Amazing fanart by Joanacchi! Posted here on tumblr with their blessing. Each one is based on a style that reflects a particular ancient culture's art history. (See below for descriptions provided by the artist!)

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Aang: Tibetan Thangka

"Thangkas are traditional Tibetan tapestries that have been used for religious and educational purposes since ancient times! The techniques applied can vary greatly, but they usually use silk or cotton fabrics to paint or embroider on. What you can depict in a Thangka is really versatile, and I wanted to represent things that make up Aang as a character."

Zuko and Azula: Japanese Ukiyo-e

"Ukiyo-e is a style that has been around Japan between the 17th and 19th century, and focused mainly in representing daily life, theater(kabuki), natural landscapes, and sometimes historical characters or legends!

Ukiyo-e was developed to be more of a fast and commercial type of art, so many drawings we see are actually woodblock prints, so the artist could do many copies of the same art!

I based my Zuko and Azula pieces on the work of Utagawa Kuniyoshi (1798-1861) one of the last ukiyo-e masters in Japan! He has a specific piece which featured a fire demon fighting a lord that fought back with lighting, and that really matched Zuko and Azula's main techniques!”

Toph: Chinese Portraiture from Ming and Qing Dynasties

"Ming Dynasty (1368-1644) was one of the longest in China! It was also a period where lots of artistic evolutions were happening, especially when it comes to use of colour! There was not a predilection for portraits during this time, but there are a lot of pieces depicting idealized women and goddesses from the standards of the time. For this portrait of Toph, I imagined something that maybe their parents commissioned, depicting a soft and delicate Toph which we know is not what she is about ♥️

Qing Dynasty (1644-1912) was the last Chinese Dynasty to reign before the Revolution. One of the most famous emperors of this period was Qianlong, and he really liked Western art! He commissioned a lot of portraits of his subordinates, and I chose a portrait of one of his bodyguards as a reference for the second Toph portrait, which I believe is much more like how she would want to be represented! The poem on top talks about the bodyguards' achievements during a specific war. I had no time to come up with a poem for Toph, so I just used the same one for the composition!”

Sokka and Katara: Inuit Lithograph

"For a long time, Inuit art expressed itself in utilitarian ways. The Nomadic lifestyle of early Inuit tribes played a huge part in that: most art pieces are carved in useful tools, clothing, or children's toys, small and easy to be transported, and depicted scenes and patterns representing their daily lives!

That changed a lot during the colonization. Since the settling of the Inuit tribes, many art pieces began to be created in order to be exported to foreigns, so they started to sculpt bigger and more decorative pieces.

Lithography, which is a type of printmaking, was introduced to Inuit people by James Houston, that learned the technique from the japanese. The art form was quickly embraced by the inuit, as part of the process is very similar to carving. Prints that are produced by inuit artists are still being sold today!

As lithography is not an old art style and it's still commercially relevant to the Inuit communities, since creating these in 2021 I have been donating regularly to the Inuit Art Foundation, not only all the money I get from selling some prints of these but a bit more, at least once a year. Hopefully, I can increase donations this year!”

Women warriors in Chinese history - Part 2

(Part 1)

"However, court confessions, unofficial histories, and local gazetteers do reveal a host of women warriors during the Qing dynasty when patriarchal structures were supposedly most influential. Women in marginal groups were apparently not as observant of mainstream societal gender rules. Daughters and wives of “peasant rebels,” that is, autonomous or bandit stockades, were frequently skilled warriors. Miss Cai 蔡†(Ts’ai) of the Nian (Nien) “army,” for example, “fought better than a man, and she was especially fine on horseback. She was always at the front line, fighting fearlessly despite the large number of government troops.” According to a folktale, she managed to rout an invading government force of several thousand with a hundred men and one cannonball after her husband led most of the Nian off to forage for food.

Related to the female bandits were the women pirates among whom Zheng I Sao 鄭一嫂†(literally, Wife of Zheng I; 1775–1844) is the best researched. “A former prostitute … Cheng [Zheng] I Sao could truly be called the real ‘Dragon Lady’ of the South China Sea.” Consolidating her authority swiftly after the death of her husband, “she was able to win so much support that the pirates openly acclaimed her as the one person capable of holding the confederation together. As its leader she demonstrated her ability to take command by issuing orders, planning military campaigns, and proving that there were profits to be made in piracy. When the time came to dismantle the confederation, it was her negotiating skills above all that allowed her followers to cross the bridge from outlawry to officialdom.”

We know slightly more about some of the women warriors involved in sectarian revolts. Folk stories passed down orally are one of the sources. Tales that proliferated in northern Sichuan on the battle exploits of cult rebels of the White Lotus Religion uprising in Sichuan, Hunan, and Shaanxi beginning in the late eighteenth century glorify several women warriors. The tall and beautiful Big Feet Lan (Lan Dazhu 籃大足) and the smart and skillful Big Feet Xie (Xie Dazhu 謝大足) vanquished a stockade together; the young and attractive Woman He 何氏 could kill within a hundred feet by throwing daggers from horseback. The absence of bound feet in Big Feet Lan and Big Feet Xie suggests their backgrounds were either very poor, unconventional, or non-Han.

Sectarian groups accepted female membership readily, and many of these women trained in the martial arts. Qiu Ersao 邱二嫂†(ca. 1822–53), leader of a Heaven and Earth Society (Tiandihui 天地會) uprising in Guangxi, joined the sect because of poverty and perfected herself in the martial arts. Some women came to the sects with skills. Su Sanniang 蘇三娘, rebel leader of another sect of the Heaven and Earth Society, was the daughter of a martial arts instructor.  Such sectarian rebel bands are frequently regarded as bandit groups. A history of the Taiping Revolutionary Movement refers to these two cult leaders as female bandit chiefs before they joined the Taipings.

Male leaders of religious rebellions frequently married women from families skilled in acrobatic, martial, and magic arts. These women tended to be both beautiful and charismatic. Wang Lun 王倫, who rebelled in 1774 in Shandong, had an “adopted daughter in name, mistress in fact,” by the name of Wu Sanniang 烏三娘 who was one of Wang’s most powerful warriors. Originally an itinerant performer highly skilled in boxing, tightrope walking, and acrobatics, she terrified the enemy with spellbinding magic. She brought a dozen associates from her old life to the sect, and they all became fearsome warriors known as “female immortals” (xiannü 仙女); three of them, including Wu Sanniang, lived with Wang Lun as “adopted wives” (ifu 義婦). A tall, white-haired woman at least sixty years old, possibly the mother of one of these acrobat-turned women warriors, wielded one sword with ease and two almost as effortlessly. Dressed in yellow astride a horse, hair loose and flying, she was feared as much for her sorcery as for her military skills. Her presence indicates that some of the women came from female-dominated itinerant performing families. Woman Zhang 張氏and Woman Zhao 趙氏, wives of Lin Zhe 林哲, another leader of the cult, were also known for being able to brandish a pair of broadswords on horseback.

Hong Xuanjiao 洪宣嬌†(mid nineteenth century), also known as Queen Xiao (xiaohou 蕭后), wife of the West King of the Taiping Heavenly Kingdom (taiping tianguo 太平天國), was so stunningly beautiful and impressive in swordsmanship that she mesmerized the entire army during battles. The link between early immortality beliefs and shamanism also suggests that these women warrior “immortals” of sectarian cults may represent surviving relics of the female shamans who occupied high positions during high antiquity.

During the White Lotus Religion rebellion in Sichuan, Hunan, and Shaanxi beginning in 1796, five of the generals were at once leaders and wives of other leaders of the cult. They were Woman Qi née Wang (Qiwangshi 齊王氏; Wang Cong’er 王聰兒), Woman Zhang née Wang (Zhangwangshi 張王氏), Woman Xu née Li (Xulishi 徐李氏), Woman Fan née Zhang (Fanzhangshi 范張氏), and Woman Wang 王†née Li 李 (Wanglishi 王李氏). In the Heavenly Principle Religion (tianlijiao 天理教) rebellion that began in Beijing during 1713, the wife of its leader, Li Wencheng 李文成, led three invasions into the city. There was even a “Female Army” (niangzijun 娘子軍) within the Eight Trigrams (baguajiao 八卦教) uprising in Shandong during the Daoguang 道光† reign (1821–51). The female generals, Cheng Sijie 程四姐†and Yang Wujie 楊五姐, were particularly impressive when they wove among enemy forces in the style of “butterflies flitting among flowers,” wielding broadswords on horseback, their hairpins glittering in the light.

A number of female rebel leaders used religion and magic to buttress their power. Many claimed to be celestials and were leaders of sectarian cults (...). Chen Shuozhen 陳碩貞†(?–653) mobilized a peasants’ uprising by declaring that she had ascended to heaven and become an immortal. Tang Sai’er (ca.1403–20), a head of the White Lotus Religion (bailianjiao 白蓮教), designated herself as a “Buddhist Mother” (fuomu 佛母). The spellbinding old woman warrior in Wang Lun’s Clear Water Religion (qingshuijiao 清水教) sect was known to the rebel community as a reincarnation of the highest White Lotus deity, the Eternal Venerable Mother (wusheng laomu 無生老母). Wang Lun relied on her for performing magic and the rituals for calling on their supreme deity. Woman Wang née Liu (wangliushi 王劉氏), one of the numerous female leaders of the White Lotus Religion revolt, also titled herself the Eternal Venerable Mother. Wang Cong’er (1777–98), originally an itinerant entertainer, became the commander in chief of the rebel army she launched with her husband, a master in the White Lotus Religion.

Indeed, itinerant performers such as Wu Sanniang mentioned above were frequently trained in the martial arts since childhood and must have been skilled at performing magic tricks as well. Lin Hei’er 林黑兒†(?–1900), leader of Red Lanterns (hongdengzhao 紅燈照), the young women’s branch of the Boxer’s Movement (yihetuan 義和團), was also originally an itinerant entertainer (her husband was a boatman). Designating herself the Holy Mother of the Yellow Lotus (huanglian shengmu 黃蓮聖母), she taught her followers the skills of wielding swords and waving fans as well as magic to defeat their enemies.  Wang Nangxian 王囊仙†(literally, Goddess Nang, 1778–97), an ethnic minority of the Miao tribe, was worshipped as a goddess by her tribesmen before she led them in revolt against the Chinese government."

Chinese shadow theatre: history, popular religion, and women warriors, Fan Pen Li Chen

Seated deity. Indonesia, Central Java, 9th Century. Now located at Brooklyn Museum.

A recreation of a Tagalog noblewoman’s attire as featured on Boxer Codex made of silk and songket fabric. Posted by Nahia Lloren on the Facebook group Philippine Heritage Costume and Dress. (July 7, 2021)

The Story of Asian Slaves in Spanish Colonial America

from Stories in History

Large Menuki in the form of a Dragon and Ken. Gotô School. Edo period. Japan. Gold. 17th–18th century.

What is that you're smoking, Sir? That, your excellency, is the reason for which the West conquered the world.

Origins of the Pibo: Let’s take a trip along the Silk Road.

1. Introduction to the garment:

Pibo 披帛 refers to a very thin and long shawl worn by women in ancient East Asia approximately between the 5th to 13th centuries CE. Pibo is a modern name and its historical counterpart was pei 帔. But I’ll use pibo as to not confuse it with Ming dynasty’s xiapei 霞帔 and a much shorter shawl worn in ancient times also called pei.

Below is a ceramic representation of the popular pibo.

A sancai-glazed figure of a court lady, Tang Dynasty (618–690, 705–907 CE) from the Sze Yuan Tang Collection. Artist unknown. Sotheby’s [image source].

Although some internet sources claim that pibo in China can be traced as far back as the Qin (221-206 BCE) or Han (202 BCE–9 CE; 25–220 CE) dynasties, we don’t start seeing it be depicted as we know it today until the Northern and Southern dynasties period (420-589 CE). This has led to scholars placing pibo’s introduction to East Asia until after Buddhism was introduced in China. Despite the earliest art representations of the long scarf-like shawl coming from the Northern and Southern Dynasties period, the pibo reached its popularity apex in the Tang Dynasty (618–690 CE: 705–907 CE).

Academic consensus: Introduction via the Silk Road.

The definitive academic consensus is that pibo evolved from the dajin 搭巾 (a long and thin scarf) worn by Buddhist icons introduced to China via the Silk Road from West Asia.

披帛是通过丝绸之路传入中国的西亚文化, 与中国服饰发展的内因相结合而流行开来的一种"时世妆" 的形式. 沿丝绸之路所发现的披帛, 反映了丝绸贸易的活跃.

[Trans] Pibo (a long piece of cloth covering the back of the shoulders) was a popular female fashion period accessory introduced to China by West Asian cultures by way of the Silk Road and the development of Chinese costumes. The brocade scarves found along the Silk Road reflect the prosperity of the silk trade that flourished in China's past (Lu & Xu, 2015).

I want to add to the above theory my own speculation that, what the Chinese considered to be dajin, was most likely an ancient Indian garment called uttariya उत्तरीय.

2. Personal conjecture: Uttariya as a tentative origin to pibo.

In India, since Vedic times (1500-500 BCE), we see mentions in records describing women and men wearing a thin scarf-like garment called “uttariya”. It is a precursor of the now famous sari. Although the most famous depiction of uttariya is when it is wrapped around the left arm in a loop, we do have other representations where it is draped over the shoulders and cubital area (reverse of the elbow).

Left: Hindu sculpture “Mother Goddess (Matrika)”, mid 6th century CE, gray schist. Artist unknown. Looted from Rajasthan (Tanesara), India. Photo credit to Metropolitan Museum of Art, New York, United States [image source].

Right: Rear view of female statue possibly representing Kambojika, the Chief Queen of Mahakshatrapa Rajula, ca. 1st century CE. Artist unknown. Found in the Saptarishi Mound, Mathura, India. Government Museum, Mathura [image source].

Buddhism takes many elements from Hindu mythology, including apsaras अप्सरा (water nymphs) and gandharvas गन्धर्व (celestial musicians). The former was translated as feitian 飞天 in China. Hindu deities were depicted wearing clothes similar to what Indian people wore, among which we find uttariya, often portrayed in carvings and sculptures of flying and dancing apsaras or gods to show dynamic movement. Nevertheless, uttariya long predated Buddhism and Hinduism.

Below are carved representation of Indian apsaras and gandharvas. Notice how the uttariya are used.

Upper left: Carved relief of flying celestials (Apsara and Gandharva) in the Chalukyan style, 7th century CE, Chalukyan Dynasty (543-753 CE). Artist Unknown. Aihole, Karnataka, India. National Museum, New Delhi, India [image source]. The Chalukyan art style was very influential in early Chinese Buddhist art.

Upper right: Carved relief of flying celestials (gandharvas) from the 10th to the 12th centuries CE. Artist unknown. Karnataka, India. National Museum, New Delhi, India [image source].

Bottom: A Viyadhara (wisdom-holder; demi-god) couple, ca. 525 CE. Artist unknown. Photo taken by Nomu420 on May 10, 2014. Sondani, Mandsaur, India [image source].

Below are some of the earliest representations of flying apsaras found in the Mogao Caves, Gansu Province, China. An important pilgrimage site along the Silk Road where East and West met.

Left to right: Cave No. 461, detail of mural in the roof of the cave depicting either a flying apsara or a celestial musician. Western Wei dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 285 flying apsara (feitian) in one of the Mogao Caves. Western Wei Dynasty (535–556 CE), Artist unknown. Photo taken by Keren Su for Getty Images. Mogao Grottoes, Dunhuang, China [image source].

Cave 249. Mural painting of feitian playing a flute, Western Wei Dynasty (535-556 CE). Image courtesy by Wang Kefen from The Complete Collection of Dunhuang Grottoes, Vol. 17, Paintings of Dance, The Commercial Press, Hong Kong, 2001, p. 15. Mogao Grottoes, Dunhuang, China [image source].

I theorize that it is likely that the pibo was introduced to China via Buddhism and Buddhist iconography that depicted apsaras (feitian) and other deites wearing uttariya and translated it to dajin.

3. Trickle down fashion: Buddhism’s journey to the East.

However, since Buddhism and its Indian-based fashion spread to West Asia first, to Sassanian Persians and Sogdians, it is likely that, by the time it reached the Han Chinese in the first century CE, it came with Persian and Sogdian influence. Persians’ fashion during the Sassanian Empire (224–651 CE) was influenced by Greeks (hellenization) who also had a a thin long scarf-like garment called an epliblema ἐπίβλημα, often depicted in amphora (vases) of Greek theater scenes and sculptures of deities.

Left to right: Dame Baillehache from Attica, Greece. 3rd century BCE, Hellenistic period (323-30 BCE), terracotta statuette. Photo taken by Hervé Lewandowski. Louvre Museum, Paris, France [image source].

Deatail view of amphora depicting the goddess Artemis by Athenian vase painter, Andokides, ca. 525 BCE, terracotta. Found in Vulci, Italy. Altes Museum, Berlin, Germany [image source].

Statue of a Kore (young girl), ca. 570 BCE, Archaic Period (700-480 BCE), marble. Artist unknown. Uncovered from Attica, Greece. Acropolis Museum, Athens, Greece [image source].

Detail view of Panathenaic (Olympic Games) prize amphora with lid, 363–362 BCE, Attributed to the Painter of the Wedding Procession and signed by Nikodemos, terracotta. Uncovered from Athens, Greece. J. Paul Getty Museum, Los Angeles, California, United States [image source].

Roman statue depicting Euterpe, muse of lyric poetry and music, ca. 2nd century CE, marble, Artist unknown. From the Villa of G. Cassius Longinus near Tivoli, Italy. Photo taken by Egisto Sani on March 12, 2012, Vatican Museums, Rome, Italy [image source].

Greek (or Italic) tomb mural painting from the Tomb of the Diver, ca. 470 BCE, fresco. Artist unknown. Photo taken by Floriano Rescigno. Necropolis of Paestum, Italy [image source].

Below are Iranian and Iraqi period representations of this long thin scarf.

Left to right: Closeup of ewer likely depicting a female dancer from the Sasanian Period (224–651 CE) in ancient Persia , Iran, 6th-7th century CE, silver and gilt. Artist unknown. Mary Harrsch. July 10, 2015. Arthur M. Sackler Gallery of Asian Art, Smithsonian, Washington D.C [image source].

Ewer with nude dancer probably representing a maenad, companion of Dionysus from the Sasanian Period (224–651 CE) in ancient Persia, Iran, 6th-7th century CE, silver and gilt. Artist unknown. Mary Harrsch. July 16, 2015. Arthur M. Sackler Gallery of Asian Art, Smithsonian, Washington D.C [image source].

Painting reconstructing the image of unveiled female dancers depicted in a fresco, Early Abbasid period (750-1258 CE), about 836-839 CE from Jawsaq al-Khaqani, Samarra, Iraq. Museum of Turkish and Islamic Art, Istanbul [image source].

The earliest depictions of Buddha in China, were very similar to West Asian depictions. Ever wonder why Buddha wears a long draped robe similar to a Greek himation (Romans called it toga)?

Take a look below at how much the Greeks influenced the Kushans in their art and fashion. The top left image is one of the earliest depictions of Buddha in China. Note the similarities between it and the Gandhara Buddha on the right.

Left: Seated Buddha, Mahao Cliff Tomb, Sichuan Province, Eastern Han Dynasty, late 2nd century C.E. (photo: Gary Todd, CC0).

Right: Seated Buddha from Gandhara, Pakistan c. 2nd–3rd century C.E., Gandhara, schist (© Trustees of the British Museum)

Standing Bodhisattva Maitreya (Buddha of the Future), ca. 3rd century, gray schist. From Gandhara, Pakistan. Image credit to The Metropolitan Museum of Art, New York City, United States [image source].

Statue of seated goddess Hariti with children, ca. 2nd to 3rd centuries CE, schist. Artist unknown. From Gandhara, Pakistan. The British Museum, London, England [image source].

Before Buddhism spread outside of Northern India (birthplace), Indians never portrayed Buddha in human form.

Early Buddhist art is aniconic, meaning the Buddha is not represented in human form. Instead, Buddha is represented using symbols, such as the Bodhi tree (where he attained enlightenment), a wheel (symbolic of Dharma or the Wheel of Law), and a parasol (symbolic of the Buddha’s royal background), just to name a few. […] One of the earliest images [of Buddha in China] is a carving of a seated Buddha wearing a Gandharan-style robe discovered in a tomb dated to the late 2nd century C.E. (Eastern Han) in Sichuan province. Ancient Gandhara (located in present-day Afghanistan, Pakistan, and northwest India) was a major center for the production of Buddhist sculpture under Kushan patronage. The Kushans occupied portions of present-day Afghanistan, Pakistan, and North India from the 1st through the 3rd centuries and were the first to depict the Buddha in human form. Gandharan sculpture combined local Greco-Roman styles with Indian and steppe influences (Chaffin, 2022).

In the Mogao Caves, which contain some of the earliest Buddhist mural paintings in China, we see how initial Chinese Buddhist art depicted Indian fashion as opposed to the later hanfu-inspired garments.

Left to right: Cave 285, detail of wall painting, Western Wei dynasty (535–556 CE). Mogao Grottoes, Dunhuang, China. Courtesy the Dunhuang Academy [image source]. Note the clothes the man is wearing. It looks very similar to a lungi (a long men’s skirt).

Photo of Indian man sitting next to closed store wearing shirt, scarf, lungi and slippers. Paul Prescott. February 20, 2015. Varanasi, India [image source].

Cave 285, mural depiction of worshipping bodhisattvas, 6th century CE, Wei Dynasty (535-556 A.D.), Unknown artist. Mogao Grottoes, Dunhuang, China. Notice the half bow on his hips. That is a common style of tying patka (also known as pataka; cloth sashes) that we see throughout Indian history. Many of early Chinese Buddhist paintings feature it, including the ones at Mogao Caves.

Indian relief of Ashoka wearing dhoti and patka, ca. 1st century BC, Unknown artist. From the Amaravathi village, Guntur district, Andhra Pradesh, India. Currently at the Guimet Museum, Paris [image source].

Cave 263. Mural showing underlying painting, Northern Wei Dynasty (386–535 CE). Artist Unknown. Picture taken November 29, 2011, Mogao Grottoes, Dunhuang, China [image source]. Note the pants that look to be dhoti.

Comparison photo of modern dhoti advertisement from Etsy [image source].

Spread of Buddhism to East Asia.

Map depicting the spread of Buddhism from Northern India to the rest of Asia. Gunawan Kartapranata. January 31, 2014 [image source]. Note how Mahayana Buddhism arrived to China after passing through Kushan, Bactrean, and nomadic steppe lands, absorbing elements of each culture along the way.

Wealthy Buddhist female patrons emulated the fantasy fashion worn by apsaras, specifically, the uttariya/dajin and adopted it as an everyday component of their fashion.

Cave 285. feitian mural painting on the west wall, Western Wei Dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 285. Detail view of offering bodhisattvas (bodhisattvas making offers to Buddha) next to the phoenix chariot on the Western wall of the cave. Western Wei Dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 61 Khotanese (from the kingdom of Khotan 于阗 [56–1006 CE]) donor ladies, ca. 10th century CE, Five Dynasties period (907 to 979 CE). Artist unknown. Picture scanned from Zhang Weiwen’s Les oeuvres remarquables de l'art de Dunhuang, 2007, p. 128. Uploaded to Wikimedia Commons on October 11, 2012 by Ismoon. Mogao Grottoes, Dunhuang, China [image source].

Detail view of Ladies Adorning Their Hair with Flowers 簪花仕女图, late 8th to early 9th century CE, handscroll, ink and color on silk, Zhou Fang 周昉 (730-800 AD). Liaoning Provincial Museum, Shenyang, China [image source].

Therefore, the theory I propose of how the pibo entered East Asia is:

India —> Greek influenced West Asia (Sassanian Persians, Sogdians, Kushans, etc…) —> Han China —> Rest of East Asia (Three Kingdoms Korea, Asuka Japan, etc…)

Thus, the most likely theory, in my person opinion, is Buddhist iconography depicting uttariya encountered Greek-influenced West Asian Persian, Sogdian, and Kushan shawls, which combined arrived to China but wouldn’t become commonplace there until the explosion in popularity of Buddhism from the periods of Northern and Southern Dynasties to Song.

References:

盧秀文; 徐會貞. 《披帛與絲路文化交流》 [The brocade scarf and the cultural exchanges along the Silk Road]. 敦煌研究 (中國: 敦煌研究編輯部). 2015-06: 22 – 29. ISSN 1000-4106.

Favorite History Books || Sybil, Queen of Jerusalem, 1186–1190 by Helen J. Nicholson ★★★★☆

As a child, Sybil’s future prospects appeared excellent: as the eldest child of King Amaury of Jerusalem and as a member of the dynasty that claimed descent from Godfrey de Bouillon and the other heroes of the First Crusade, we might expect that she would have been an attractive marriage prospect. Yet European noblemen did not queue up to seek her hand. One reason for this might have been that commanding the defence of the kingdom of Jerusalem in the face of aggressive Muslim expansionism was a daunting prospect for any warrior, no matter how ambitious. Moreover, as her brother Baldwin’s illness became generally known in Europe, Sybil’s potential husbands may have wondered whether she and her children would be similarly afflicted. In addition, as her brother Baldwin and his council made clear to Philip of Alsace in autumn 1177, outside aid was unwelcome in the kingdom except on the terms they dictated. Robert VI of Béthune, Philip of Alsace’s candidate for Sybil’s hand, might have made a more effective count of Jaffa and Ascalon, regent of the kingdom and king consort than Guy de Lusignan, but Baldwin – aged only sixteen at the time of Count Philip’s crusade – preferred to marry his sister to a man he knew. If King Baldwin IV had supported his elder sister as the heir who – given that Baldwin V was very young and in uncertain health – would almost certainly inherit the kingdom, it might have been possible for Sybil to unite the nobles of the kingdom behind her as her brother had done. But his contradictory and changing policies left her rights of inheritance unclear and the nobles of the kingdom divided. He married her to one of his household knights, then attempted to divorce them; he appointed her husband as procurator, then shortly afterwards deposed him and appointed her son as his co- ruler, and then appointed another procurator, then finally appointed two regents, one to care for the young king Baldwin V and the other to govern. If he made further arrangements for the succession after Baldwin V they were unworkable. By marrying his younger half-sister to a leading noble of the kingdom but forcing the bridegroom to surrender his inherited estates in return, King Baldwin IV ensured that both his sisters and their husbands and supporters had grievances against him. While his measures reduced any threat that he would be overthrown during his lifetime, they boded badly for the kingdom after the death of his immediate heir. Given the rivalries between the leading nobles of the kingdom and Saladin’s need to win a decisive victory over the Franks, no one could have prevented Saladin from taking Jerusalem and conquering most of Sybil’s kingdom; Sybil was doomed to failure as queen. Not only did she lose Jerusalem, but she also failed in the most fundamental function of a noblewoman: she failed to provide an heir for herself, as both her son Baldwin and her daughters died in childhood. On the other hand, in the face of disaster she did not abandon her kingdom and flee to Europe, nor did she retire to a religious house. Instead, she stayed in the crusader states and did all she could to oppose the invader. She tried to defend Ascalon, she remained in Jerusalem until it was surrendered to Saladin, she obtained her husband’s release from Saladin’s prison, and by accompanying him in the months that followed she gave him the authority to continue as king of Jerusalem. As husband of the eldest daughter of King Amaury of Jerusalem and as a crowned king, Guy had a stronger claim to royal authority than Conrad of Montferrat: crusaders from Europe rallied to him and the representatives of the Italian maritime cities supported him so that he could begin the fightback against Saladin which was continued by the Third Crusade and enabled the kingdom of Jerusalem to continue to exist until 1291. When Sybil died, Guy’s authority died with her; but she had ensured that her kingdom would not die, at least for another century.

Notes on Empire of Care by Catherine Ceniza Choy

The scapegoating of Filipino nurse immigrants: Filipina Narciso and Lenora Perez are examples of two nurses who were scapegoated.

Filipino nurses with temporary work visas, H-1 visas, were exploited

Mass murder cases involving Filipino nurses included the 1996 Richard Speck massacre. Some of his victims were Filipino nurses and the only survivor was one of these Filipino nurses

The only survivor - Luisa Silverio

The victims

The 1975 Veterans administration hospital murders that happened in Ann Arbor, Michigan, and involved the previously mentioned nurses Narciso and Perez, bering initially convicted and then later acquitted. They were accused of poisoning and conspiracy

These cases reflect how US imperialism shaped the treatment that was levelled at Filipino nurses

During the late 1970s, Filipino nurse organisations emerged in order to combat the exploitation and discrimination that Filipino nurses faced

There is still a huge gap in the study of Filipino Americans. Quoted from Sucheng Chan's essay on Asian American historiography

"Despite the steady progress in Asian American historical scholarship, significant gaps remain. The most glaring is the absence of book-length studies on Filipino Americans"

American imperialism still shapes the way in which Filipinos - especially Filipino women are perceived

Jesse Ventura, an American politician in his autobiography "I ain't got no time to bleed" reminisces on his days as a Navy Seal stationed in the Philippines.

He talks about being young with a large libido, and how the abundance of Filipino women for him and his comrades to take home relieved that.

He spoke of going through less hurdles when he came to getting a Filipina to sleep with him compared to American women back home. In other words - Filipinas were easy.

This is a reflection of how US imperialism has shaped how the Philippines is viewed.

Filipino women are used in order to portray the Philippines as a feminised, hypersexual, always-willing paradise for the pleasure of Western men.

This depiction of so called "love" between Filipinos and Americans erases the long history of US violence, US domination, the colonial relationship between the US and the Philippines and the history of sexual violence perpetuated against Filipino women. Not to mention the destruction of the environment and spread of disease

US military presence in the Philippines also helped in influencing migration patterns.

By 1970, there were more Filipino men in the US navy than the Philippine navy. This was due to the active recruitment of Filipino men into the US military

Yet another example of how the US imperialist narrative erases truths about history and the lived experiences of Filipinos:

Filipino American organisations had to convince Minnesota legislature to correct a plaque commemorating the Spanish-American war.

The plaque stated that it was honouring the fact that the war was fought to free the Philippines from the tyrannical Spanish

This is unequivocally untrue and rings back to the concepts of American exceptionalism - The US being far more "benevolent" to it's colonies than their European counterparts.

The war was fought in order to defeat the Spanish - not to liberate the Philippines.

The Philippines then fought against the US for independence thereafter

America's so called "forgetfulness" when it comes to Filipino-American history continues to hurt Filipinos.

In particular, Filipino American war Veterans who struggle to fight for their access to veterans benefits.

On This Day In History

July 20th, 1960: Ceylon (now Sri Lanka) elects the world's first female head of government, Sirimavo Bandaranaike.

Women warriors in Chinese history - Part 1

“In the nomadic tribes of the foreign princesses from the Steppes northwest to the northeast of the Chinese borders, women habitually rode horses and were frequently also skilled militarily. They had to be able to survive on their own and defend themselves when their men left camp to herd animals for months on end. Thus, unsurprisingly, many daughters of nomadic and semi-nomadic tribal chiefs were also capable fighters. Madam Pan 潘夫人 of “barbarian origins” during the Wei dynasty, the semi-barbarian Princess Pingyang 平陽公主 who helped establish the Tang dynasty, and the “barbarian queen,” Empress Dowager Xiao, are historical examples of this category of female generals.

While the barbarians to the north were known as fan 番, those belonging to peripheral areas from the southwest to the southeast were known as man 蠻. Like the nomadic princesses, these women of non-Chinese or Chinese ethnic minority groups did not bind their feet and could thus become formidable opponents. Indeed, the female battle units within the Taiping 太平 rebel forces that actually entered combat – rather than merely providing labour as most of the female units did –were reportedly made up in the main of women from the Miao 苗 tribes, aside from the Hakka (Kejia 客家) women of Guangxi. 

Female bandit leaders or daughters and sisters of bandit leaders who occupied mountains or established strongholds in marginal lands are almost indistinguishable from the man barbarian princesses of tribal chieftains in novels and shadow plays. Such barbarian women generals and female bandit leaders were rarely privileged enough to be recorded by the historians. The three found most frequently, Madam Xi 洗夫人 (502– 557), Madam Washi 瓦氏夫人 (1498–1557),95 and Madam Xu 許夫人 (1271–1368), were all pro-Chinese. While the first two cooperated with the Chinese government, the third joined Chinese forces against the Mongols. A certain Zhejie 折節 or Shejie 蛇節, a female leader of the Miao tribe, also led a rebellion against Mongol troupes, but she eventually surrendered to them and was subsequently executed. 

Real enemies of the Chinese empire, such as the Trv’vy sisters of Vietnam, are hardly ever mentioned by the Chinese, even though they are first recorded in the Han dynastic history. Even under such circumstances, of the women commanders in Chinese history studied by Xiaolin Li, a hefty per cent were from “minor nationalities.”

Female rebel leaders and women warriors in rebel forces tended to rise from peasantry and marginal groups such as families of itinerant performers, robbers, boatmen, and hunters. Many of them are beautiful and charismatic. Most of the rebel groups were basically bandits (known as haohan 好漢, “bravos” euphemistically) – how else could they have survived without a continuous source of income? Many of the bandit groups, like the sworn brothers of the Water Margin, lived in mountains and marshlands, awaiting a chance to start or join in an uprising with the hope of gaining power and legitimacy through either pardon (when they posed too great a threat to the state) or founding a new dynasty. Many had sisters, wives, or daughters who were also capable of leading armies.”

Chinese shadow theatre: history, popular religion, and women warriors, Fan Pen Li Chen

That Japan chose Brazil of all places to be THE go-to destination to immigrate to in the 20th century is so wild to me.

Like, the only cultural crossover we had was that we both eat rice with everything.

Also, this is my favourite "Move to Brazil" Japanese propaganda poster of all time:

I love how the woman's pointing to Brazil like the writing on the highlighted country isn't enough for people to figure out which country they should be moving to.

Foreigners living in Manila during the 16th century. From left to right: a Vietnamese couple, a Japanese samurai or rōnin couple, and a Ming-era Chinese couple. Artist unknown, most likely Chinese. Boxer Codex.

Shoroon Bumbagar, tomb of a Turkic (Gokturk) nobleman, 650-700 CE

"Like Chinese historians, Muslim writers in general depict the ‘Turks’ as possessing East Asian physiognomy. For instance, Sharaf al-Zamān Tāhir Marvazī describes them as being ‘short, with small eyes, nostrils, and mouths’ (1942: 53–4, 156). Similarly, Tabarī (d. 923) depicts the ‘Turks’ as being ‘full-faced with small eyes’ (1987: 21). In his Qābūs-nāma, the eleventh-century Ziyarid ruler Kai Kā'ūs also describes the ‘Turks’ as possessing ‘a large head (sar-i buzurg), a broad face (rūy-i pahn), narrow eyes (chashmhā-i tang), and a flat nose (bīnī-i pakhch), and unpleasing lips and teeth (lab va dandān na nīkū)’ (Kai Kā'ūs ibn Iskandar 1951a: 103; 1951b: 64). The Arab historian and geographer al-Mas'ūdī (896–956) writes that the Oghuz Turks residing in Yengi-kent, a town near the mouth of the Syr Darya, ‘are distinguished from other Turks by their valour, their slanted eyes, and the smallness of their stature’ (wa hum ashadd al-Turk ba’san wa aqsaruhum wa asgharuhum a‘yunan wa fī al-Turk man huwa aqsar min hā’ulā’) (al-Mas'ūdī 1962–: Vol. 1, 212). However, Muslim writers later differentiated the Oghuz Turks from other Turks in terms of physiognomy. Rashīd al-Dīn writes that ‘because of the climate their features gradually changed into those of Tajiks. Since they were not Tajiks, the Tajik peoples called them turkmān, i.e. Turk-like (Turk-mānand)’ (Rashīd al-Dīn Fażlallāh Hamadānī 1988: Vol. 1, 35–6; Rashiduddin Fazlullah 1998–99:  Vol. 1, 31). Hāfiz Tanīsh Mīr Muhammad Bukhārī (d. c. 1549) also relates that after the Oghuz came to Transoxiana and Iran, their ‘Turkic face did not re-main as it was’ (1983: fol. 17a (text), Vol. 1, 61 (trans.)). Abū al-Ghāzī Bahadur Khan similarly writes that ‘their chin started to become narrow, their eyes started to become large, their faces started to become small, and their noses started to become big’ after five or six generations (Abu-l-Gazi 1958: 42 (text), 57 (trans.); Ebülgazî Bahadir Han 1975: 57–8). As a matter of fact, the mixed nature of the Ottomans, belonging to the Oghuz Turkic group, is noted by the Ottoman historian Mustafā Ālī (1541–1600). In his Künhü'l-ahbār, he remarks that the Ottoman elites of the sixteenth century were of mostly of non-Turkic origin: ‘Most of the inhabitants of  Rum are of confused ethnic origin. Among its notables there are few whose lineage does not go back to a convert to Islam …’ (Ekser-i sükkān-i vilāyet-i Rūm meclis-i muhtelit ul-mefhūm olub ā‘yānında az kimsene bulunur ki nesebi bir müslüm-i cedīde muntehī olmaya) (Fleischer 1986: 254; Mustafā Ālī, Künhü'l-ahbār 1860–68: Vol. 1, 16)."

-Joo-Yup Lee & Shuntu Kuang, A Comparative Analysis of Chinese Historical Sources and Y-DNA Studies with Regard to the Early and Medieval Turkic Peoples

Carving detail, Tonle Bati, 2000