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Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, 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.
Iwa Hanshiro VIII was a kabuki performer, one of the greatest of the 19th century. He was known mainly for his female roles and for his place in a long lineage of kabuki actors, who all took the same stage name, passed down from father to son. Iwai Hanshiro took his father's stage name and mantle in 1872.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, 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.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, 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.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, 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.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, 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.
<i>Lakhon nai</i> is a performing art originating in the royal court of Thailand (formerly Siam). It features a slow choreography accompanied by a <i>piphat</i> ensemble (traditional musical group). A variation of this genre with male performers is called <i>lakhon nai phu chai</i>.
Chinese opera is a popular form of drama and musical theatre in China with roots going back to the early periods in China. It is a composite performance art that is an amalgamation of various art forms that existed in ancient China, and evolved gradually over more than a thousand years, reaching its mature form in the 13th century during the Song Dynasty.<br/><br/> Early forms of Chinese drama are simple, but over time they incorporated various art forms, such as music, song and dance, martial arts, acrobatics, as well as literary art forms to become Chinese opera.<br/><br/> There are numerous regional branches of Chinese opera, including the Beijing opera, Shaoxing opera, Cantonese opera and kunqu and Lvju.
Likay is a form of popular folk theatre from Thailand. Its uniqueness is found in the combination of extravagant costumes with barely equipped stages and vaguely determined storylines, so that the performances depend mainly on the actors’ skills of improvisation and the audiences’ imagination.
Likay is a form of popular folk theatre from Thailand. Its uniqueness is found in the combination of extravagant costumes with barely equipped stages and vaguely determined storylines, so that the performances depend mainly on the actors’ skills of improvisation and the audiences’ imagination.
<i>Lakhon nai</i> is a performing art originating in the royal court of Thailand (formerly Siam). It features a slow choreography accompanied by a <i>piphat</i> ensemble (traditional musical group). A variation of this genre with male performers is called <i>lakhon nai phu chai</i>.
Likay is a form of popular folk theatre from Thailand. Its uniqueness is found in the combination of extravagant costumes with barely equipped stages and vaguely determined storylines, so that the performances depend mainly on the actors’ skills of improvisation and the audiences’ imagination.
Likay is a form of popular folk theatre from Thailand. Its uniqueness is found in the combination of extravagant costumes with barely equipped stages and vaguely determined storylines, so that the performances depend mainly on the actors’ skills of improvisation and the audiences’ imagination.
Dance in Burma can be divided into dramatic, folk and village, and nat dances, each having distinct characteristics. Although Burmese dance has been influenced by the dance traditions of its neighbours, in particular Thailand, it retains unique qualities that distinguish it from other regional styles, including angular, fast-paced and energetic movements and emphasis on pose, not movement.<br/><br/> Various types of Burmese music use an array of traditional musical instruments, assembled in an orchestra known as hsaing waing which the Burmese saing saya Kyaw Kyaw Naing has made more widely known in the West. Traditional folk music is atypical in Southeast Asian music, as it is characterized by sudden shifts in rhythm and melody as well as change in texture and timbre.<br/><br/> Classical traditions of Burmese music are found in the Mahagita, an extensive collection of classical songs and are typically divided into indoor and outdoor ensembles. These songs tend to be about various legends in Pali and subsequently in Burmese intermingled with Pali, related to religion or the power and glory of monarchs, and then the natural beauty of the land, forests and the seasons, eventually feminine beauty, love, passion and longing, in addition to folk music sung in the paddy fields.
Siamese dance is an elegant art form refined over centuries and supported by regal patronage. The Thais reputedly first acquired a dance troupe when, in 1431 CE, they conquered the ancient Khmer capital of Angkor and took as part of their booty an entire corps de ballet - dancers whose performances had once been seen as a symbolic link between nature, earth and the realm of the gods. The two major forms of Thai classical dance drama are 'khon' and 'lakon nai'. In the beginning, both were exclusively court entertainments and it was not until much later that a popular style of dance theater, 'Likay', evolved as a diversion for the common folk who had no access to royal performances.
Vietnam's independence was gradually eroded by France in a series of military conquests from 1859 until 1885 when the entire country became part of French Indochina. Significant political and cultural changes were placed on the Vietnamese people, including the propagation of Roman Catholicism. When Emperor Thanh Thai, who was opposed to French colonial rule, was exiled in 1907, the French decided to pass the throne to his son who was only seven years old, because they thought someone so young would be easily influenced and controlled. The boy emperor, Duy Tan, ruled as emperor of the Nguyen Dynasty from 1907 to 1916 before fleeing from Hue to resist the French.
The Vegetarian Festival is a religious festival annually held on the island of Phuket in southern Thailand. It attracts crowds of spectators because of many of the unusual religious rituals that are performed. Many religious devotees will slash themselves with swords, pierce their cheeks with sharp objects and commit other painful acts. The Nine Emperor Gods Festival (Chinese: Jiǔhuángyé; Pe̍h-ōe-jī: Káu-ông-iâ; Cantonese: Kow Wong Yeh) is a nine-day Taoist celebration beginning on the eve of 9th lunar month of the Chinese calendar, which is observed primarily in Southeast Asian countries like Myanmar, Singapore, Malaysia, and Thailand.
The Vegetarian Festival is a religious festival annually held on the island of Phuket in southern Thailand. It attracts crowds of spectators because of many of the unusual religious rituals that are performed. Many religious devotees will slash themselves with swords, pierce their cheeks with sharp objects and commit other painful acts. The Nine Emperor Gods Festival (Chinese: Jiǔhuángyé; Pe̍h-ōe-jī: Káu-ông-iâ; Cantonese: Kow Wong Yeh) is a nine-day Taoist celebration beginning on the eve of 9th lunar month of the Chinese calendar, which is observed primarily in Southeast Asian countries like Myanmar, Singapore, Malaysia, and Thailand.