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Nuwa, sometimes also known as Nugua, is an ancient Chinese goddess who is most famous for the creation of mankind and repairing the pillar of heaven. She is often depicted as either a woman with a serpentine lower body or even just a woman's head on a serpent's body, earning her the name 'Snake Goddess'. Nuwa and her brother/husband Fuxi forged humanity out of clay, breathing life into them.<br/><br/> After a fight between the fire god Zhurong and the sea monster Gong Gong caused the latter to smash into Buzhou Mountain, one of the pillars holding up the sky, which resulted in calamity. Great floods and much suffering affected the people, and Nuwa is said to have cut the legs off the giant turtle Ao, using them in place of the fallen pillar to end the disaster. However, she was not able to fully correct the tilted sky and earth, thus explaining why Chinese rivers generally flow to the southeast while the sun, moon and stars move towards the northwest.<br/><br/> Nuwa also plays an important role in the Ming Dynasty novel 'Fengshen Yanyi'. After King Zhou of Shang Dynasty insulted the goddess by lusting after her and writing an obscene poem on the wall of her temple. In vengeance, she sent three spirits to bewitch King Zhou, eventually causing the downfall of the Shang Dynasty.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Libellus de primo Saxonum uel Normannorum adventu, located in a 12th-century manuscript (London, British Library Cotton Caligula A. viii) and often attributed to Symeon of Durham, contains an illustration of Odin as Woden, crowned as ancestral king of the Anglo-Saxons.<br/><br/> The text surrounding the illustration describes the royal lineages of the kingdoms of Kent, Mercia, Deira, Bernicia and Wessex respectively, each claiming descent and the right to rule from this legendary figure.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
Henry of Huntingdon (c. 1088 – c. 1157), the son of a canon in the diocese of Lincoln, was a 12th-century English historian who served as archdeacon of Huntingdon. The few details of Henry's life that are known originated from his own works and from a number of official records. He was brought up in the wealthy court of Robert Bloet of Lincoln, who became his patron.<br/><br/> At the request of Bloet's successor, Alexander of Lincoln, Henry began to write his Historia Anglorum, first published around 1129, an account of the history of England from its beginnings up to the year 1154.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
Utagawa Kuniyoshi (歌川 国芳, January 1, 1797 - April 14, 1862) was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He is associated with the Utagawa school.<br/><br/> The range of Kuniyoshi's preferred subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of samurai and legendary heroes. His artwork was affected by Western influences in landscape painting and caricature.
Katsushika Hokusai (葛飾 北斎, October 31, 1760 – May 10, 1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He was influenced by such painters as Sesshu, and other styles of Chinese painting. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 Fugaku Sanjūroku-kei, c. 1831) which includes the internationally recognized print, The Great Wave off Kanagawa, created during the 1820s.<br/><br/> Hokusai created the 'Thirty-Six Views' both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically The Great Wave print and Fuji in Clear Weather, that secured Hokusai’s fame both in Japan and overseas.
Ryūjin or Ryōjin (龍神 'dragon god'), also known as Ōwatatsumi, is the tutelary deity of the sea in Japanese mythology. This Japanese dragon symbolized the power of the ocean, had a large mouth, and was able to transform into a human shape. Ryūjin lived in Ryūgū-jō, his palace under the sea built out of red and white coral, from where he controlled the tides with magical tide jewels. Sea turtles, fish and jellyfish are often depicted as Ryūjin's servants.<br/><br/> Ryūjin was the father of the beautiful goddess Otohime who married the hunter prince Hoori. The first Emperor of Japan, Emperor Jimmu, is said to have been a grandson of Otohime and Hoori's. Thus, Ryūjin is said to be one of the ancestors of the Japanese imperial dynasty.
Yamata no Orochi (八岐の大蛇) or Orochi, translated as Eight-Forked Serpent in English, is a legendary 8-headed and 8-tailed Japanese dragon that was slain by the Shinto storm-god Susanoo.
Dalongdong Baoan Temple (Chinese: 大龍峒保安宮; Pe̍h-ōe-jī: Tōa-lông-pōng pó-an kiong) also known as the Taipei Baoan Temple (Chinese: 臺北保安宮) is a Taiwanese folk religion temple built in the Datong district of Taipei, Taiwan.<br/><br/>The present temple was originally built by clan members in the Tong'an District (同安) who immigrated to Taipei in the early 19th century and gave the temple the name Bao'an (保安) in order to 'protect those of tong'an' (保佑同安).<br/><br/>The temple construction commenced in 1804 and replaced a previously existing wooden shrine from 1742 in Dalongdong.
Princess Toyotama, daughter of the Dragon King of the Sea, gives birth to the Divine Prince Ugayafuki Aezu, by turning from her human form into a dragon (1886).<br/><br/> Toyohara Chikanobu (豊原周延) (1838–1912), better known to his contemporaries as Yōshū Chikanobu (楊洲周延), was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (mise-en-scène) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
The oldest known Japanese narrative, this sad fairy tale dates back to the 9th or 10th century. In this tale Kaguya-hime was found inside a bamboo stalk by a bamboo cutter, who took her home and raised her as his daughter (1891).<br/><br/> Toyohara Chikanobu (豊原周延) (1838–1912), better known to his contemporaries as Yōshū Chikanobu (楊洲周延), was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
In a dream, the Daughter of the Dragon King appeared to Minamoto Mitsunaka (912-997), father of Yorimitsu and founder of the Tada Genji lineage (1886).<br/><br/> Toyohara Chikanobu (豊原周延) (1838–1912), better known to his contemporaries as Yōshū Chikanobu (楊洲周延), was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
In Japanese mythology, the tide jewels-- individually, the kanju (干珠?, lit. '(tide-)ebbing jewel') and manju (満珠?, lit. '(tide-)flowing jewel')-- were magical gems that the Sea God used to control the tides. Classical Japanese history texts record an ancient myth that the ocean kami Watatsumi 海神 'sea god' or Ryūjin 龍神 'dragon god' presented the kanju and manju to his demigod son-in-law Hoori, and a later legend that Empress Jingū used the tide jewels to conquer Korea.<br/><br/> The fable of Tamatori-hime 玉取姫 'Princess Jewel Taker', which was a favorite ukiyo-e subject of Utagawa Kuniyoshi, is a variation of the Hoori and Toyatama-hime love story. Tamatori was supposedly an ama diver who married Fujiwara no Fuhito and recovered a precious jewel that the Sea God stole.
Ogata Gekkō (尾形月耕, 1859-1920) was a Japanese painter and woodblock print artist of the ukiyo-e genre.<br/><br/> Gekkō's work was originally closely based upon that of Kikuchi Yōsai. He was inspired by Hokusai, creating a series of one hundred prints of Mount Fuji. He also developed his own style, with significant stylistic elements borrowed from nihonga painting.
Dalongdong Baoan Temple (Chinese: 大龍峒保安宮; Pe̍h-ōe-jī: Tōa-lông-pōng pó-an kiong) also known as the Taipei Baoan Temple (Chinese: 臺北保安宮) is a Taiwanese folk religion temple built in the Datong district of Taipei, Taiwan.<br/><br/>The present temple was originally built by clan members in the Tong'an District (同安) who immigrated to Taipei in the early 19th century and gave the temple the name Bao'an (保安) in order to 'protect those of tong'an' (保佑同安).<br/><br/>The temple construction commenced in 1804 and replaced a previously existing wooden shrine from 1742 in Dalongdong.
Nāga is the Sanskrit and Pāli word for a deity or class of entity or being, taking the form of a very great snake — specifically the king cobra, found in Hinduism and Buddhism. A female nāga is a nāgī or nāginī.<br/><br/> Nats are spirits worshipped in Burma (or Myanmar) in conjunction with Buddhism. They are divided between the 37 Great Nats and all the rest (i.e., spirits of trees, water, etc.).
In Hindu tradition Shesha, also known as Sheshanaga, is the king of all Nagas, and of all serpent deities, one of the primal beings of creation, and according to the Bhagavata Purana, an avatar of the Supreme God known as Narayana. He is also known as Balarama and Sankarshana.<br/><br/> In the Puranas, Sheshanaga is said to hold all the planets of the Universe on his hoods and to constantly sing the glories of Vishnu from all his mouths. He is sometimes referred to as Ananta Shesha which translates as endless-Shesha or as Adishesha which means the first Shesha.<br/><br/> It is said that when Adishesa uncoils, time moves forward and creation takes place. When he coils back, the universe ceases to exist. 'Shesha' in sanskrit texts, especially those relating to mathematical calculation, also implies the 'remainder' - that which remains when all else ceases to exist.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Poetic Edda is a collection of Old Norse poems primarily preserved in the Icelandic mediaeval manuscript Codex Regius.<br/><br/> Together with Snorri Sturluson's Prose Edda, the Poetic Edda is the most important extant source on Norse mythology and Germanic heroic legends.
The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.<br/><br/> The Old Town of Lijiang dates back more than 800 years and was once an important town on the old Tea Horse Road.
The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.<br/><br/> The Old Town of Lijiang dates back more than 800 years and was once an important town on the old Tea Horse Road.
The Naxi or Nakhi are an ethnic group inhabiting the foothills of the Himalayas in the northwestern part of Yunnan Province, as well as the southwestern part of Sichuan Province in China. The Naxi are thought to have come originally from Tibet and, until recently, maintained overland trading links with Lhasa and India.<br/><br/> The Naxi form one of the 56 ethnic groups officially recognized by the People's Republic of China. The Naxi are traditionally followers of the Dongba religion. Through both Han Chinese and Tibetan cultural influences, they adopted Tibetan Buddhism and, to a lesser extent, Taoism, in the 10th century.<br/><br/> The Old Town of Lijiang dates back more than 800 years and was once an important town on the old Tea Horse Road.