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Takiyasha the Witch and the Skeleton Spectre is a woodblock print by the Japanese artist Utagawa Kuniyoshi (1798-1861), who was especially renowned for his depictions of historical and mythical scenes. This print portrays tenth-century princess Takiyasha summoning a skeleton spectre to frighten Mitsukuni.<br/><br/> The princess is reciting a spell written on a handscroll. She summons up a giant skeleton which comes rearing out of a terrifying black void, crashing its way through the tattered palace blinds with its bony fingers to menace Mitsukuni and his companion. Princess Takiyasha was the daughter of the provincial warlord Taira no Masakado who tried to set up an 'Eastern Court' in Shimōsa Province, in competition with the emperor in Kyōto. However, his rebellion was put down in the year 939 and Masakado was killed.<br/><br/> After his death, Princess Takiyasha continued living in the ruined palace of Sōma. This print shows the episode from the legend when the emperor's official, Ōya no Mitsukuni, comes to search for surviving conspirators.
This is one of a celebrated series of small woodcuts that Holbein designed on the theme of Death. In the words of Christian Rümelin: 'Death is depicted in several guises in these illustrations, ranging from the murderous agent (of the monk, merchant, chandler, rich man, knight, earl and nobleman) to the warning commentator (of the pope, emperor, cardinal, judge, alderman, lawyer, and preacher)'.<br/><br/> Members of society are mostly portrayed in a situation designed to criticise a specific type of behaviour 'such as the corruption of the judge, the vanity of the canon, the acquisitiveness of the rich man and the merchant'. The series adapts the tradition of the medieval Danse Macabre (Dance of Death) as the basis for a new and original sequence. It also relates to the imagery of French illuminated Books of Hours and poetical traditions. 'The scenes are the customary illustrations in which Death appears in the form of a skeleton'.
This is one of a celebrated series of small woodcuts that Holbein designed on the theme of Death. In the words of Christian Rümelin: 'Death is depicted in several guises in these illustrations, ranging from the murderous agent (of the monk, merchant, chandler, rich man, knight, earl and nobleman) to the warning commentator (of the pope, emperor, cardinal, judge, alderman, lawyer, and preacher)'.<br/><br/> Members of society are mostly portrayed in a situation designed to criticise a specific type of behaviour 'such as the corruption of the judge, the vanity of the canon, the acquisitiveness of the rich man and the merchant'. The series adapts the tradition of the medieval Danse Macabre (Dance of Death) as the basis for a new and original sequence. It also relates to the imagery of French illuminated Books of Hours and poetical traditions. 'The scenes are the customary illustrations in which Death appears in the form of a skeleton'.
Takiyasha the Witch and the Skeleton Spectre is a woodblock print by the Japanese artist Utagawa Kuniyoshi (1798-1861), who was especially renowned for his depictions of historical and mythical scenes. This print portrays tenth-century princess Takiyasha summoning a skeleton spectre to frighten Mitsukuni.<br/><br/> The princess is reciting a spell written on a handscroll. She summons up a giant skeleton which comes rearing out of a terrifying black void, crashing its way through the tattered palace blinds with its bony fingers to menace Mitsukuni and his companion. Princess Takiyasha was the daughter of the provincial warlord Taira no Masakado who tried to set up an 'Eastern Court' in Shimōsa Province, in competition with the emperor in Kyōto. However, his rebellion was put down in the year 939 and Masakado was killed.<br/><br/> After his death, Princess Takiyasha continued living in the ruined palace of Sōma. This print shows the episode from the legend when the emperor's official, Ōya no Mitsukuni, comes to search for surviving conspirators.
This print, by Kyōsai, depicts a variation of the Jigoku Dayu tale. One day, when the monk Ikkyū came to the brothel, he sat to enjoy a meal of fresh fish and sake, which are forbidden to Buddhist monks. Jigoku Dayu, with her sharp mind, assumed that this person was an imposter claiming to be the famous Ikkyū.<br/><br/> She summoned entertainment for him, and hid behind her screen to watch him. When she looked, she saw Ikkyū happily dancing along with skeletons, and knew that he was who he said he was.<br/><br/> This can be interpreted in a number of ways: Ikkyū is famous for reminding everyone of the inevitability of death with his skull-stick, and had commented often that under our skins which we so earnestly protect, is only a skeleton which will one day be all that is left of us.<br/><br/>
The Black Death was one of the most devastating pandemics in human history, peaking in Europe between 1348 and 1350. Of several competing theories, the dominant explanation for the Black Death is the plague theory, which attributes the outbreak to the bacterium Yersinia pestis.<br/><br/> Thought to have started in China, it travelled along the Silk Road and reached the Crimea by 1346. From there, probably carried by Oriental rat fleas living on the black rats that were regular passengers on merchant ships, it spread throughout the Mediterranean and Europe.<br/><br/> The Black Death is estimated to have killed 30–60 percent of Europe's population, reducing the world's population from an estimated 450 million to between 350 and 375 million in the 14th century.<br/><br/> The aftermath of the plague created a series of religious, social and economic upheavals, which had profound effects on the course of European history. It took 150 years for Europe's population to recover. The plague returned at various times, killing more people, until it died out in Europe in the 19th century.
This is one of a celebrated series of small woodcuts that Holbein designed on the theme of Death. In the words of Christian Rümelin: 'Death is depicted in several guises in these illustrations, ranging from the murderous agent (of the monk, merchant, chandler, rich man, knight, earl and nobleman) to the warning commentator (of the pope, emperor, cardinal, judge, alderman, lawyer, and preacher)'.<br/><br/> Members of society are mostly portrayed in a situation designed to criticise a specific type of behaviour 'such as the corruption of the judge, the vanity of the canon, the acquisitiveness of the rich man and the merchant'. The series adapts the tradition of the medieval Danse Macabre (Dance of Death) as the basis for a new and original sequence. It also relates to the imagery of French illuminated Books of Hours and poetical traditions. 'The scenes are the customary illustrations in which Death appears in the form of a skeleton'.
Wiang Tha Khan, located 16km south of Chiang Mai in rural Sanpatong District, is a small and prosperous Northern Thai village set amid Lamyai plantations and inhabited by Tai Yong resettled from nearby Shan State in Burma at the beginning of the 19th century. As long ago as the 10th century CE it was a fortified city or ‘wiang’ serving as an outlying bastion of the Mon Kingdom of Haripunchai, today’s Lamphun. Today the remains of the city walls and surrounding moat survive amid the Lamyai plantations and rice fields, as well as the remains of 11 separate temples founded during the Mon Period (c. 9th-12th centuries CE), but dating in their present form from the Tai Kingdom of Lan Na (12th -16th centuries CE).<br/><br/> The most important site includes Wat Klang Muang, located in the centre of the village, with a small museum. Other more important temples include Wat Ubosot, Wat Ton Kok and Ku Mai Daeng. The entire complex was surveyed and restored by the Thai Fine Arts Department in the 1980s, and a record of their finding was published (in Thai) in 1991.<br/><br/> Wiang Tha Kan may be seen as a similar Mon outpost to nearby Wiang Kum Kam, located about 6km south of Chiang Mai on the Lamphun Road, a similarly fortified settlement guarding the Mon capital at Haripunchai. Two other fortified Mon settlements remain to be excavated.
Wiang Tha Khan, located 16km south of Chiang Mai in rural Sanpatong District, is a small and prosperous Northern Thai village set amid Lamyai plantations and inhabited by Tai Yong resettled from nearby Shan State in Burma at the beginning of the 19th century. As long ago as the 10th century CE it was a fortified city or ‘wiang’ serving as an outlying bastion of the Mon Kingdom of Haripunchai, today’s Lamphun. Today the remains of the city walls and surrounding moat survive amid the Lamyai plantations and rice fields, as well as the remains of 11 separate temples founded during the Mon Period (c. 9th-12th centuries CE), but dating in their present form from the Tai Kingdom of Lan Na (12th -16th centuries CE).<br/><br/> The most important site includes Wat Klang Muang, located in the centre of the village, with a small museum. Other more important temples include Wat Ubosot, Wat Ton Kok and Ku Mai Daeng. The entire complex was surveyed and restored by the Thai Fine Arts Department in the 1980s, and a record of their finding was published (in Thai) in 1991.<br/><br/> Wiang Tha Kan may be seen as a similar Mon outpost to nearby Wiang Kum Kam, located about 6km south of Chiang Mai on the Lamphun Road, a similarly fortified settlement guarding the Mon capital at Haripunchai. Two other fortified Mon settlements remain to be excavated.
The Nuremberg Chronicle is an illustrated world history. Its structure follows the story of human history as related in the Bible; it includes the histories of a number of important Western cities. Written in Latin by Hartmann Schedel, with a version in German translation by Georg Alt, it appeared in 1493. It is one of the best-documented early printed books - an incunabulum (printed, not hand-written) - and one of the first to successfully integrate illustrations and text.
Muḥammad Akbar 'urf Muḥammad, Copy undated: appearance of paper, handwriting, ink, etc. suggests a date of ca. 18th century.
Muḥammad Akbar 'urf Muḥammad, Copy undated: appearance of paper, handwriting, ink, etc. suggests a date of ca. 18th century.
Si Satchanalai was built between the 13th and 15th centuries and was an integral part of the Sukhothai Kingdom. It was usually administered by family members of the Kings of Sukhothai.
Si Satchanalai was built between the 13th and 15th centuries and was an integral part of the Sukhothai Kingdom. It was usually administered by family members of the Kings of Sukhothai.
Si Satchanalai was built between the 13th and 15th centuries and was an integral part of the Sukhothai Kingdom. It was usually administered by family members of the Kings of Sukhothai.
Si Satchanalai was built between the 13th and 15th centuries and was an integral part of the Sukhothai Kingdom. It was usually administered by family members of the Kings of Sukhothai.
Si Satchanalai was built between the 13th and 15th centuries and was an integral part of the Sukhothai Kingdom. It was usually administered by family members of the Kings of Sukhothai.
Bernardino Genga (1620–1690) was a scholar of Classical medical texts, editing several works of Hippocrates. He also had a great interest in the preparation of anatomical specimens as well as the anatomy of ancient Greek and Roman sculpture. These interests led to his work at the French Academy in Rome, where he taught anatomy to artists.<br/><br/> 'Anatomia per Uso et Intelligenza del Disegno' consists of 59 copperplate engravings of text and illustrations printed on one side only. After the engraved title is a plate with allegorical emblems of death. Of the illustrated plates, the first 23 deal with osteology and myology drawn from Genga's anatomical preparations. The remainder consists of representations of antique statues viewed from different angles.<br/><br/> An English translation of the work appeared in London in 1723 under the title: 'Anatomy Improved'.
Bernardino Genga (1620–1690) was a scholar of Classical medical texts, editing several works of Hippocrates. He also had a great interest in the preparation of anatomical specimens as well as the anatomy of ancient Greek and Roman sculpture. These interests led to his work at the French Academy in Rome, where he taught anatomy to artists.<br/><br/> 'Anatomia per Uso et Intelligenza del Disegno' consists of 59 copperplate engravings of text and illustrations printed on one side only. After the engraved title is a plate with allegorical emblems of death. Of the illustrated plates, the first 23 deal with osteology and myology drawn from Genga's anatomical preparations. The remainder consists of representations of antique statues viewed from different angles.<br/><br/> An English translation of the work appeared in London in 1723 under the title: 'Anatomy Improved'.
Ganesha, also spelled Ganesa or Ganesh, and also known as Ganapati, Vinayaka, and Pillaiyar, is one of the deities best-known and most widely worshipped in the Hindu pantheon.<br/><br/> His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Ganesha, also spelled Ganesa or Ganesh, and also known as Ganapati, Vinayaka, and Pillaiyar, is one of the deities best-known and most widely worshipped in the Hindu pantheon.<br/><br/> His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.