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The <i>Anwar-i Suhayli</i> or 'The Lights of Canopus', commonly known as the <i>Fables of Bidpai</i> in the West, is a Persian version of the ancient Indian collection of animal fables, the <i>Panchatantra</i>. It tells a tale of a Persian physician, Burzuyah, and his mission to India, where he stumbles upon a book of stories collected from the animals who reside there.<br/><br/> In a similar vein to the <i>Arabian Nights</i>, the fables in the manuscript are inter-woven as the characters of one story recount the next, leading up to three or four degrees of narrative embedding. Many usually have morals or offer philosophical glimpses into human behaviour, emphasising loyalty and teamwork.
The <i>Anwar-i Suhayli</i> or 'The Lights of Canopus', commonly known as the <i>Fables of Bidpai</i> in the West, is a Persian version of the ancient Indian collection of animal fables, the <i>Panchatantra</i>. It tells a tale of a Persian physician, Burzuyah, and his mission to India, where he stumbles upon a book of stories collected from the animals who reside there.<br/><br/> In a similar vein to the <i>Arabian Nights</i>, the fables in the manuscript are inter-woven as the characters of one story recount the next, leading up to three or four degrees of narrative embedding. Many usually have morals or offer philosophical glimpses into human behaviour, emphasising loyalty and teamwork.
Emperor Gia Long ordered the construction of Hue Citadel in 1805. The vast complex is built according to the notions of fengshui or Chinese geomancy, but following the military principles of the noted 18th century French military architect Sebastien de Vauban. The result is an unusual and elegant hybrid, a Chinese-style Imperial City carefully aligned with surrounding hills, islands and waterways, but defended by massive brick walls between 6-12 metres high and 2.5 metres thick, punctuated by towers, ramparts, a massive earth glacis, and 24 Vauban-inspired bastions.<br/><br/> The entire complex was further protected by wide moats, crossed by gracefully arched stone bridges leading to ten gates, the chief of which is Cua Ngo Mon, the south-east facing ‘Meridian Gate’. To compound the exotic hybrid effect, guard posts designed as Chinese-style miradors, complete with sweeping eaves crowned by imperial dragons, surmounted each gate. Finally, directly in front of the Ngo Mon Gate, a massive brick fort 18 metres high was constructed both as an additional barrier against malign spirits, and as a defensive redoubt.<br/><br/> The area within the Citadel - in all, 520 hectares (1300 acres) - comprises three concentric enclosures, the Civic, Imperial and Forbidden Purple Cities. Access is by way of ten fortified gates, each of which is reached by a low, arched stone bridge across the moat. In imperial times a cannon would sound at 5am and 9pm to mark the opening and closing of the gates.<br/><br/> Hue was the imperial capital of the Nguyen Dynasty between 1802 and 1945. The tombs of several emperors lie in and around the city and along the Perfume River. Hue is a UNESCO World Heritage Site.
Emperor Gia Long ordered the construction of Hue Citadel in 1805. The vast complex is built according to the notions of fengshui or Chinese geomancy, but following the military principles of the noted 18th century French military architect Sebastien de Vauban. The result is an unusual and elegant hybrid, a Chinese-style Imperial City carefully aligned with surrounding hills, islands and waterways, but defended by massive brick walls between 6-12 metres high and 2.5 metres thick, punctuated by towers, ramparts, a massive earth glacis, and 24 Vauban-inspired bastions.<br/><br/> The entire complex was further protected by wide moats, crossed by gracefully arched stone bridges leading to ten gates, the chief of which is Cua Ngo Mon, the south-east facing ‘Meridian Gate’. To compound the exotic hybrid effect, guard posts designed as Chinese-style miradors, complete with sweeping eaves crowned by imperial dragons, surmounted each gate. Finally, directly in front of the Ngo Mon Gate, a massive brick fort 18 metres high was constructed both as an additional barrier against malign spirits, and as a defensive redoubt.<br/><br/> The area within the Citadel - in all, 520 hectares (1300 acres) - comprises three concentric enclosures, the Civic, Imperial and Forbidden Purple Cities. Access is by way of ten fortified gates, each of which is reached by a low, arched stone bridge across the moat. In imperial times a cannon would sound at 5am and 9pm to mark the opening and closing of the gates.<br/><br/> Hue was the imperial capital of the Nguyen Dynasty between 1802 and 1945. The tombs of several emperors lie in and around the city and along the Perfume River. Hue is a UNESCO World Heritage Site.
Princess Long Ji, sometimes written as Longji, was a character from the classic Ming Dynasty novel 'Fengshen Yanyi'. Princess Longji was the daughter of the exiled Jade Emperor and the Queen Mother of the West, Xiwang Mu. She was a celestial being who was able to control the water and rain, and was armed with twin dragon swords as well as a vase that could absorb fire and a mist dew net that could instantly soak an area.<br/><br/> She would become involved in the conflict between the Shang and Zhou armies, at first helping Yang Jian (Erlang Shen) defeat Earth Traveler Sun, and then repelling the fire god Luo Xuan, who almost burned down most of West Qi. Jiang Ziya welcomed Princess Longji into his army after hearing of her accomplishments, and she was granted her own residence in West Qi. She married the captured Shang general, Hong Jin, whom she had personally defeated and brought back as a prisoner, to turn him into an ally for the Zhou army.<br/><br/> Princess Longji would accompany her husband into many more battles against the Shang Dynasty, before both were eventually killed by the Immortal, Mother Golden Spirit. Jiang Ziya would deify her at the end of the novel as the Goddess of the Red Phoenix Star.
The production of silk originates in China in the Neolithic (Yangshao culture, 4th millennium BCE). Silk remained confined to China until the Silk Road opened at some point during the later half of the first millennium BCE. China maintained its virtual monopoly over silk production for another thousand years.<br/><br/> Not confined to clothing, silk was also used for a number of other applications, including writing, and the color of silk worn was an important guide of social class during the Tang Dynasty.
The Tang Dynasty (June 18, 618 – June 1, 907) was an imperial dynasty of China preceded by the Sui Dynasty and followed by the Five Dynasties and Ten Kingdoms Period. It was founded by the Li family, who seized power during the decline and collapse of the Sui Empire.<br/><br/> The dynasty was interrupted briefly by the Second Zhou Dynasty (October 8, 690 – March 3, 705) when Empress Wu Zetian seized the throne, becoming the first and only Chinese empress regnant, ruling in her own right.
Chu was a hegemonic, Zhou dynasty era state. From King Wu of Chu in the early 8th century BCE, the rulers of Chu declared themselves kings on an equal footing with the Zhou kings.<br/><br/> Though initially inconsequential, removed to the south of the Zhou heartland and practising differing customs, Chu began a series of administrative reforms, becoming a successful expansionist state during the Spring and Autumn Period. With its continued expansion Chu became a great Warring States period power, and its culture a major influence on the Han dynasty.
The Tang Dynasty (June 18, 618 – June 1, 907) was an imperial dynasty of China preceded by the Sui Dynasty and followed by the Five Dynasties and Ten Kingdoms Period. It was founded by the Li family, who seized power during the decline and collapse of the Sui Empire.<br/><br/> The dynasty was interrupted briefly by the Second Zhou Dynasty (October 8, 690 – March 3, 705) when Empress Wu Zetian seized the throne, becoming the first and only Chinese empress regnant, ruling in her own right.
Siyah Kalem or 'Black Pen' is the name given to the 15th century school of painting attributed to Mehmed Siyah Kalem. Nothing is known of his life, but his work indicates that he was of Central Asian Turkic origin, and thoroughly familiar with camp and military life. The paintings appear in the 'Conqueror’s Albums', so named because two portraits of Sultan Mehmed II the Conqueror are present in one of them.<br/><br/>The albums are made up of miniatures taken from manuscripts of the 14th, 15th, and early 16th centuries, and one series of paintings is inscribed 'work of Master Muḥammad Siyah Kalem'. Something of the style and techniques of Chinese paintings is apparent in these, and an acquaintance with Buddhist art, particularly in the depictions of grotesque demonic figures.
The Summer Palace (Yiheyuan) was originally created during the Ming Dynasty, but was designed in its current form by Qing emperor Qianlong (r. 1736 - 1795). It is however Qianlong’s mother, the Qing Dowager Empress Cixi who is most irrevocably linked to the palace, since she had it restored twice during her reign, once in 1860 after it was plundered by British and French troops during the Second Opium War, and again in 1902 when foreign troops sought reprisals for the Boxer Rebellion, an anti-Christian movement.
Black Dragon Pool, built in 1737 during the Qing period, is located slightly to the north of Lijiang's Old Town and offers one of China's most spectacular views.<br/><br/> Jade Dragon Snow Mountain is a small mountain range) near Lijiang, in Yunnan province of southwestern China. Its highest peak is named Shanzidou (5,596 m or 18,360 ft). The far side of the mountain forms one side of Tiger Leaping Gorge (Hutiao Xia).
Before the 16th century the Taitung plain was settled by the agriculturalist Puyuma and Amis tribes. Under the Dutch and during the Qing Dynasty, a large part of east Taiwan, including today's Taitung Prefecture, was called Beinan.<br/><br/>In the late 19th century, when Liu Mingchuan was the Qing Governor of Taiwan, Han Chinese settlers moved into the Taitung region and established a settlement, Taitung State.<br/><br/>In the time Taiwan was under Japanese rule the central settlement was called Nankyou Village. After World War II it became Taitung Town and in 1976 it was promoted to Taitung City.
Before the 16th century the Taitung plain was settled by the agriculturalist Puyuma and Amis tribes. Under the Dutch and during the Qing Dynasty, a large part of east Taiwan, including today's Taitung Prefecture, was called Beinan.<br/><br/>In the late 19th century, when Liu Mingchuan was the Qing Governor of Taiwan, Han Chinese settlers moved into the Taitung region and established a settlement, Taitung State.<br/><br/>In the time Taiwan was under Japanese rule the central settlement was called Nankyou Village. After World War II it became Taitung Town and in 1976 it was promoted to Taitung City.
Before the 16th century the Taitung plain was settled by the agriculturalist Puyuma and Amis tribes. Under the Dutch and during the Qing Dynasty, a large part of east Taiwan, including today's Taitung Prefecture, was called Beinan.<br/><br/>In the late 19th century, when Liu Mingchuan was the Qing Governor of Taiwan, Han Chinese settlers moved into the Taitung region and established a settlement, Taitung State.<br/><br/>In the time Taiwan was under Japanese rule the central settlement was called Nankyou Village. After World War II it became Taitung Town and in 1976 it was promoted to Taitung City.
Before the 16th century the Taitung plain was settled by the agriculturalist Puyuma and Amis tribes. Under the Dutch and during the Qing Dynasty, a large part of east Taiwan, including today's Taitung Prefecture, was called Beinan.<br/><br/>In the late 19th century, when Liu Mingchuan was the Qing Governor of Taiwan, Han Chinese settlers moved into the Taitung region and established a settlement, Taitung State.<br/><br/>In the time Taiwan was under Japanese rule the central settlement was called Nankyou Village. After World War II it became Taitung Town and in 1976 it was promoted to Taitung City.
Six constellations of the northern skies: Corona Borealis (al-fakkah, in Arabic), Cygnus (al-dajajah) shown here as a crested bird, and Lyra depicted as a green parrot, with Cassiopeia seated on a throne in the middle, and Perseus (bottom right) and Boátes (bottom left).<br/><br/> Abu Yahya Zakariya' ibn Muhammad al-Qazwini (أبو يحيئ زكريا بن محمد القزويني) (born 1203 - died 1283), was a Persian physician, astronomer, geographer and proto-science fiction writer.<br/><br/> Born in the Persian town of Qazvin, he was descended from Anas ibn Malik, Zakariya' ibn Muhammad al-Qazwini served as legal expert and judge (qadhi) in several localities in Persia and at Baghdad. He travelled around in Mesopotamia and Syria, and finally entered the circle patronized by the governor of Baghdad, ‘Ata-Malik Juwayni (d. 1283 CE).<br/><br/> It was to the latter that al-Qazwini dedicated his famous Arabic-language cosmography titled 'Aja'ib al-makhluqat wa-ghara'ib al-mawjudat عجائب المخلوقات و غرائب الموجودات ('Marvels of Creatures and Strange Things Existing'). This treatise, frequently illustrated, was immensely popular and is preserved today in many copies. It was translated into Persian and Turkish.<br/><br/>
The Shahnameh or Shah-nama (Persian: شاهنامه Šāhnāmeh, 'The Book of Kings') is a long epic poem written by the Persian poet Ferdowsi between c.977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.
Isfandiyar, son of Gushtasp (the 5th Kayanian King) Battles Simurgh, the Fantastic Bird. From the Shah-nama (Book of Kings) the Epic of Medieval Persia by Firdawsi, a 10th century poet. Shiraz, 1330.<br/><br/> The Shahnameh or Shah-nama is an enormous poetic opus written by the Persian poet Ferdowsi around 1000 AD and is the national epic of the cultural sphere of Greater Persia. Consisting of some 60,000 verses, the Shahnameh tells the mythical and historical past of (Greater) Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.
Abu Yahya Zakariya' ibn Muhammad al-Qazwini (أبو يحيئ زكريا بن محمد القزويني) (born 1203 - died 1283), was a Persian physician, astronomer, geographer and proto-science fiction writer.<br/><br/> Born in the Persian town of Qazvin, he was descended from Anas ibn Malik, Zakariya' ibn Muhammad al-Qazwini served as legal expert and judge (qadhi) in several localities in Persia and at Baghdad. He travelled around in Mesopotamia and Syria, and finally entered the circle patronized by the governor of Baghdad, ‘Ata-Malik Juwayni (d. 1283 CE).<br/><br/> It was to the latter that al-Qazwini dedicated his famous Arabic-language cosmography titled 'Aja'ib al-makhluqat wa-ghara'ib al-mawjudat عجائب المخلوقات و غرائب الموجودات ('Marvels of Creatures and Strange Things Existing'). This treatise, frequently illustrated, was immensely popular and is preserved today in many copies. It was translated into Persian and Turkish.<br/><br/> Qazwini was also well-known for his geographical dictionary, Athar al-bilad wa-akhbar al-‘ibad اثار البلاد واخبار العباد ('Monument of Places and History of God's Bondsmen'). Both of these treatises reflect extensive reading and learning in a wide range of disciplines.<br/><br/> Al-Qazwini also wrote a futuristic proto-science fiction Arabic tale entitled Awaj bin Anfaq, about a man who travelled to Earth from a distant planet.
The phoenix is a mythical sacred firebird that can be found in the mythologies of the Persians, Greeks, Romans, Egyptians, Chinese, and (according to Sanchuniathon) Phoenicians.<br/><br/> A phoenix is a mythical bird that is a fire spirit with a colorful plumage and a tail of gold and scarlet (or purple, blue, and green according to some legends). It has a 500 to 1000 year life-cycle, near the end of which it builds itself a nest of twigs that then ignites; both nest and bird burn fiercely and are reduced to ashes, from which a new, young phoenix or phoenix egg arises, reborn anew to live again. The new phoenix is destined to live as long as its old self.<br/><br/> In China and Vietnam, the Fenghuang is a mythical bird similar to the phoenix. It is the second most-respected legendary creature (after the dragon), largely used to represent the empress and females, and as such as the counterpart to the Chinese dragon, traditionally seen as masculine or imperial. The phoenix is considered the greatest and the leader of birds.
Elizabeth I (7 September 1533 – 24 March 1603) was Queen regnant of England and Queen regnant of Ireland from 17 November 1558 until her death. Sometimes called The Virgin Queen, Gloriana, or Good Queen Bess, Elizabeth was the fifth and last monarch of the Tudor dynasty. Elizabeth I's foreign policy with regard to Asia, Africa and Latin America demonstrated a new understanding of the role of England as a maritime, Protestant power in an increasingly global economy. Her reign saw major innovations in exploration, colonization and the use of England's growing maritime power.
Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam.<br/><br/> Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories. In the past, Dong Ho painting was an essential element of the Tết holiday in Vietnam.
The phoenix is a mythical sacred firebird that can be found in the mythologies of the Persians, Greeks, Romans, Egyptians, Chinese, and (according to Sanchuniathon) Phoenicians.<br/><br/> A phoenix is a mythical bird that is a fire spirit with a colorful plumage and a tail of gold and scarlet (or purple, blue, and green according to some legends). It has a 500 to 1000 year life-cycle, near the end of which it builds itself a nest of twigs that then ignites; both nest and bird burn fiercely and are reduced to ashes, from which a new, young phoenix or phoenix egg arises, reborn anew to live again. The new phoenix is destined to live as long as its old self.<br/><br/> In China and Vietnam, the Fenghuang is a mythical bird similar to the phoenix. It is the second most-respected legendary creature (after the dragon), largely used to represent the empress and females, and as such as the counterpart to the Chinese dragon, traditionally seen as masculine or imperial. The phoenix is considered the greatest and the leader of birds.<br/><br/> Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam.<br/><br/> Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories. In the past, Dong Ho painting was an essential element of the Tết holiday in Vietnam.
Abu Yahya Zakariya' ibn Muhammad al-Qazwini (أبو يحيئ زكريا بن محمد القزويني) (born 1203 - died 1283), was a Persian physician, astronomer, geographer and proto-science fiction writer.<br/><br/> Born in the Persian town of Qazvin, he was descended from Anas ibn Malik, Zakariya' ibn Muhammad al-Qazwini served as legal expert and judge (qadhi) in several localities in Persia and at Baghdad. He travelled around in Mesopotamia and Syria, and finally entered the circle patronized by the governor of Baghdad, ‘Ata-Malik Juwayni (d. 1283 CE).<br/><br/> It was to the latter that al-Qazwini dedicated his famous Arabic-language cosmography titled 'Aja'ib al-makhluqat wa-ghara'ib al-mawjudat عجائب المخلوقات و غرائب الموجودات ('Marvels of Creatures and Strange Things Existing'). This treatise, frequently illustrated, was immensely popular and is preserved today in many copies. It was translated into Persian and Turkish.<br/><br/> Qazwini was also well-known for his geographical dictionary, Athar al-bilad wa-akhbar al-‘ibad اثار البلاد واخبار العباد ('Monument of Places and History of God's Bondsmen'). Both of these treatises reflect extensive reading and learning in a wide range of disciplines.<br/><br/> Al-Qazwini also wrote a futuristic proto-science fiction Arabic tale entitled Awaj bin Anfaq, about a man who travelled to Earth from a distant planet.
Phoenix head. Terracotta, Trần-Hồ dynasty, 14th-15th century. Architectural decoration. National Museum of Vietnamese History, Hanoi.<br/><br/> The phoenix is a mythical sacred firebird that can be found in the mythologies of the Persians, Greeks, Romans, Egyptians, Chinese, and (according to Sanchuniathon) Phoenicians.<br/><br/> A phoenix is a mythical bird that is a fire spirit with a colorful plumage and a tail of gold and scarlet (or purple, blue, and green according to some legends). It has a 500 to 1000 year life-cycle, near the end of which it builds itself a nest of twigs that then ignites; both nest and bird burn fiercely and are reduced to ashes, from which a new, young phoenix or phoenix egg arises, reborn anew to live again. The new phoenix is destined to live as long as its old self.<br/><br/> In China and Vietnam, the Fenghuang is a mythical bird similar to the phoenix. It is the second most-respected legendary creature (after the dragon), largely used to represent the empress and females, and as such as the counterpart to the Chinese dragon, traditionally seen as masculine or imperial. The phoenix is considered the greatest and the leader of birds.
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.
Lampstand, vase and ewers in phoenix shape. Blue and white ceramic, Early Lê dynasty, 15th century. Chu Đậu kiln, Hải Dương province. National Museum of Vietnamese History, Hanoi.
The Liao Dynasty, also known as the Khitan Empire, was a state that ruled over the regions of Manchuria, Mongolia, and parts of northern China proper. It was founded by the Yelü clan of the Khitan people in the same year as the Tang Dynasty collapsed (907), even though its first ruler, Yelü Abaoji (Yaruud Ambagai Khan), did not declare an era name until 916.<br/><br/> Although it was originally known as the Empire of the Khitan, the Emperor Yelü Ruan officially adopted the name 'Liao' (formally ‘Great Liao’) in 947. Another name for China in English, Cathay, is derived from the name Khitan. This is also the origin of the Russian word for China, Китай or Kitay, and that of several other East European languages.<br/><br/> The Liao Empire was destroyed by the Jurchen of the Jin Dynasty in 1125. However, remnants of its people led by Yelü Dashi established the Xi (Western) Liao Dynasty 1125-1220, also known as Kara-Khitan Khanate, which extended its influence over Central Asia into Persia and survived until the arrival of Genghis Khan's unified Mongolian army.
The Liao Dynasty, also known as the Khitan Empire, was a state that ruled over the regions of Manchuria, Mongolia, and parts of northern China proper. It was founded by the Yelü clan of the Khitan people in the same year as the Tang Dynasty collapsed (907), even though its first ruler, Yelü Abaoji (Yaruud Ambagai Khan), did not declare an era name until 916.<br/><br/> Although it was originally known as the Empire of the Khitan, the Emperor Yelü Ruan officially adopted the name 'Liao' (formally ‘Great Liao’) in 947. Another name for China in English, Cathay, is derived from the name Khitan. This is also the origin of the Russian word for China, Китай or Kitay, and that of several other East European languages.<br/><br/> The Liao Empire was destroyed by the Jurchen of the Jin Dynasty in 1125. However, remnants of its people led by Yelü Dashi established the Xi (Western) Liao Dynasty 1125-1220, also known as Kara-Khitan Khanate, which extended its influence over Central Asia into Persia and survived until the arrival of Genghis Khan's unified Mongolian army.
Isfandiyar, son of Gushtasp (the 5th Kayanian King) Battles Simurgh, the Fantastic Bird. From the Shah-nama (Book of Kings) the Epic of Medieval Persia by Firdawsi, a 10th century poet. Shiraz, 1330.<br/><br/> The Shahnameh or Shah-nama is an enormous poetic opus written by the Persian poet Ferdowsi around 1000 CE and is the national epic of the cultural sphere of Greater Persia. Consisting of some 60,000 verses, the Shahnameh tells the mythical and historical past of (Greater) Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.
Abu Said Ubaud Allah Ibn Bakhitshu's Ibn Bakhtishu's Manafi' al-Hayawan is an illustrated bestiary in the Persian language.<br/><br/> The Bakhtshooa Gondishapoori (also spelled Bukhtishu and Bukht-Yishu) were Assyrian Nestorian Christian physicians from the 7th, 8th, and 9th centuries, spanning 6 generations and 250 years. Some of them served as the personal physicians of Caliphs. Like all physicians in the Abbasid courts, they came from the Academy of Gundishapur in Persia (in modern-day southwestern Iran). They were well versed in the Greek and Hindi sciences, including those of Plato, Aristotle, Pythagoras, and Galen, which they aided in translating while working in Gondeshapur.<br/><br/> Yahya al-Barmaki, the vizier and mentor to Harun al-Rashid, provided patronage to the academy and hospital in Gondeshapur and helped assure the promotion and growth of astronomy, medicine, and philosophy, not only in Persia but also in the Abbasid empire in general.
Abu Said Ubaud Allah Ibn Bakhitshu's Ibn Bakhtishu's Manafi' al-Hayawan is an illustrated bestiary in the Persian language.<br/><br/> The Bakhtshooa Gondishapoori (also spelled Bukhtishu and Bukht-Yishu) were Assyrian Nestorian Christian physicians from the 7th, 8th, and 9th centuries, spanning 6 generations and 250 years. Some of them served as the personal physicians of Caliphs. Like all physicians in the Abbasid courts, they came from the Academy of Gundishapur in Persia (in modern-day southwestern Iran). They were well versed in the Greek and Hindi sciences, including those of Plato, Aristotle, Pythagoras, and Galen, which they aided in translating while working in Gondeshapur.<br/><br/> Yahya al-Barmaki, the vizier and mentor to Harun al-Rashid, provided patronage to the academy and hospital in Gondeshapur and helped assure the promotion and growth of astronomy, medicine, and philosophy, not only in Persia but also in the Abbasid empire in general.
Emperor Gia Long ordered the construction of Hue Citadel in 1805. The vast complex is built according to the notions of fengshui or Chinese geomancy, but following the military principles of the noted 18th century French military architect Sebastien de Vauban. The result is an unusual and elegant hybrid, a Chinese-style Imperial City carefully aligned with surrounding hills, islands and waterways, but defended by massive brick walls between 6-12 metres high and 2.5 metres thick, punctuated by towers, ramparts, a massive earth glacis, and 24 Vauban-inspired bastions.<br/><br/>The entire complex was further protected by wide moats, crossed by gracefully arched stone bridges leading to ten gates, the chief of which is Cua Ngo Mon, the south-east facing ‘Meridian Gate’. To compound the exotic hybrid effect, guard posts designed as Chinese-style miradors, complete with sweeping eaves crowned by imperial dragons, surmounted each gate. Finally, directly in front of the Ngo Mon Gate, a massive brick fort 18 metres high was constructed both as an additional barrier against malign spirits, and as a defensive redoubt.<br/><br/>The area within the Citadel - in all, 520 hectares (1300 acres) - comprises three concentric enclosures, the Civic, Imperial and Forbidden Purple Cities. Access is by way of ten fortified gates, each of which is reached by a low, arched stone bridge across the moat. In imperial times a cannon would sound at 5am and 9pm to mark the opening and closing of the gates.<br/><br/>Hue was the imperial capital of the Nguyen Dynasty between 1802 and 1945. The tombs of several emperors lie in and around the city and along the Perfume River. Hue is a UNESCO World Heritage Site.
This Qing dynasty (1644-1911) print shows the nine-headed phoenix, a being from Chinese mythology with a bird's body and nine heads with human faces. It is one of several hybrid creatures mentioned in the Classic of Mountains and Seas (Shanhai jing), where it is said to dwell in the Great Wilds to the North at the mountain called Celestial-Coffer-at-the-Northern-Extremity. This entry is in what may be the most recent section of this work, which may have been composed at any time between the third or fourth century BCE and the third or fourth century CE.
Irezumi (入れ墨, 入墨, 紋身, 刺花, 剳青, 黥 or 刺青) is a Japanese word that refers to the insertion of ink under the skin to leave a permanent, usually decorative mark; a form of tattooing.<br/><br/> The word can be written in several ways, each with slightly different connotations. The most common way of writing irezumi is with the Chinese characters 入れ墨 or 入墨, literally meaning to 'insert ink'. The characters 紋身 (also pronounced bunshin) suggest 'decorating the body'. 剳青 is more esoteric, being written with the characters for 'stay' or 'remain' and 'blue' or 'green', and probably refers to the appearance of the main shading ink under the skin. 黥 (meaning 'tattooing') is rarely used, and the characters 刺青 combine the meanings 'pierce', 'stab', or 'prick', and 'blue' or 'green', referring to the traditional Japanese method of tattooing by hand.
The Shahnameh or Shah-nama (Persian: شاهنامه Šāhnāmeh, 'The Book of Kings') is a long epic poem written by the Persian poet Ferdowsi between c.977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.
Siyah Kalem or 'Black Pen' is the name given to the 15th century school of painting attributed to Mehmed Siyah Kalem. Nothing is known of his life, but his work indicates that he was of Central Asian Turkic origin, and thoroughly familiar with camp and military life. The paintings appear in the 'Conqueror’s Albums', so named because two portraits of Sultan Mehmed II the Conqueror are present in one of them.<br/><br/> The albums are made up of miniatures taken from manuscripts of the 14th, 15th, and early 16th centuries, and one series of paintings is inscribed 'work of Master Muḥammad Siyah Kalem'. Something of the style and techniques of Chinese paintings is apparent in these, and an acquaintance with Buddhist art, particularly in the depictions of grotesque demonic figures.<br/><br/> It seems likely that certain paintings contained in the 'Conqueror's Albums' are of Chinese origin and may have been used as stylistic guides for painters in the Siyah Kalem tradition.
Joseon (Korean: 조선; Hanja: 朝鮮; also Chosŏn, Choson, Chosun, Cho-sen), was a Korean state founded by Taejo Yi Seong-gye that lasted for approximately five centuries, from July 1392 to October 1897. It was founded following the aftermath of the overthrow of the Goryeo Dynasty in what is today the city of Kaesong. Early on, Korea was retitled and the capital was relocated to modern-day Seoul. The kingdom's northernmost borders were expanded to the natural boundaries at the Amnok and Duman rivers through the subjugation of the Jurchens. Joseon was the last dynasty of Korean history and the longest-ruling Confucian dynasty.<br/><br/>During its reign, Joseon consolidated its effective rule over the territory of current Korea, encouraged the entrenchment of Korean Confucian ideals and doctrines in Korean society, imported and adapted Chinese culture, and saw the height of classical Korean culture, trade, science, literature, and technology. However, the dynasty was severely weakened during the late 16th and early 17th centuries, when invasions by the neighboring states of Japan and Qing nearly overran the peninsula, leading to an increasingly harsh isolationist policy for which the country became known as the Hermit Kingdom. After the end of invasions from Manchuria, Joseon experienced a nearly 200-year period of peace.<br/><br/>However, whatever power the kingdom recovered during its isolation further waned as the 18th century came to a close, and faced with internal strife, power struggles, international pressure and rebellions at home, the Joseon Dynasty declined rapidly in the late 19th century.<br/><br/>The Joseon period has left a substantial legacy to modern Korea; much of modern Korean etiquette, cultural norms, societal attitudes towards current issues, and the modern Korean language and its dialects derive from the culture and traditions of Joseon.
The phoenix is a mythical sacred firebird that can be found in the mythologies of the Persians, Greeks, Romans, Egyptians, Chinese, and (according to Sanchuniathon) Phoenicians.<br/><br/> A phoenix is a mythical bird that is a fire spirit with a colorful plumage and a tail of gold and scarlet (or purple, blue, and green according to some legends). It has a 500 to 1000 year life-cycle, near the end of which it builds itself a nest of twigs that then ignites; both nest and bird burn fiercely and are reduced to ashes, from which a new, young phoenix or phoenix egg arises, reborn anew to live again. The new phoenix is destined to live as long as its old self.<br/><br/> In China and Vietnam, the Fenghuang is a mythical bird similar to the phoenix. It is the second most-respected legendary creature (after the dragon), largely used to represent the empress and females, and as such as the counterpart to the Chinese dragon, traditionally seen as masculine or imperial. The phoenix is considered the greatest and the leader of birds.
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'.
The phoenix is a mythical sacred firebird that can be found in the mythologies of the Persians, Greeks, Romans, Egyptians, Chinese, and (according to Sanchuniathon) Phoenicians.<br/><br/> A phoenix is a mythical bird that is a fire spirit with a colorful plumage and a tail of gold and scarlet (or purple, blue, and green according to some legends). It has a 500 to 1000 year life-cycle, near the end of which it builds itself a nest of twigs that then ignites; both nest and bird burn fiercely and are reduced to ashes, from which a new, young phoenix or phoenix egg arises, reborn anew to live again. The new phoenix is destined to live as long as its old self.<br/><br/> In China and Vietnam, the Fenghuang is a mythical bird similar to the phoenix. It is the second most-respected legendary creature (after the dragon), largely used to represent the empress and females, and as such as the counterpart to the Chinese dragon, traditionally seen as masculine or imperial. The phoenix is considered the greatest and the leader of birds.
The phoenix is a mythical sacred firebird that can be found in the mythologies of the Persians, Greeks, Romans, Egyptians, Chinese, and (according to Sanchuniathon) Phoenicians.<br/><br/> A phoenix is a mythical bird that is a fire spirit with a colorful plumage and a tail of gold and scarlet (or purple, blue, and green according to some legends). It has a 500 to 1000 year life-cycle, near the end of which it builds itself a nest of twigs that then ignites; both nest and bird burn fiercely and are reduced to ashes, from which a new, young phoenix or phoenix egg arises, reborn anew to live again. The new phoenix is destined to live as long as its old self.<br/><br/> In China and Vietnam, the Fenghuang is a mythical bird similar to the phoenix. It is the second most-respected legendary creature (after the dragon), largely used to represent the empress and females, and as such as the counterpart to the Chinese dragon, traditionally seen as masculine or imperial. The phoenix is considered the greatest and the leader of birds.
The phoenix is a mythical sacred firebird that can be found in the mythologies of the Persians, Greeks, Romans, Egyptians, Chinese, and (according to Sanchuniathon) Phoenicians.<br/><br/> A phoenix is a mythical bird that is a fire spirit with a colorful plumage and a tail of gold and scarlet (or purple, blue, and green according to some legends). It has a 500 to 1000 year life-cycle, near the end of which it builds itself a nest of twigs that then ignites; both nest and bird burn fiercely and are reduced to ashes, from which a new, young phoenix or phoenix egg arises, reborn anew to live again. The new phoenix is destined to live as long as its old self.<br/><br/> In China and Vietnam, the Fenghuang is a mythical bird similar to the phoenix. It is the second most-respected legendary creature (after the dragon), largely used to represent the empress and females, and as such as the counterpart to the Chinese dragon, traditionally seen as masculine or imperial. The phoenix is considered the greatest and the leader of birds.
The phoenix is a mythical sacred firebird that can be found in the mythologies of the Persians, Greeks, Romans, Egyptians, Chinese, and (according to Sanchuniathon) Phoenicians.<br/><br/> A phoenix is a mythical bird that is a fire spirit with a colorful plumage and a tail of gold and scarlet (or purple, blue, and green according to some legends). It has a 500 to 1000 year life-cycle, near the end of which it builds itself a nest of twigs that then ignites; both nest and bird burn fiercely and are reduced to ashes, from which a new, young phoenix or phoenix egg arises, reborn anew to live again. The new phoenix is destined to live as long as its old self.<br/><br/> In China and Vietnam, the Fenghuang is a mythical bird similar to the phoenix. It is the second most-respected legendary creature (after the dragon), largely used to represent the empress and females, and as such as the counterpart to the Chinese dragon, traditionally seen as masculine or imperial. The phoenix is considered the greatest and the leader of birds.
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.
Isfandiyar, son of Gushtasp (the 5th Kayanian King) Battles Simurgh, the Fantastic Bird. From the Shah-nama (Book of Kings) the Epic of Medieval Persia by Firdawsi, a 10th century poet. Shiraz, 1330.<br/><br/> The Shahnameh or Shah-nama is an enormous poetic opus written by the Persian poet Ferdowsi around 1000 AD and is the national epic of the cultural sphere of Greater Persia. Consisting of some 60,000 verses, the Shahnameh tells the mythical and historical past of (Greater) Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.
Siyah Kalem or 'Black Pen' is the name given to the 15th century school of painting attributed to Mehmed Siyah Kalem. Nothing is known of his life, but his work indicates that he was of Central Asian Turkic origin, and thoroughly familiar with camp and military life. The paintings appear in the 'Conqueror’s Albums', so named because two portraits of Sultan Mehmed II the Conqueror are present in one of them.<br/><br/> The albums are made up of miniatures taken from manuscripts of the 14th, 15th, and early 16th centuries, and one series of paintings is inscribed 'work of Master Muḥammad Siyah Kalem'. Something of the style and techniques of Chinese paintings is apparent in these, and an acquaintance with Buddhist art, particularly in the depictions of grotesque demonic figures.