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'Heron on a Willow Branch'. Two-panel folding screen painting by Maruyama Okyo (1733-1795), 1775.<br/><br/> Maruyama Okyo (June 12, 1733 - August 31, 1795), born Maruyama Masataka, was a Japanese artist active during the Edo period. He founded the Maruyama school of painting, which mixed Western naturalism with Eastern decorative design.
Hishikawa Moronobu (1618 – 25 July 1694) was a Japanese artist known for popularizing the ukiyo-e genre of woodblock prints and paintings in the late 17th century.
Hishikawa Moronobu (1618 – 25 July 1694) was a Japanese artist known for popularizing the ukiyo-e genre of woodblock prints and paintings in the late 17th century.
Hishikawa Moronobu (1618 – 25 July 1694) was a Japanese artist known for popularizing the ukiyo-e genre of woodblock prints and paintings in the late 17th century.
The Kheng Hock Keong Temple is dedicated to Matsu, goddess of the sea. Mazu (Wade–Giles: Matsu, Vietnamese: Ma To) is the indigenous goddess of the sea who is said to protect fishermen and sailors, and is invoked as the patron saint of all Southern Chinese and East Asian persons. Born as Lin Moniang in Fujian around 960 CE, worship of Mazu began around the Ming Dynasty, when many temples dedicated to her were erected all across Mainland China, later spreading to other countries with Overseas Chinese populations. Mazu is widely worshipped in the south-eastern coastal areas of China and neighbouring areas in Southeast Asia, especially Zhejiang, Fujian, Taiwan, Guangdong, and Vietnam, all of which have strong sea-faring traditions, as well as migrant communities elsewhere with sizeable populations from these areas. Mazu also has a significant influence on East Asian sea culture, especially in China and Taiwan.
Fujin or Futen is the Japanese god of the wind and one of the eldest Shinto gods. He is generally depicted as a terrifying wizard-like demon carrying a large bag of winds on his shoulders.<br/><br/> In Japanese art, the deity is often depicted together with Raijin, the god of lightning, thunder and storms.<br/><br/> Ogata Kōrin (1658 – June 2, 1716) was a Japanese painter of the Rinpa school. He was born in Kyoto, to a wealthy merchant who had a taste for the arts. Korin also studied under Soken Yamamoto, the Kano school, Tsunenobu and Gukei Sumiyoshi, and was greatly influenced by his predecessors Hon'ami Kōetsu and Tawaraya Sotatsu.<br/><br/> 'Wind God and Thunder God' by Ogata Korin is a replica of Tawaraya Sotatsu's four panel folding screen of the same title ('Fujin Raijin Zu), Kyoto, early 17th century.
Fujin or Futen is the Japanese god of the wind and one of the eldest Shinto gods. He is generally depicted as a terrifying wizard-like demon carrying a large bag of winds on his shoulders.<br/><br/> In Japanese art, the deity is often depicted together with Raijin, the god of lightning, thunder and storms.<br/><br/> Ogata Kōrin (1658 – June 2, 1716) was a Japanese painter of the Rinpa school. He was born in Kyoto, to a wealthy merchant who had a taste for the arts. Korin also studied under Soken Yamamoto, the Kano school, Tsunenobu and Gukei Sumiyoshi, and was greatly influenced by his predecessors Hon'ami Kōetsu and Tawaraya Sotatsu.<br/><br/> 'Wind God and Thunder God' by Ogata Korin is a replica of Tawaraya Sotatsu's four panel folding screen of the same title ('Fujin Raijin Zu), Kyoto, early 17th century.
Raijin is a god of lightning, thunder and storms in the Shinto religion and in Japanese mythology. He is typically depicted as a demonic spirit beating drums to create thunder, usually with a <i>tomoe</i> symbol drawn on the drums.<br/><br/> Fujin or Futen is the Japanese god of the wind and one of the eldest Shinto gods. He is generally depicted as a terrifying wizard-like demon carrying a large bag of winds on his shoulders.<br/><br/> In Japanese art, the deity is often depicted together with Raijin, the god of lightning, thunder and storms.<br/><br/> Ogata Kōrin (1658 – June 2, 1716) was a Japanese painter of the Rinpa school. He was born in Kyoto, to a wealthy merchant who had a taste for the arts. Korin also studied under Soken Yamamoto, the Kano school, Tsunenobu and Gukei Sumiyoshi, and was greatly influenced by his predecessors Hon'ami Kōetsu and Tawaraya Sotatsu.<br/><br/> 'Wind God and Thunder God' by Ogata Korin is a replica of Tawaraya Sotatsu's four panel folding screen of the same title ('Fujin Raijin Zu), Kyoto, early 17th century.
Kano Eitoku (February 16, 1543 - October 12, 1590) was a Japanese painter who lived during the Azuchi–Momoyama period (1568-1600) and is considered one of the most prominent patriarchs of the Kano school of Japanese painting.<br/><br/> The Kano school of painting was the dominant style of painting from the late 15th century until the Meiji period which began in 1868. The school began by reflecting a renewed influence from Chinese painting, but developed a brightly coloured and firmly outlined style for large panels decorating the castles of the nobility which reflected distinctively Japanese traditions, while continuing to produce monochrome brush paintings in Chinese styles.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Construction of Changdeok Palace began in 1405, and was completed in 1412. The Palace was burnt to the ground during the Japanese invasion in 1592 and reconstructed in 1609 by King Seonjo and King Gwanghaegun. The palace was also attacked by the Manchu Qing but throughout its history of reconstruction and repair has remained faithful to its original design.<br/><br/> Changgyeong Palace was built in the mid-15th century by King Sejong for his father, Taejong. It was originally named 'Suganggung', but it was renovated and enlarged in 1483 by King Seongjong, at which time it received its current name.
<i>Bugaku</i>, a court dance accompanied by <i>Gagaku</i> music, is a Japanese traditional dance blending Buddhist and Shinto elements that has been performed to select elites mostly in Japanese imperial courts for over twelve hundred years.<br/><br/> In this way it has been an upper class secret, although after World War II the dance was opened to the public and has even toured around the world in 1959. The dance is marked by its slow, precise and regal movements.<br/><br/> The dancers wear intricate traditional Buddhist costumes, which usually include equally beautiful masks. The music and dance pattern is often repeated several times. It is performed on a square platform, usually 6m by 6m.
Kano Naizen (1570 - 1616) was a Japanese painter of the Kano school, particularly known for his screen paintings (byobu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Ike no Taiga was a Japanese painter and calligrapher born in Kyoto during the Edo period. The majority of his works reflected his passion for classical Chinese culture and painting techniques, though he also incorporated revolutionary and modern techniques into his otherwise very traditional paintings.
Raijin is a god of lightning, thunder and storms in the Shinto religion and in Japanese mythology. He is typically depicted as a demonic spirit beating drums to create thunder, usually with a <i>tomoe</i> symbol drawn on the drums.<br/><br/> In Japanese art, the deity is often depicted together with the wind god Fujin.<br/><br/> Ogata Kōrin (1658 – June 2, 1716) was a Japanese painter of the Rinpa school. He was born in Kyoto, to a wealthy merchant who had a taste for the arts. Korin also studied under Soken Yamamoto, the Kano school, Tsunenobu and Gukei Sumiyoshi, and was greatly influenced by his predecessors Hon'ami Kōetsu and Tawaraya Sotatsu.<br/><br/> 'Wind God and Thunder God' by Ogata Korin is a replica of Tawaraya Sotatsu's four panel folding screen of the same title ('Fujin Raijin Zu), Kyoto, early 17th century.
The Tashrih al-aqvam ('An Account of Origins and Occupations of Some of the Sects, Castes, and Tribes of India') was completed in 1825. The text, a summary of the Vedas and Shastras, translated into Persian by Colonel James Skinner (1778–1841), is a survey of both Hindu and Muslim occupational groups and religious mendicants in the Delhi region and begins with an account of the house of Timur down to Akbar II (r. 1806–37).<br/><br/> Skinner commissioned Delhi artists to illustrate the album, the chief of them being Ghulam Ali Khan. The artist accompanied Skinner on his travels, and the watercolor portraits are probably all studies from life.
Yashima Gakutei was a Japanese artist and poet who was a pupil of both Totoya Hokkei and Hokusai. Gakutei is best known for his <i>kyoka</i> poetry and <i>surimono</i> woodblock works.
Ike no Taiga was a Japanese painter and calligrapher born in Kyoto during the Edo period. The majority of his works reflected his passion for classical Chinese culture and painting techniques, though he also incorporated revolutionary and modern techniques into his otherwise very traditional paintings.
Kaiho Yusho (1533 – 1615) was a Japanese painter of the Azuchi–Momoyama period. He was born in Omi province, the fifth son of Kaiho Tsunachika, who was a vassal of Azai Nagamasa.<br/><br/> At an early age he became a page at the Tofuku-ji (temple) in Kyoto and, later a lay priest. He served there under the abbot and associated with the leading Zen priests of Kyoto. In his forties, Yusho turned to painting and became a pupil in the Kano School, either under the famous Kano Motonobu or his grandson Kano Eitoku. Then, he worked at Jurakudai, under the patronage of Toyotomi Hideyoshi and the Emperor Go-Yozei.<br/><br/> At first, he patterned his work after Sung painter Liang K'ai, doing only monochrome ink paintings, using a 'reduced brush stroke' (<i>gempitsu</i>), relying more on ink washes than sharp hard strokes. Later, he worked in fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tohaku and Kano Eitoku, he gave his name Kaiho to the style of painting he and his followers practiced.
Modern girls ('modan gaaru', also shortened to 'moga') were Japanese women who followed Westernized fashions and lifestyles in the 1920s. These moga were Japan's equivalent of America's flappers, India's kallege ladki, Germany's neue Frauen, France's garçonnes, or China's modeng xiaojie.<br/><br/> The period was characterized by the emergence of working class young women with access to money and consumer goods. Modern girls were depicted as living in the cities, being financially and emotionally independent and choosing their own suitors.
Kitagawa Utamaro (ca. 1753 - October 31, 1806) was a Japanese printmaker and painter, who is considered one of the greatest artists of woodblock prints (ukiyo-e). He is known especially for his masterfully composed studies of women, known as bijinga.<br/><br/> He also produced nature studies, particularly illustrated books of insects.
Kaiho Yusho (1533 – 1615) was a Japanese painter of the Azuchi–Momoyama period. He was born in Omi province, the fifth son of Kaiho Tsunachika, who was a vassal of Azai Nagamasa.<br/><br/> At an early age he became a page at the Tofuku-ji (temple) in Kyoto and, later a lay priest. He served there under the abbot and associated with the leading Zen priests of Kyoto. In his forties, Yusho turned to painting and became a pupil in the Kano School, either under the famous Kano Motonobu or his grandson Kano Eitoku. Then, he worked at Jurakudai, under the patronage of Toyotomi Hideyoshi and the Emperor Go-Yozei.<br/><br/> At first, he patterned his work after Sung painter Liang K'ai, doing only monochrome ink paintings, using a 'reduced brush stroke' (<i>gempitsu</i>), relying more on ink washes than sharp hard strokes. Later, he worked in fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tohaku and Kano Eitoku, he gave his name Kaiho to the style of painting he and his followers practiced.
<i>Bugaku</i>, a court dance accompanied by <i>Gagaku</i> music, is a Japanese traditional dance blending Buddhist and Shinto elements that has been performed to select elites mostly in Japanese imperial courts for over twelve hundred years.<br/><br/> In this way it has been an upper class secret, although after World War II the dance was opened to the public and has even toured around the world in 1959. The dance is marked by its slow, precise and regal movements.<br/><br/> The dancers wear intricate traditional Buddhist costumes, which usually include equally beautiful masks. The music and dance pattern is often repeated several times. It is performed on a square platform, usually 6m by 6m.
Raijin is a god of lightning, thunder and storms in the Shinto religion and in Japanese mythology. He is typically depicted as a demonic spirit beating drums to create thunder, usually with a <i>tomoe</i> symbol drawn on the drums.<br/><br/> In Japanese art, the deity is often depicted together with the wind god Fujin.<br/><br/> Ogata Kōrin (1658 – June 2, 1716) was a Japanese painter of the Rinpa school. He was born in Kyoto, to a wealthy merchant who had a taste for the arts. Korin also studied under Soken Yamamoto, the Kano school, Tsunenobu and Gukei Sumiyoshi, and was greatly influenced by his predecessors Hon'ami Kōetsu and Tawaraya Sotatsu.<br/><br/> 'Wind God and Thunder God' by Ogata Korin is a replica of Tawaraya Sotatsu's four panel folding screen of the same title ('Fujin Raijin Zu), Kyoto, early 17th century.
Construction of the Qutb Minar was started in 1192 by Qutb-ud-din Aibak, the first Sultan of Delhi, and was carried on by his successor, Iltutmish. In 1368, Firoz Shah Tughlaq constructed the fifth and the last storey.<br/><br/> Delhi is said to be the site of Indraprashta, capital of the Pandavas of the Indian epic Mahabharata. Excavations have unearthed shards of painted pottery dating from around 1000 BCE, though the earliest known architectural relics date from the Mauryan Period, about 2,300 years ago. Since that time the site has been continuously settled.<br/><br/> The city was ruled by the Hindu Rajputs between about 900 and 1206 CE, when it became the capital of the Delhi Sultanate. In the mid-seventeenth century the Mughal Emperor Shah Jahan (1628–1658) established Old Delhi in its present location, including most notably the Red Fort or Lal Qila. The Old City served as the capital of the Mughal Empire from 1638 onwards.<br/><br/> Delhi passed under British control in 1857 and became the capital of British India in 1911. In large scale rebuilding, parts of the Old City were demolished to provide room for a grand new city designed by Edward Lutyens. New Delhi became the capital of independent India in 1947.
A jali (or jaali, Gujarati જાળી) is the term for a perforated stone or latticed screen, usually with an ornamental pattern constructed through the use of calligraphy and geometry. Early work was performed by carving into stone, while the later used by the Mughals employed the technique of inlay, using marble and semi-precious stones. Jali typically use Floral geometric patterns.<br/><br/>Etimad-ud-Daula's Tomb (Urdu: اعتماد الدولہ کا مقبرہ‎, I'timād-ud-Daulah kā Maqbara) is a Mughal mausoleum in the city of Agra in the Indian state of Uttar Pradesh.<br/><br/>Along with the main building, the structure consists of numerous outbuildings and gardens. The tomb, built between 1622 and 1628 represents a transition between the first phase of monumental Mughal architecture - primarily built from red sandstone with marble decorations, as in Humayun's Tomb in Delhi and Akbar's tomb in Sikandra - to its second phase, based on white marble and pietra dura inlay, most elegantly realized in the Tāj Mahal.<br/><br/>The mausoleum was commissioned by Nūr Jahān, the wife of Mughal emperor Jahangir, for her father Mirzā Ghiyās Beg, originally a Persian Amir in exile, who had been given the title of I'timād-ud-Daulah (Pillar of the State). Mirzā Ghiyās Beg was also the grandfather of Mumtāz Mahāl (originally named Arjūmand Bāno, daughter of Asaf Khān), the wife of the emperor Shāh Jahān, responsible for the construction of the Tāj Mahal.
The Nine Dragon Screen, dating back to 1417, is an 87-foot wall decorated with glazed tiles showing nine dragons chasing a pearl in clouds above waves.
The Nine Dragon Screen, dating back to 1417, is an 87-foot wall decorated with glazed tiles showing nine dragons chasing a pearl in clouds above waves.
The Nine Dragon Screen, dating back to 1417, is an 87-foot wall decorated with glazed tiles showing nine dragons chasing a pearl in clouds above waves.
The revenge of the Forty-seven Ronin (四十七士 Shi-jū-shichi-shi), also known as the Forty-seven Samurai, the Akō vendetta, or the Genroku Akō incident (元禄赤穂事件 Genroku akō jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidō.<br/><br/> The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira.<br/><br/> In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good people should preserve in their daily lives. The popularity of the almost mythical tale was only enhanced by rapid modernization during the Meiji era of Japanese history, when it is suggested many people in Japan longed for a return to their cultural roots.<br/><br/> Fictionalized accounts of these events are known as Chūshingura. The story was popularized in numerous plays including bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names of the ronin were changed.
The revenge of the Forty-seven Ronin (四十七士 Shi-jū-shichi-shi), also known as the Forty-seven Samurai, the Akō vendetta, or the Genroku Akō incident (元禄赤穂事件 Genroku akō jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidō.<br/><br/> The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira.<br/><br/> In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good people should preserve in their daily lives. The popularity of the almost mythical tale was only enhanced by rapid modernization during the Meiji era of Japanese history, when it is suggested many people in Japan longed for a return to their cultural roots.<br/><br/> Fictionalized accounts of these events are known as Chūshingura. The story was popularized in numerous plays including bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names of the ronin were changed.
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement. Translated literally, the Japanese word shunga means picture of spring; 'spring' is a common euphemism for sex.<br/><br/> The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate.<br/><br/> Suzuki Harunobu (鈴木 春信, 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.
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.
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.
A jali (or jaali, Gujarati જાળી) is the term for a perforated stone or latticed screen, usually with an ornamental pattern constructed through the use of calligraphy and geometry. Early work was performed by carving into stone, while the later used by the Mughals employed the technique of inlay, using marble and semi-precious stones. Jali typically use Floral geometric patterns.<br/><br/>Etimad-ud-Daula's Tomb (Urdu: اعتماد الدولہ کا مقبرہ‎, I'timād-ud-Daulah kā Maqbara) is a Mughal mausoleum in the city of Agra in the Indian state of Uttar Pradesh.<br/><br/>Along with the main building, the structure consists of numerous outbuildings and gardens. The tomb, built between 1622 and 1628 represents a transition between the first phase of monumental Mughal architecture - primarily built from red sandstone with marble decorations, as in Humayun's Tomb in Delhi and Akbar's tomb in Sikandra - to its second phase, based on white marble and pietra dura inlay, most elegantly realized in the Tāj Mahal.<br/><br/>The mausoleum was commissioned by Nūr Jahān, the wife of Mughal emperor Jahangir, for her father Mirzā Ghiyās Beg, originally a Persian Amir in exile, who had been given the title of I'timād-ud-Daulah (Pillar of the State). Mirzā Ghiyās Beg was also the grandfather of Mumtāz Mahāl (originally named Arjūmand Bāno, daughter of Asaf Khān), the wife of the emperor Shāh Jahān, responsible for the construction of the Tāj Mahal.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
Kanō Naizen (狩野 内膳, 1570 - 1616) was a Japanese painter of the Kanō school, particularly known for his screen paintings (byōbu) of Namban (Southern Barbarians, i.e. Europeans).<br/><br/> The Nanban trade (南蛮貿易 Nanban bōeki, 'Southern barbarian trade') or the Nanban trade period (南蛮貿易時代 Nanban bōeki jidai, 'Southern barbarian trade period') in Japanese history extends from the arrival of the first Europeans - Portuguese explorers, missionaries and merchants - to Japan in 1543, to their near-total exclusion from the archipelago in 1614, under the promulgation of the 'Sakoku' Seclusion Edicts.
The revenge of the Forty-seven Ronin (四十七士 Shi-jū-shichi-shi), also known as the Forty-seven Samurai, the Akō vendetta, or the Genroku Akō incident (元禄赤穂事件 Genroku akō jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidō.<br/><br/> The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira.<br/><br/> In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good people should preserve in their daily lives. The popularity of the almost mythical tale was only enhanced by rapid modernization during the Meiji era of Japanese history, when it is suggested many people in Japan longed for a return to their cultural roots.<br/><br/> Fictionalized accounts of these events are known as Chūshingura. The story was popularized in numerous plays including bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names of the ronin were changed.
The revenge of the Forty-seven Ronin (四十七士 Shi-jū-shichi-shi), also known as the Forty-seven Samurai, the Akō vendetta, or the Genroku Akō incident (元禄赤穂事件 Genroku akō jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidō.<br/><br/> The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira.<br/><br/> In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good people should preserve in their daily lives. The popularity of the almost mythical tale was only enhanced by rapid modernization during the Meiji era of Japanese history, when it is suggested many people in Japan longed for a return to their cultural roots.<br/><br/> Fictionalized accounts of these events are known as Chūshingura. The story was popularized in numerous plays including bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names of the ronin were changed.
The revenge of the Forty-seven Ronin (四十七士 Shi-jū-shichi-shi), also known as the Forty-seven Samurai, the Akō vendetta, or the Genroku Akō incident (元禄赤穂事件 Genroku akō jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidō.<br/><br/> The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira.<br/><br/> In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good people should preserve in their daily lives. The popularity of the almost mythical tale was only enhanced by rapid modernization during the Meiji era of Japanese history, when it is suggested many people in Japan longed for a return to their cultural roots.<br/><br/> Fictionalized accounts of these events are known as Chūshingura. The story was popularized in numerous plays including bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names of the ronin were changed.
One half of a pair—the other screen being called ‘Winter’—this tender springtime scene features birds and blooming camellias and green willows.<br/><br/> The unknown artist—who is clearly from the school of Unkoku Togan (1547-1618)—has used watercolor and gilded paper pulled across a wooden frame to create the screen.<br/><br/> Adopted from the Chinese in the 7th and 8th centuries CE, screens such as this are used in Japan to separate space within a house and are an integral part of Japanese décor.
One half of a pair—the other screen being called ‘Spring’—this winter scene features frost-covered plum blossoms and evergreen bamboo<br/><br/> The unknown artist—who is clearly from the school of Unkoku Togan (1547-1618)—has used watercolor and gilded paper pulled across a wooden frame to create the screen.<br/><br/> Adopted from the Chinese in the 7th and 8th centuries CE, screens such as this are used in Japan to separate space within a house and are an integral part of Japanese décor.
Architectural drawing of art features in the Forbidden City at Huế, the imperial capital of Vietnam under the Nguyen Dynasty (1802-1945). The drawing was made for the Association des Amis du Vieux Hue (Association of the Friends of Old Hue) in the 1920s, before the disasters of 1947 and 1968. Today, less than a third of the structures inside the citadel remain.<br/><br/> In 1947 the French army shelled the building, and removed or destroyed nearly all the treasures it contained. Most of the buildings in the Forbidden City were destroyed by fire. Further massive destruction occurred when Hue’s Citadel became the symbolic centre of the 1968 Tet Offensive. Major artillery battles were fought when the National Liberation Front and North Vietnamese forces overran Hue. The US forces finally recaptured the citadel 25 days later, but not before shelling the citadel with heavy naval bombardments as well as extensive bombing from the air.<br/><br/> The former Imperial City was made a UNESCO World Heritage Site in 1993 and is gradually being restored.
Architectural drawing of art features in the Forbidden City at Huế, the imperial capital of Vietnam under the Nguyen Dynasty (1802-1945). The drawing was made for the Association des Amis du Vieux Hue (Association of the Friends of Old Hue) in the 1920s, before the disasters of 1947 and 1968. Today, less than a third of the structures inside the citadel remain.<br/><br/> In 1947 the French army shelled the building, and removed or destroyed nearly all the treasures it contained. Most of the buildings in the Forbidden City were destroyed by fire. Further massive destruction occurred when Hue’s Citadel became the symbolic centre of the 1968 Tet Offensive. Major artillery battles were fought when the National Liberation Front and North Vietnamese forces overran Hue. The US forces finally recaptured the citadel 25 days later, but not before shelling the citadel with heavy naval bombardments as well as extensive bombing from the air.<br/><br/> The former Imperial City was made a UNESCO World Heritage Site in 1993 and is gradually being restored.
Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.<br/><br/> The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e), and the four seasons (shiki-e). The pictures are non-symbolic and have the objective of depicting the beauty in nature. The pictures are often on scrolls that can be hung on a wall (kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanying story or on a folding screen (byoubu) or panel (shouji).<br/><br/> Although they received their name from the Yamato period (250-710 CE), Yamato-e pictures rather stand for a style and are not restricted to a particular period. Although the most famous artists painted in sumi-e style in the Muromachi period, this was not characteristic of early pictures.
Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.<br/><br/> The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e), and the four seasons (shiki-e). The pictures are non-symbolic and have the objective of depicting the beauty in nature. The pictures are often on scrolls that can be hung on a wall (kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanying story or on a folding screen (byoubu) or panel (shouji).<br/><br/> Although they received their name from the Yamato period (250-710 CE), Yamato-e pictures rather stand for a style and are not restricted to a particular period. Although the most famous artists painted in sumi-e style in the Muromachi period, this was not characteristic of early pictures.
Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.<br/><br/> The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e), and the four seasons (shiki-e). The pictures are non-symbolic and have the objective of depicting the beauty in nature. The pictures are often on scrolls that can be hung on a wall (kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanying story or on a folding screen (byoubu) or panel (shouji).<br/><br/> Although they received their name from the Yamato period (250-710 CE), Yamato-e pictures rather stand for a style and are not restricted to a particular period. Although the most famous artists painted in sumi-e style in the Muromachi period, this was not characteristic of early pictures.
A jali (or jaali, Gujarati જાળી) is the term for a perforated stone or latticed screen, usually with an ornamental pattern constructed through the use of calligraphy and geometry. Early work was performed by carving into stone, while the later used by the Mughals employed the technique of inlay, using marble and semi-precious stones. Jali typically use Floral geometric patterns.<br/><br/>Etimad-ud-Daula's Tomb (Urdu: اعتماد الدولہ کا مقبرہ‎, I'timād-ud-Daulah kā Maqbara) is a Mughal mausoleum in the city of Agra in the Indian state of Uttar Pradesh.<br/><br/>Along with the main building, the structure consists of numerous outbuildings and gardens. The tomb, built between 1622 and 1628 represents a transition between the first phase of monumental Mughal architecture - primarily built from red sandstone with marble decorations, as in Humayun's Tomb in Delhi and Akbar's tomb in Sikandra - to its second phase, based on white marble and pietra dura inlay, most elegantly realized in the Tāj Mahal.<br/><br/>The mausoleum was commissioned by Nūr Jahān, the wife of Mughal emperor Jahangir, for her father Mirzā Ghiyās Beg, originally a Persian Amir in exile, who had been given the title of I'timād-ud-Daulah (Pillar of the State). Mirzā Ghiyās Beg was also the grandfather of Mumtāz Mahāl (originally named Arjūmand Bāno, daughter of Asaf Khān), the wife of the emperor Shāh Jahān, responsible for the construction of the Tāj Mahal.
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.
Built in 1894 by the 72 Chen (usually romanised as Chan in Cantonese) clans, the Chen Family Temple (Chenjia Si), also known as the Chen Clan Academy (simplified Chinese: 陈家祠; traditional Chinese: 陳家祠; pinyin: Chén Jiā Cí) is an academic temple in Guangzhou (Canton). The academy was built for the clans juniors', a place to live and prepare for the imperial examinations during the Qing Dynasty.
The old silversmiths’ quarter centred on Baan Wua Lai (Spotted Cow Village) stretches along both sides of Wua Lai Road, to the south of Chiang Mai's old city. This long-established, prosperous community of artisans maintains a tradition that stretches back more than two centuries, to the time of Chao Kawila’s re-establishment of Chiang Mai in the years after 1797.<br/><br/> Silversmiths have long been valued and held in high esteem by Southeast Asian royal courts from Burma to Java, and in times past the Lan Na Kingdom was no exception.
Ogata Korin (1658 – June 2, 1716) was a Japanese painter of the Rinpa school. He was born in Kyoto, son of a wealthy merchant who had a taste for the arts.<br/><br/> Korin also studied under Soken Yamamoto, the Kano school, Tsunenobu and Gukei Sumiyoshi, and was greatly influenced by his predecessors Hon'ami Koetsu and Tawaraya Sotatsu.