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= = = Gudkhani = = = |
Gudkhani (, also Romanized as Gūdkhānī) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its existence was noted, but its population was not reported. |
= = = Gurab, Kohgiluyeh = = = |
Gurab (, also Romanized as Gūrāb; also known as Gerdāb) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 163, in 34 families. |
= = = List of signers of the Georgia Ordinance of Secession = = = |
Georgia's Ordinance of Secession was adopted at the Georgia Secession Convention of 1861. It was put to the vote on January 19, 1861; concluding at 2:00 P.M. ("the vote was 208 in favor of immediate secession with 89 opposed"). Prior to signing the ordinance, Eugenius A. Nisbet tabled a motion suggesting that the ordinance should be signed by all of the convention's delegates, irrespective of their vote – as a pledge of support and to signal a unified purpose. Nisbet's motion passed, and at 12 o'clock M., Convention President, George W. Crawford, announced that the hour had arrived for signing the Ordinance of Secession. |
Crawford signed the ordinance; becoming its first signatory, and then he instructed Secretary Lamar to "call the delegates forward, by county, to sign the ordinance." Some delegates withheld signing; with six delegates insisting that a protest be incorporated into the ordinance. The list below shows the delegate's name, ("as it was recorded on the convention's roster"), the county which they represent, whether they had signed the ordinance or not, and how they had voted when the ordinance passed. |
= = = Heridun-e Zirkal = = = |
Heridun-e Zirkal (, also Romanized as Herīdūn-e Zīrkal; also known as Herīdūn) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 30, in 4 families. |
= = = Kamardugh = = = |
Kamardugh (, also Romanized as Kamardūgh) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 201, in 38 families. |
= = = Kunmesi = = = |
Kunmesi (, also Romanized as Kūnmesī) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 103, in 14 families. |
= = = Kunmish = = = |
Kunmish (, also Romanized as Kūnmīsh; also known as Kūnmīshī) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 46, in 9 families. |
= = = Lash, Kohgiluyeh and Boyer-Ahmad = = = |
Lash (, also Romanized as Lāsh) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 34, in 9 families. |
= = = Lirkari = = = |
Lirkari (, also Romanized as Līrkārī) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 53, in 9 families. |
= = = Mohammad Taladam Tang Divan-e Mahtab = = = |
Mohammad Taladam Tang Divan-e Mahtab (, also Romanized as Moḩammad Ţalādam Tang Dīvan-e Mahtāb) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 36, in 6 families. |
= = = Misavun = = = |
Misavun (, also Romanized as Mīsāvūn and Mīsāvon) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its existence was noted, but its population was not reported. |
= = = Thomas More Catholic School, Purley = = = |
Thomas More Catholic School is a Roman Catholic secondary school and sixth form, located in the Purley area of the London Borough of Croydon, England. The Margaret Roper Primary School is located adjacent to Thomas More Catholic School. |
The school was established in 1962 in buildings formerly used as an orphanage. It is a voluntary aided school, under the direction of the Roman Catholic Archdiocese of Southwark and Croydon London Borough Council. The school has also been awarded the International School Award, since 2008. |
Thomas More Catholic School offers GCSEs and BTECs as programmes of study for pupils, whilst sixth form students can choose to study from a range of A Levels and BTEC Nationals. |
= = = Melleh Shahal = = = |
Melleh Shahal (, also Romanized as Melleh Shahāl) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its existence was noted, but its population was not reported. |
= = = Man Darreh Algan = = = |
Man Darreh Algan () is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 71, in 11 families. |
= = = Murd Risheh = = = |
Murd Risheh (, also Romanized as Mūrd Rīsheh) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 49, in 7 families. |
= = = Murd-e Seyyed Gambuli = = = |
Murd-e Seyyed Gambuli (, also Romanized as Mūrd-e Seyyed Gambūlī; also known as Mūrd-e Seyyed) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 100, in 16 families. |
= = = High Highs = = = |
High Highs are an indie rock band from Sydney, Australia, formed by Jack Milas and Oli Chang in 2010. |
In October 2011, the group released their first, eponymous EP through Small Plates Records/Rocket Music. In January 2013, High Highs released their debut album "Open Season" via Fine Time/Sony Music. The band toured extensively in support of the album, playing the Laneway Festival Australia in January 2013, and toured throughout the US with Vampire Weekend, Sky Ferreira, How To Dress Well, Stars and Oh Land. On May 30/31, 2013, High Highs joined Empire of the Sun for two nights at the Sydney Opera House as part of VIVID Festival. |
The band's music has been featured in various films and advertisements. Their song "Open Season" featured in major commercials for Amazon Kindle and Pacífico Beer. It also featured in the 2012 comedy film "Pitch Perfect", as well as the 2015 romantic comedy "Sleeping With Other People." will.i.am sampled "Flowers Bloom" for his song "Good Morning". |
Their second album, entitled "Cascades" was released on February 5, 2016. |
Since 2017, Jack Milas and Oli Chang have been releasing solo songs, both announced on High Highs' social media profiles. In October, they said they'd work on their solo projects alongside the band. After one year of silence, their website was taken down. The domain name is now up for sale. |
= = = Nakhudkal = = = |
Nakhudkal (, also Romanized as Nakhūdkāl) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 35, in 6 families. |
= = = Pataveh-ye Charusa = = = |
Pataveh-ye Charusa (, also Romanized as Pātāveh-ye Chārūsā; also known as Pātāveh-ye ‘Olyā) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 325, in 60 families. |
= = = Fan print with two bugaku dancers = = = |
Fan print with two bugaku dancers is an "ukiyo-e" woodblock print dating to sometime between the mid 1820s and 1844 by celebrated Edo period artist Utagawa Kunisada, also known as Toyokuni III. This print is simultaneously an example of the "uchiwa-e" (fan print) and "aizuri-e" (monochromatic blue print) genres. It is part of the permanent collection of the Prince Takamado Gallery of Japan at the Royal Ontario Museum, Canada. |
"Uchiwa" (団扇) are non-folding, flat, oval fans. They are still used today for cooling rice in the preparation of sushi, in dance performances, and as a cooling tool. Historically, "uchiwa" were a predominantly female accessory, men typically carrying folding fans known as "ōgi" (扇), "suehiro" (末広) or "sensu" (扇子). They are associated with summer, traditionally having been sold only during the summer months, and decorated with summer imagery. At least one modern critic argues that, due to their use by women during periods of heat, "uchiwa" "can have suggestive connotations." |
Like "ōgi-e" (扇絵) folding fan prints, "uchiwa-e" were traditionally made from "washi" rice paper mounted on a wooden frame. Images were printed on paper, then cut along the margins and pasted onto a skeletal bamboo frame. As a result of their frequent handling, few pristine mounted examples remain. |
Also known as "aizome-e" (藍染絵) and "ai-e" (藍絵), "aizuri-e" (藍摺絵) translates literally as "blue printed picture," and describes prints that are produced entirely or predominantly in shades of blue. A counterpart to ostensibly red and pink "benizuri-e" (紅摺絵), "aizuri-e" were a late Edo period development. Perhaps due to the fact that single colour prints were cheaper to produce, the "aizuri" technique was particularly popular for "uchiwa-e". |
In the past, some art historians theorized that "aizuri-e" arose as a result of an 1841 government ban on the use of lavish colour in the then-dominant "nishiki-e" (錦絵), multi-coloured woodblock prints. The existence of a number of prominent examples predating the ban, however, suggests that "aizuri-e" did not simply come about as an alternative to poly-chromatic images. While the earliest recorded use is in an 1829 print by Eisen, Utagawa Sadahide, Hokusai, Hiroshige, Toyokuni II and Kunisada all produced notable examples. |
The increased popularity of "aizuri-e" is directly linked to the 1829 importation of the first synthetic colouring agent to Japan. Known in the west as Prussian Blue, Berlin Blue, or "bero" (ベロ) as it came to be known, effectively challenged natural indigo as an "ukiyo-e" mainstay due to its lower price and decreased susceptibility to fading from light exposure. "Aizuri" has been described by one critic as having "revolutionized landscape prints." |
Given the lack of colour contrast in the monochromatic "aizuri-e", late Edo artists began to experiment with techniques to increase image complexity. This led to the development of "bokashi", a printing technique which allowed for the reproduction and mixing of differing colour tones within a single image. This is achieved through carefully graded applications of water and pigment mixtures to the woodblock with a "hake" brush. The result is a single-coloured print characterised by shading and tonality. It was practiced most effectively in the rendering of skies and water. While "aizuri-e" themselves were inexpensive to print, "bokashi" was costly. It is therefore generally seen in formal prints, and not regularly seen in cheaper media such as "uchiwa-e". Kunisada has, however, used the technique on this fan print, most notably in the cloud and ground regions, where the value of the blue pigment deepens from very pale blue to near-black opacity. |
Utagawa Kunisada (歌川国貞) was born in 1786 in the Honjō district of Edo (present-day Tokyo) into a wealthy family of ferry service owners. He began an apprenticeship with the head of the prestigious Utagawa school of artists, Toyokuni I, in 1807, and took the artist name Kunisada to include the second character (国 - kuni) of his mentor's name. In 1844, Kunisada succeeded his master as Toyokuni III (三代歌川豊国). |
Kunisada emerged as a book illustrator in 1807 with the series "Twelve Hours of the Courtesans" ("Keisei jūnitoki"). "Kuchi-e" book illustrations were essential to the success of the then popular "sharebon" and "kibyōshi" books, and this soon became a lucrative market for Kunisada due to his talent and ambition. His position within the Utagawa studio afforded him access to training from the finest masters, and connections to publishers, actors, theatres and poet's associations. This, in turn, led to many commissions. By the early 1810s, he had opened his own studio, and demand for his illustrations had outstripped that for his master's. His great success was also reputedly linked to his "convivial and balanced demeanor, and [the fact that] he delivered his commissions on time." |
Kunisada was "without a doubt... the most prolific and successful print artist of all time." He was incredibly prodigious, creating between 35 and 40 thousand designs for individual "ukiyo-e" prints during his lifetime. His studio was larger than that of any other print artist, and he had a large stable of several dozen students. As a further indication of his unprecedented success, when he died in 1865 after having headed the Utagawa school for around 40 years, he was the subject of four separate "shini-e" memorial portraits. He is buried on the grounds of Banshōin Kōunji Temple in present-day Nakano ward, Tokyo, alongside Toyokuni I (1769–1825) and Kunisada II (1823–1880). |
Like many artists of the Edo period, Kunisada was associated with a number of names throughout his lifetime. |
Although Kunisada designed many "surimono" and fan pictures, most of his works are in the "ōban" format. He also produced over sixty paintings. |
Given his incredible output, it is not surprising that Kunisada was active in various genres, including "kabuki-e" and "yakusha-e" ("kabuki" actor pictures), "bijin-ga" (pictures of beauties), "yūrei-zu" (ghost pictures), "sumō-e" (sumo wrestler pictures), "shunga" (erotica), "musha-e" (warrior prints), and "uchiwa-e". He is also credited with popularizing "Genji-e", a print genre related to the 11th century novel "The Tale of Genji", through his 1829-1842 book series, "Nise Murasaki inaka Genji" ("A Country Genji by a Fake Murasaki"). In 1808, he began creating "yakusha-e", and these were to become the mainstay of his production, making up 60 to 70% of his total works. So prolific was he, that he came to be known as "Kunisada, the Portraitist of Actors ("yakusha-e no Kunisada")." |
Two popular genres which are under-represented in Kunisada's oeuvre are nature images ("kachō-e"/ 花鳥絵) and landscapes ("fūkei-e"/ 風景絵). He rarely designed pure landscapes, but began in the 1820s or 1830s to incorporate landscape elements into prints featuring beautiful women and actors. "Fan Print with two Bugaku Dancers" with its spare background landscape, is an example of this type of piece. |
Despite his success during his own period, Kunisada was not highly regarded in the west until quite recently. Critics today consider Kunisada to have been "a trendsetter... in tune with the tastes of urban society," and credit him with a "more humanized" style than his contemporaries, and with bringing a sense of realism to "ukiyo-e", particularly in his depiction of the female form. |