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Xia Yong (active mid-14th century), style name Ming Yuan, was a Chinese painter from Qian Tang who lived during the late Yuan Dynasty period. Little is known about his life, and he is mainly known for his paintings of palaces and temples, with a style similar to that of famed painter Wang Zhenpeng.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
General Hyon Yong-chol was a senior North Korean military officer and Workers' Party of Korea (WPK) politician who served briefly as defence minister.<br/><br/> South Korea's National Intelligence Service reported on May 12, 2015, that Hyon was purged and publicly executed near the end of April 2015 at Kanggon Military Training Area near Pyongyang. It was reported that he was executed – with a four-barreled light antiaircraft gun – for insubordination and sleeping during formal military rallies.
The Yongzheng Emperor (13 December 1678 - 8 October 1735), was the fifth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position.<br/><br/> Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.
Zhao Yong was a noted Chinese painter, calligrapher, and poet in the Yuan Dynasty. A native of Wuxing, now Huzhou, in Zhejiang Province), he was the second son of Zhao Mengfu. Zhao was a descendant of the Song Imperial family, the House of Zhao.<br/><br/> Zhao became a high official with his father's assistance. Following the style of Dong Yuan and Li Cheng, he had a talent for painting human figures, landscapes, and horses with saddles.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace.<br/><br/> An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). An item found in the archives of the Internal Affairs Department notes that in the eighth month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.<br/><br/> The record suggests that the scenes in these paintings show the Summer Palace as it looked when it was relatively new, before the lavish expansions that were undertaken later in the eighteenth century.
Japan: The Stone General Shi Yong or Sekishogun Sekiyu, one of the 'One Hundred and Eight Heroes of the Water Margin', by a waterfall throwing the stocks used to restrain him into the water; the distorted face of his enemy visible below through the water. Woodblock print by Utagawa Kuniyoshi (1797-1863), 1827-1830. The Water Margin (known in Chinese as Shuihu Zhuan, sometimes abbreviated to Shuihu, known as Suikoden in Japanese, as well as Outlaws of the Marsh, Tale of the Marshes, All Men Are Brothers, Men of the Marshes, or The Marshes of Mount Liang in English, is a 14th century novel and one of the Four Great Classical Novels of Chinese literature. Attributed to Shi Nai'an and written in vernacular Chinese.
Water Margin (known in Chinese as Shuihu Zhuan, sometimes abbreviated to Shuihu), also known as Suikoden in Japanese, as well as Outlaws of the Marsh, Tale of the Marshes, All Men Are Brothers, Men of the Marshes, or The Marshes of Mount Liang, is a 14th century novel and one of the Four Great Classical Novels of Chinese literature.<br/><br/> Attributed to Shi Nai'an and written in vernacular Chinese, the story, set in the Song Dynasty, tells of how a group of 108 outlaws gathered at Mount Liang (or Liangshan Marsh) to form a sizable army before they are eventually granted amnesty by the government and sent on campaigns to resist foreign invaders and suppress rebel forces.<br/><br/> In 1827, Japanese publisher Kagaya Kichibei commissioned Utagawa Kuniyoshi to produce a series of woodblock prints illustrating the 108 heroes of the Suikoden. The 1827-1830 series, called '108 Heroes of the Water Margin' or 'Tsuzoku Suikoden goketsu hyakuhachinin no hitori', made Utagawa Kuniyoshi's famous.
Wu Yong 呉用, Japanese name Chicasei Goyô 智多星吴用, robed and making a magic gesture with his right hand, standing by a celestial globe and quadrant.<br/><br/> The Water Margin (known in Chinese as Shuihu Zhuan, sometimes abbreviated to Shuihu, 水滸傳), known as Suikoden in Japanese, as well as Outlaws of the Marsh, Tale of the Marshes, All Men Are Brothers, Men of the Marshes, or The Marshes of Mount Liang in English, is a 14th century novel and one of the Four Great Classical Novels of Chinese literature.<br/><br/> Attributed to Shi Nai'an and written in vernacular Chinese, the story, set in the Song Dynasty, tells of how a group of 108 outlaws gathered at Mount Liang (or Liangshan Marsh) to form a sizable army before they are eventually granted amnesty by the government and sent on campaigns to resist foreign invaders and suppress rebel forces.<br/><br/> In 1827, Japanese publisher Kagaya Kichibei commissioned Utagawa Kuniyoshi to produce a series of woodblock prints illustrating the 108 heroes of the Suikoden. The 1827-1830 series, called '108 Heroes of the Water Margin' or 'Tsuzoku Suikoden goketsu hyakuhachinin no hitori', made Utagawa Kuniyoshi famous.
Shi Yong, Japanese name Sekishogun Sekiyu, attempting to overthrow a retainer of the bandit Horan, with a waterfall in the background.<br/><br/> The Water Margin (known in Chinese as Shuihu Zhuan, sometimes abbreviated to Shuihu, 水滸傳), known as Suikoden in Japanese, as well as Outlaws of the Marsh, Tale of the Marshes, All Men Are Brothers, Men of the Marshes, or The Marshes of Mount Liang in English, is a 14th century novel and one of the Four Great Classical Novels of Chinese literature.<br/><br/> Attributed to Shi Nai'an and written in vernacular Chinese, the story, set in the Song Dynasty, tells of how a group of 108 outlaws gathered at Mount Liang (or Liangshan Marsh) to form a sizable army before they are eventually granted amnesty by the government and sent on campaigns to resist foreign invaders and suppress rebel forces.<br/><br/> In 1827, Japanese publisher Kagaya Kichibei commissioned Utagawa Kuniyoshi to produce a series of woodblock prints illustrating the 108 heroes of the Suikoden. The 1827-1830 series, called '108 Heroes of the Water Margin' or 'Tsuzoku Suikoden goketsu hyakuhachinin no hitori', made Utagawa Kuniyoshi's famous.
The Tang Dynasty (Chinese: 唐朝; pinyin: Táng Cháo; June 18, 618 – June 1, 907) was an imperial dynasty of China preceded by the Sui Dynasty and followed by the Five Dynasties and Ten Kingdoms Period. It was founded by the Li (李) family, who seized power during the decline and collapse of the Sui Empire. The dynasty was interrupted briefly by the Second Zhou Dynasty (October 8, 690 – March 3, 705) when Empress Wu Zetian seized the throne, becoming the first and only Chinese empress regnant, ruling in her own right.<br/><br/> The Tang Dynasty, with its capital at Chang'an (present-day Xi'an), which at the time was the most populous city in the world, is generally regarded as a high point in Chinese civilization—equal to, or surpassing that of, the earlier Han Dynasty—a golden age of cosmopolitan culture. Its territory, acquired through the military campaigns of its early rulers, rivalled that of the Han Dynasty. In two censuses of the 7th and 8th centuries, the Tang records estimated the population by number of registered households at about 50 million people.
Peranakan Chinese and Baba-Nyonya are terms used for the descendants of late 15th and 16th-century Chinese immigrants to the Malay-Indonesian archipelago of Nusantara during the Colonial era.<br/><br/> Members of this community in Malaysia identify themselves as 'Nyonya-Baba' or 'Baba-Nyonya'. Nyonya is the term for the females and Baba for males. It applies especially to the ethnic Chinese populations of the British Straits Settlements of Malaya and the Dutch-controlled island of Java and other locations, who adopted partially or in full Malay-Indonesian customs to become partially assimilated into the local communities.<br/><br/> While the term Peranakan is most commonly used among the ethnic Chinese for those of Chinese descent also known as Straits Chinese (土生華人; named after the Straits Settlements), it may also be applied to the Baba-Yaya community in Phuket and other provinces of southern Thailand.
Shao Yong was a member of a group of thinkers who gathered in Luoyang toward the last three decades of the 11th century. This group had two primary objectives. One of these was to draw parallels between their own streams of thought and that of Confucianism as understood by Mencius. Secondly, the group set out to undermine any links, real or otherwise, between 4th-century Confucianism and what they viewed as inferior philosophical schools of thinking, namely Buddhism and Taoism.<br/><br/> Other loosely connected members of this so-called network of thinkers include: Cheng Yi, Zhang Zai, Cheng Hao (1032–1085) and Zhou Dunyi. Central to each of these men was the ancient text of the I Ching, which each had studied closely.
Shao Yong was a member of a group of thinkers who gathered in Luoyang toward the last three decades of the 11th century. This group had two primary objectives. One of these was to draw parallels between their own streams of thought and that of Confucianism as understood by Mencius. Secondly, the group set out to undermine any links, real or otherwise, between 4th-century Confucianism and what they viewed as inferior philosophical schools of thinking, namely Buddhism and Taoism.<br/><br/> Other loosely connected members of this so-called network of thinkers include: Cheng Yi, Zhang Zai, Cheng Hao (1032–1085) and Zhou Dunyi. Central to each of these men was the ancient text of the I Ching, which each had studied closely.
The Yongzheng Emperor (13 December 1678 – 8 October 1735), was the fourth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position.<br/><br/> Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.
The Yongzheng Emperor (13 December 1678 – 8 October 1735), was the fourth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position.<br/><br/> Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.
The Yongzheng Emperor (13 December 1678 – 8 October 1735), was the fourth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position.<br/><br/> Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.
The Yongzheng Emperor (13 December 1678 – 8 October 1735), was the fourth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position.<br/><br/> Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.
The Yongzheng Emperor (13 December 1678 – 8 October 1735), was the fourth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position.<br/><br/> Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.
The Yongzheng Emperor (13 December 1678 – 8 October 1735), was the fourth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position.<br/><br/> Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.
The Yongzheng Emperor (13 December 1678 - 8 October 1735), was the fifth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position.<br/><br/> Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.
The Yongzheng Emperor (13 December 1678 – 8 October 1735), was the fourth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position.<br/><br/> Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.
The Yongzheng Emperor (13 December 1678 – 8 October 1735), was the fourth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position.<br/><br/> Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.
This illustration was one of dozens produced by Louis Delaporte during a two-year venture (1866-68) with the Mekong Exploration Commission, the intention of which was to lay the groundwork for the expansion of French colonies in Indochina.<br/><br/> Of this leg of the journey in July 1867, an expeditioner later wrote: 'One [shower] was so heavy that it soon penetrated the frail roof of leaves and they were drenched under their blankets. However, that was not the main reason for their inability to sleep: besides the legions of leeches and mosquitoes, inseparable companions of travelers in forests in this season, their stopover was infested with innumerable winged fleas that crept on to their scalps and caused the most acute itching. Early next morning, they were only too happy to move out of this horrible place and to breathe more freely on the road.'
A hand-drawn, hand-coloured watercolour from the late 19th century by an unknown Burmese artist.<br/><br/> The name of the ethnic group featured appears near the top of the picture in Shan script (left), Burmese script (Centre) and Khun script (right). Khun script was formerly used in Kengtung / Kyaingtong in eastern Shan State and in Lan Na or Lanna, northern Thailand.<br/><br/> The Tai ethnicity refers collectively to the ethnic groups of southern China and Southeast Asia, stretching from Hainan to eastern India and from southern Sichuan to Laos, Thailand, and parts of Vietnam, which speak languages in the Tai family and share similar traditions and festivals, including the water festival. Despite never having a unified nation-state of their own, the peoples also have historically shared a vague idea of a "Siam" nation, corrupted to Shan or Assam in some places. The majority of Tai Lu live around Xishuangbanna in Yunnan Province in southern China. Other Tai Lu villages can be found in Laos, Vietnam, Thailand and Burma.
The Yongzheng Emperor (13 December 1678 – 8 October 1735), was the fourth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position. Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.
The River Mekong is the world's 12th-longest river. From its Himalayan source on the Tibetan plateau, it flows some 4,350 km (2,703 miles) through China's Yunnan province, Burma, Laos, Thailand, Cambodia and Vietnam, finally draining in the South China Sea. The recent construction of hydroelectric dams on the river and its tributaries has reduced the water flow dramatically during the dry season in Southeast Asia. This illustration was one of dozens produced by Louis Delaporte during a two-year venture (1866-68) with the Mekong Exploration Commission, the intention of which was to lay the groundwork for the expansion of French colonies in Indochina.
Ye Wanyong (1858-1926) was a Korean statesman who served as the last Prime Minister of the Korean Empire. He became infamous and nationally reviled for signing various treaties that turned Korea into a Japanese colony, primarily the Japan-Korea Annexation Treaty of 1910.
This illustration by Louis Delaporte is one of dozens he produced during his two-year venture (1866-68) with the Mekong Exploration Commission sponsored by the French Ministry of the Navy, the intention of which was to lay the groundwork for the expansion of French colonies in Indochina. Traveling the Mekong by boat, the small French delegation voyaged from Saigon to Phnom Penh to Luang Prabang, then farther north into the uncharted waters of Upper Laos and China's Yunnan province, before returning to Hanoi in 1868 by foot, accompanied by porters and elephants.
Trang province was dependent on tin mining until the first rubber seedlings were brought into Thailand around 1901 – part of a long journey from South America via the neighboring Malay States.<br/><br/> Rubber, palm oil and fishing are the mainstays of the province's economy. Tourism is making an increasing impact as Trang’s Anadaman Coast and islands are increasingly developed and popularized.
Trang province was dependent on tin mining until the first rubber seedlings were brought into Thailand around 1901 – part of a long journey from South America via the neighboring Malay States.<br/><br/> Rubber, palm oil and fishing are the mainstays of the province's economy. Tourism is making an increasing impact as Trang’s Anadaman Coast and islands are increasingly developed and popularized.
Trang province was dependent on tin mining until the first rubber seedlings were brought into Thailand around 1901 – part of a long journey from South America via the neighboring Malay States.<br/><br/> Rubber, palm oil and fishing are the mainstays of the province's economy. Tourism is making an increasing impact as Trang’s Anadaman Coast and islands are increasingly developed and popularized.
This is a portrait of Hwang Hyeon (1855-1910), a scholar and patriot toward the end of the Joseon period, produced by Chae Yong-sin (1850-1941).<br/><br/> Chae painted the portrait in May 1911, a year after Hwang's death, based on the photograph but changing the costume and pose. Hwang is portrayed wearing a Confucian scholar's overcoat (simeui) and a tiered black horsehair hat, sitting on a decorative mat and holding a book and a fan in his hands.
Wu Yong is a fictional character in the Water Margin, one of the Four Great Classical Novels of Chinese literature. He ranks 3rd of the 36 Heavenly Spirits of the 108 Liangshan heroes and is nicknamed the 'Resourceful Star'. He is called Chicasei Goyo in Japan.<br/><br/> Utagawa Kuniyoshi (January 1, 1798 - April 14, 1861) 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. 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.