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A <i>piphat</i> is a kind of ensemble in the classical music of Thailand, which features wind and percussion instruments. It is considered the primary form of ensemble for the interpretation of the most sacred and 'high-class' compositions of the Thai classical repertoire, including the Buddhist invocation entitled <i>sathukan</i> as well as the suites called <i>phleng rueang</i>. It is also used to accompany traditional Thai theatrical and dance forms including <i>khon</i> (masked dance-drama), <i>lakhon</i> (classical dance), and shadow puppet theater.
The <i>khong mon</i> is a gong-circle instrument that is associated with the Mon people of mainland Southeast Asia. It produces the same range of pitches as the more common <i>khong wong</i> gong circle, but rather than resting on the ground, the wooden frame of the <i>khong mon</i> extends into the air in the shape of a horseshoe.<br/><br/> The image of a half-man, half-bird figure carved onto the frame is traditional, and is meant to symbolize a celestial musician. The frame is also typically decorated lavishly in gold paint and glass inlay.<br/><br/><i>Khong mon</i> are featured in a special type of Thai ensemble called <i>pi phat</i>.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BCE in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
The <i>khong mon</i> is a gong-circle instrument that is associated with the Mon people of mainland Southeast Asia. It produces the same range of pitches as the more common <i>khong wong</i> gong circle, but rather than resting on the ground, the wooden frame of the <i>khong mon</i> extends into the air in the shape of a horseshoe.<br/><br/> The image of a half-man, half-bird figure carved onto the frame is traditional, and is meant to symbolize a celestial musician. The frame is also typically decorated lavishly in gold paint and glass inlay.<br/><br/><i>Khong mon</i> are featured in a special type of Thai ensemble called <i>pi phat</i>.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BCE in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
The <i>khong mon</i> is a gong-circle instrument that is associated with the Mon people of mainland Southeast Asia. It produces the same range of pitches as the more common <i>khong wong</i> gong circle, but rather than resting on the ground, the wooden frame of the <i>khong mon</i> extends into the air in the shape of a horseshoe.<br/><br/> The image of a half-man, half-bird figure carved onto the frame is traditional, and is meant to symbolize a celestial musician. The frame is also typically decorated lavishly in gold paint and glass inlay.<br/><br/><i>Khong mon</i> are featured in a special type of Thai ensemble called <i>pi phat</i>.
The <i>khong mon</i> is a gong-circle instrument that is associated with the Mon people of mainland Southeast Asia. It produces the same range of pitches as the more common <i>khong wong</i> gong circle, but rather than resting on the ground, the wooden frame of the <i>khong mon</i> extends into the air in the shape of a horseshoe.<br/><br/> The image of a half-man, half-bird figure carved onto the frame is traditional, and is meant to symbolize a celestial musician. The frame is also typically decorated lavishly in gold paint and glass inlay.<br/><br/><i>Khong mon</i> are featured in a special type of Thai ensemble called <i>pi phat</i>.
Dong Biwu (Wade-Gles: Tung Pi-wu) was born in Huanggang, Hubei. In 1911 he joined the Tongmenghui, and participated in the Xinhai Revolution. Twice he went to Japan to study at Nihon University. In 1921 he attended the 1st Congress of the Communist Party of China as a representative of Wuhan. Mao Zedong and Dong Biwu were the only two men to attend both the 1st Congress and the establishment of the People's Republic of China at Tiananmen in 1949.<br/><br/> He was Vice Chairman of the People's Republic of China from 1959 until 1975, jointly with Song Qingling, and after 1968 he was - until 1972 jointly with Song Qingling - Acting President of the People's Republic of China. In 1975, the office of president was abolished and the Chairman of the Standing Committee of the National People's Congress - then Zhu De - became formal head of state. Dong was elected Vice Chairman of the Standing Committee of People's National Congress.<br/><br/> Dong was a member of Politburo of the Communist Party of China from 1945 to 1975. He was elected one of nine members of the Standing Committee of the Politburo at 10th Congress of the Communist Party in 1973.
'The Nine Chapters on the Mathematical Arts' is a Chinese mathematics book, composed by several generations of scholars from the 10th–2nd century BCE, its latest stage being from the 2nd century CE. This book is one of the earliest surviving mathematical texts from China.<br/><br/> It lays out an approach to mathematics that centres on finding the most general methods of solving problems, which may be contrasted with the approach common to ancient Greek mathematicians, who tended to deduce propositions from an initial set of axioms.<br/><br/> Entries in the book usually take the form of a statement of a problem, followed by the statement of the solution, and an explanation of the procedure that led to the solution. These were commented on and advanced by the scholar by Liu Hui in the 3rd century CE.
The Wushih Pi headland is part of Taiwan's Central Mountain Range which extends from Su-ao in the northeast to Eluanbi at the southern tip of the island, forming a ridge of high mountains and serving as the island's major watershed for rivers and streams. The mountains are predominantly composed of hard rock formations resistant to weathering and erosion, although heavy rainfall has deeply scarred the sides with gorges and sharp valleys. Taroko National Park, located on the mountainous eastern side of the island, has good examples of mountainous terrain, gorges and erosion caused by a swiftly flowing river.
The Wushih Pi headland is part of Taiwan's Central Mountain Range which extends from Su-ao in the northeast to Eluanbi at the southern tip of the island, forming a ridge of high mountains and serving as the island's major watershed for rivers and streams. The mountains are predominantly composed of hard rock formations resistant to weathering and erosion, although heavy rainfall has deeply scarred the sides with gorges and sharp valleys. Taroko National Park, located on the mountainous eastern side of the island, has good examples of mountainous terrain, gorges and erosion caused by a swiftly flowing river.
The Wushih Pi headland is part of Taiwan's Central Mountain Range which extends from Su-ao in the northeast to Eluanbi at the southern tip of the island, forming a ridge of high mountains and serving as the island's major watershed for rivers and streams. The mountains are predominantly composed of hard rock formations resistant to weathering and erosion, although heavy rainfall has deeply scarred the sides with gorges and sharp valleys. Taroko National Park, located on the mountainous eastern side of the island, has good examples of mountainous terrain, gorges and erosion caused by a swiftly flowing river.
The Wushih Pi headland is part of Taiwan's Central Mountain Range which extends from Su-ao in the northeast to Eluanbi at the southern tip of the island, forming a ridge of high mountains and serving as the island's major watershed for rivers and streams. The mountains are predominantly composed of hard rock formations resistant to weathering and erosion, although heavy rainfall has deeply scarred the sides with gorges and sharp valleys. Taroko National Park, located on the mountainous eastern side of the island, has good examples of mountainous terrain, gorges and erosion caused by a swiftly flowing river.
Suzuki Harunobu (鈴木 春信4, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.<br/><br/> During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.
The Tea Horse Road (Cha Ma Dao) was a network of mule caravan paths winding through the mountains of Yunnan, Sichuan and Tibet in Southwest China. It is also sometimes referred to as the Southern Silk Road and Ancient Tea Horse Road. From around a thousand years ago, the Ancient Tea Route was a trade link from Yunnan, one of the first tea-producing regions, to India via Burma, to Tibet, and to central China via Sichuan Province.<br/><br/> In addition to tea, the mule caravans carried salt. It is believed that it was through this trading network that tea (typically tea bricks) first spread across China and Asia from its presumed origins in Pu'er county, near Simao Prefecture in Yunnan.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.
'Nang talung' is the shadow puppet theatre popular in southern Thailand. It is an art form said to have originated as early as 400 BC in Southeast Asia.<br/><br/> Performances usually last well into the night and remain an essential if diminishing part of village life in Thailand's Deep South.<br/><br/>‘Nang’ means ‘animal hide’, from which the figures are cut. ‘Talung’ refers to Phatthalung, a town in southern Thailand where the art form is said to have originated. It is the task of a single skilled person, the 'nai nag' or ‘puppet master’, to create the whole show. Sitting behind an illuminated screen, he maneuvers up to six puppets per scene.<br/><br/> The changing tone of the puppeteers voice differentiates between the characters, while a band of musicians adds tension to the story. While the more formal 'nang yai' is based on the Hindu epic the Ramayana – known as the Ramakien in Thai – 'nang talung' takes its inspiration from everyday life.