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Japan: 'Shinobazu Pond'. Oil on canvas painting by Odano Naotake (1750-1780), 1770.<br/><br/> Odano Naotake (18 January 1750 - 19 June 1780) was a Japanese painter from Kakunodate. He was a major follower and voice within the Akita ranga/Akita-ha school of painting, a short-lived school that was influenced by Dutch-style painting. It combined traditional Japanese themes and composition with Western-style techniques, such as use of shadows, perspective, reflections in water and oil paints.
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.
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.
Rani Pokhari (Queen’s Pond), located off the northern end of the Tundikhel, is one of Kathmandu’s more attractive landmarks. The pond was dug between 1665 and 1670 by King Pratapa Malla to comfort his wife Bhavan Lakshmi over the death of their son Chakrabatindra Malla who had been trampled to death by an elephant.<br/><br/> In later years, the pond was used for trial by ordeal, in which the representatives of two conflicting parties had to submerge themselves in the water, the one with the greater lung capacity winning the case. With the beginning of Rana rule the ordeals were discontinued.
Rani Pokhari (Queen’s Pond), located off the northern end of the Tundikhel, is one of Kathmandu’s more attractive landmarks. The pond was dug between 1665 and 1670 by King Pratapa Malla to comfort his wife Bhavan Lakshmi over the death of their son Chakrabatindra Malla who had been trampled to death by an elephant.<br/><br/> In later years, the pond was used for trial by ordeal, in which the representatives of two conflicting parties had to submerge themselves in the water, the one with the greater lung capacity winning the case. With the beginning of Rana rule the ordeals were discontinued.
Rani Pokhari (Queen’s Pond), located off the northern end of the Tundikhel, is one of Kathmandu’s more attractive landmarks. The pond was dug between 1665 and 1670 by King Pratapa Malla to comfort his wife Bhavan Lakshmi over the death of their son Chakrabatindra Malla who had been trampled to death by an elephant.<br/><br/> In later years, the pond was used for trial by ordeal, in which the representatives of two conflicting parties had to submerge themselves in the water, the one with the greater lung capacity winning the case. With the beginning of Rana rule the ordeals were discontinued.
Rani Pokhari (Queen’s Pond), located off the northern end of the Tundikhel, is one of Kathmandu’s more attractive landmarks. The pond was dug between 1665 and 1670 by King Pratapa Malla to comfort his wife Bhavan Lakshmi over the death of their son Chakrabatindra Malla who had been trampled to death by an elephant.<br/><br/> In later years, the pond was used for trial by ordeal, in which the representatives of two conflicting parties had to submerge themselves in the water, the one with the greater lung capacity winning the case. With the beginning of Rana rule the ordeals were discontinued.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
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.
Rani Pokhari (Queen’s Pond), located off the northern end of the Tundikhel, is one of Kathmandu’s more attractive landmarks. The pond was dug between 1665 and 1670 by King Pratapa Malla to comfort his wife Bhavan Lakshmi over the death of their son Chakrabatindra Malla who had been trampled to death by an elephant.<br/><br/> In later years, the pond was used for trial by ordeal, in which the representatives of two conflicting parties had to submerge themselves in the water, the one with the greater lung capacity winning the case. With the beginning of Rana rule the ordeals were discontinued.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Wat Chet Lin is said to have been the coronation place of King Mekut Sutthiwong [King Mae Ku, the 17th monarch of the Mangrai Dynasty (1263–1578), who ruled North Thailand from 1551 to 1564, the last six years of his reign as a vassal of the Burman King Bayinnaung of Taungoo].<br/><br/> Chiang Mai (meaning "new city"), sometimes written as "Chiengmai" or "Chiangmai", is the largest and most culturally significant city in northern Thailand. King Mengrai founded the city of Chiang Mai in 1296, and it succeeded Chiang Rai as capital of the Lanna kingdom.
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.
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The people of Edo marked the autumn season (秋の部) with excursions to scenic attractions and harvest festivals, and viewing fall foliage at its peak. The prints numbered 73 through 98 suggest the activities of this season in Japan, the Seventh, Eighth, and Ninth Months.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The people of Edo marked the autumn season (秋の部) with excursions to scenic attractions and harvest festivals, and viewing fall foliage at its peak. The prints numbered 73 through 98 suggest the activities of this season in Japan, the Seventh, Eighth, and Ninth Months.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The people of Edo marked the autumn season (秋の部) with excursions to scenic attractions and harvest festivals, and viewing fall foliage at its peak. The prints numbered 73 through 98 suggest the activities of this season in Japan, the Seventh, Eighth, and Ninth Months.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It irepresents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The series continues with summer (夏の部). Summer amusements of the Fourth, Fifth, and Sixth Months are represented in numbers 43 through 72. Evening outings in pleasure boats on the Sumida River were taken along the many famous bridges of Edo, where endless varieties of entertainment were offered.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The series opens with spring (春の部). Scenes 1 though 42 represent the First to the Third Months, which are considered in Japan to be the spring season. Typically, early spring is marked by the festivities celebrated at the New Year, which begins the season. Blossoming plum trees are associated with the middle of spring, signifying the end of the cold weather and the beginning of the warm season.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The series opens with spring (春の部). Scenes 1 though 42 represent the First to the Third Months, which are considered in Japan to be the spring season. Typically, early spring is marked by the festivities celebrated at the New Year, which begins the season. Blossoming plum trees are associated with the middle of spring, signifying the end of the cold weather and the beginning of the warm season.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Guanshiyin or Avalokitesvara is the bodhisattva associated with compassion as venerated by East Asian Buddhists, usually as a female. The name Guanyin is short for Guanshiyin which means 'Observing the Sounds (or Cries) of the World'. Some Buddhists believe that when one of their adherents departs from this world, they are placed by Guanyin in the heart of a lotus then sent home to the western pure land of Sukhāvatī. It is generally accepted (in the Chinese community) that Guanyin originated as the Sanskrit Avalokiteśvara, which is her male form. Commonly known in English as the Goddess of Mercy, Guanyin is also revered in Daoism as an Immortal. In Japan, Guanyin is called Kannon.<br/><br/> Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Guanshiyin or Avalokitesvara is the bodhisattva associated with compassion as venerated by East Asian Buddhists, usually as a female. The name Guanyin is short for Guanshiyin which means 'Observing the Sounds (or Cries) of the World'. Some Buddhists believe that when one of their adherents departs from this world, they are placed by Guanyin in the heart of a lotus then sent home to the western pure land of Sukhāvatī. It is generally accepted (in the Chinese community) that Guanyin originated as the Sanskrit Avalokiteśvara, which is her male form. Commonly known in English as the Goddess of Mercy, Guanyin is also revered in Daoism as an Immortal. In Japan, Guanyin is called Kannon.<br/><br/> Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Guanshiyin or Avalokitesvara is the bodhisattva associated with compassion as venerated by East Asian Buddhists, usually as a female. The name Guanyin is short for Guanshiyin which means 'Observing the Sounds (or Cries) of the World'. Some Buddhists believe that when one of their adherents departs from this world, they are placed by Guanyin in the heart of a lotus then sent home to the western pure land of Sukhāvatī. It is generally accepted (in the Chinese community) that Guanyin originated as the Sanskrit Avalokiteśvara, which is her male form. Commonly known in English as the Goddess of Mercy, Guanyin is also revered in Daoism as an Immortal. In Japan, Guanyin is called Kannon.<br/><br/> Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Guanshiyin or Avalokitesvara is the bodhisattva associated with compassion as venerated by East Asian Buddhists, usually as a female. The name Guanyin is short for Guanshiyin which means 'Observing the Sounds (or Cries) of the World'. Some Buddhists believe that when one of their adherents departs from this world, they are placed by Guanyin in the heart of a lotus then sent home to the western pure land of Sukhāvatī. It is generally accepted (in the Chinese community) that Guanyin originated as the Sanskrit Avalokiteśvara, which is her male form. Commonly known in English as the Goddess of Mercy, Guanyin is also revered in Daoism as an Immortal. In Japan, Guanyin is called Kannon.<br/><br/> Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Xuan Wu (The Dark Martial or The Mysterious Martial), posthumously known as The Dark or Mysterious Heavenly Upper Emperor (Xuan Tian Shang Di), as well as True Warrior Grand Emperor (Zhen Wu Da Di), and commonly known as The Northern Emperor (Bei Di) or Emperor Lord (Di Gong) is one of the higher ranking Taoist deities, and one of the more revered deities in China.<br/><br/> He is revered as a powerful god, able to control the elements (worshipped by those wishing to avoid fires), and capable of great magic. He is particularly revered by martial artists, and is the patron saint of Hebei, Manchuria and Mongolia. Since the third Ming Emperor, Zhu Di, claimed the help of Zhen Wu in his war to take over the Ming Empire, monasteries were built under the Imperial Decree in Wudang Mountains, in China's Hubei Province, where he allegedly attained immortality. Xuan Wu is also the patron saint of Cantonese and Min Nan speakers (particularly those of Hokkien ancestry) in southern China, whose ancestors fled south following the Song Imperial House of Zhao.<br/><br/> Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Xuan Wu (The Dark Martial or The Mysterious Martial), posthumously known as The Dark or Mysterious Heavenly Upper Emperor (Xuan Tian Shang Di), as well as True Warrior Grand Emperor (Zhen Wu Da Di), and commonly known as The Northern Emperor (Bei Di) or Emperor Lord (Di Gong) is one of the higher ranking Taoist deities, and one of the more revered deities in China.<br/><br/> He is revered as a powerful god, able to control the elements (worshipped by those wishing to avoid fires), and capable of great magic. He is particularly revered by martial artists, and is the patron saint of Hebei, Manchuria and Mongolia. Since the third Ming Emperor, Zhu Di, claimed the help of Zhen Wu in his war to take over the Ming Empire, monasteries were built under the Imperial Decree in Wudang Mountains, in China's Hubei Province, where he allegedly attained immortality. Xuan Wu is also the patron saint of Cantonese and Min Nan speakers (particularly those of Hokkien ancestry) in southern China, whose ancestors fled south following the Song Imperial House of Zhao.<br/><br/> Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Xuan Wu (The Dark Martial or The Mysterious Martial), posthumously known as The Dark or Mysterious Heavenly Upper Emperor (Xuan Tian Shang Di), as well as True Warrior Grand Emperor (Zhen Wu Da Di), and commonly known as The Northern Emperor (Bei Di) or Emperor Lord (Di Gong) is one of the higher ranking Taoist deities, and one of the more revered deities in China.<br/><br/> He is revered as a powerful god, able to control the elements (worshipped by those wishing to avoid fires), and capable of great magic. He is particularly revered by martial artists, and is the patron saint of Hebei, Manchuria and Mongolia. Since the third Ming Emperor, Zhu Di, claimed the help of Zhen Wu in his war to take over the Ming Empire, monasteries were built under the Imperial Decree in Wudang Mountains, in China's Hubei Province, where he allegedly attained immortality. Xuan Wu is also the patron saint of Cantonese and Min Nan speakers (particularly those of Hokkien ancestry) in southern China, whose ancestors fled south following the Song Imperial House of Zhao.<br/><br/> Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Lotus Pond or Lotus Lake (Chinese: 蓮池潭; pinyin: Liánchí Tán; Pe̍h-ōe-jī: Liân-tî-thâm) opened in 1951, and is famous for the lotus plants on the lake and the numerous temples around the lake, including the Spring and Autumn Pavilions (春秋閣), the Dragon and Tiger Pagodas (龍虎塔), and the Confucian Temple (孔廟).
Liang Yuan or Liang's Garden was built between 1796 and 1850 CE and is regarded as one of the most beautiful gardens in Guangdong Province.<br/><br/> Foshan dates back to the 7th century CE and has been famous for its ceramics, porcelain and pottery industry since the Song Dynasty (960 - 1276 CE). It is also famous for its martial arts. It contains numerous Wing Chun schools where many come to train and spar.
Loei (Thai: เลย) Province is located in Thailand's upper North-East. Neighboring provinces are (from east clockwise) Nong Khai, Udon Thani, Nongbua Lamphu, Khon Kaen, Phetchabun, Phitsanulok. In the north it borders Xaignabouli and Vientiane Provinces of Laos.<br/><br/> The province is covered with low mountains, while the capital Loei is located in a fertile basin. The Loei River, which flows through the province, is a tributary of the Mekong which, together with the smaller Hueang River, forms the northern boundary of the province with neighboring Laos.<br/><br/> Although temperatures in the hot season (April-May) can be more than 40 degrees Celsius, the province is the only one in Thailand where temperatures regularly drops below freezing at night in the cold season (December-January).<br/><br/> Loei is rich in national parks, including especially Phu Kradung, Phu Ruea, Phu Suan Sai (also known as Na Haeo) and Phu Luang Wildlife Sanctuary.<br/><br/> In 1853 King Mongkut (Rama IV) founded the city of Loei to administer the increasing population in what was then a remote area. In 1907 the province was created by King Chulalongkorn (Rama V). The province is also famous for the Phi Ta Khon festival held at Dansai during the 6th lunar month to make merit and honour the spirits of the ancestors - a colourful mix of Buddhism and spirit worship.<br/><br/> The symbol of the province is the stupa (chedi) at Phra That Si Song Rak in Dan Sai, which was built in 1560 by King Maha Chakrapat of Ayutthaya and King Chai Chetha of Lan Xang as a symbol of friendship between the Siamese and Lao kingdoms.
Loei (Thai: เลย) Province is located in Thailand's upper North-East. Neighboring provinces are (from east clockwise) Nong Khai, Udon Thani, Nongbua Lamphu, Khon Kaen, Phetchabun, Phitsanulok. In the north it borders Xaignabouli and Vientiane Provinces of Laos.<br/><br/> The province is covered with low mountains, while the capital Loei is located in a fertile basin. The Loei River, which flows through the province, is a tributary of the Mekong which, together with the smaller Hueang River, forms the northern boundary of the province with neighboring Laos.<br/><br/> Although temperatures in the hot season (April-May) can be more than 40 degrees Celsius, the province is the only one in Thailand where temperatures regularly drops below freezing at night in the cold season (December-January).<br/><br/> Loei is rich in national parks, including especially Phu Kradung, Phu Ruea, Phu Suan Sai (also known as Na Haeo) and Phu Luang Wildlife Sanctuary.<br/><br/> In 1853 King Mongkut (Rama IV) founded the city of Loei to administer the increasing population in what was then a remote area. In 1907 the province was created by King Chulalongkorn (Rama V). The province is also famous for the Phi Ta Khon festival held at Dansai during the 6th lunar month to make merit and honour the spirits of the ancestors - a colourful mix of Buddhism and spirit worship.<br/><br/> The symbol of the province is the stupa (chedi) at Phra That Si Song Rak in Dan Sai, which was built in 1560 by King Maha Chakrapat of Ayutthaya and King Chai Chetha of Lan Xang as a symbol of friendship between the Siamese and Lao kingdoms.
Loei (Thai: เลย) Province is located in Thailand's upper North-East. Neighboring provinces are (from east clockwise) Nong Khai, Udon Thani, Nongbua Lamphu, Khon Kaen, Phetchabun, Phitsanulok. In the north it borders Xaignabouli and Vientiane Provinces of Laos.<br/><br/> The province is covered with low mountains, while the capital Loei is located in a fertile basin. The Loei River, which flows through the province, is a tributary of the Mekong which, together with the smaller Hueang River, forms the northern boundary of the province with neighboring Laos.<br/><br/> Although temperatures in the hot season (April-May) can be more than 40 degrees Celsius, the province is the only one in Thailand where temperatures regularly drops below freezing at night in the cold season (December-January).<br/><br/> Loei is rich in national parks, including especially Phu Kradung, Phu Ruea, Phu Suan Sai (also known as Na Haeo) and Phu Luang Wildlife Sanctuary.<br/><br/> In 1853 King Mongkut (Rama IV) founded the city of Loei to administer the increasing population in what was then a remote area. In 1907 the province was created by King Chulalongkorn (Rama V). The province is also famous for the Phi Ta Khon festival held at Dansai during the 6th lunar month to make merit and honour the spirits of the ancestors - a colourful mix of Buddhism and spirit worship.<br/><br/> The symbol of the province is the stupa (chedi) at Phra That Si Song Rak in Dan Sai, which was built in 1560 by King Maha Chakrapat of Ayutthaya and King Chai Chetha of Lan Xang as a symbol of friendship between the Siamese and Lao kingdoms.
A woman leans lightly forward to play a koto. While she appears to be inside, backed by a folding screen and seated near a paper lantern that glows softly, the inset shows blossoming cherry trees around Shinobazu Pond at Ueno, with its shrine to the Buddhist deity Benzaiten.<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.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Sigiriya (Lion's rock) is an ancient rock fortress and palace ruin situated in the central Matale District of Sri Lanka, surrounded by the remains of an extensive network of gardens, reservoirs, and other structures. Sigiriya was built during the reign of King Kasyapa I (CE 477 – 495) and after his death it was used as a Buddhist monastery until the 14th century.
The Lotus Pond was built by King Parakramabahu the Great (1123 - 1186).<br/><br/> Polonnaruwa, the second most ancient of Sri Lanka's kingdoms, was first declared the capital city by King Vijayabahu I, who defeated the Chola invaders in 1070 CE to reunite the country under a national leader.
The Bezeklik Thousand Buddha Caves (Bozikeli Qian Fo Dong) are complex of Buddhist cave grottos dating from the 5th to the 9th centuries. There are 77 rock-cut caves at the site. Some ceilings are painted with a large Buddha surrounded by other figures, including Indians, Persians and Europeans. The quality of the murals vary with some being artistically naive while others are masterpieces of religious art
Edwin Lord Weeks (1849 – 1903), American artist and Orientalist, was born at Boston, Massachusetts, in 1849. He was a pupil of Léon Bonnat and of Jean-Léon Gérôme, at Paris. He made many voyages to the East, and was distinguished as a painter of oriental scenes.<br/><br> Weeks' parents were affluent spice and tea merchants from Newton, a suburb of Boston and as such they were able to accept, probably encourage, and certainly finance their son's youthful interest in painting and travelling.<br/><br> As a young man Edwin Lord Weeks visited the Florida Keys to draw and also travelled to Surinam in South America. His earliest known paintings date from 1867 when Edwin Lord Weeks was eighteen years old. In 1895 he wrote and illustrated a book of travels, From the Black Sea through Persia and India.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Prasat Hin Mueang Tam is a Khmer temple in the Khleang and Baphuon styles, which dates from the late 10th and early 11th centuries. The primary deity was Shiva, although Vishnu was also worshipped here.<br/><br/> Prasat Meuang Tam was constructed on the orders of King Jayavarman V. Surrounded by a high laterite wall, the complex includes magnificent stepped tanks which have been lovingly restored and filled with lotus flowers. The mellow sandstone of the sanctuary walls and artistically-carved lintels contrasts beautifully with the darker, coarser laterite of the surrounding sanctuary walls. The sense is one of peace and quiet reverence - the more so since this temple is rarely visited compared with nearby Phanom Rung, and much less well-known.
Tan Ting-pho (Chen Chengbo; Peh-oe-ji: Tan Teng-pho; February 2, 1895 – March 25, 1947), was a well-known Taiwanese painter. In 1926, his oil painting <i>Street of Chiayi</i> was featured in the seventh Empire Art Exhibition in Japan, which was the first time a Taiwanese artist's work was displayed at the exhibition.<br/><br/> Tan devoted his life to education and creation, and was greatly concerned about the development of humanist culture in Taiwan. He was not only devoted to the improvement of his own painting, but also to the promotion of the aesthetic education of the Taiwanese people. He was murdered as a result of the February 28 Incident, a 1947 popular uprising in Taiwan which was brutally repressed by the Kuomintang (KMT).
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
Sadanobu's small landscapes of Kyoto and Osaka were produced very much with the Edo artist Hiroshige in mind. Indeed, he also did miniature copies of some of Hiroshige's most famous designs.<br/><br/> Kyoto was the capital of Japan from 1180 to 1868, when the capital was moved to Tokyo (previously Edo) at the beginning of the Meiji Era in 1868. Sadanobu's woodblock prints of 'Famous Places in the Capital' was thus produced towards the very end of Kyoto's position as the Japanese capital, and possibly continued into the first year or two of the Meiji Period.
Chinese erotic art was a tradition that spanned from antiquity until its apex in the late Ming Dynasty (early 17th century). This art was not just produced for stimulation. Chinese erotica portrays ideals of feminine beauty, narratives on imperial and vernacular life, humour, tenderness and love. However, traditional Chinese erotic art remains a little known tradition because so much of it was destroyed during the Maoist era.<br/><br/> Foot binding (pinyin: <i>chanzu</i>, literally 'bound feet') was a custom practiced on young girls and women for approximately one thousand years in China, beginning in the 10th century and ending in the first half of 20th century.<br/><br/> Qing Dynasty sex manuals listed 48 different ways of playing with women's bound feet. For men, the primary erotic effect was a function of the lotus gait, the tiny steps and swaying walk of a woman whose feet had been bound.