Prompt: Focus on Statue of Charles IV, Křižovnické Square and explain the abstract.

The statue of Charles IV (Czech: Socha Karla IV.) is an outdoor sculpture of Charles IV, Holy Roman Emperor, located at Křižovnické Square in Prague, Czech Republic.

Category:Monuments and memorials in Prague


Prompt: Explain the abstract of this artwork, Statue of Charles IV, Křižovnické Square.

The statue of Charles IV (Czech: Socha Karla IV.) is an outdoor sculpture of Charles IV, Holy Roman Emperor, located at Křižovnické Square in Prague, Czech Republic.

Category:Monuments and memorials in Prague


Prompt: How does Statue of Charles IV, Křižovnické Square explain its abstract?

The statue of Charles IV (Czech: Socha Karla IV.) is an outdoor sculpture of Charles IV, Holy Roman Emperor, located at Křižovnické Square in Prague, Czech Republic.

Category:Monuments and memorials in Prague


Prompt: In Statue of Charles IV, Křižovnické Square, how is the abstract discussed?

The statue of Charles IV (Czech: Socha Karla IV.) is an outdoor sculpture of Charles IV, Holy Roman Emperor, located at Křižovnické Square in Prague, Czech Republic.

Category:Monuments and memorials in Prague


Kibi Daijin Nittō Emaki

Prompt: Focus on Kibi Daijin Nittō Emaki and explain the abstract.

The Kibi Daijin Nittō Emaki (吉備大臣入唐絵巻, "Scroll of Minister Kibi's Adventures in China") is an emakimono or emaki (painted narrative handscroll) from the end of the 12th century, in either the Heian or Kamakura periods of Japanese history. An illuminated manuscript, it was originally made up of a long paper scroll decorated with paint and calligraphy, and is now separated into four parts, all of which are held by the Museum of Fine Arts, Boston. It recounts the legend associated with the voyage of the Japanese Minister Kibi no Makibi to Imperial China of the Tang dynasty in the 8th century.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: Explain the abstract of this artwork, Kibi Daijin Nittō Emaki.

The Kibi Daijin Nittō Emaki (吉備大臣入唐絵巻, "Scroll of Minister Kibi's Adventures in China") is an emakimono or emaki (painted narrative handscroll) from the end of the 12th century, in either the Heian or Kamakura periods of Japanese history. An illuminated manuscript, it was originally made up of a long paper scroll decorated with paint and calligraphy, and is now separated into four parts, all of which are held by the Museum of Fine Arts, Boston. It recounts the legend associated with the voyage of the Japanese Minister Kibi no Makibi to Imperial China of the Tang dynasty in the 8th century.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: How does Kibi Daijin Nittō Emaki explain its abstract?

The Kibi Daijin Nittō Emaki (吉備大臣入唐絵巻, "Scroll of Minister Kibi's Adventures in China") is an emakimono or emaki (painted narrative handscroll) from the end of the 12th century, in either the Heian or Kamakura periods of Japanese history. An illuminated manuscript, it was originally made up of a long paper scroll decorated with paint and calligraphy, and is now separated into four parts, all of which are held by the Museum of Fine Arts, Boston. It recounts the legend associated with the voyage of the Japanese Minister Kibi no Makibi to Imperial China of the Tang dynasty in the 8th century.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: In Kibi Daijin Nittō Emaki, how is the abstract discussed?

The Kibi Daijin Nittō Emaki (吉備大臣入唐絵巻, "Scroll of Minister Kibi's Adventures in China") is an emakimono or emaki (painted narrative handscroll) from the end of the 12th century, in either the Heian or Kamakura periods of Japanese history. An illuminated manuscript, it was originally made up of a long paper scroll decorated with paint and calligraphy, and is now separated into four parts, all of which are held by the Museum of Fine Arts, Boston. It recounts the legend associated with the voyage of the Japanese Minister Kibi no Makibi to Imperial China of the Tang dynasty in the 8th century.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: Focus on Kibi Daijin Nittō Emaki and explain the Background.

Originating in Japan in the sixth or seventh century through trade with the Chinese Empire, emakimono art spread widely among the aristocracy in the Heian period. An emakimono consists of one or more long scrolls of paper narrating a story through Yamato-e texts and paintings. The reader discovers the story by progressively unrolling the scroll with one hand while rewinding it with the other hand, from right to left (according to the then horizontal writing direction of Japanese script), so that only a portion of text or image of about 60 cm (24 in) is visible. The narrative assumes a series of scenes, the rhythm, composition and transitions of which are entirely the artist's sensitivity and technique. The themes of the stories were very varied: illustrations of novels, historical chronicles, religious texts, biographies of famous people, humorous or fantastic anecdotes, etc.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: Explain the Background of this artwork, Kibi Daijin Nittō Emaki.

Originating in Japan in the sixth or seventh century through trade with the Chinese Empire, emakimono art spread widely among the aristocracy in the Heian period. An emakimono consists of one or more long scrolls of paper narrating a story through Yamato-e texts and paintings. The reader discovers the story by progressively unrolling the scroll with one hand while rewinding it with the other hand, from right to left (according to the then horizontal writing direction of Japanese script), so that only a portion of text or image of about 60 cm (24 in) is visible. The narrative assumes a series of scenes, the rhythm, composition and transitions of which are entirely the artist's sensitivity and technique. The themes of the stories were very varied: illustrations of novels, historical chronicles, religious texts, biographies of famous people, humorous or fantastic anecdotes, etc.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: How does Kibi Daijin Nittō Emaki explain its Background?

Originating in Japan in the sixth or seventh century through trade with the Chinese Empire, emakimono art spread widely among the aristocracy in the Heian period. An emakimono consists of one or more long scrolls of paper narrating a story through Yamato-e texts and paintings. The reader discovers the story by progressively unrolling the scroll with one hand while rewinding it with the other hand, from right to left (according to the then horizontal writing direction of Japanese script), so that only a portion of text or image of about 60 cm (24 in) is visible. The narrative assumes a series of scenes, the rhythm, composition and transitions of which are entirely the artist's sensitivity and technique. The themes of the stories were very varied: illustrations of novels, historical chronicles, religious texts, biographies of famous people, humorous or fantastic anecdotes, etc.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: In Kibi Daijin Nittō Emaki, how is the Background discussed?

Originating in Japan in the sixth or seventh century through trade with the Chinese Empire, emakimono art spread widely among the aristocracy in the Heian period. An emakimono consists of one or more long scrolls of paper narrating a story through Yamato-e texts and paintings. The reader discovers the story by progressively unrolling the scroll with one hand while rewinding it with the other hand, from right to left (according to the then horizontal writing direction of Japanese script), so that only a portion of text or image of about 60 cm (24 in) is visible. The narrative assumes a series of scenes, the rhythm, composition and transitions of which are entirely the artist's sensitivity and technique. The themes of the stories were very varied: illustrations of novels, historical chronicles, religious texts, biographies of famous people, humorous or fantastic anecdotes, etc.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: Focus on Kibi Daijin Nittō Emaki and explain the Description.

The Kibi Daijin Nittō Emaki originally consisted of a single scroll 32 cm (13 in) high by 2,440.8 cm (960.9 in) long, the longest single scroll ever known, before being separated into four parts. It dates from the second half of the 12th century (end of the Heian period (794–1185) or early Kamakura period (1185–1333)), when a renewed interest in the narrative subjects and life of the people was reflected in the topics of contemporary emakimono.The main character in the work is Japanese Minister Kibi no Makibi (693–775), whose diplomatic trips to the powerful Tang court in China have inspired legendary chronicles. The emakimono takes as its theme an episode from these legends: the adventures of Kibi while staying at the Chinese Imperial Palace, where Chinese intellectuals and nobles wanted to put his wisdom and intelligence to the test. Secluded in a tower, Kibi had to accomplish three tasks: write an exegesis of a voluminous Chinese anthology, win a game of Go, and provide a commentary on a sophisticated and tortuous poem. The Minister managed to pass all of the tests, with the help of Japanese deities.The scroll is divided into six sections, each including text and illustrations:The introductory text of the work is lost, but the image shows Kibi's arrival by boat in China. There, a group of Chinese officials is waiting to take him to the palace, where he will be held in a tower.A demon (oni), who is none other than the ghost (rei) of Abe no Nakamaro, manages by trickery to enter the tower to offer Kibi his help, revealing his true identity.A Chinese official submits to Kibi his first test, writing the exegesis of the famous Chinese anthology of poetry and literature entitled Wen Xuan. The demon then summarises the work to Kibi and takes him to the palace to attend a conference on the text.Kibi writes his exegesis on the backs of calendars. A Chinese scholar comes to test Kibi's knowledge of the text, but cannot fault it.Court officials hold a meeting, at which they plan to kill Kibi if he loses in the second event: the game of Go. The demon warns the Minister of these sinister plans and teaches him the basics of the game.A Go master comes to challenge Kibi who manages to win by swallowing a coin. Suspicious, the master forces Kibi to take a purgative, but the latter conceals the coin using magic.Although the scroll ends at the conclusion of this second test, the text of Gōdanshō (1104–1108), a classic of Japanese literature, allows us to know the end of the story: after Kibi's success, thanks to the supernatural intervention of a spider, in the final test of providing a commentary on a poem, the Chinese decide to lock him up until he dies. Kibi, with the help of the demon, then makes the Chinese sun and moon disappear, forcing the terrified Imperial court to give him back his freedom. It is likely that a second scroll narrating the end of the legend originally existed, or was part of later versions.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: Explain the Description of this artwork, Kibi Daijin Nittō Emaki.

The Kibi Daijin Nittō Emaki originally consisted of a single scroll 32 cm (13 in) high by 2,440.8 cm (960.9 in) long, the longest single scroll ever known, before being separated into four parts. It dates from the second half of the 12th century (end of the Heian period (794–1185) or early Kamakura period (1185–1333)), when a renewed interest in the narrative subjects and life of the people was reflected in the topics of contemporary emakimono.The main character in the work is Japanese Minister Kibi no Makibi (693–775), whose diplomatic trips to the powerful Tang court in China have inspired legendary chronicles. The emakimono takes as its theme an episode from these legends: the adventures of Kibi while staying at the Chinese Imperial Palace, where Chinese intellectuals and nobles wanted to put his wisdom and intelligence to the test. Secluded in a tower, Kibi had to accomplish three tasks: write an exegesis of a voluminous Chinese anthology, win a game of Go, and provide a commentary on a sophisticated and tortuous poem. The Minister managed to pass all of the tests, with the help of Japanese deities.The scroll is divided into six sections, each including text and illustrations:The introductory text of the work is lost, but the image shows Kibi's arrival by boat in China. There, a group of Chinese officials is waiting to take him to the palace, where he will be held in a tower.A demon (oni), who is none other than the ghost (rei) of Abe no Nakamaro, manages by trickery to enter the tower to offer Kibi his help, revealing his true identity.A Chinese official submits to Kibi his first test, writing the exegesis of the famous Chinese anthology of poetry and literature entitled Wen Xuan. The demon then summarises the work to Kibi and takes him to the palace to attend a conference on the text.Kibi writes his exegesis on the backs of calendars. A Chinese scholar comes to test Kibi's knowledge of the text, but cannot fault it.Court officials hold a meeting, at which they plan to kill Kibi if he loses in the second event: the game of Go. The demon warns the Minister of these sinister plans and teaches him the basics of the game.A Go master comes to challenge Kibi who manages to win by swallowing a coin. Suspicious, the master forces Kibi to take a purgative, but the latter conceals the coin using magic.Although the scroll ends at the conclusion of this second test, the text of Gōdanshō (1104–1108), a classic of Japanese literature, allows us to know the end of the story: after Kibi's success, thanks to the supernatural intervention of a spider, in the final test of providing a commentary on a poem, the Chinese decide to lock him up until he dies. Kibi, with the help of the demon, then makes the Chinese sun and moon disappear, forcing the terrified Imperial court to give him back his freedom. It is likely that a second scroll narrating the end of the legend originally existed, or was part of later versions.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: How does Kibi Daijin Nittō Emaki explain its Description?

The Kibi Daijin Nittō Emaki originally consisted of a single scroll 32 cm (13 in) high by 2,440.8 cm (960.9 in) long, the longest single scroll ever known, before being separated into four parts. It dates from the second half of the 12th century (end of the Heian period (794–1185) or early Kamakura period (1185–1333)), when a renewed interest in the narrative subjects and life of the people was reflected in the topics of contemporary emakimono.The main character in the work is Japanese Minister Kibi no Makibi (693–775), whose diplomatic trips to the powerful Tang court in China have inspired legendary chronicles. The emakimono takes as its theme an episode from these legends: the adventures of Kibi while staying at the Chinese Imperial Palace, where Chinese intellectuals and nobles wanted to put his wisdom and intelligence to the test. Secluded in a tower, Kibi had to accomplish three tasks: write an exegesis of a voluminous Chinese anthology, win a game of Go, and provide a commentary on a sophisticated and tortuous poem. The Minister managed to pass all of the tests, with the help of Japanese deities.The scroll is divided into six sections, each including text and illustrations:The introductory text of the work is lost, but the image shows Kibi's arrival by boat in China. There, a group of Chinese officials is waiting to take him to the palace, where he will be held in a tower.A demon (oni), who is none other than the ghost (rei) of Abe no Nakamaro, manages by trickery to enter the tower to offer Kibi his help, revealing his true identity.A Chinese official submits to Kibi his first test, writing the exegesis of the famous Chinese anthology of poetry and literature entitled Wen Xuan. The demon then summarises the work to Kibi and takes him to the palace to attend a conference on the text.Kibi writes his exegesis on the backs of calendars. A Chinese scholar comes to test Kibi's knowledge of the text, but cannot fault it.Court officials hold a meeting, at which they plan to kill Kibi if he loses in the second event: the game of Go. The demon warns the Minister of these sinister plans and teaches him the basics of the game.A Go master comes to challenge Kibi who manages to win by swallowing a coin. Suspicious, the master forces Kibi to take a purgative, but the latter conceals the coin using magic.Although the scroll ends at the conclusion of this second test, the text of Gōdanshō (1104–1108), a classic of Japanese literature, allows us to know the end of the story: after Kibi's success, thanks to the supernatural intervention of a spider, in the final test of providing a commentary on a poem, the Chinese decide to lock him up until he dies. Kibi, with the help of the demon, then makes the Chinese sun and moon disappear, forcing the terrified Imperial court to give him back his freedom. It is likely that a second scroll narrating the end of the legend originally existed, or was part of later versions.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: In Kibi Daijin Nittō Emaki, how is the Description discussed?

The Kibi Daijin Nittō Emaki originally consisted of a single scroll 32 cm (13 in) high by 2,440.8 cm (960.9 in) long, the longest single scroll ever known, before being separated into four parts. It dates from the second half of the 12th century (end of the Heian period (794–1185) or early Kamakura period (1185–1333)), when a renewed interest in the narrative subjects and life of the people was reflected in the topics of contemporary emakimono.The main character in the work is Japanese Minister Kibi no Makibi (693–775), whose diplomatic trips to the powerful Tang court in China have inspired legendary chronicles. The emakimono takes as its theme an episode from these legends: the adventures of Kibi while staying at the Chinese Imperial Palace, where Chinese intellectuals and nobles wanted to put his wisdom and intelligence to the test. Secluded in a tower, Kibi had to accomplish three tasks: write an exegesis of a voluminous Chinese anthology, win a game of Go, and provide a commentary on a sophisticated and tortuous poem. The Minister managed to pass all of the tests, with the help of Japanese deities.The scroll is divided into six sections, each including text and illustrations:The introductory text of the work is lost, but the image shows Kibi's arrival by boat in China. There, a group of Chinese officials is waiting to take him to the palace, where he will be held in a tower.A demon (oni), who is none other than the ghost (rei) of Abe no Nakamaro, manages by trickery to enter the tower to offer Kibi his help, revealing his true identity.A Chinese official submits to Kibi his first test, writing the exegesis of the famous Chinese anthology of poetry and literature entitled Wen Xuan. The demon then summarises the work to Kibi and takes him to the palace to attend a conference on the text.Kibi writes his exegesis on the backs of calendars. A Chinese scholar comes to test Kibi's knowledge of the text, but cannot fault it.Court officials hold a meeting, at which they plan to kill Kibi if he loses in the second event: the game of Go. The demon warns the Minister of these sinister plans and teaches him the basics of the game.A Go master comes to challenge Kibi who manages to win by swallowing a coin. Suspicious, the master forces Kibi to take a purgative, but the latter conceals the coin using magic.Although the scroll ends at the conclusion of this second test, the text of Gōdanshō (1104–1108), a classic of Japanese literature, allows us to know the end of the story: after Kibi's success, thanks to the supernatural intervention of a spider, in the final test of providing a commentary on a poem, the Chinese decide to lock him up until he dies. Kibi, with the help of the demon, then makes the Chinese sun and moon disappear, forcing the terrified Imperial court to give him back his freedom. It is likely that a second scroll narrating the end of the legend originally existed, or was part of later versions.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: Focus on Kibi Daijin Nittō Emaki and explain the Style and composition.

The Kibi Daijin Nittō Emaki, like all emakimono of its time, was created in the then fashionable Yamato-e style of Japanese painting. It is similar in style to the Ban Dainagon Ekotoba, which dates from around the same time, and is attributed to Tokiwa Mitsunaga; that work has brilliant colours used for costumes and accessories, but is in a more realistic than poetic tone.Mitsunaga was a late Heian and early Kamakura period Yamato-e master: the records, and also the similarities in pictorial style, suggest that he was also the author of the Kibi Daijin Nittō Emaki, but that hypothesis is questionable according to art historians, because of the stylistic variations and the artistic superiority of the Ban Dainagon Ekotoba. Rather, the artist was probably a painter from the capital Kyoto and contemporary of Mitsunaga.The composition of the Kibi Daijin Nittō Emaki is based on repetition in the six scenes of the same easily identifiable decoration: the tower, the Imperial Palace and the palace gate. This is the simplest approach to suggest the temporal evolution of a story in narrative paintings, used in older works like the Kokawa-dera Engi Emaki. Perspective is rendered in a cavalier unrealistic manner, with long diagonals, while no landscape appears, except trees that decrease in size as they approach the horizon.The very colourful, predominantly red paintings were realised using the tsukuri-e technique: first, a sketch of the outlines was done, then the opaque colour was added en aplat, and finally the outlines and small details were redrawn in ink over the paint.The artist seems to have had limited knowledge of the ancient Tang dynasty China, where the story takes place: rather the work is inspired by Japanese Buddhist paintings of the 11th and 12th centuries, usually based on Chinese models.The faces of the Chinese people in the work are very expressive, almost caricatural, but not very individualised. Kibi, for his part, is painted in a manner close to hikime kagibana: a white and expressionless face with a few features for the eyes, nose and mouth, a refined method in vogue in the works of the aristocrats of the Imperial Court such as the Genji Monogatari Emaki, here modified in relation to some details such as the moustache and the eyelids.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: Explain the Style and composition of this artwork, Kibi Daijin Nittō Emaki.

The Kibi Daijin Nittō Emaki, like all emakimono of its time, was created in the then fashionable Yamato-e style of Japanese painting. It is similar in style to the Ban Dainagon Ekotoba, which dates from around the same time, and is attributed to Tokiwa Mitsunaga; that work has brilliant colours used for costumes and accessories, but is in a more realistic than poetic tone.Mitsunaga was a late Heian and early Kamakura period Yamato-e master: the records, and also the similarities in pictorial style, suggest that he was also the author of the Kibi Daijin Nittō Emaki, but that hypothesis is questionable according to art historians, because of the stylistic variations and the artistic superiority of the Ban Dainagon Ekotoba. Rather, the artist was probably a painter from the capital Kyoto and contemporary of Mitsunaga.The composition of the Kibi Daijin Nittō Emaki is based on repetition in the six scenes of the same easily identifiable decoration: the tower, the Imperial Palace and the palace gate. This is the simplest approach to suggest the temporal evolution of a story in narrative paintings, used in older works like the Kokawa-dera Engi Emaki. Perspective is rendered in a cavalier unrealistic manner, with long diagonals, while no landscape appears, except trees that decrease in size as they approach the horizon.The very colourful, predominantly red paintings were realised using the tsukuri-e technique: first, a sketch of the outlines was done, then the opaque colour was added en aplat, and finally the outlines and small details were redrawn in ink over the paint.The artist seems to have had limited knowledge of the ancient Tang dynasty China, where the story takes place: rather the work is inspired by Japanese Buddhist paintings of the 11th and 12th centuries, usually based on Chinese models.The faces of the Chinese people in the work are very expressive, almost caricatural, but not very individualised. Kibi, for his part, is painted in a manner close to hikime kagibana: a white and expressionless face with a few features for the eyes, nose and mouth, a refined method in vogue in the works of the aristocrats of the Imperial Court such as the Genji Monogatari Emaki, here modified in relation to some details such as the moustache and the eyelids.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: How does Kibi Daijin Nittō Emaki explain its Style and composition?

The Kibi Daijin Nittō Emaki, like all emakimono of its time, was created in the then fashionable Yamato-e style of Japanese painting. It is similar in style to the Ban Dainagon Ekotoba, which dates from around the same time, and is attributed to Tokiwa Mitsunaga; that work has brilliant colours used for costumes and accessories, but is in a more realistic than poetic tone.Mitsunaga was a late Heian and early Kamakura period Yamato-e master: the records, and also the similarities in pictorial style, suggest that he was also the author of the Kibi Daijin Nittō Emaki, but that hypothesis is questionable according to art historians, because of the stylistic variations and the artistic superiority of the Ban Dainagon Ekotoba. Rather, the artist was probably a painter from the capital Kyoto and contemporary of Mitsunaga.The composition of the Kibi Daijin Nittō Emaki is based on repetition in the six scenes of the same easily identifiable decoration: the tower, the Imperial Palace and the palace gate. This is the simplest approach to suggest the temporal evolution of a story in narrative paintings, used in older works like the Kokawa-dera Engi Emaki. Perspective is rendered in a cavalier unrealistic manner, with long diagonals, while no landscape appears, except trees that decrease in size as they approach the horizon.The very colourful, predominantly red paintings were realised using the tsukuri-e technique: first, a sketch of the outlines was done, then the opaque colour was added en aplat, and finally the outlines and small details were redrawn in ink over the paint.The artist seems to have had limited knowledge of the ancient Tang dynasty China, where the story takes place: rather the work is inspired by Japanese Buddhist paintings of the 11th and 12th centuries, usually based on Chinese models.The faces of the Chinese people in the work are very expressive, almost caricatural, but not very individualised. Kibi, for his part, is painted in a manner close to hikime kagibana: a white and expressionless face with a few features for the eyes, nose and mouth, a refined method in vogue in the works of the aristocrats of the Imperial Court such as the Genji Monogatari Emaki, here modified in relation to some details such as the moustache and the eyelids.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: In Kibi Daijin Nittō Emaki, how is the Style and composition discussed?

The Kibi Daijin Nittō Emaki, like all emakimono of its time, was created in the then fashionable Yamato-e style of Japanese painting. It is similar in style to the Ban Dainagon Ekotoba, which dates from around the same time, and is attributed to Tokiwa Mitsunaga; that work has brilliant colours used for costumes and accessories, but is in a more realistic than poetic tone.Mitsunaga was a late Heian and early Kamakura period Yamato-e master: the records, and also the similarities in pictorial style, suggest that he was also the author of the Kibi Daijin Nittō Emaki, but that hypothesis is questionable according to art historians, because of the stylistic variations and the artistic superiority of the Ban Dainagon Ekotoba. Rather, the artist was probably a painter from the capital Kyoto and contemporary of Mitsunaga.The composition of the Kibi Daijin Nittō Emaki is based on repetition in the six scenes of the same easily identifiable decoration: the tower, the Imperial Palace and the palace gate. This is the simplest approach to suggest the temporal evolution of a story in narrative paintings, used in older works like the Kokawa-dera Engi Emaki. Perspective is rendered in a cavalier unrealistic manner, with long diagonals, while no landscape appears, except trees that decrease in size as they approach the horizon.The very colourful, predominantly red paintings were realised using the tsukuri-e technique: first, a sketch of the outlines was done, then the opaque colour was added en aplat, and finally the outlines and small details were redrawn in ink over the paint.The artist seems to have had limited knowledge of the ancient Tang dynasty China, where the story takes place: rather the work is inspired by Japanese Buddhist paintings of the 11th and 12th centuries, usually based on Chinese models.The faces of the Chinese people in the work are very expressive, almost caricatural, but not very individualised. Kibi, for his part, is painted in a manner close to hikime kagibana: a white and expressionless face with a few features for the eyes, nose and mouth, a refined method in vogue in the works of the aristocrats of the Imperial Court such as the Genji Monogatari Emaki, here modified in relation to some details such as the moustache and the eyelids.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: Focus on Kibi Daijin Nittō Emaki and explain the Historiographical value.

The people of Japan are always represented in emakimono, which therefore constitute valuable historical documents on the daily life, landscapes and culture of the Japanese archipelago. In the Kibi Daijin Nittō Emaki, Tang dynasty China, where the story takes place, is not painted with great precision, but several Japanese elements, in particular the boat used by Kibi and the dishes he brought from Japan as a diplomatic gift, are much more detailed. The paintings in the work also depict the game of Go, which has existed for millennia in Asia, as it was practised at the time of the work's creation, and that has actually changed very little since then. The introduction of Go to Japan is also sometimes attributed to Kibi.Historically, the two oldest surviving texts on Kibi's legendary chronicles are the Gōdanshō and the calligraphies of the Kibi Daijin Nittō Emaki.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: Explain the Historiographical value of this artwork, Kibi Daijin Nittō Emaki.

The people of Japan are always represented in emakimono, which therefore constitute valuable historical documents on the daily life, landscapes and culture of the Japanese archipelago. In the Kibi Daijin Nittō Emaki, Tang dynasty China, where the story takes place, is not painted with great precision, but several Japanese elements, in particular the boat used by Kibi and the dishes he brought from Japan as a diplomatic gift, are much more detailed. The paintings in the work also depict the game of Go, which has existed for millennia in Asia, as it was practised at the time of the work's creation, and that has actually changed very little since then. The introduction of Go to Japan is also sometimes attributed to Kibi.Historically, the two oldest surviving texts on Kibi's legendary chronicles are the Gōdanshō and the calligraphies of the Kibi Daijin Nittō Emaki.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: How does Kibi Daijin Nittō Emaki explain its Historiographical value?

The people of Japan are always represented in emakimono, which therefore constitute valuable historical documents on the daily life, landscapes and culture of the Japanese archipelago. In the Kibi Daijin Nittō Emaki, Tang dynasty China, where the story takes place, is not painted with great precision, but several Japanese elements, in particular the boat used by Kibi and the dishes he brought from Japan as a diplomatic gift, are much more detailed. The paintings in the work also depict the game of Go, which has existed for millennia in Asia, as it was practised at the time of the work's creation, and that has actually changed very little since then. The introduction of Go to Japan is also sometimes attributed to Kibi.Historically, the two oldest surviving texts on Kibi's legendary chronicles are the Gōdanshō and the calligraphies of the Kibi Daijin Nittō Emaki.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: In Kibi Daijin Nittō Emaki, how is the Historiographical value discussed?

The people of Japan are always represented in emakimono, which therefore constitute valuable historical documents on the daily life, landscapes and culture of the Japanese archipelago. In the Kibi Daijin Nittō Emaki, Tang dynasty China, where the story takes place, is not painted with great precision, but several Japanese elements, in particular the boat used by Kibi and the dishes he brought from Japan as a diplomatic gift, are much more detailed. The paintings in the work also depict the game of Go, which has existed for millennia in Asia, as it was practised at the time of the work's creation, and that has actually changed very little since then. The introduction of Go to Japan is also sometimes attributed to Kibi.Historically, the two oldest surviving texts on Kibi's legendary chronicles are the Gōdanshō and the calligraphies of the Kibi Daijin Nittō Emaki.

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: Focus on Kibi Daijin Nittō Emaki and explain the Provenance.

For a long time, the Kibi Daijin Nittō Emaki, together with, notably, the Ban Dainagon Ekotoba, belonged to a Shinto shrine dedicated to Hachiman (Hachiman-gū) in the former province of Wakasa, before being acquired by the Sakai clan. In 1923, Sakai Tadatae sold the work to Toda Yashichi II, who in turn sold it in 1932 to the Museum of Fine Arts, Boston, through an expert from the museum, Kōjirō Tomita. This overseas sale provoked outrage in Japan, prompting the government to amend legislation to limit or ban the export of important artistic objects from the country.Today, very few original works from the primitive and classical Yamato-e period remain. However, the Tokyo National Museum has a copy of the Kibi Daijin Nittō Emaki made by Yamana Tsurayoshi (1836–1902).

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: Explain the Provenance of this artwork, Kibi Daijin Nittō Emaki.

For a long time, the Kibi Daijin Nittō Emaki, together with, notably, the Ban Dainagon Ekotoba, belonged to a Shinto shrine dedicated to Hachiman (Hachiman-gū) in the former province of Wakasa, before being acquired by the Sakai clan. In 1923, Sakai Tadatae sold the work to Toda Yashichi II, who in turn sold it in 1932 to the Museum of Fine Arts, Boston, through an expert from the museum, Kōjirō Tomita. This overseas sale provoked outrage in Japan, prompting the government to amend legislation to limit or ban the export of important artistic objects from the country.Today, very few original works from the primitive and classical Yamato-e period remain. However, the Tokyo National Museum has a copy of the Kibi Daijin Nittō Emaki made by Yamana Tsurayoshi (1836–1902).

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: How does Kibi Daijin Nittō Emaki explain its Provenance?

For a long time, the Kibi Daijin Nittō Emaki, together with, notably, the Ban Dainagon Ekotoba, belonged to a Shinto shrine dedicated to Hachiman (Hachiman-gū) in the former province of Wakasa, before being acquired by the Sakai clan. In 1923, Sakai Tadatae sold the work to Toda Yashichi II, who in turn sold it in 1932 to the Museum of Fine Arts, Boston, through an expert from the museum, Kōjirō Tomita. This overseas sale provoked outrage in Japan, prompting the government to amend legislation to limit or ban the export of important artistic objects from the country.Today, very few original works from the primitive and classical Yamato-e period remain. However, the Tokyo National Museum has a copy of the Kibi Daijin Nittō Emaki made by Yamana Tsurayoshi (1836–1902).

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Kibi Daijin Nittō Emaki

Prompt: In Kibi Daijin Nittō Emaki, how is the Provenance discussed?

For a long time, the Kibi Daijin Nittō Emaki, together with, notably, the Ban Dainagon Ekotoba, belonged to a Shinto shrine dedicated to Hachiman (Hachiman-gū) in the former province of Wakasa, before being acquired by the Sakai clan. In 1923, Sakai Tadatae sold the work to Toda Yashichi II, who in turn sold it in 1932 to the Museum of Fine Arts, Boston, through an expert from the museum, Kōjirō Tomita. This overseas sale provoked outrage in Japan, prompting the government to amend legislation to limit or ban the export of important artistic objects from the country.Today, very few original works from the primitive and classical Yamato-e period remain. However, the Tokyo National Museum has a copy of the Kibi Daijin Nittō Emaki made by Yamana Tsurayoshi (1836–1902).

File:Kibi Daijin nittō e - S2 sc228985.jpg

italic=no}} to the Imperial Palace upon his arrival in China

List of National Treasures of Japan (paintings)

File:Kibi Daijin nittō e - S4 sc229017.jpg

Category:Paintings in the Museum of Fine Arts, Boston

File:Kibi Daijin nittō e - S1 sc229066.jpg

italic=no}}'s arrival by boat in China, bringing valuable gifts from Japan

horizontal writing direction of Japanese script

Kanagawa University 21st Century COE Program

File:Kibi Daijin nittō e - S4 sc229021.jpg

Chariots of Chinese officials leading {{transl

File:Kibi Daijin nittō e - S1 sc269048.jpg

File:Kibi Daijin nittō e - S1 sc229076.jpg

Horizontal and vertical writing in East Asian scripts


Column of Julianus

Prompt: Focus on Column of Julianus and explain the abstract.

Column of Julianus or the popularly known Belkıs Minaresi; It is an obelisk located in Ulus district of Ankara.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Column of Julianus

Prompt: Explain the abstract of this artwork, Column of Julianus.

Column of Julianus or the popularly known Belkıs Minaresi; It is an obelisk located in Ulus district of Ankara.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Column of Julianus

Prompt: How does Column of Julianus explain its abstract?

Column of Julianus or the popularly known Belkıs Minaresi; It is an obelisk located in Ulus district of Ankara.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Column of Julianus

Prompt: In Column of Julianus, how is the abstract discussed?

Column of Julianus or the popularly known Belkıs Minaresi; It is an obelisk located in Ulus district of Ankara.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Column of Julianus

Prompt: Focus on Column of Julianus and explain the History.

Julianus, the last pagan Roman emperor, declared war on the Persians in 362 and created a route that would pass through Ankara. Upon the news that the emperor would take a break on the way to the expedition and stay in the city, preparations began in the whole city and the Julianus Column was erected to honor him. The Column of Julianus, which did not undergo any repairs or renovations for many years, was restored by the governorship in 2001.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Column of Julianus

Prompt: Explain the History of this artwork, Column of Julianus.

Julianus, the last pagan Roman emperor, declared war on the Persians in 362 and created a route that would pass through Ankara. Upon the news that the emperor would take a break on the way to the expedition and stay in the city, preparations began in the whole city and the Julianus Column was erected to honor him. The Column of Julianus, which did not undergo any repairs or renovations for many years, was restored by the governorship in 2001.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Column of Julianus

Prompt: How does Column of Julianus explain its History?

Julianus, the last pagan Roman emperor, declared war on the Persians in 362 and created a route that would pass through Ankara. Upon the news that the emperor would take a break on the way to the expedition and stay in the city, preparations began in the whole city and the Julianus Column was erected to honor him. The Column of Julianus, which did not undergo any repairs or renovations for many years, was restored by the governorship in 2001.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Column of Julianus

Prompt: In Column of Julianus, how is the History discussed?

Julianus, the last pagan Roman emperor, declared war on the Persians in 362 and created a route that would pass through Ankara. Upon the news that the emperor would take a break on the way to the expedition and stay in the city, preparations began in the whole city and the Julianus Column was erected to honor him. The Column of Julianus, which did not undergo any repairs or renovations for many years, was restored by the governorship in 2001.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Column of Julianus

Prompt: Focus on Column of Julianus and explain the Architectural features.

The column, which has a height of about 15 metres (50 ft), was built using masonry.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Column of Julianus

Prompt: Explain the Architectural features of this artwork, Column of Julianus.

The column, which has a height of about 15 metres (50 ft), was built using masonry.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Column of Julianus

Prompt: How does Column of Julianus explain its Architectural features?

The column, which has a height of about 15 metres (50 ft), was built using masonry.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Column of Julianus

Prompt: In Column of Julianus, how is the Architectural features discussed?

The column, which has a height of about 15 metres (50 ft), was built using masonry.

Roman emperor
Ulus, Ankara
METU
Ancient Roman architecture
Ulus
Ancient Roman
Obelisk
masonry
obelisk
Julian (emperor)
Persians
Category:Ancient Roman architects
Koç University
Ankara
Category:Julian (emperor)
Category:Ulus, Ankara
Category:Monumental columns in Turkey
Category:Obelisks in Turkey
Julianus


Diminish and Ascend

Prompt: Focus on Diminish and Ascend and explain the abstract.

Diminish And Ascend is a welded aluminum stairway sculpture by David McCracken. It is permanently installed in the Christchurch Botanic Gardens in New Zealand. The sculpture is an optical illusion.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: Explain the abstract of this artwork, Diminish and Ascend.

Diminish And Ascend is a welded aluminum stairway sculpture by David McCracken. It is permanently installed in the Christchurch Botanic Gardens in New Zealand. The sculpture is an optical illusion.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: How does Diminish and Ascend explain its abstract?

Diminish And Ascend is a welded aluminum stairway sculpture by David McCracken. It is permanently installed in the Christchurch Botanic Gardens in New Zealand. The sculpture is an optical illusion.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: In Diminish and Ascend, how is the abstract discussed?

Diminish And Ascend is a welded aluminum stairway sculpture by David McCracken. It is permanently installed in the Christchurch Botanic Gardens in New Zealand. The sculpture is an optical illusion.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: Focus on Diminish and Ascend and explain the History.

In 2013, the sculpture was first displayed in Bondi Beach, Australia, at the Sculpture by the Sea event. It was then moved to Waiheke Island in New Zealand. In 2016 it was moved to the Christchurch Botanic Gardens in New Zealand. The cost of the sculpture was NZ$192,000. The cost of the sculpture was funded with a grant from the Friends of the Botanic Gardens, and sponsorship from Christchurch City Council Art in Public Spaces Fund.The NZ$700 per month cost of maintenance for the sculpture (mainly to remove bird droppings) is covered by the Christchurch City Council.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: Explain the History of this artwork, Diminish and Ascend.

In 2013, the sculpture was first displayed in Bondi Beach, Australia, at the Sculpture by the Sea event. It was then moved to Waiheke Island in New Zealand. In 2016 it was moved to the Christchurch Botanic Gardens in New Zealand. The cost of the sculpture was NZ$192,000. The cost of the sculpture was funded with a grant from the Friends of the Botanic Gardens, and sponsorship from Christchurch City Council Art in Public Spaces Fund.The NZ$700 per month cost of maintenance for the sculpture (mainly to remove bird droppings) is covered by the Christchurch City Council.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: How does Diminish and Ascend explain its History?

In 2013, the sculpture was first displayed in Bondi Beach, Australia, at the Sculpture by the Sea event. It was then moved to Waiheke Island in New Zealand. In 2016 it was moved to the Christchurch Botanic Gardens in New Zealand. The cost of the sculpture was NZ$192,000. The cost of the sculpture was funded with a grant from the Friends of the Botanic Gardens, and sponsorship from Christchurch City Council Art in Public Spaces Fund.The NZ$700 per month cost of maintenance for the sculpture (mainly to remove bird droppings) is covered by the Christchurch City Council.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: In Diminish and Ascend, how is the History discussed?

In 2013, the sculpture was first displayed in Bondi Beach, Australia, at the Sculpture by the Sea event. It was then moved to Waiheke Island in New Zealand. In 2016 it was moved to the Christchurch Botanic Gardens in New Zealand. The cost of the sculpture was NZ$192,000. The cost of the sculpture was funded with a grant from the Friends of the Botanic Gardens, and sponsorship from Christchurch City Council Art in Public Spaces Fund.The NZ$700 per month cost of maintenance for the sculpture (mainly to remove bird droppings) is covered by the Christchurch City Council.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: Focus on Diminish and Ascend and explain the Design.

New Zealand artist David McCracken designed the sculpture to be constructed from welded aluminum. The dimensions of the structure are 12 metres (39 ft) x 1.45 metres (4.8 ft) x 3.8 metres (12 ft). It is installed in Christchurch Botanic Gardens in Kiosk Lake. It is a stairway sculpture which is meant to be an optical illusion. The illusion is achieved due to wider steps at the bottom of the sculpture which gradually decrease in size with each step until they come to a vanishing point at the top. The steps at the top are just a few centimeters wide. When viewed from certain angles it appears to be an endless stairway.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: Explain the Design of this artwork, Diminish and Ascend.

New Zealand artist David McCracken designed the sculpture to be constructed from welded aluminum. The dimensions of the structure are 12 metres (39 ft) x 1.45 metres (4.8 ft) x 3.8 metres (12 ft). It is installed in Christchurch Botanic Gardens in Kiosk Lake. It is a stairway sculpture which is meant to be an optical illusion. The illusion is achieved due to wider steps at the bottom of the sculpture which gradually decrease in size with each step until they come to a vanishing point at the top. The steps at the top are just a few centimeters wide. When viewed from certain angles it appears to be an endless stairway.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: How does Diminish and Ascend explain its Design?

New Zealand artist David McCracken designed the sculpture to be constructed from welded aluminum. The dimensions of the structure are 12 metres (39 ft) x 1.45 metres (4.8 ft) x 3.8 metres (12 ft). It is installed in Christchurch Botanic Gardens in Kiosk Lake. It is a stairway sculpture which is meant to be an optical illusion. The illusion is achieved due to wider steps at the bottom of the sculpture which gradually decrease in size with each step until they come to a vanishing point at the top. The steps at the top are just a few centimeters wide. When viewed from certain angles it appears to be an endless stairway.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: In Diminish and Ascend, how is the Design discussed?

New Zealand artist David McCracken designed the sculpture to be constructed from welded aluminum. The dimensions of the structure are 12 metres (39 ft) x 1.45 metres (4.8 ft) x 3.8 metres (12 ft). It is installed in Christchurch Botanic Gardens in Kiosk Lake. It is a stairway sculpture which is meant to be an optical illusion. The illusion is achieved due to wider steps at the bottom of the sculpture which gradually decrease in size with each step until they come to a vanishing point at the top. The steps at the top are just a few centimeters wide. When viewed from certain angles it appears to be an endless stairway.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: Focus on Diminish and Ascend and explain the Reception.

Bored Panda put the sculpture at number 12 on their list of "42 of the Most Amazing Sculptures in the World". The Huffington Post called it an "M. C. Escher drawing in real life". Christchurch City Council member Phil Clearwater has said the sculpture is a "peaceful, reflective artwork". Pinar Noota from My Modern Met has referred to it as a "stairway to heaven". In 2019 Architectural Digest included it their 38 most fascinating sculptures.The sculpture killed two birds after being installed at the Christchurch Botanical Gardens. The animals flew into the end of the sculpture, impaling themselves. Councillor Tim Scandrett called the artwork "a poisoned chalice", citing the expense of maintenance. Community principal advisor, Brent Smith, stated that the cost of maintenance of the sculpture took funds away from other projects.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: Explain the Reception of this artwork, Diminish and Ascend.

Bored Panda put the sculpture at number 12 on their list of "42 of the Most Amazing Sculptures in the World". The Huffington Post called it an "M. C. Escher drawing in real life". Christchurch City Council member Phil Clearwater has said the sculpture is a "peaceful, reflective artwork". Pinar Noota from My Modern Met has referred to it as a "stairway to heaven". In 2019 Architectural Digest included it their 38 most fascinating sculptures.The sculpture killed two birds after being installed at the Christchurch Botanical Gardens. The animals flew into the end of the sculpture, impaling themselves. Councillor Tim Scandrett called the artwork "a poisoned chalice", citing the expense of maintenance. Community principal advisor, Brent Smith, stated that the cost of maintenance of the sculpture took funds away from other projects.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: How does Diminish and Ascend explain its Reception?

Bored Panda put the sculpture at number 12 on their list of "42 of the Most Amazing Sculptures in the World". The Huffington Post called it an "M. C. Escher drawing in real life". Christchurch City Council member Phil Clearwater has said the sculpture is a "peaceful, reflective artwork". Pinar Noota from My Modern Met has referred to it as a "stairway to heaven". In 2019 Architectural Digest included it their 38 most fascinating sculptures.The sculpture killed two birds after being installed at the Christchurch Botanical Gardens. The animals flew into the end of the sculpture, impaling themselves. Councillor Tim Scandrett called the artwork "a poisoned chalice", citing the expense of maintenance. Community principal advisor, Brent Smith, stated that the cost of maintenance of the sculpture took funds away from other projects.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Diminish and Ascend

Prompt: In Diminish and Ascend, how is the Reception discussed?

Bored Panda put the sculpture at number 12 on their list of "42 of the Most Amazing Sculptures in the World". The Huffington Post called it an "M. C. Escher drawing in real life". Christchurch City Council member Phil Clearwater has said the sculpture is a "peaceful, reflective artwork". Pinar Noota from My Modern Met has referred to it as a "stairway to heaven". In 2019 Architectural Digest included it their 38 most fascinating sculptures.The sculpture killed two birds after being installed at the Christchurch Botanical Gardens. The animals flew into the end of the sculpture, impaling themselves. Councillor Tim Scandrett called the artwork "a poisoned chalice", citing the expense of maintenance. Community principal advisor, Brent Smith, stated that the cost of maintenance of the sculpture took funds away from other projects.

Category:Tourist attractions in Christchurch

Category:Outdoor sculptures in Christchurch

File:Diminish and Ascend "Staircase to heaven" - Christchurch Botanic Gardens.jpg


Meat-Shaped Stone

Prompt: Focus on Meat-Shaped Stone and explain the abstract.

The Meat-Shaped Stone (Chinese: 肉形石; pinyin: ròuxíngshí) is a piece of jasper carved into the shape of a piece of Dongpo pork, a popular Chinese way of cooking pork belly. It is part of the collection of the National Palace Museum in Taipei, Taiwan.  Although of only moderate importance from the point of view of art history, it is a great popular favourite with visitors and has become famous.The Meat-Shaped Stone has been called the "most famous masterpiece" of the entire National Palace Museum, and along with the Jadeite Cabbage and the Mao Gong Ding, is today called one of the Three Treasures of the National Palace Museum, a redesignation from several less accessible, infrequently-displayed works. It has also been chosen by the public as the most important item in the museum's entire collection.

Mao Gong ding
Taiwan
Qing dynasty
Wall Street Journal
Jadeite Cabbage
Taipei
Dongpo pork
Mao Gong Ding
Category:Chinese sculpture
Republic of China
pork belly
Taiwan Panorama
Jasper
jasper
National Palace Museum
Category:Qing dynasty art
sculpture
art history
Category:National Palace Museum


Meat-Shaped Stone

Prompt: Explain the abstract of this artwork, Meat-Shaped Stone.

The Meat-Shaped Stone (Chinese: 肉形石; pinyin: ròuxíngshí) is a piece of jasper carved into the shape of a piece of Dongpo pork, a popular Chinese way of cooking pork belly. It is part of the collection of the National Palace Museum in Taipei, Taiwan.  Although of only moderate importance from the point of view of art history, it is a great popular favourite with visitors and has become famous.The Meat-Shaped Stone has been called the "most famous masterpiece" of the entire National Palace Museum, and along with the Jadeite Cabbage and the Mao Gong Ding, is today called one of the Three Treasures of the National Palace Museum, a redesignation from several less accessible, infrequently-displayed works. It has also been chosen by the public as the most important item in the museum's entire collection.

Mao Gong ding
Taiwan
Qing dynasty
Wall Street Journal
Jadeite Cabbage
Taipei
Dongpo pork
Mao Gong Ding
Category:Chinese sculpture
Republic of China
pork belly
Taiwan Panorama
Jasper
jasper
National Palace Museum
Category:Qing dynasty art
sculpture
art history
Category:National Palace Museum


Meat-Shaped Stone

Prompt: How does Meat-Shaped Stone explain its abstract?

The Meat-Shaped Stone (Chinese: 肉形石; pinyin: ròuxíngshí) is a piece of jasper carved into the shape of a piece of Dongpo pork, a popular Chinese way of cooking pork belly. It is part of the collection of the National Palace Museum in Taipei, Taiwan.  Although of only moderate importance from the point of view of art history, it is a great popular favourite with visitors and has become famous.The Meat-Shaped Stone has been called the "most famous masterpiece" of the entire National Palace Museum, and along with the Jadeite Cabbage and the Mao Gong Ding, is today called one of the Three Treasures of the National Palace Museum, a redesignation from several less accessible, infrequently-displayed works. It has also been chosen by the public as the most important item in the museum's entire collection.

Mao Gong ding
Taiwan
Qing dynasty
Wall Street Journal
Jadeite Cabbage
Taipei
Dongpo pork
Mao Gong Ding
Category:Chinese sculpture
Republic of China
pork belly
Taiwan Panorama
Jasper
jasper
National Palace Museum
Category:Qing dynasty art
sculpture
art history
Category:National Palace Museum


Meat-Shaped Stone

Prompt: In Meat-Shaped Stone, how is the abstract discussed?

The Meat-Shaped Stone (Chinese: 肉形石; pinyin: ròuxíngshí) is a piece of jasper carved into the shape of a piece of Dongpo pork, a popular Chinese way of cooking pork belly. It is part of the collection of the National Palace Museum in Taipei, Taiwan.  Although of only moderate importance from the point of view of art history, it is a great popular favourite with visitors and has become famous.The Meat-Shaped Stone has been called the "most famous masterpiece" of the entire National Palace Museum, and along with the Jadeite Cabbage and the Mao Gong Ding, is today called one of the Three Treasures of the National Palace Museum, a redesignation from several less accessible, infrequently-displayed works. It has also been chosen by the public as the most important item in the museum's entire collection.

Mao Gong ding
Taiwan
Qing dynasty
Wall Street Journal
Jadeite Cabbage
Taipei
Dongpo pork
Mao Gong Ding
Category:Chinese sculpture
Republic of China
pork belly
Taiwan Panorama
Jasper
jasper
National Palace Museum
Category:Qing dynasty art
sculpture
art history
Category:National Palace Museum


Meat-Shaped Stone

Prompt: Focus on Meat-Shaped Stone and explain the History.

The stone was carved during the Qing dynasty from banded jasper. The layers of the stone accumulated naturally over the years, exhibiting various shades of hues. The craftsman who carved the stone skilfully stained the surface, resulting in a realistic-looking piece that resembles layers of fat and meat.

Mao Gong ding
Taiwan
Qing dynasty
Wall Street Journal
Jadeite Cabbage
Taipei
Dongpo pork
Mao Gong Ding
Category:Chinese sculpture
Republic of China
pork belly
Taiwan Panorama
Jasper
jasper
National Palace Museum
Category:Qing dynasty art
sculpture
art history
Category:National Palace Museum


Meat-Shaped Stone

Prompt: Explain the History of this artwork, Meat-Shaped Stone.

The stone was carved during the Qing dynasty from banded jasper. The layers of the stone accumulated naturally over the years, exhibiting various shades of hues. The craftsman who carved the stone skilfully stained the surface, resulting in a realistic-looking piece that resembles layers of fat and meat.

Mao Gong ding
Taiwan
Qing dynasty
Wall Street Journal
Jadeite Cabbage
Taipei
Dongpo pork
Mao Gong Ding
Category:Chinese sculpture
Republic of China
pork belly
Taiwan Panorama
Jasper
jasper
National Palace Museum
Category:Qing dynasty art
sculpture
art history
Category:National Palace Museum


Meat-Shaped Stone

Prompt: How does Meat-Shaped Stone explain its History?

The stone was carved during the Qing dynasty from banded jasper. The layers of the stone accumulated naturally over the years, exhibiting various shades of hues. The craftsman who carved the stone skilfully stained the surface, resulting in a realistic-looking piece that resembles layers of fat and meat.

Mao Gong ding
Taiwan
Qing dynasty
Wall Street Journal
Jadeite Cabbage
Taipei
Dongpo pork
Mao Gong Ding
Category:Chinese sculpture
Republic of China
pork belly
Taiwan Panorama
Jasper
jasper
National Palace Museum
Category:Qing dynasty art
sculpture
art history
Category:National Palace Museum


Meat-Shaped Stone

Prompt: In Meat-Shaped Stone, how is the History discussed?

The stone was carved during the Qing dynasty from banded jasper. The layers of the stone accumulated naturally over the years, exhibiting various shades of hues. The craftsman who carved the stone skilfully stained the surface, resulting in a realistic-looking piece that resembles layers of fat and meat.

Mao Gong ding
Taiwan
Qing dynasty
Wall Street Journal
Jadeite Cabbage
Taipei
Dongpo pork
Mao Gong Ding
Category:Chinese sculpture
Republic of China
pork belly
Taiwan Panorama
Jasper
jasper
National Palace Museum
Category:Qing dynasty art
sculpture
art history
Category:National Palace Museum


Three-Bodied Daemon (ACMA 35)

Prompt: Focus on Three-Bodied Daemon (ACMA 35) and explain the abstract.

The Three-Bodied Daemon (Greek: Τρισώματος Δαίμων) or the Three-Bodied Monster is an ancient Greek sculpture in typical early Archaic period style, once part of the west pediment of the Hekatompedon temple in the Acropolis of Athens. Today it is housed in the Acropolis Museum in Athens, Greece. It is made of limestone, and it is remarkable for the large amount of colour pigment on it that has survived.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: Explain the abstract of this artwork, Three-Bodied Daemon (ACMA 35).

The Three-Bodied Daemon (Greek: Τρισώματος Δαίμων) or the Three-Bodied Monster is an ancient Greek sculpture in typical early Archaic period style, once part of the west pediment of the Hekatompedon temple in the Acropolis of Athens. Today it is housed in the Acropolis Museum in Athens, Greece. It is made of limestone, and it is remarkable for the large amount of colour pigment on it that has survived.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: How does Three-Bodied Daemon (ACMA 35) explain its abstract?

The Three-Bodied Daemon (Greek: Τρισώματος Δαίμων) or the Three-Bodied Monster is an ancient Greek sculpture in typical early Archaic period style, once part of the west pediment of the Hekatompedon temple in the Acropolis of Athens. Today it is housed in the Acropolis Museum in Athens, Greece. It is made of limestone, and it is remarkable for the large amount of colour pigment on it that has survived.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: In Three-Bodied Daemon (ACMA 35), how is the abstract discussed?

The Three-Bodied Daemon (Greek: Τρισώματος Δαίμων) or the Three-Bodied Monster is an ancient Greek sculpture in typical early Archaic period style, once part of the west pediment of the Hekatompedon temple in the Acropolis of Athens. Today it is housed in the Acropolis Museum in Athens, Greece. It is made of limestone, and it is remarkable for the large amount of colour pigment on it that has survived.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: Focus on Three-Bodied Daemon (ACMA 35) and explain the History.

This sculpture, along with two more groups (one of Heracles fighting the sea-god Triton, and one of lions devouring a bull), was part of the decoration of one of the two pediments of the Hekatompedon, most likely the western one, and was created around 570 BC, during the early Archaic period. Most fragments were found in 1888 to the east and southeast of the Parthenon, and were welded and restored with plaster.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: Explain the History of this artwork, Three-Bodied Daemon (ACMA 35).

This sculpture, along with two more groups (one of Heracles fighting the sea-god Triton, and one of lions devouring a bull), was part of the decoration of one of the two pediments of the Hekatompedon, most likely the western one, and was created around 570 BC, during the early Archaic period. Most fragments were found in 1888 to the east and southeast of the Parthenon, and were welded and restored with plaster.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: How does Three-Bodied Daemon (ACMA 35) explain its History?

This sculpture, along with two more groups (one of Heracles fighting the sea-god Triton, and one of lions devouring a bull), was part of the decoration of one of the two pediments of the Hekatompedon, most likely the western one, and was created around 570 BC, during the early Archaic period. Most fragments were found in 1888 to the east and southeast of the Parthenon, and were welded and restored with plaster.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: In Three-Bodied Daemon (ACMA 35), how is the History discussed?

This sculpture, along with two more groups (one of Heracles fighting the sea-god Triton, and one of lions devouring a bull), was part of the decoration of one of the two pediments of the Hekatompedon, most likely the western one, and was created around 570 BC, during the early Archaic period. Most fragments were found in 1888 to the east and southeast of the Parthenon, and were welded and restored with plaster.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: Focus on Three-Bodied Daemon (ACMA 35) and explain the Description.

The sculpture depicts a large, male figure with three naked bodies. All three bodies are bearded, and seem to share a single, large tail. To their right a figure, their opponent, survives. The three bearded figures hold items in their hands that can be assigned to each of the four elements; a lightning bolt (fire), waves (water) and a bird (air), while their long, swirling tail symbolizes the earth, though no further conclusion can be achieved. The objects are all held in their left hands; out of the three right hands, only one survives, and it does not seem to be holding anything. The item is made of a sort of porous limestone (porolithus), and measures 3,35 m. in length and 79 cm in height.All sculptures of the Hekatompedon pediments are excellent examples of coloured ancient Greek sculptures which have retained some if not most of their painting over the centuries, as the bright decoration has survived on the limestone, unlike the paint on the marble pediments of the Parthenon.The first head and body of Typhon has many traces of the red color which was used to paint his flesh, particularly visible on the chest. The areola is brown, while his hair and beard are red-black. The eyelids have black rings, indicating the eyelashes, likewise the eyebrows are also black. The two large and shallow round cavities that make up his eyes are red, with light green irises. The second boy's skin is likewise reddish, with colour remaining on the chest and left halve of the face. The beard is again reddish black, but now  no trace of colour survives on his hair. Eyelids and eyebrows are also black, but the paint has faded off the irises. The third body is more or less the same.In second middle body we see a very red color of the flesh, especially on the chest and on the left half of the face. Deep blue was again saved in the beard, but no trace of it in the crown. Eyelids and eyebrows are black again, but the pupil is no longer distinguishable. In the third body no color can be distinguished, and the numerous remains per head are enumerated in the vicinity. The visible form of this wing is, on the upper part, smooth and of a dark blue color, on the lower part, lines are incised, i.e., the wings, which seem to have been alternately colored and uncolored, so that either one row showed red or the other black-green coloring, so that probably as often observed arose afterwards from the blue. The serpentine form's tail show a red band running along the length of it between two black-blue ones, with one in the natural color of the stone.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: Explain the Description of this artwork, Three-Bodied Daemon (ACMA 35).

The sculpture depicts a large, male figure with three naked bodies. All three bodies are bearded, and seem to share a single, large tail. To their right a figure, their opponent, survives. The three bearded figures hold items in their hands that can be assigned to each of the four elements; a lightning bolt (fire), waves (water) and a bird (air), while their long, swirling tail symbolizes the earth, though no further conclusion can be achieved. The objects are all held in their left hands; out of the three right hands, only one survives, and it does not seem to be holding anything. The item is made of a sort of porous limestone (porolithus), and measures 3,35 m. in length and 79 cm in height.All sculptures of the Hekatompedon pediments are excellent examples of coloured ancient Greek sculptures which have retained some if not most of their painting over the centuries, as the bright decoration has survived on the limestone, unlike the paint on the marble pediments of the Parthenon.The first head and body of Typhon has many traces of the red color which was used to paint his flesh, particularly visible on the chest. The areola is brown, while his hair and beard are red-black. The eyelids have black rings, indicating the eyelashes, likewise the eyebrows are also black. The two large and shallow round cavities that make up his eyes are red, with light green irises. The second boy's skin is likewise reddish, with colour remaining on the chest and left halve of the face. The beard is again reddish black, but now  no trace of colour survives on his hair. Eyelids and eyebrows are also black, but the paint has faded off the irises. The third body is more or less the same.In second middle body we see a very red color of the flesh, especially on the chest and on the left half of the face. Deep blue was again saved in the beard, but no trace of it in the crown. Eyelids and eyebrows are black again, but the pupil is no longer distinguishable. In the third body no color can be distinguished, and the numerous remains per head are enumerated in the vicinity. The visible form of this wing is, on the upper part, smooth and of a dark blue color, on the lower part, lines are incised, i.e., the wings, which seem to have been alternately colored and uncolored, so that either one row showed red or the other black-green coloring, so that probably as often observed arose afterwards from the blue. The serpentine form's tail show a red band running along the length of it between two black-blue ones, with one in the natural color of the stone.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: How does Three-Bodied Daemon (ACMA 35) explain its Description?

The sculpture depicts a large, male figure with three naked bodies. All three bodies are bearded, and seem to share a single, large tail. To their right a figure, their opponent, survives. The three bearded figures hold items in their hands that can be assigned to each of the four elements; a lightning bolt (fire), waves (water) and a bird (air), while their long, swirling tail symbolizes the earth, though no further conclusion can be achieved. The objects are all held in their left hands; out of the three right hands, only one survives, and it does not seem to be holding anything. The item is made of a sort of porous limestone (porolithus), and measures 3,35 m. in length and 79 cm in height.All sculptures of the Hekatompedon pediments are excellent examples of coloured ancient Greek sculptures which have retained some if not most of their painting over the centuries, as the bright decoration has survived on the limestone, unlike the paint on the marble pediments of the Parthenon.The first head and body of Typhon has many traces of the red color which was used to paint his flesh, particularly visible on the chest. The areola is brown, while his hair and beard are red-black. The eyelids have black rings, indicating the eyelashes, likewise the eyebrows are also black. The two large and shallow round cavities that make up his eyes are red, with light green irises. The second boy's skin is likewise reddish, with colour remaining on the chest and left halve of the face. The beard is again reddish black, but now  no trace of colour survives on his hair. Eyelids and eyebrows are also black, but the paint has faded off the irises. The third body is more or less the same.In second middle body we see a very red color of the flesh, especially on the chest and on the left half of the face. Deep blue was again saved in the beard, but no trace of it in the crown. Eyelids and eyebrows are black again, but the pupil is no longer distinguishable. In the third body no color can be distinguished, and the numerous remains per head are enumerated in the vicinity. The visible form of this wing is, on the upper part, smooth and of a dark blue color, on the lower part, lines are incised, i.e., the wings, which seem to have been alternately colored and uncolored, so that either one row showed red or the other black-green coloring, so that probably as often observed arose afterwards from the blue. The serpentine form's tail show a red band running along the length of it between two black-blue ones, with one in the natural color of the stone.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: In Three-Bodied Daemon (ACMA 35), how is the Description discussed?

The sculpture depicts a large, male figure with three naked bodies. All three bodies are bearded, and seem to share a single, large tail. To their right a figure, their opponent, survives. The three bearded figures hold items in their hands that can be assigned to each of the four elements; a lightning bolt (fire), waves (water) and a bird (air), while their long, swirling tail symbolizes the earth, though no further conclusion can be achieved. The objects are all held in their left hands; out of the three right hands, only one survives, and it does not seem to be holding anything. The item is made of a sort of porous limestone (porolithus), and measures 3,35 m. in length and 79 cm in height.All sculptures of the Hekatompedon pediments are excellent examples of coloured ancient Greek sculptures which have retained some if not most of their painting over the centuries, as the bright decoration has survived on the limestone, unlike the paint on the marble pediments of the Parthenon.The first head and body of Typhon has many traces of the red color which was used to paint his flesh, particularly visible on the chest. The areola is brown, while his hair and beard are red-black. The eyelids have black rings, indicating the eyelashes, likewise the eyebrows are also black. The two large and shallow round cavities that make up his eyes are red, with light green irises. The second boy's skin is likewise reddish, with colour remaining on the chest and left halve of the face. The beard is again reddish black, but now  no trace of colour survives on his hair. Eyelids and eyebrows are also black, but the paint has faded off the irises. The third body is more or less the same.In second middle body we see a very red color of the flesh, especially on the chest and on the left half of the face. Deep blue was again saved in the beard, but no trace of it in the crown. Eyelids and eyebrows are black again, but the pupil is no longer distinguishable. In the third body no color can be distinguished, and the numerous remains per head are enumerated in the vicinity. The visible form of this wing is, on the upper part, smooth and of a dark blue color, on the lower part, lines are incised, i.e., the wings, which seem to have been alternately colored and uncolored, so that either one row showed red or the other black-green coloring, so that probably as often observed arose afterwards from the blue. The serpentine form's tail show a red band running along the length of it between two black-blue ones, with one in the natural color of the stone.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: Focus on Three-Bodied Daemon (ACMA 35) and explain the Restoration.

The first two human heads of Typhon from the left are not carved from the same piece of limestone as the rest of the massive body but from other pieces. His third head was similarly inlaid, but because the upper part of the body was destroyed and filled in with plaster, it is unclear whether the head belongs to this body or to different but similar one. Other parts were similarly added, like part of the right wing, for the fastening of which three holes were opened in a line, or the forearm of the Zeus figure, so that now it has a smooth cross-sectional surface, but without holes with infused lead. To fix them, holes (as seen in the arm and shoulders of the monster) were made, 6-7 millimeters wide, in order to preserve the lead. Two of them, certainly belonging to this group, are located on the right forearm of the middle body.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica