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Edward Bangs Drew (1843 - 1924) joined the Chinese Maritime Customs Service in 1864 after earning his BA degree from Harvard. In 1868, Drew was appointed a Commissioner of the Service, a position he held for decades.<br/><br/> During that time he collected photographs that document clothing, customs, and daily life in 19th century China, and of Drew's life and career, including family and social gatherings, public appearances, and events and ceremonies.
Bengal is a geographical and ethno-linguistic region in the north-eastern part of South Asia, at the apex of the Bay of Bengal and dominated by the fertile Ganges delta. The region was politically divided in the 1947 Partition of Bengal based on religion: predominantly Hindu West Bengal became a province (now a state) of India, while predominantly Muslim East Bengal became a province of Pakistan and later gained independence as Bangladesh.<br/><br/> Some regions of the historical kingdoms of Bengal are now part of the neighbouring Indian states of Assam, Tripura, Bihar, Jharkhand, and Odisha.
Dur-Sharrukin, present day Khorsabad, was the Assyrian capital in the time of Sargon II of Assyria. Khorsabad is a village in northern Iraq, 15 km northeast of Mosul. The great city was entirely built in the decade preceding 706 BCE. After the unexpected death of Sargon in battle, the capital was moved 20 km south to Nineveh.<br/><br/> On 8 March 2015 the Islamic State of Iraq and the Levant (ISIL) reportedly started the plunder and demolition of Dur-Sharrukin, according to a Kurdish official from Mosul. The Iraqi Tourism and Antiquities Ministry launched the related investigation on the same day.
The Sundanese are an ethnic group native to the western part of the Indonesian island of Java. They number approximately 40 million, and are the second most populous of all the nation's ethnicities. The Sundanese are predominantly Muslim. In their own language, Sundanese, the group is referred to as Urang Sunda, and Suku Sunda or Orang Sunda in the national language, Indonesian.<br/><br/> The Sundanese have traditionally been concentrated in the provinces of West Java, Banten, Jakarta, and the western part of Central Java. Sundanese migrants can also be found in Lampung and South Sumatra. The provinces of Central Java and East Java are home to the Javanese, Indonesia's largest ethnic group.<br/><br/> Sundanese culture has a number of similarities with Javanese culture, however it differs by being more overtly Islamic, with less Hindu-Buddhist elements, and has a less rigid system of social hierarchy.<br/><br/> The common identity that binds Sundanese together is their language and culture.
In Javanese wayang (shadow puppets), the panakawan or panakavan (phanakavhan) are the clown servants of the hero. There are four of them – Semar (also known as Ki Lurah Semar), Petruk, Gareng and Bagong. Semar is the personification of a deity, sometimes said to the be the dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.<br/><br/>His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is portrayed as tall and gangling with a long nose, Gareng as short with a club foot and Bagong as obese.<br/><br/>Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.
In Javanese wayang (shadow puppets), the panakawan or panakavan (phanakavhan) are the clown servants of the hero. There are four of them – Semar (also known as Ki Lurah Semar), Petruk, Gareng and Bagong. Semar is the personification of a deity, sometimes said to the be the dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.<br/><br/>His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is portrayed as tall and gangling with a long nose, Gareng as short with a club foot and Bagong as obese.<br/><br/>Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.
In Javanese wayang (shadow puppets), the panakawan or panakavan (phanakavhan) are the clown servants of the hero. There are four of them – Semar (also known as Ki Lurah Semar), Petruk, Gareng and Bagong. Semar is the personification of a deity, sometimes said to the be the dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.<br/><br/>His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is portrayed as tall and gangling with a long nose, Gareng as short with a club foot and Bagong as obese.<br/><br/>Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.
Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.<br/><br/>Semar is a character in Javanese mythology who frequently appears in wayang shadow plays. He is one of the punokawan (clowns), but is in fact divine and very wise. He is the dhanyang (guardian spirit) of Java, and is regarded by some as the most sacred figure of the kotak (wayang set). He is said to be the god Sang Hyang Ismaya in human form.
In Javanese wayang (shadow puppets), the panakawan or panakavan (phanakavhan) are the clown servants of the hero. There are four of them – Semar (also known as Ki Lurah Semar), Petruk, Gareng and Bagong. Semar is the personification of a deity, sometimes said to the be the dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.<br/><br/>His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is portrayed as tall and gangling with a long nose, Gareng as short with a club foot and Bagong as obese.<br/><br/>Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.
Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/> UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.<br/><br/> Semar is a character in Javanese mythology who frequently appears in wayang shadow plays. He is one of the punokawan (clowns), but is in fact divine and very wise. He is the dhanyang (guardian spirit) of Java, and is regarded by some as the most sacred figure of the kotak (wayang set). He is said to be the god Sang Hyang Ismaya in human form.
Phuket, formerly known as Talang and, in Western sources, Junk Ceylon (a corruption of the Malay Tanjung Salang, i.e. 'Cape Salang'), is one of the southern provinces (changwat) of Thailand. Neighbouring provinces are (from north clockwise) Phang Nga and Krabi, but as Phuket is an island there are no land boundaries.<br/><br/> Phuket, which is approximately the size of Singapore, is Thailand’s largest island. The island is connected to mainland Thailand by two bridges. It is situated off the west coast of Thailand in the Andaman Sea. Phuket formerly derived its wealth from tin and rubber, and enjoyed a rich and colorful history. The island was on one of the major trading routes between India and China, and was frequently mentioned in foreign ship logs of Portuguese, French, Dutch and English traders. The region now derives much of its income from tourism.
Yirmisekiz Celebi Mehmet Efendi was a military inspector in the Ottoman armies who rose to be a diplomat and was selected by Sultan Ahmed III to be the empire’s first ambassador to Loius XV’s France. He was also a poet writing under the pen name ‘Faizi’. He wrote a compelling record of his experiences in France in the Turkish book of diplomatic travels, ‘Sefaretname’.
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.
Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.<br/><br/>Semar is a character in Javanese mythology who frequently appears in wayang shadow plays. He is one of the punokawan (clowns), but is in fact divine and very wise. He is the dhanyang (guardian spirit) of Java, and is regarded by some as the most sacred figure of the kotak (wayang set). He is said to be the god Sang Hyang Ismaya in human form.
Prince Dara Shikoh (1615—59) was the eldest son and the heir apparent of the Mughal Emperor Shah Jahan and his wife Mumtaz Mahal. His name in Persian means ‘Darius the Magnificent’ and he was favoured as a successor by his father and his sister Jahanara Begum, but was defeated by his younger brother Aurangzeb in a bitter struggle for the Mughal throne.
In Javanese wayang (shadow puppets), the panakawan or panakavan (phanakavhan) are the clown servants of the hero. There are four of them – Semar (also known as Ki Lurah Semar), Petruk, Gareng and Bagong. Semar is the personification of a deity, sometimes said to the be the dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.<br/><br/>His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is portrayed as tall and gangling with a long nose, Gareng as short with a club foot and Bagong as obese.<br/><br/>Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.
Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.<br/><br/>Semar is a character in Javanese mythology who frequently appears in wayang shadow plays. He is one of the punokawan (clowns), but is in fact divine and very wise. He is the dhanyang (guardian spirit) of Java, and is regarded by some as the most sacred figure of the kotak (wayang set). He is said to be the god Sang Hyang Ismaya in human form.
Prince Dara Shikoh (1615—59) was the eldest son and the heir apparent of the Mughal Emperor Shah Jahan and his wife Mumtaz Mahal. His name in Persian means ‘Darius the Magnificent’ and he was favoured as a successor by his father and his sister Jahanara Begum, but was defeated by his younger brother Aurangzeb in a bitter struggle for the Mughal throne.
Nestorius developed his Christological views as an attempt to rationally explain and understand the incarnation of the divine Logos, the Second Person of the Holy Trinity as the man Jesus Christ. He had studied at the School of Antioch where his mentor had been Theodore of Mopsuestia; Theodore and other Antioch theologians had long taught a literalist interpretation of the Bible and stressed the distinctiveness of the human and divine natures of Jesus. Nestorius took his Antiochene leanings with him when he was appointed Patriarch of Constantinople by Eastern Roman Emperor Theodosius II in 428.<br/><br/> Nestorius' teachings became the root of controversy when he publicly challenged the long-used title Theotokos (Mother of God) for the Virgin Mary. He suggested that the title denied Christ's full humanity, arguing instead that Jesus had two loosely joined natures, the divine Logos and the human Jesus. As such he proposed Christotokos (Mother of Christ) as a more suitable title for Mary.<br/><br/> Nestorius' opponents found his teaching too close to the heresy of adoptionism – the idea that Christ had been born a man who had later been "adopted" as God's son. Nestorius was especially criticized by Cyril, Pope (Patriarch) of Alexandria, who argued that Nestorius' teachings undermined the unity of Christ's divine and human natures at the Incarnation. Nestorius himself always insisted that his views were orthodox, though they were deemed heretical at the First Council of Ephesus in 431, leading to the Nestorian Schism, when churches supportive of Nestorius broke away from the rest of the Christian Church.
Zanzibar (from Arabic: زنجبار‎ Zanjibār, from Persian: زنگبار‎ Zangibār'Coast of Blacks'; zangi [black-skinned] + bār [coast]) is a semi-autonomous part of Tanzania in East Africa. It is composed of the Zanzibar Archipelago in the Indian Ocean, 25–50 kilometres (16–31 mi) off the coast of the mainland, and consists of numerous small islands and two large ones: Unguja (the main island, referred to informally as Zanzibar), and Pemba.<br/><br/> The capital of Zanzibar, located on the island of Unguja, is Zanzibar City. Its historic centre, known as Stone Town, is a World Heritage Site and is claimed to be the only functioning ancient town in East Africa.<br/><br/> Zanzibar's main industries are spices, raffia, and tourism. In particular, the islands produce cloves, nutmeg, cinnamon, and black pepper. For this reason, the islands, together with Tanzania's Mafia Island, are sometimes called the Spice Islands (a term also associated with the Maluku Islands in Indonesia).
Sisavang Phoulivong (1885 - 1959) was the king of Luang Prabang and later the Kingdom of Laos. His father was king Zakarine and his mother was Queen Thongsy. He was educated at Lycée Chasseloup-Laubat, Saigon, and at l'École Coloniale in Paris. He was known as a "playboy" king with up to 50 children by as many as 15 wives.
In Javanese wayang (shadow puppets), the panakawan or panakavan (phanakavhan) are the clown servants of the hero. There are four of them – Semar (also known as Ki Lurah Semar), Petruk, Gareng and Bagong. Semar is the personification of a deity, sometimes said to the be the dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.<br/><br/>His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is portrayed as tall and gangling with a long nose, Gareng as short with a club foot and Bagong as obese.<br/><br/>Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.
In Javanese wayang (shadow puppets), the panakawan or panakavan (phanakavhan) are the clown servants of the hero. There are four of them – Semar (also known as Ki Lurah Semar), Petruk, Gareng and Bagong. Semar is the personification of a deity, sometimes said to the be the dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.<br/><br/>His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is portrayed as tall and gangling with a long nose, Gareng as short with a club foot and Bagong as obese.<br/><br/>Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.
The oud is a pear-shaped stringed instrument commonly used in Middle Eastern music. The modern oud and the European lute both descend from a common ancestor via diverging evolutionary paths. The oud is readily distinguished by its lack of frets and smaller neck.
Seoul is the capital and largest metropolis of South Korea. A megacity with a population of more than 10 million, it is the largest city proper in the developed world. The Seoul Capital Area, which includes the surrounding Incheon metropolis and Gyeonggi province, is the world's second largest metropolitan area with over 25.6 million people, home to over half of South Koreans along with 632,000 international residents.<br/><br/>During the Korean War, Seoul changed hands between the Chinese-backed North Korean forces and the UN-backed South Korean forces several times, leaving the city heavily damaged after the war. One estimate of the extensive damage states that after the war, at least 191,000 buildings, 55,000 houses, and 1,000 factories lay in ruins. In addition, a flood of refugees had entered Seoul during the war, swelling the population of Seoul and its metropolitan area to an estimated 2.5 million, more than half of them homeless.
In Javanese wayang (shadow puppets), the panakawan or panakavan (phanakavhan) are the clown servants of the hero. There are four of them – Semar (also known as Ki Lurah Semar), Petruk, Gareng and Bagong. Semar is the personification of a deity, sometimes said to the be the dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.<br/><br/>His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is portrayed as tall and gangling with a long nose, Gareng as short with a club foot and Bagong as obese.<br/><br/>Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.
In Javanese wayang (shadow puppets), the panakawan or panakavan (phanakavhan) are the clown servants of the hero. There are four of them – Semar (also known as Ki Lurah Semar), Petruk, Gareng and Bagong. Semar is the personification of a deity, sometimes said to the be the dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.<br/><br/>His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is portrayed as tall and gangling with a long nose, Gareng as short with a club foot and Bagong as obese.<br/><br/>Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.
Under King Manuel I, the Portuguese set up a government in India in 1505, six years after the discovery of a sea route to Calicut in southwest India by Vasco da Gama. The Portuguese originally based their administration in Kochi, or Cochin, in Kerala, but in 1510 moved to Goa. Until 1752, the ‘State of India’ included all Portuguese possessions in the Indian Ocean, from southern Africa to Southeast Asia, governed by either a Viceroy or a Governor. In 1752 Mozambique got its own government, and in 1844 the Portuguese Government of India stopped administering the territories of Macau, Solor and Timor, restricting themselves to the Malabar coast.<br/><br/> At the time of British India's independence in 1947, Portuguese India included a number of enclaves on India's western coast, including Goa proper, as well as the coastal enclaves of Daman and Diu. Portugal lost the last two enclaves in 1954, and the remainder in 1961, when they were occupied by India (although Portugal only recognized the annexation in 1975, after the Carnation Revolution and the fall of the Estado Novo regime).
Nearly 95 percent of the Thai population are Theravada Buddhists, though many would argue that Siamese Buddhism has integrated with animist folk beliefs as well as Chinese religions. Thai Buddhism was based on the religious movement founded in the 6th century BC by Siddhartha, later known as the Buddha, who urged the world to relinquish the extremes of sensuality and self-mortification and follow the enlightened Middle Way. Theravada Buddhism was made the state religion in Siam only after the establishment of the Sukhothai kingdom in the 13th century CE. By the 19th century, and especially with the coming to power in 1851 of King Mongkut who had been a monk himself for 27 years, the 'sangha' (monkhood), like the kingdom, became steadily more centralized and hierarchical in nature and its links to the state more institutionalized.
Buleleng was founded as a kingdom by Gusti Panji Sakti, who ruled c. 1660-c. 1700. He is commemorated as a heroic ancestor-figure who expanded the power of Buleleng to Blambangan on East Java. The kingdom was weakened during his successors, and fell under the suzerainty of the neighbouring Karangasem kingdom in the second half of the 18th century.<br/><br/> It was headed by an autonomous branch of the Karangasem Dynasty in 1806-1849. The Dutch colonial power attacked Buleleng in 1846, 1848 and 1849, and defeated it on the last occasion. Buleleng was incorporated in the Dutch colonial system and lost its autonomy in 1882.<br/><br/> In 1929 a descendant of Gusti Panji Sakti, the renowned scholar Gusti Putu Jelantik, was appointed regent by the Dutch. He died in 1944, during the Japanese occupation of Indonesia. His son, a well-known novelist, Anak Agung Nyoman Panji Tisna. In 1947, Anak Agung Pandji Tisna surrendered the throne to his younger brother, Anak Agung Ngurah Ketut Djelantik, known as Meester Djelantik, until 1950.<br/><br/> In 1949-50 Buleleng, like the rest of Bali, was incorporated in the unitary republic of Indonesia.
Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.<br/><br/>Semar is a character in Javanese mythology who frequently appears in wayang shadow plays. He is one of the punokawan (clowns), but is in fact divine and very wise. He is the dhanyang (guardian spirit) of Java, and is regarded by some as the most sacred figure of the kotak (wayang set). He is said to be the god Sang Hyang Ismaya in human form.
In Javanese wayang (shadow puppets), the panakawan or panakavan (phanakavhan) are the clown servants of the hero. There are four of them – Semar (also known as Ki Lurah Semar), Petruk, Gareng and Bagong. Semar is the personification of a deity, sometimes said to the be the dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.<br/><br/>His three companions are his adopted sons, given to Semar as votaries by their parents. Petruk is portrayed as tall and gangling with a long nose, Gareng as short with a club foot and Bagong as obese.<br/><br/>Wayang is a Javanese word for particular kinds of theatre (literally 'shadow'). When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by gamelan in Java.<br/><br/>UNESCO designated Wayang Kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003.
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.