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The Enn (also known as Ann or Eng) belong to the Mon-Khmer linguistic group and can be found only in a few villages to the north and west of Kyaing Tong (Kengtung) in the Shan hils of Shan State. They have lived in these hills for many centuries.<br/><br/> The Enn are related to their near neighbours, the Wa, Palaung and Loi, and are mostly animists and Buddhists, although a few have been converted to Christianity.<br/><br/> A defining characteristic of Enn women is their black teeth caused by using a black lipstick made from charred tree root and bark.
The Enn (also known as Ann or Eng) belong to the Mon-Khmer linguistic group and can be found only in a few villages to the north and west of Kyaing Tong (Kengtung) in the Shan hils of Shan State. They have lived in these hills for many centuries.<br/><br/> The Enn are related to their near neighbours, the Wa, Palaung and Loi, and are mostly animists and Buddhists, although a few have been converted to Christianity.<br/><br/> A defining characteristic of Enn women is their black teeth caused by using a black lipstick made from charred tree root and bark.
The Enn (also known as Ann or Eng) belong to the Mon-Khmer linguistic group and can be found only in a few villages to the north and west of Kyaing Tong (Kengtung) in the Shan hils of Shan State. They have lived in these hills for many centuries.<br/><br/> The Enn are related to their near neighbours, the Wa, Palaung and Loi, and are mostly animists and Buddhists, although a few have been converted to Christianity.<br/><br/> A defining characteristic of Enn women is their black teeth caused by using a black lipstick made from charred tree root and bark.
The Bakemono Zukushi handscroll, painted in the Edo period (18th-19th century) by an unknown artist, depicts 24 traditional monsters that traditionally haunt people and localities in Japan.
The Bakemono Zukushi handscroll, painted in the Edo period (18th-19th century) by an unknown artist, depicts 24 traditional monsters that traditionally haunt people and localities in Japan.
Ohaguro (お歯黒) is a custom of dyeing one's teeth black. It was most popular in Japan until the Meiji era. Tooth painting was also known and practised in the southeastern parts of China and Southeast Asia. Dyeing was mainly done by married women, though occasionally men did it as well. It was also beneficial, as it prevented tooth decay, in a similar fashion to modern dental sealants.<br/><br/>Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
In 1927, Sappho Marchal, the 23-year-old daughter of Henri Marchal who was over­seeing restoration of monuments at Angkor Wat at the time, published a book on the hair­styles, clothes and jewelry of 1,737 images of various apsara she had recorded on the walls and columns of Angkor Wat. It remains probably the most complete account of the many apsara, thevada and other celestial females at Angkor Wat to the present day.<br/><br/> Only one of the 1,737 apsara is smiling and showing her teeth. She is located on the inner side of the west portico, just south of the gopuram, almost concealed behind the gateway. It is now generally accepted that many of the apsara represented or were otherwise based upon real women of the Angkor court, but the reason for the - slightly bizarre - toothy grin remains a mystery.<br/><br/> Perhaps one of the Angkor stonemasons was in the mood to create something different for a change, or perhaps he had a real earthly maiden in mind - or on his mind.<br/><br/> Angkor Wat was built for King Suryavarman II (ruled 1113-50) in the early 12th century as his state temple and capital city. As the best-preserved temple at the Angkor site, it is the only one to have remained a significant religious centre since its foundation – first Hindu, dedicated to the god Vishnu, then Buddhist. It is the world's largest religious building. The temple is at the top of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors.<br/><br/> Angkor Wat combines two basic plans of Khmer temple architecture: the temple mountain and the later galleried temple, based on early South Indian Hindu architecture. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat and an outer wall 3.6 kilometres (2.2 mi) long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers.
In 1927, Sappho Marchal, the 23-year-old daughter of Henri Marchal who was over­seeing restoration of monuments at Angkor Wat at the time, published a book on the hair­styles, clothes and jewelry of 1,737 images of various apsara she had recorded on the walls and columns of Angkor Wat. It remains probably the most complete account of the many apsara, thevada and other celestial females at Angkor Wat to the present day.<br/><br/> Only one of the 1,737 apsara is smiling and showing her teeth. She is located on the inner side of the west portico, just south of the gopuram, almost concealed behind the gateway. It is now generally accepted that many of the apsara represented or were otherwise based upon real women of the Angkor court, but the reason for the - slightly bizarre - toothy grin remains a mystery.<br/><br/> Perhaps one of the Angkor stonemasons was in the mood to create something different for a change, or perhaps he had a real earthly maiden in mind - or on his mind.
Suzuki Harunobu (鈴木 春信4, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.<br/><br/> During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.