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Japan: 'Tale of the Courtesan Shiratama'. Woodblock print by Utagawa Kunisada (1786-1865), 1861. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
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.
Takiyasha-hime, whose name translates as 'waterfall demon princess' was the daughter of Taira-no-Masakado, a samurai who had risen up in a rebellion against the emperor and tried to set up his own court before being killed in 939 CE. Takiyasha survived the purge that followed, along with her brother Satsuki-hime, and the two of them began plotting their revenge, learning frog magic on Mount Tsukuba.<br/><br/> They returned to the ruined family fortress of Soma Castle in Shimosa province, and began rebuilding their forces, bolstered by Takiyasha's raised army of yokai (demons/spirits). However, they were eventually defeated by the efforts of the warrior Oya-no-Taro Mitsukuni. Mitsukini battled through Takiyasha's forces and eventually cut her down, ending her short rebellion before it could truly begin.<br/><br/> Takiyasha's story became popular during the Edo Period, and has been depicted in various novels, woodblock prints and <i>kabuki</i> dramas.
'The Tale of the Heike' is a Japanese epic account of the conflict between the Minamoto and Taira clans over control of Japan which occurred near the end of the 12th century CE, known as the Genpei War (1180-1185). The tale is often described as a Japanese 'Iliad', and has been translated into English multiple times.<br/><br/> The Genpei War occurred during the late Heian Period, and ultimately saw the fall of the Taira clan and the rise of the Minamoto clan. Minamoto no Yoritomo, clan leader, then established the Kamakura shogunate, which would rule over Japan for roughly 150 years. The Kamakura shogunate began the suppression of the emperor's power and the rise of samurai influence and power.
Guanyin, short for Guanshiyin, is a bodhisattva in Mahayana Buddhism often associated with compassion and mercy. While she is often portrayed as a woman, she is beyond gender and can be depicted as both male and female.<br/><br/> Guanyin is often referred to as the 'most widely beloved Buddhist Divinity', due to her miraculous powers and her loving compassion. She is not only worshipped in Buddhism, but also in Taoism and Chinese folk religion, with various stories and legends about her. Guanyin plays a very important role in the classic Chinese novel 'Journey to the West.'<br/><br/> She is known by various names in different nations, with the Japanese calling her Kannon/Kwannon, or more formally Kanzeon, while in Thailand she is called Kuan Im. She is extremely popular, with temples dedicated to her found throughout South and East Asia, especially in China and Chinese folk religion.
The <i>Ezo Shima Kikan</i> by Hata Awagimaro, completed in Kansei 11 (1799) is considered the most notable work depicting the contemporaneous lives of the Ainu.<br/><br/> The Ainu or in historical Japanese texts Ezo, are an indigenous people of Japan (Hokkaido, and formerly northeastern Honshu) and Russia (Sakhalin and the Kuril Islands).
Construction of the Shwezigon Pagoda began during the reign of King Anawratha (r. 1044 -1077) and was completed during the reign of King Kyanzittha, in 1102.<br/><br/> Bagan, formerly Pagan, was mainly built between the 11th century and 13th century. Formally titled Arimaddanapura or Arimaddana (the City of the Enemy Crusher) and also known as Tambadipa (the Land of Copper) or Tassadessa (the Parched Land), it was the capital of several ancient kingdoms in Burma.
Construction of the Shwezigon Pagoda began during the reign of King Anawratha (r. 1044 -1077) and was completed during the reign of King Kyanzittha, in 1102.<br/><br/> Bagan, formerly Pagan, was mainly built between the 11th century and 13th century. Formally titled Arimaddanapura or Arimaddana (the City of the Enemy Crusher) and also known as Tambadipa (the Land of Copper) or Tassadessa (the Parched Land), it was the capital of several ancient kingdoms in Burma.
Construction of the Shwezigon Pagoda began during the reign of King Anawratha (r. 1044 -1077) and was completed during the reign of King Kyanzittha, in 1102.<br/><br/> Bagan, formerly Pagan, was mainly built between the 11th century and 13th century. Formally titled Arimaddanapura or Arimaddana (the City of the Enemy Crusher) and also known as Tambadipa (the Land of Copper) or Tassadessa (the Parched Land), it was the capital of several ancient kingdoms in Burma.
Construction of the Shwezigon Pagoda began during the reign of King Anawratha (r. 1044 -1077) and was completed during the reign of King Kyanzittha, in 1102.<br/><br/> Bagan, formerly Pagan, was mainly built between the 11th century and 13th century. Formally titled Arimaddanapura or Arimaddana (the City of the Enemy Crusher) and also known as Tambadipa (the Land of Copper) or Tassadessa (the Parched Land), it was the capital of several ancient kingdoms in Burma.
Construction of the Shwezigon Pagoda began during the reign of King Anawratha (r. 1044 -1077) and was completed during the reign of King Kyanzittha, in 1102.<br/><br/> Bagan, formerly Pagan, was mainly built between the 11th century and 13th century. Formally titled Arimaddanapura or Arimaddana (the City of the Enemy Crusher) and also known as Tambadipa (the Land of Copper) or Tassadessa (the Parched Land), it was the capital of several ancient kingdoms in Burma.
Yashima Gakutei was a Japanese artist and poet who was a pupil of both Totoya Hokkei and Hokusai. Gakutei is best known for his kyoka poetry and surimono woodblock works.
The Tale of Genji (<i>Genji Monogatari</i>) is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early 11th century, around the peak of the Heian period.<br/><br/> It is sometimes called the world's first novel, the first modern novel, the first psychological novel or the first novel still to be considered a classic. Notably, the novel also illustrates a unique depiction of the livelihoods of high courtiers during the Heian period.
The Tale of Genji (<i>Genji Monogatari</i>) is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early 11th century, around the peak of the Heian period.<br/><br/> It is sometimes called the world's first novel, the first modern novel, the first psychological novel or the first novel still to be considered a classic. Notably, the novel also illustrates a unique depiction of the livelihoods of high courtiers during the Heian period.
Utagawa Toyokuni (1769 in Edo – 24 February 1825 in Edo), also often referred to as Toyokuni I to distinguish him from the members of his school who took over his gō (art-name) after he died, was a great master of ukiyo-e, known in particular for his kabuki actor prints.<br/><br/> He was the second head of the renowned Utagawa school of Japanese woodblock artists, and was the artist who really moved it to the position of great fame and power it occupied for the rest of the nineteenth century.
The Tale of Genji (Genji Monogatari) is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early 11th century, around the peak of the Heian period.<br/><br/> It is sometimes called the world's first novel, the first modern novel, the first psychological novel or the first novel still to be considered a classic. Notably, the novel also illustrates a unique depiction of the livelihoods of high courtiers during the Heian period.
Hachikō (ハチ公, November 10, 1923 – March 8, 1935) was an Akita dog born on a farm near the city of Ōdate, Akita Prefecture, who is remembered for his remarkable loyalty to his owner which continued for many years after his owner's death.<br/><br/> In 1924, Hidesaburō Ueno, a professor in the agriculture department at the University of Tokyo, took in Hachikō, a golden brown Akita, as a pet. During his owner's life, Hachikō greeted him at the end of each day at the nearby Shibuya Station. The pair continued their daily routine until May 1925, when Professor Ueno did not return. The professor had suffered a cerebral hemorrhage and died, never returning to the train station where Hachikō was waiting. Each day for the next nine years Hachikō awaited Ueno's return, appearing precisely when the train was due at the station.<br/><br/> Hachikō attracted the attention of other commuters. Many of the people who frequented the Shibuya train station had seen Hachikō and Professor Ueno together each day. After the first appearance of the article about him on October 4, 1932 in Asahi Shimbun, people started to bring Hachikō treats and food to nourish him during his wait.<br/><br/> Hachikō died on March 8, 1935, and was found on a street in Shibuya. Hachikō's stuffed and mounted remains are kept at the National Science Museum of Japan in Ueno, Tokyo. His monument is in Aoyama cemetery in Minatoku, Tokyo.<br/><br/> In 2009, Hollywood produced 'Hachi: A Dog's Tale', starring Richard Gere and Joan Allen, based on the life of Hachiko.
Hachikō (ハチ公, November 10, 1923 – March 8, 1935) was an Akita dog born on a farm near the city of Ōdate, Akita Prefecture, who is remembered for his remarkable loyalty to his owner which continued for many years after his owner's death.<br/><br/> In 1924, Hidesaburō Ueno, a professor in the agriculture department at the University of Tokyo, took in Hachikō, a golden brown Akita, as a pet. During his owner's life, Hachikō greeted him at the end of each day at the nearby Shibuya Station. The pair continued their daily routine until May 1925, when Professor Ueno did not return. The professor had suffered a cerebral hemorrhage and died, never returning to the train station where Hachikō was waiting. Each day for the next nine years Hachikō awaited Ueno's return, appearing precisely when the train was due at the station.<br/><br/> Hachikō attracted the attention of other commuters. Many of the people who frequented the Shibuya train station had seen Hachikō and Professor Ueno together each day. After the first appearance of the article about him on October 4, 1932 in Asahi Shimbun, people started to bring Hachikō treats and food to nourish him during his wait.<br/><br/> Hachikō died on March 8, 1935, and was found on a street in Shibuya. Hachikō's stuffed and mounted remains are kept at the National Science Museum of Japan in Ueno, Tokyo. His monument is in Aoyama cemetery in Minatoku, Tokyo.<br/><br/> In 2009, Hollywood produced 'Hachi: A Dog's Tale', starring Richard Gere and Joan Allen, based on the life of Hachiko.
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.
A ninja (忍者) or shinobi (忍び) was a covert agent or mercenary in feudal Japan who specialized in unorthodox warfare. The functions of the ninja included espionage, sabotage, infiltration, and assassination, and open combat in certain situations.<br/><br/> Their covert methods of waging war contrasted the ninja with the samurai, who observed strict rules about honor and combat. The shinobi proper, a specially trained group of spies and mercenaries, appeared in the Sengoku or 'warring states' period, in the 15th century, but antecedents may have existed in the 14th century, and possibly even in the 12th century (Heian or early Kamakura era).
Utagawa Kuniyoshi (歌川 国芳, January 1, 1797 - April 14, 1862) was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He is associated with the Utagawa school.<br/><br/> The range of Kuniyoshi's preferred subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of samurai and legendary heroes. His artwork was affected by Western influences in landscape painting and caricature.
Katsushika Hokusai (葛飾 北斎, October 31, 1760 – May 10, 1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He was influenced by such painters as Sesshu, and other styles of Chinese painting. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 Fugaku Sanjūroku-kei, c. 1831) which includes the internationally recognized print, The Great Wave off Kanagawa, created during the 1820s.<br/><br/> Hokusai created the 'Thirty-Six Views' both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically The Great Wave print and Fuji in Clear Weather, that secured Hokusai’s fame both in Japan and overseas.
Ryūjin or Ryōjin (龍神 'dragon god'), also known as Ōwatatsumi, is the tutelary deity of the sea in Japanese mythology. This Japanese dragon symbolized the power of the ocean, had a large mouth, and was able to transform into a human shape. Ryūjin lived in Ryūgū-jō, his palace under the sea built out of red and white coral, from where he controlled the tides with magical tide jewels. Sea turtles, fish and jellyfish are often depicted as Ryūjin's servants.<br/><br/> Ryūjin was the father of the beautiful goddess Otohime who married the hunter prince Hoori. The first Emperor of Japan, Emperor Jimmu, is said to have been a grandson of Otohime and Hoori's. Thus, Ryūjin is said to be one of the ancestors of the Japanese imperial dynasty.
Yamata no Orochi (八岐の大蛇) or Orochi, translated as Eight-Forked Serpent in English, is a legendary 8-headed and 8-tailed Japanese dragon that was slain by the Shinto storm-god Susanoo.
The 47 Ronin incident immediately inspired a succession of kabuki and bunraku plays; the first, 'The Night Attack at Dawn by the Soga' appeared only two weeks after the ronin died. It was shut down by the authorities, but many others soon followed, initially in Osaka and Kyoto, farther away from the capital. Some even took the story as far as Manila, to spread the story to the rest of Asia.<br/><br/> The most successful of the adaptations was a bunraku puppet play called Kanadehon Chūshingura (now simply called Chūshingura, or 'Treasury of Loyal Retainers'), written in 1748 by Takeda Izumo and two associates; it was later adapted into a kabuki play, which is still one of Japan's most popular.<br/><br/> In the play, to avoid the attention of the censors, the events are transferred into the distant past, to the 14th century reign of shogun Ashikaga Takauji. Asano became Enya Hangan Takasada, Kira became Ko no Moronao and Ōishi became Ōboshi Yuranosuke Yoshio; the names of the rest of the ronin were disguised to varying degrees., The 47 Ronin incident immediately inspired a succession of kabuki and bunraku plays; the first, 'The Night Attack at Dawn by the Soga' appeared only two weeks after the ronin died. It was shut down by the authorities, but many others soon followed, initially in Osaka and Kyoto, farther away from the capital. Some even took the story as far as Manila, to spread the story to the rest of Asia.<br/><br/> The most successful of the adaptations was a bunraku puppet play called Kanadehon Chūshingura (now simply called Chūshingura, or 'Treasury of Loyal Retainers'), written in 1748 by Takeda Izumo and two associates; it was later adapted into a kabuki play, which is still one of Japan's most popular.<br/><br/> In the play, to avoid the attention of the censors, the events are transferred into the distant past, to the 14th century reign of shogun Ashikaga Takauji. Asano became Enya Hangan Takasada, Kira became Ko no Moronao and Ōishi became Ōboshi Yuranosuke Yoshio; the names of the rest of the ronin were disguised to varying degrees.
The 47 Ronin incident immediately inspired a succession of kabuki and bunraku plays; the first, 'The Night Attack at Dawn by the Soga' appeared only two weeks after the ronin died. It was shut down by the authorities, but many others soon followed, initially in Osaka and Kyoto, farther away from the capital. Some even took the story as far as Manila, to spread the story to the rest of Asia.<br/><br/> The most successful of the adaptations was a bunraku puppet play called Kanadehon Chūshingura (now simply called Chūshingura, or 'Treasury of Loyal Retainers'), written in 1748 by Takeda Izumo and two associates; it was later adapted into a kabuki play, which is still one of Japan's most popular.<br/><br/> In the play, to avoid the attention of the censors, the events are transferred into the distant past, to the 14th century reign of shogun Ashikaga Takauji. Asano became Enya Hangan Takasada, Kira became Ko no Moronao and Ōishi became Ōboshi Yuranosuke Yoshio; the names of the rest of the ronin were disguised to varying degrees., The 47 Ronin incident immediately inspired a succession of kabuki and bunraku plays; the first, 'The Night Attack at Dawn by the Soga' appeared only two weeks after the ronin died. It was shut down by the authorities, but many others soon followed, initially in Osaka and Kyoto, farther away from the capital. Some even took the story as far as Manila, to spread the story to the rest of Asia.<br/><br/> The most successful of the adaptations was a bunraku puppet play called Kanadehon Chūshingura (now simply called Chūshingura, or 'Treasury of Loyal Retainers'), written in 1748 by Takeda Izumo and two associates; it was later adapted into a kabuki play, which is still one of Japan's most popular.<br/><br/> In the play, to avoid the attention of the censors, the events are transferred into the distant past, to the 14th century reign of shogun Ashikaga Takauji. Asano became Enya Hangan Takasada, Kira became Ko no Moronao and Ōishi became Ōboshi Yuranosuke Yoshio; the names of the rest of the ronin were disguised to varying degrees.
The 47 Ronin incident immediately inspired a succession of kabuki and bunraku plays; the first, 'The Night Attack at Dawn by the Soga' appeared only two weeks after the ronin died. It was shut down by the authorities, but many others soon followed, initially in Osaka and Kyoto, farther away from the capital. Some even took the story as far as Manila, to spread the story to the rest of Asia.<br/><br/> The most successful of the adaptations was a bunraku puppet play called Kanadehon Chūshingura (now simply called Chūshingura, or 'Treasury of Loyal Retainers'), written in 1748 by Takeda Izumo and two associates; it was later adapted into a kabuki play, which is still one of Japan's most popular.<br/><br/> In the play, to avoid the attention of the censors, the events are transferred into the distant past, to the 14th century reign of shogun Ashikaga Takauji. Asano became Enya Hangan Takasada, Kira became Ko no Moronao and Ōishi became Ōboshi Yuranosuke Yoshio; the names of the rest of the ronin were disguised to varying degrees., The 47 Ronin incident immediately inspired a succession of kabuki and bunraku plays; the first, 'The Night Attack at Dawn by the Soga' appeared only two weeks after the ronin died. It was shut down by the authorities, but many others soon followed, initially in Osaka and Kyoto, farther away from the capital. Some even took the story as far as Manila, to spread the story to the rest of Asia.<br/><br/> The most successful of the adaptations was a bunraku puppet play called Kanadehon Chūshingura (now simply called Chūshingura, or 'Treasury of Loyal Retainers'), written in 1748 by Takeda Izumo and two associates; it was later adapted into a kabuki play, which is still one of Japan's most popular.<br/><br/> In the play, to avoid the attention of the censors, the events are transferred into the distant past, to the 14th century reign of shogun Ashikaga Takauji. Asano became Enya Hangan Takasada, Kira became Ko no Moronao and Ōishi became Ōboshi Yuranosuke Yoshio; the names of the rest of the ronin were disguised to varying degrees.
The 47 Ronin incident immediately inspired a succession of kabuki and bunraku plays; the first, 'The Night Attack at Dawn by the Soga' appeared only two weeks after the ronin died. It was shut down by the authorities, but many others soon followed, initially in Osaka and Kyoto, farther away from the capital. Some even took the story as far as Manila, to spread the story to the rest of Asia.<br/><br/> The most successful of the adaptations was a bunraku puppet play called Kanadehon Chūshingura (now simply called Chūshingura, or 'Treasury of Loyal Retainers'), written in 1748 by Takeda Izumo and two associates; it was later adapted into a kabuki play, which is still one of Japan's most popular.<br/><br/> In the play, to avoid the attention of the censors, the events are transferred into the distant past, to the 14th century reign of shogun Ashikaga Takauji. Asano became Enya Hangan Takasada, Kira became Ko no Moronao and Ōishi became Ōboshi Yuranosuke Yoshio; the names of the rest of the ronin were disguised to varying degrees., The 47 Ronin incident immediately inspired a succession of kabuki and bunraku plays; the first, 'The Night Attack at Dawn by the Soga' appeared only two weeks after the ronin died. It was shut down by the authorities, but many others soon followed, initially in Osaka and Kyoto, farther away from the capital. Some even took the story as far as Manila, to spread the story to the rest of Asia.<br/><br/> The most successful of the adaptations was a bunraku puppet play called Kanadehon Chūshingura (now simply called Chūshingura, or 'Treasury of Loyal Retainers'), written in 1748 by Takeda Izumo and two associates; it was later adapted into a kabuki play, which is still one of Japan's most popular.<br/><br/> In the play, to avoid the attention of the censors, the events are transferred into the distant past, to the 14th century reign of shogun Ashikaga Takauji. Asano became Enya Hangan Takasada, Kira became Ko no Moronao and Ōishi became Ōboshi Yuranosuke Yoshio; the names of the rest of the ronin were disguised to varying degrees.
Murasaki Shikibu (紫 式部, English: Lady Murasaki) (c. 973 – c. 1014 or 1025) was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of The Tale of Genji, written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.<br/><br/> She was raised in her father's household where she learned Chinese, the written language of government, from which women were traditionally excluded. She married in her mid to late twenties and gave birth to a daughter before her husband died, two years after they were married. It is uncertain when she began to write The Tale of Genji, but it was probably while she was married or shortly after she was widowed. In about 1005, Murasaki was invited to serve as a lady-in-waiting to Empress Shōshi at the Imperial court, probably because of her reputation as a writer. She continued to write during her service, adding scenes from court life to her work. After five or six years, she left court and retired with Shōshi to the Lake Biwa region. Scholars differ on the year of her death; although most agree on 1014, others have suggested she was alive in 1025.<br/><br/> Murasaki wrote The Diary of Lady Murasaki, a volume of poetry, and The Tale of Genji. Within a decade of its completion, Genji was distributed throughout the provinces; within a century it was recognized as a classic of Japanese literature and had become a subject of scholarly criticism. Early in the 20th century her work was translated; a six-volume English translation was completed in 1933. Scholars continue to recognize the importance of her work, which reflects Heian court society at its peak. Since the 13th century her works have been illustrated by Japanese artists and well-known ukiyo-e woodblock masters.
Murasaki Shikibu (紫 式部, English: Lady Murasaki) (c. 973 – c. 1014 or 1025) was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of The Tale of Genji, written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.<br/><br/> She was raised in her father's household where she learned Chinese, the written language of government, from which women were traditionally excluded. She married in her mid to late twenties and gave birth to a daughter before her husband died, two years after they were married. It is uncertain when she began to write The Tale of Genji, but it was probably while she was married or shortly after she was widowed. In about 1005, Murasaki was invited to serve as a lady-in-waiting to Empress Shōshi at the Imperial court, probably because of her reputation as a writer. She continued to write during her service, adding scenes from court life to her work. After five or six years, she left court and retired with Shōshi to the Lake Biwa region. Scholars differ on the year of her death; although most agree on 1014, others have suggested she was alive in 1025.<br/><br/> Murasaki wrote The Diary of Lady Murasaki, a volume of poetry, and The Tale of Genji. Within a decade of its completion, Genji was distributed throughout the provinces; within a century it was recognized as a classic of Japanese literature and had become a subject of scholarly criticism. Early in the 20th century her work was translated; a six-volume English translation was completed in 1933. Scholars continue to recognize the importance of her work, which reflects Heian court society at its peak. Since the 13th century her works have been illustrated by Japanese artists and well-known ukiyo-e woodblock masters.
The Tale of Genji (源氏物語 Genji Monogatari) is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early 11th century, around the peak of the Heian period.<br/><br/> It is sometimes called the world's first novel, the first modern novel, the first psychological novel or the first novel still to be considered a classic. Notably, the novel also illustrates a unique depiction of the livelihoods of high courtiers during the Heian period.
Murasaki Shikibu (紫 式部, English: Lady Murasaki) (c. 973 – c. 1014 or 1025) was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of The Tale of Genji, written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.<br/><br/> She was raised in her father's household where she learned Chinese, the written language of government, from which women were traditionally excluded. She married in her mid to late twenties and gave birth to a daughter before her husband died, two years after they were married. It is uncertain when she began to write The Tale of Genji, but it was probably while she was married or shortly after she was widowed. In about 1005, Murasaki was invited to serve as a lady-in-waiting to Empress Shōshi at the Imperial court, probably because of her reputation as a writer. She continued to write during her service, adding scenes from court life to her work. After five or six years, she left court and retired with Shōshi to the Lake Biwa region. Scholars differ on the year of her death; although most agree on 1014, others have suggested she was alive in 1025.<br/><br/> Murasaki wrote The Diary of Lady Murasaki, a volume of poetry, and The Tale of Genji. Within a decade of its completion, Genji was distributed throughout the provinces; within a century it was recognized as a classic of Japanese literature and had become a subject of scholarly criticism. Early in the 20th century her work was translated; a six-volume English translation was completed in 1933. Scholars continue to recognize the importance of her work, which reflects Heian court society at its peak. Since the 13th century her works have been illustrated by Japanese artists and well-known ukiyo-e woodblock masters.
Murasaki Shikibu (紫 式部, English: Lady Murasaki) (c. 973 – c. 1014 or 1025) was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of The Tale of Genji, written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.<br/><br/> She was raised in her father's household where she learned Chinese, the written language of government, from which women were traditionally excluded. She married in her mid to late twenties and gave birth to a daughter before her husband died, two years after they were married. It is uncertain when she began to write The Tale of Genji, but it was probably while she was married or shortly after she was widowed. In about 1005, Murasaki was invited to serve as a lady-in-waiting to Empress Shōshi at the Imperial court, probably because of her reputation as a writer. She continued to write during her service, adding scenes from court life to her work. After five or six years, she left court and retired with Shōshi to the Lake Biwa region. Scholars differ on the year of her death; although most agree on 1014, others have suggested she was alive in 1025.<br/><br/> Murasaki wrote The Diary of Lady Murasaki, a volume of poetry, and The Tale of Genji. Within a decade of its completion, Genji was distributed throughout the provinces; within a century it was recognized as a classic of Japanese literature and had become a subject of scholarly criticism. Early in the 20th century her work was translated; a six-volume English translation was completed in 1933. Scholars continue to recognize the importance of her work, which reflects Heian court society at its peak. Since the 13th century her works have been illustrated by Japanese artists and well-known ukiyo-e woodblock masters.
Murasaki Shikibu (紫 式部, English: Lady Murasaki) (c. 973 – c. 1014 or 1025) was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of The Tale of Genji, written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.<br/><br/> She was raised in her father's household where she learned Chinese, the written language of government, from which women were traditionally excluded. She married in her mid to late twenties and gave birth to a daughter before her husband died, two years after they were married. It is uncertain when she began to write The Tale of Genji, but it was probably while she was married or shortly after she was widowed. In about 1005, Murasaki was invited to serve as a lady-in-waiting to Empress Shōshi at the Imperial court, probably because of her reputation as a writer. She continued to write during her service, adding scenes from court life to her work. After five or six years, she left court and retired with Shōshi to the Lake Biwa region. Scholars differ on the year of her death; although most agree on 1014, others have suggested she was alive in 1025.<br/><br/> Murasaki wrote The Diary of Lady Murasaki, a volume of poetry, and The Tale of Genji. Within a decade of its completion, Genji was distributed throughout the provinces; within a century it was recognized as a classic of Japanese literature and had become a subject of scholarly criticism. Early in the 20th century her work was translated; a six-volume English translation was completed in 1933. Scholars continue to recognize the importance of her work, which reflects Heian court society at its peak. Since the 13th century her works have been illustrated by Japanese artists and well-known ukiyo-e woodblock masters.
Murasaki Shikibu (紫 式部, English: Lady Murasaki) (c. 973 – c. 1014 or 1025) was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of The Tale of Genji, written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.<br/><br/> She was raised in her father's household where she learned Chinese, the written language of government, from which women were traditionally excluded. She married in her mid to late twenties and gave birth to a daughter before her husband died, two years after they were married. It is uncertain when she began to write The Tale of Genji, but it was probably while she was married or shortly after she was widowed. In about 1005, Murasaki was invited to serve as a lady-in-waiting to Empress Shōshi at the Imperial court, probably because of her reputation as a writer. She continued to write during her service, adding scenes from court life to her work. After five or six years, she left court and retired with Shōshi to the Lake Biwa region. Scholars differ on the year of her death; although most agree on 1014, others have suggested she was alive in 1025.<br/><br/> Murasaki wrote The Diary of Lady Murasaki, a volume of poetry, and The Tale of Genji. Within a decade of its completion, Genji was distributed throughout the provinces; within a century it was recognized as a classic of Japanese literature and had become a subject of scholarly criticism. Early in the 20th century her work was translated; a six-volume English translation was completed in 1933. Scholars continue to recognize the importance of her work, which reflects Heian court society at its peak. Since the 13th century her works have been illustrated by Japanese artists and well-known ukiyo-e woodblock masters.
The Tale of Genji (源氏物語 Genji Monogatari) is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early 11th century, around the peak of the Heian period.<br/><br/> It is sometimes called the world's first novel, the first modern novel, the first psychological novel or the first novel still to be considered a classic. Notably, the novel also illustrates a unique depiction of the livelihoods of high courtiers during the Heian period.
The Tale of Genji (源氏物語 Genji Monogatari) is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early 11th century, around the peak of the Heian period.<br/><br/> It is sometimes called the world's first novel, the first modern novel, the first psychological novel or the first novel still to be considered a classic. Notably, the novel also illustrates a unique depiction of the livelihoods of high courtiers during the Heian period.
Hadith Bayāḍ wa Riyāḍ (The Story of Bayad and Riyad) or Qissat Bayad wa Riyad is a 13th-century Arabic love story. The main characters of the tale are Bayad, a merchant's son and a foreigner from Damascus, Riyad, a well educated girl in the court of an unnamed Hajib (vizier or minister) of 'Iraq (Mesopotamia) and a 'Lady' (al-sayyida).<br/><br/> The Hadith Bayad wa Riyad manuscript is believed to be the only illustrated manuscript known to have survived from more than eight centuries of Muslim and Arab presence in Spain. The sole manuscript is in the Vatican Library, where it is catalogued as Codex Vat. Arabo 368.This fragment of the medieval love story of Bayad and Riyad may have been taken from Tunis by the troops of Charles V. It is one of the rarest and most singular Arabic manuscripts in the Vatican collection.<br/><br/> Written in maghribi script, it was probably copied in Spain in the first half of the thirteenth century from an eastern manuscript of the Baghdad school. The miniaturist, however, adapted the original illustrations to a western setting and changed oriental architectural details to Spanish ones.<br/><br/> This codex remains one of the only known examples of Muslim figurative painting in Spain. In the page shown here, we see Bayad receiving a letter from Riyad in the house of three women. The appearance of the house is clearly western rather than eastern.
Princess Toyotama, daughter of the Dragon King of the Sea, gives birth to the Divine Prince Ugayafuki Aezu, by turning from her human form into a dragon (1886).<br/><br/> Toyohara Chikanobu (豊原周延) (1838–1912), better known to his contemporaries as Yōshū Chikanobu (楊洲周延), was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (mise-en-scène) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
The oldest known Japanese narrative, this sad fairy tale dates back to the 9th or 10th century. In this tale Kaguya-hime was found inside a bamboo stalk by a bamboo cutter, who took her home and raised her as his daughter (1891).<br/><br/> Toyohara Chikanobu (豊原周延) (1838–1912), better known to his contemporaries as Yōshū Chikanobu (楊洲周延), was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
In a dream, the Daughter of the Dragon King appeared to Minamoto Mitsunaka (912-997), father of Yorimitsu and founder of the Tada Genji lineage (1886).<br/><br/> Toyohara Chikanobu (豊原周延) (1838–1912), better known to his contemporaries as Yōshū Chikanobu (楊洲周延), was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.<br/><br/> Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
Hadith Bayāḍ wa Riyāḍ (The Story of Bayad and Riyad) or Qissat Bayad wa Riyad is a 13th-century Arabic love story. The main characters of the tale are Bayad, a merchant's son and a foreigner from Damascus, Riyad, a well educated girl in the court of an unnamed Hajib (vizier or minister) of 'Iraq (Mesopotamia) and a 'Lady' (al-sayyida).<br/><br/> The Hadith Bayad wa Riyad manuscript is believed to be the only illustrated manuscript known to have survived from more than eight centuries of Muslim and Arab presence in Spain. The sole manuscript is in the Vatican Library, where it is catalogued as Codex Vat. Arabo 368.This fragment of the medieval love story of Bayad and Riyad may have been taken from Tunis by the troops of Charles V. It is one of the rarest and most singular Arabic manuscripts in the Vatican collection.<br/><br/> Written in maghribi script, it was probably copied in Spain in the first half of the thirteenth century from an eastern manuscript of the Baghdad school. The miniaturist, however, adapted the original illustrations to a western setting and changed oriental architectural details to Spanish ones.<br/><br/> This codex remains one of the only known examples of Muslim figurative painting in Spain.
Hadith Bayāḍ wa Riyāḍ (The Story of Bayad and Riyad) or Qissat Bayad wa Riyad is a 13th-century Arabic love story. The main characters of the tale are Bayad, a merchant's son and a foreigner from Damascus, Riyad, a well educated girl in the court of an unnamed Hajib (vizier or minister) of 'Iraq (Mesopotamia) and a 'Lady' (al-sayyida).<br/><br/> The Hadith Bayad wa Riyad manuscript is believed to be the only illustrated manuscript known to have survived from more than eight centuries of Muslim and Arab presence in Spain. The sole manuscript is in the Vatican Library, where it is catalogued as Codex Vat. Arabo 368.This fragment of the medieval love story of Bayad and Riyad may have been taken from Tunis by the troops of Charles V. It is one of the rarest and most singular Arabic manuscripts in the Vatican collection.<br/><br/> Written in maghribi script, it was probably copied in Spain in the first half of the thirteenth century from an eastern manuscript of the Baghdad school. The miniaturist, however, adapted the original illustrations to a western setting and changed oriental architectural details to Spanish ones.<br/><br/> This codex remains one of the only known examples of Muslim figurative painting in Spain. In the page shown here, we see Bayad receiving a letter from Riyad in the house of three women. The appearance of the house is clearly western rather than eastern.
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.
Hachikō (ハチ公, November 10, 1923 – March 8, 1935) was an Akita dog born on a farm near the city of Ōdate, Akita Prefecture, who is remembered for his remarkable loyalty to his owner which continued for many years after his owner's death.<br/><br/> In 1924, Hidesaburō Ueno, a professor in the agriculture department at the University of Tokyo, took in Hachikō, a golden brown Akita, as a pet. During his owner's life, Hachikō greeted him at the end of each day at the nearby Shibuya Station. The pair continued their daily routine until May 1925, when Professor Ueno did not return. The professor had suffered a cerebral hemorrhage and died, never returning to the train station where Hachikō was waiting. Each day for the next nine years Hachikō awaited Ueno's return, appearing precisely when the train was due at the station.<br/><br/> Hachikō attracted the attention of other commuters. Many of the people who frequented the Shibuya train station had seen Hachikō and Professor Ueno together each day. After the first appearance of the article about him on October 4, 1932 in Asahi Shimbun, people started to bring Hachikō treats and food to nourish him during his wait.<br/><br/> Hachikō died on March 8, 1935, and was found on a street in Shibuya. Hachikō's stuffed and mounted remains are kept at the National Science Museum of Japan in Ueno, Tokyo. His monument is in Aoyama cemetery in Minatoku, Tokyo.<br/><br/> In 2009, Hollywood produced 'Hachi: A Dog's Tale', starring Richard Gere and Joan Allen, based on the life of Hachiko.
In Japanese mythology, the tide jewels-- individually, the kanju (干珠?, lit. '(tide-)ebbing jewel') and manju (満珠?, lit. '(tide-)flowing jewel')-- were magical gems that the Sea God used to control the tides. Classical Japanese history texts record an ancient myth that the ocean kami Watatsumi 海神 'sea god' or Ryūjin 龍神 'dragon god' presented the kanju and manju to his demigod son-in-law Hoori, and a later legend that Empress Jingū used the tide jewels to conquer Korea.<br/><br/> The fable of Tamatori-hime 玉取姫 'Princess Jewel Taker', which was a favorite ukiyo-e subject of Utagawa Kuniyoshi, is a variation of the Hoori and Toyatama-hime love story. Tamatori was supposedly an ama diver who married Fujiwara no Fuhito and recovered a precious jewel that the Sea God stole.
Hachikō (ハチ公, November 10, 1923 – March 8, 1935) was an Akita dog born on a farm near the city of Ōdate, Akita Prefecture, who is remembered for his remarkable loyalty to his owner which continued for many years after his owner's death.<br/><br/> In 1924, Hidesaburō Ueno, a professor in the agriculture department at the University of Tokyo, took in Hachikō, a golden brown Akita, as a pet. During his owner's life, Hachikō greeted him at the end of each day at the nearby Shibuya Station. The pair continued their daily routine until May 1925, when Professor Ueno did not return. The professor had suffered a cerebral hemorrhage and died, never returning to the train station where Hachikō was waiting. Each day for the next nine years Hachikō awaited Ueno's return, appearing precisely when the train was due at the station.<br/><br/> Hachikō attracted the attention of other commuters. Many of the people who frequented the Shibuya train station had seen Hachikō and Professor Ueno together each day. After the first appearance of the article about him on October 4, 1932 in Asahi Shimbun, people started to bring Hachikō treats and food to nourish him during his wait.<br/><br/> Hachikō died on March 8, 1935, and was found on a street in Shibuya. Hachikō's stuffed and mounted remains are kept at the National Science Museum of Japan in Ueno, Tokyo. His monument is in Aoyama cemetery in Minatoku, Tokyo.<br/><br/> In 2009, Hollywood produced 'Hachi: A Dog's Tale', starring Richard Gere and Joan Allen, based on the life of Hachiko.
Vietnam: Two pages from the Vietnamese literary classic 'Kim Van Kieu' (The Tale of Kim' handwritten in Han-Nom. Probably 19th century. Chu Nom is an obsolete writing system of the Vietnamese language. It makes use of Chinese characters (known as Han Tu in Vietnamese), and characters coined following the Chinese model. The earliest known example of Chu Nom dates to the 13th century. It was used almost exclusively by the Vietnamese elite, mostly for recording Vietnamese literature (formal writings were, in most cases, not done in Vietnamese, but in classical Chinese). It has almost been completely replaced by Quoc Ngu, a script based on the Latin alphabet.
Utagawa Kunisada (1786 – January 12, 1865) (Japanese: 歌川 国貞, also known as Utagawa Toyokuni III 三代歌川豊国 ) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.<br/><br/>Utagawa Kunisada II (歌川国定)(1823–1880) was a Japanese ukiyo-e printmaker, one of three to take the name 'Utagawa Kunisada'.<br/><br/>A pupil of Utagawa Kunisada I, he signed much of his early work 'Baidō Kunimasa III'. He took the name Kunisada after marrying his master's eldest daughter in 1846. He changed his name once more following his master's death, to Toyokuni III. However, since there were three artists called Toyokuni before him, Kunisada II is now often known as Toyokuni IV.<br/><br/>Kunisada II is renowned for his prints. His favourite subjects were pleasure-houses and tea ceremonies. These themes are sometimes found together in some of his prints, as geishas usually acted as chaperones at tea-houses.
Hachikō (ハチ公, November 10, 1923 – March 8, 1935) was an Akita dog born on a farm near the city of Ōdate, Akita Prefecture, who is remembered for his remarkable loyalty to his owner which continued for many years after his owner's death.<br/><br/> In 1924, Hidesaburō Ueno, a professor in the agriculture department at the University of Tokyo, took in Hachikō, a golden brown Akita, as a pet. During his owner's life, Hachikō greeted him at the end of each day at the nearby Shibuya Station. The pair continued their daily routine until May 1925, when Professor Ueno did not return. The professor had suffered a cerebral hemorrhage and died, never returning to the train station where Hachikō was waiting. Each day for the next nine years Hachikō awaited Ueno's return, appearing precisely when the train was due at the station.<br/><br/> Hachikō attracted the attention of other commuters. Many of the people who frequented the Shibuya train station had seen Hachikō and Professor Ueno together each day. After the first appearance of the article about him on October 4, 1932 in Asahi Shimbun, people started to bring Hachikō treats and food to nourish him during his wait.<br/><br/> Hachikō died on March 8, 1935, and was found on a street in Shibuya. Hachikō's stuffed and mounted remains are kept at the National Science Museum of Japan in Ueno, Tokyo. His monument is in Aoyama cemetery in Minatoku, Tokyo.<br/><br/> In 2009, Hollywood produced 'Hachi: A Dog's Tale', starring Richard Gere and Joan Allen, based on the life of Hachiko.
Hachikō (ハチ公, November 10, 1923 – March 8, 1935) was an Akita dog born on a farm near the city of Ōdate, Akita Prefecture, who is remembered for his remarkable loyalty to his owner which continued for many years after his owner's death.<br/><br/> In 1924, Hidesaburō Ueno, a professor in the agriculture department at the University of Tokyo, took in Hachikō, a golden brown Akita, as a pet. During his owner's life, Hachikō greeted him at the end of each day at the nearby Shibuya Station. The pair continued their daily routine until May 1925, when Professor Ueno did not return. The professor had suffered a cerebral hemorrhage and died, never returning to the train station where Hachikō was waiting. Each day for the next nine years Hachikō awaited Ueno's return, appearing precisely when the train was due at the station.<br/><br/> Hachikō attracted the attention of other commuters. Many of the people who frequented the Shibuya train station had seen Hachikō and Professor Ueno together each day. After the first appearance of the article about him on October 4, 1932 in Asahi Shimbun, people started to bring Hachikō treats and food to nourish him during his wait.<br/><br/> Hachikō died on March 8, 1935, and was found on a street in Shibuya. Hachikō's stuffed and mounted remains are kept at the National Science Museum of Japan in Ueno, Tokyo. His monument is in Aoyama cemetery in Minatoku, Tokyo.<br/><br/> In 2009, Hollywood produced 'Hachi: A Dog's Tale', starring Richard Gere and Joan Allen, based on the life of Hachiko.
Title page from a Han-Nom edition of 'Kim Van Kieu' (The Tale of Kim'), woodblock printed in Hanoi, 1932. Chu Nom is an obsolete writing system of the Vietnamese language. It makes use of Chinese characters (known as Han Tu in Vietnamese), and characters coined following the Chinese model. The earliest known example of Chu Nom dates to the 13th century. It was used almost exclusively by the Vietnamese elite, mostly for recording Vietnamese literature (formal writings were, in most cases, not done in Vietnamese, but in classical Chinese). It has almost been completely replaced by Quoc Ngu, a script based on the Latin alphabet.
Hachikō (ハチ公, November 10, 1923 – March 8, 1935) was an Akita dog born on a farm near the city of Ōdate, Akita Prefecture, who is remembered for his remarkable loyalty to his owner which continued for many years after his owner's death.<br/><br/> In 1924, Hidesaburō Ueno, a professor in the agriculture department at the University of Tokyo, took in Hachikō, a golden brown Akita, as a pet. During his owner's life, Hachikō greeted him at the end of each day at the nearby Shibuya Station. The pair continued their daily routine until May 1925, when Professor Ueno did not return. The professor had suffered a cerebral hemorrhage and died, never returning to the train station where Hachikō was waiting. Each day for the next nine years Hachikō awaited Ueno's return, appearing precisely when the train was due at the station.<br/><br/> Hachikō attracted the attention of other commuters. Many of the people who frequented the Shibuya train station had seen Hachikō and Professor Ueno together each day. After the first appearance of the article about him on October 4, 1932 in Asahi Shimbun, people started to bring Hachikō treats and food to nourish him during his wait.<br/><br/> Hachikō died on March 8, 1935, and was found on a street in Shibuya. Hachikō's stuffed and mounted remains are kept at the National Science Museum of Japan in Ueno, Tokyo. His monument is in Aoyama cemetery in Minatoku, Tokyo.<br/><br/> In 2009, Hollywood produced 'Hachi: A Dog's Tale', starring Richard Gere and Joan Allen, based on the life of Hachiko.
Murasaki Shikibu (紫 式部, English: Lady Murasaki) (c. 973 – c. 1014 or 1025) was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of The Tale of Genji, written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.<br/><br/> She was raised in her father's household where she learned Chinese, the written language of government, from which women were traditionally excluded. She married in her mid to late twenties and gave birth to a daughter before her husband died, two years after they were married. It is uncertain when she began to write The Tale of Genji, but it was probably while she was married or shortly after she was widowed. In about 1005, Murasaki was invited to serve as a lady-in-waiting to Empress Shōshi at the Imperial court, probably because of her reputation as a writer. She continued to write during her service, adding scenes from court life to her work. After five or six years, she left court and retired with Shōshi to the Lake Biwa region. Scholars differ on the year of her death; although most agree on 1014, others have suggested she was alive in 1025.<br/><br/> Murasaki wrote The Diary of Lady Murasaki, a volume of poetry, and The Tale of Genji. Within a decade of its completion, Genji was distributed throughout the provinces; within a century it was recognized as a classic of Japanese literature and had become a subject of scholarly criticism. Early in the 20th century her work was translated; a six-volume English translation was completed in 1933. Scholars continue to recognize the importance of her work, which reflects Heian court society at its peak. Since the 13th century her works have been illustrated by Japanese artists and well-known ukiyo-e woodblock masters.
Murasaki Shikibu (紫 式部, English: Lady Murasaki) (c. 973 – c. 1014 or 1025) was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of The Tale of Genji, written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.<br/><br/> She was raised in her father's household where she learned Chinese, the written language of government, from which women were traditionally excluded. She married in her mid to late twenties and gave birth to a daughter before her husband died, two years after they were married. It is uncertain when she began to write The Tale of Genji, but it was probably while she was married or shortly after she was widowed. In about 1005, Murasaki was invited to serve as a lady-in-waiting to Empress Shōshi at the Imperial court, probably because of her reputation as a writer. She continued to write during her service, adding scenes from court life to her work. After five or six years, she left court and retired with Shōshi to the Lake Biwa region. Scholars differ on the year of her death; although most agree on 1014, others have suggested she was alive in 1025.<br/><br/> Murasaki wrote The Diary of Lady Murasaki, a volume of poetry, and The Tale of Genji. Within a decade of its completion, Genji was distributed throughout the provinces; within a century it was recognized as a classic of Japanese literature and had become a subject of scholarly criticism. Early in the 20th century her work was translated; a six-volume English translation was completed in 1933. Scholars continue to recognize the importance of her work, which reflects Heian court society at its peak. Since the 13th century her works have been illustrated by Japanese artists and well-known ukiyo-e woodblock masters.
Ogata Gekkō (尾形月耕, 1859-1920) was a Japanese painter and woodblock print artist of the ukiyo-e genre.<br/><br/> Gekkō's work was originally closely based upon that of Kikuchi Yōsai. He was inspired by Hokusai, creating a series of one hundred prints of Mount Fuji. He also developed his own style, with significant stylistic elements borrowed from nihonga painting.
Hachikō (ハチ公, November 10, 1923 – March 8, 1935) was an Akita dog born on a farm near the city of Ōdate, Akita Prefecture, who is remembered for his remarkable loyalty to his owner which continued for many years after his owner's death.<br/><br/> In 1924, Hidesaburō Ueno, a professor in the agriculture department at the University of Tokyo, took in Hachikō, a golden brown Akita, as a pet. During his owner's life, Hachikō greeted him at the end of each day at the nearby Shibuya Station. The pair continued their daily routine until May 1925, when Professor Ueno did not return. The professor had suffered a cerebral hemorrhage and died, never returning to the train station where Hachikō was waiting. Each day for the next nine years Hachikō awaited Ueno's return, appearing precisely when the train was due at the station.<br/><br/> Hachikō attracted the attention of other commuters. Many of the people who frequented the Shibuya train station had seen Hachikō and Professor Ueno together each day. After the first appearance of the article about him on October 4, 1932 in Asahi Shimbun, people started to bring Hachikō treats and food to nourish him during his wait.<br/><br/> Hachikō died on March 8, 1935, and was found on a street in Shibuya. Hachikō's stuffed and mounted remains are kept at the National Science Museum of Japan in Ueno, Tokyo. His monument is in Aoyama cemetery in Minatoku, Tokyo.<br/><br/> In 2009, Hollywood produced 'Hachi: A Dog's Tale', starring Richard Gere and Joan Allen, based on the life of Hachiko.
The renowned female samurai, Tomoe-gozen in the 11th Century. Her husband or love was the Genji General Kiso Yoshinaka.<br/><br/> According to the 'The Tale of Heike', Tomoe was especially beautiful, with white skin, long hair, and charming features. She was also a remarkably strong archer, and as a swords-woman she was a warrior worth a thousand, ready to confront a demon or a god, mounted or on foot.<br/><br/> She handled unbroken horses with superb skill; she rode unscathed down perilous descents. Whenever a battle was imminent, Yoshinaka sent her out as his first captain, equipped with strong armor, an oversized sword, and a mighty bow, and she performed more deeds of valor than any of his other warriors.