent of its long-purported health benefits, with some evidence suggesting that regular green tea drinkers may have a lower risk of developing heart disease and certain types of cancer.
Green tea is made solely from the leaves of Camellia sinensis that have undergone minimal oxidation during processing.<br/><br/> Green tea originates in China and has become associated with many cultures throughout Asia. It has recently become more widespread in the West, where black tea is traditionally consumed. Many varieties of green tea have been created in countries where they are grown. These varieties can differ substantially due to variable growing conditions, horticulture, production processing, and harvesting time.<br/><br/> Over the last few decades green tea has been subjected to many scientific and medical studies to determine the extent of its long-purported health benefits, with some evidence suggesting that regular green tea drinkers may have a lower risk of developing heart disease and certain types of cancer.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.<br/><br/> The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e), and the four seasons (shiki-e). The pictures are non-symbolic and have the objective of depicting the beauty in nature. The pictures are often on scrolls that can be hung on a wall (kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanying story or on a folding screen (byoubu) or panel (shouji).<br/><br/> Although they received their name from the Yamato period (250-710 CE), Yamato-e pictures rather stand for a style and are not restricted to a particular period. Although the most famous artists painted in sumi-e style in the Muromachi period, this was not characteristic of early pictures.
Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.<br/><br/> The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e), and the four seasons (shiki-e). The pictures are non-symbolic and have the objective of depicting the beauty in nature. The pictures are often on scrolls that can be hung on a wall (kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanying story or on a folding screen (byoubu) or panel (shouji).<br/><br/> Although they received their name from the Yamato period (250-710 CE), Yamato-e pictures rather stand for a style and are not restricted to a particular period. Although the most famous artists painted in sumi-e style in the Muromachi period, this was not characteristic of early pictures.
Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.<br/><br/> The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e), and the four seasons (shiki-e). The pictures are non-symbolic and have the objective of depicting the beauty in nature. The pictures are often on scrolls that can be hung on a wall (kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanying story or on a folding screen (byoubu) or panel (shouji).<br/><br/> Although they received their name from the Yamato period (250-710 CE), Yamato-e pictures rather stand for a style and are not restricted to a particular period. Although the most famous artists painted in sumi-e style in the Muromachi period, this was not characteristic of early pictures.
Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.<br/><br/> The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e), and the four seasons (shiki-e). The pictures are non-symbolic and have the objective of depicting the beauty in nature. The pictures are often on scrolls that can be hung on a wall (kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanying story or on a folding screen (byoubu) or panel (shouji).<br/><br/> Although they received their name from the Yamato period (250-710 CE), Yamato-e pictures rather stand for a style and are not restricted to a particular period. Although the most famous artists painted in sumi-e style in the Muromachi period, this was not characteristic of early pictures.
Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.<br/><br/> The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e), and the four seasons (shiki-e). The pictures are non-symbolic and have the objective of depicting the beauty in nature. The pictures are often on scrolls that can be hung on a wall (kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanying story or on a folding screen (byoubu) or panel (shouji).<br/><br/> Although they received their name from the Yamato period (250-710 CE), Yamato-e pictures rather stand for a style and are not restricted to a particular period. Although the most famous artists painted in sumi-e style in the Muromachi period, this was not characteristic of early pictures.
Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.<br/><br/> The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e), and the four seasons (shiki-e). The pictures are non-symbolic and have the objective of depicting the beauty in nature. The pictures are often on scrolls that can be hung on a wall (kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanying story or on a folding screen (byoubu) or panel (shouji).<br/><br/> Although they received their name from the Yamato period (250-710 CE), Yamato-e pictures rather stand for a style and are not restricted to a particular period. Although the most famous artists painted in sumi-e style in the Muromachi period, this was not characteristic of early pictures.
Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.<br/><br/> The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e), and the four seasons (shiki-e). The pictures are non-symbolic and have the objective of depicting the beauty in nature. The pictures are often on scrolls that can be hung on a wall (kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanying story or on a folding screen (byoubu) or panel (shouji).<br/><br/> Although they received their name from the Yamato period (250-710 CE), Yamato-e pictures rather stand for a style and are not restricted to a particular period. Although the most famous artists painted in sumi-e style in the Muromachi period, this was not characteristic of early pictures.
Kanō Masanobu (c.1434–1530, Kyoto) was the chief painter of the Ashikaga shogunate and is generally considered the founder of the Kanō school of painting. The Kanō school was a style of painting that maintained dominance over 400 years from Masanobu's time up through the Meiji Restoration (1868). 'Zhou Maoshu Appreciating Lotuses', a designated National Treasure of Japan, is a 15th century painting mounted as a hanging scroll by Kanō Masanobu that depicts the 11th century Confucian scholar Zhou Maoshu in a boat floating on a lake with lotuses.
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/>The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate. Almost all ukiyo-e artists made shunga at some point in their careers, and it did not detract from their prestige as artists. Classifying shunga as a kind of medieval pornography can be misleading in this respect.
Consort Yang Yuhuan (1 June 719 — 15 July 756), often known as Yang Guifei (Guifei being the highest rank for imperial consorts during her time), known briefly by the Taoist nun name Taizhen, was known as one of the Four Beauties of ancient China. She was the beloved consort of Emperor Xuanzong of Tang during his later years. During the Anshi Rebellion, as Emperor Xuanzong was fleeing from the capital Chang'an to Chengdu, she was killed because his guards blamed the rebellion on her powerful cousin Yang Guozhong and the rest of her family.
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/>The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate. Almost all ukiyo-e artists made shunga at some point in their careers, and it did not detract from their prestige as artists. Classifying shunga as a kind of medieval pornography can be misleading in this respect.
The Sixty-nine Stations of the Kiso Kaidō (木曾街道六十九次 Kiso Kaidō Rokujūkyū-tsugi) or Sixty-nine Stations of the Kiso Road, is a series of ukiyo-e works created by Utagawa Hiroshige (1797-1858) and Keisai Eisen (1790-1848).<br/><br/> There are 71 total prints in the series (one for each of the 69 post stations and Nihonbashi; Nakatsugawa-juku has two prints). The common name for the Kiso Kaidō is 'Nakasendō' or 'Central Mountain Highway', so this series is salso commonly referred to as the Sixty-nine Stations of the Nakasendō.<br/><br/> The Nakasendō was one of the Five Routes constructed under Tokugawa Ieyasu, a series of roads linking the historical capitol of Edo with the rest of Japan. The Nakasendō connected Edo with the then-capital of Kyoto. It was an alternate route to the Tōkaidō and travelled through the central part of Honshū, thus giving rise to its name, which means 'Central Mountain Road'. Along this road, there were sixty-nine different post stations (<i>-shuku</i> or <i>-juku</i>), which provided stables, food, and lodging for travelers.<br/><br/> Eisen produced the first 11 prints of the series, from Nihonbashi to Honjō-shuku, stretching from Tokyo to Saitama Prefecture. After that, Hiroshige took over production of the series.
The Qur’an is the religious text of Islam. It is widely regarded as the finest piece of literature in the Arabic language. Muslims hold that the Qur’an is the verbal divine guidance and moral direction for mankind. Muslims also consider the original Arabic verbal text to be the final revelation of God and believe that the Qur’an was repeatedly revealed from Allah to Muhammad verbally through the angel Jibril (Gabriel) over a period of approximately 33 years, beginning in 610 CE.