Hombre a Caballo, China, Dinastía Tang (618-907), ca. siglo VII.

#文博热展# #锦绣西域# 【曾登上《国家宝藏》火爆一时的“绢衣彩绘女舞木俑”亮相安博】 这件绢衣彩绘女舞木俑出土于吐鲁番阿斯塔那206号墓，被称为新疆维吾尔自治区博物馆“镇馆之宝”，和同时出土的另外两件木俑是...

Under the Tang, Chang An was a major religious center, not only for Buddhism and Taoism but also for several religions which were relatively recent arrivals in China: Zoroastrianism, Nestorian Christianity, Judaism and Manichaeism. The most famous of all the Buddhist pilgrims, Xuanzang- or Tripiṭaka, as in some English translations of the famous Chinese novel: Journey to the West, Xuanzang was addressed as "Tripitaka" brought copies of the Indian scriptures directly to the city, which he then translated.

If we take a cursory look at the Chinese "Old Book of Tang" and "New Book of Tang," both books mentioned several embassies made by the distant state of Fu lin (拂菻; the Byzantine Empire), which the Chinese equated with their forebearers- the Daqin (Roman Empire.) Beginning in 643 a strange embassy was sent by a bearded Byzantine Emperor to Emperor Taizong of Tang, bearing exotic gifts such as red glass and green gold gems. It was the height of the Tang dynasty. From there, these histories began a short list of cursory descriptions of the city of Constantinople, its walls, and how it was besieged by the same implacable foes called 大食 "Ta-shi" that had just vanquished the mighty Sassanid empire.

The three of them burned it all down. A foreigner who became the most powerful general in the realm, a fatal beauty who corrupted the Emperor's good senses, and the beloved Emperor's whose sins incurred the wrath of Heaven. That's what a layman who lived in 8th century China would have told you about the burning, dying world around them. Its all they could say to give explanation to the universal hellscape around them in what we would call the An Lushan Rebellion- a calamity that some academics have to have point out to have killed 2/3 of the Empire, a shocking 36 million people in the 750s~ or, translated to fractions: 1/6 of the entire globe at that time. Though this lofty number have been repeatedly challenged, even the most conservative historians still would mark the death toll at around least around 13 million, still 1/5 of the empire, and 13% of the world's population~ a figure that was only eclipsed by the global genocide of the Mongol invasions and the World War II. If the very simplified, overtly moralizing characterization of the three figures above sounded like shallow caricatures- ghosts to be resurrected to be denounced in stern warnings and preserved in eternal memory as object lessons, the modern reader should realize that the An Lushan rebellion laid as a membrane between a dream and a nightmare. Considering that untold millions of people were suddenly cast out of their prosperous lives from splendor, tolerance, and prosperity, and within a mere decade saw most of their families dead, their realm torn apart, see themselves reduced to savages and never see a future where even their grandchildren could rise again, one could forgive them for the harshness of these vengeful, broken memories. It was all that these millions of nameless, suffering voices could throw back against the god-like figures of a bygone age~ those lofty, pride-filled men, those dissolute women who charmed high and broke all the rules- who caused all the horrors to happen, who died too early to suffer with the rest of them, who abandoned them all without guidance in centuries of torment. One rebellious general, at the head of a conspiracy of foreigners had toppled the greatest empire in the orient, and ended a century and half of a Golden Age.

#hanfu #China #Chinese #history #ChineseHanfu #ChineseTraditionalClothing #fashion #traditonal #Culture

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Wuya Five Teeth Ships were super weapons in the age of cold steel warfare. a floating castle with some 5 floors, all radiating with archers.

File:China-Grand canal, Sui and Tang.svg - Wikimedia Commons

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Imperio Antiguo

FAN KUAN. Viajero entre montañas y arroyo. Surge la imprenta, con lo que el difuminado es de peor calidad que hecho a mano. Una novedad; surge la naturaleza. Cambio de formato, ya no es el rollo y la dificultad para organizarnos visualmente, otra novedad: rollos horizontales donde nos enfrentamos a toda la escena. No hay ya Tanta preocupación por la línea (como en GuKaizhi y YAN Liben) si por darle juego al pincel.