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Arte Vietnam

Nach der Schlacht um Dien Bien Phu wird das Land durch das Genfer Abkommen in Nord- und Südvietnam geteilt. Details. ARTE-Doku: Vietnam. Teil 1: Déjà Vu! Oder: Alles schon mal da gewesen! ( – ). “Anfang jährte sich das Ende des. Nach den Gräueln des Krieges steht Vietnam heute vor der größten Herausforderung des Jahrhunderts: der Anpassung an den Klimawandel.

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ARTE freut sich über die hervorragende Quoten-Performance der neunteiligen. Dokumentarfilm-Reihe „Vietnam“, die an den Abenden vom - September​. Nach den Gräueln des Krieges steht Vietnam heute vor der größten Herausforderung des Jahrhunderts: der Anpassung an den Klimawandel. Hinweis der Redaktion: Die US-Originalfassung "The Vietnam War" ist 18 Stunden lang. Die hier vorliegende, stark gekürzte, deutsche Fassung, wurde auf arte. Vietnam ist ein Land zwischen Tradition und Moderne. Uhr Abenteuer Vietnam Dokumentation Deutschland | arte. Ein Land voller. Nach der Schlacht um Dien Bien Phu wird das Land durch das Genfer Abkommen in Nord- und Südvietnam geteilt. Details. ARTE-Doku: Vietnam. Teil 1: Déjà Vu! Oder: Alles schon mal da gewesen! ( – ). “Anfang jährte sich das Ende des.

Arte Vietnam

Vietnam ist ein Land zwischen Tradition und Moderne. Uhr Abenteuer Vietnam Dokumentation Deutschland | arte. Ein Land voller. Hinweis der Redaktion: Die US-Originalfassung "The Vietnam War" ist 18 Stunden lang. Die hier vorliegende, stark gekürzte, deutsche Fassung, wurde auf arte. ARTE-Doku: Vietnam. Teil 1: Déjà Vu! Oder: Alles schon mal da gewesen! ( – ). “Anfang jährte sich das Ende des. Arte Vietnam Arte Vietnam

Vietnamese folk religion Confucianism Buddhism Taoism Christianity. Vietnamese martial arts. Music and performing arts.

Television Cinema. World Heritage Sites. Flag Coat of arms. CS1 maint: uses authors parameter link. Martial arts. List of styles History Timeline Hard and soft.

Professional boxing Professional kickboxing Knockdown karate Mixed martial arts Pankration Submission wrestling Vale tudo.

Portal Outline. Police Security Civil Defense Force. Outline Index. Categories : Vietnamese martial arts. Hidden categories: CS1 maint: uses authors parameter Articles needing additional references from October All articles needing additional references.

Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. A few bronze sculptures and decorative items made of metal remain as well.

There are no works of marble or other higher quality stone. Likewise there are no paintings or sketches. The people of Champa wrote, and perhaps also sketched, on leaves, which have not withstood the hot and humid climate of coastal Vietnam.

Items made of perishable materials, such as wood, for the most part have not survived. The remaining works of art made of metal include bronze statues of the Mahayanist deities Lokesvara and Tara dated approximately AD and associated with the Buddhist art of Dong Duong.

An even older bronze statue of the Buddha bears a strong resemblance to Indian Buddhist statues of the Amaravati style; scholars doubt that it was originally from Champa, surmising instead that it must have come into the country as part of the maritime trade that linked India with Southeast Asia and China.

We have abundant textual evidence of much classical Cham art that once existed that has been lost to the ravages of time and the depredations of human vandals, looters, and conquerors.

For example, the early 14th-century Chinese historian Ma Duanlin reported the existence of a large statue of the Buddha made of gold and silver; the current whereabouts of this statue are unknown.

The Cham kings themselves have left us stone inscriptions describing the gifts of now lost precious objects they made to the shrines and sanctuaries of the realm.

Especially noteworthy was the practice of donating decorated metallic sleeves kosa and diadems mukuta to important lingas and the divinities with which they were affiliated.

A few years later, around , Harivarman may have been outdone by his successor Indravarman, who donated a golden kosa with six faces facing in the four cardinal directions, toward the Northeast and the Southeast topped off by a nagaraja serpent-king ornament, and decorated with precious gemstones including a ruby, a sapphire, a topaz, and a pearl.

The written sources, including the Chinese books of history and the Cham inscriptions, also report on some of the catastrophic events, primarily acts of war, that led to the loss of Cham art.

In the second quarter of the 5th century AD, according to the historian Ma Duanlin , a Chinese general named Yuen Kan sacked the capital of Champa, making off with many "rare and precious objects", including "tens of thousands of pounds of gold in ingots coming from statues which he had smelted.

Unlike the Khmer of Angkor , who for the most part employed a grey sandstone to construct their religious buildings, the Cham built their temples from reddish bricks.

Some of these brick structures can be still be visited in the Vietnamese countryside. Typically, a Cham temple complex consisted of several different kinds of buildings.

These building types are typical for Hindu temples in general; the classification is valid not only for the architecture of Champa, but also for other architectural traditions of Greater India.

The Cham created freestanding sandstone sculptures in the round, as well as high and bas-relief carvings of sandstone. In general, they appear to have preferred sculpting in relief , and they excelled especially at sculpture in high relief.

Cham sculpture went through a marked succession of historical styles, the foremost of which produced some of the best works of Southeast Asian art.

The subject-matter of Cham sculpture is drawn mostly from the legends and religion of Indian civilization.

Many of the sculptures are representations of particular Hindu and Buddhist deities, most prominently Siva , but also Lokesvara , Visnu , Brahma , Devi , and Shakti.

Such sculptures may have served a religious purpose rather than being purely decorative. Any sculpture in the round of an important deity that is completely forward-oriented, not engaged in any particular action, and equipped with symbolic paraphernalia, would have been a candidate for ritual or devotional use.

Cham sculptors also created numerous lingas , phallic posts linked symbolically with Siva if the cross-section is a circle or with the trimurti if the post is segmented, consisting of a lower square section symbolic of Brahma, a middle octagonal section symbolic of Visnu, and a top circular section symbolic of Siva.

The ritual uses of the linga are familiar from modern Hinduism. A few of the sculptures in the art of Champa depart from the Indian subject-matter to reveal something of the life of the historical Cham people.

An example are the especially well-executed representations of elephants that serve as decorative details in some pieces: from written sources we know that the Cham relied on elephants for military and other purposes, since they lacked a steady supply of horses.

Other sculptures reflect the cultural legacy of Greater India and express legendary themes more typical of Javanese or Cambodian art than the art of India.

An example of such a theme is the motif of the makara sea-monster, which came to Champa from Java, where it is prominent in the art of the Borobudur and other temples of the same period.

Scholars agree that it is possible to analyze the art of Champa in terms of distinct "styles" typical for various historical periods and different locations.

Several have attempted through their study to set down a classification of historical styles. Each style is named after a place in Vietnam at which works exemplative of that style have been found.

Scholars have coded the ruins to reflect the diversity of periods and styles. Works of this style reflect foreign influence from a variety of sources, primarily from the Khmer of pre- Angkorian Cambodia , but also from the art of Dvaravati , the Javanese art of Indonesia , and of southern India.

Originally, the pedestal had a religious function, and was used to support a huge lingam as a symbol for Siva , the primary deity in Cham religion.

The pedestal itself is decorated with relief carvings featuring scenes from the lives of ascetics: ascetics playing various musical instrument, an ascetic preaching to animals, an ascetic receiving a massage.

To the Cham, the pedestal symbolized Mount Kailasa, the mythological abode of Siva which also accommodated numerous forest- and cave-dwelling ascetics, just as the lingam it supported represented the god himself.

The pediment shows the dawn of the present era according to Hindu mythology. Vishnu is reclining at the bottom of the ocean.

His bed is Sesha the serpent. A lotus grows upwards from Vishnu's navel, and Brahma emerges from the lotus in order to recreate the universe.

An unfinished pediment shows the birth of Brahma from a lotus growing from the navel of Vishnu. The style lasted until well into the 10th century.

The Dong Duong style of sculpture has been described as a highly original style of "artistic extremism", "with exaggerated, almost excessively stylized features.

A sandstone guardian dvarapala is shown stomping on a bull, who in turn disgorges a small warrior. A 9th-century sandstone statue shows Tara with a small figure of Amitabha seated in her hair above the forehead.

In the second quarter of the 5th century AD, according to the historian Ma Duanlin , a Chinese general named Yuen Kan sacked the capital of Champa, making off with many "rare and precious objects", including "tens of thousands of pounds of gold in ingots coming from statues which he had smelted.

Unlike the Khmer of Angkor , who for the most part employed a grey sandstone to construct their religious buildings, the Cham built their temples from reddish bricks.

Some of these brick structures can be still be visited in the Vietnamese countryside. Typically, a Cham temple complex consisted of several different kinds of buildings.

These building types are typical for Hindu temples in general; the classification is valid not only for the architecture of Champa, but also for other architectural traditions of Greater India.

The Cham created freestanding sandstone sculptures in the round, as well as high and bas-relief carvings of sandstone.

In general, they appear to have preferred sculpting in relief , and they excelled especially at sculpture in high relief.

Cham sculpture went through a marked succession of historical styles, the foremost of which produced some of the best works of Southeast Asian art.

The subject-matter of Cham sculpture is drawn mostly from the legends and religion of Indian civilization. Many of the sculptures are representations of particular Hindu and Buddhist deities, most prominently Siva , but also Lokesvara , Visnu , Brahma , Devi , and Shakti.

Such sculptures may have served a religious purpose rather than being purely decorative. Any sculpture in the round of an important deity that is completely forward-oriented, not engaged in any particular action, and equipped with symbolic paraphernalia, would have been a candidate for ritual or devotional use.

Cham sculptors also created numerous lingas , phallic posts linked symbolically with Siva if the cross-section is a circle or with the trimurti if the post is segmented, consisting of a lower square section symbolic of Brahma, a middle octagonal section symbolic of Visnu, and a top circular section symbolic of Siva.

The ritual uses of the linga are familiar from modern Hinduism. A few of the sculptures in the art of Champa depart from the Indian subject-matter to reveal something of the life of the historical Cham people.

An example are the especially well-executed representations of elephants that serve as decorative details in some pieces: from written sources we know that the Cham relied on elephants for military and other purposes, since they lacked a steady supply of horses.

Other sculptures reflect the cultural legacy of Greater India and express legendary themes more typical of Javanese or Cambodian art than the art of India.

An example of such a theme is the motif of the makara sea-monster, which came to Champa from Java, where it is prominent in the art of the Borobudur and other temples of the same period.

Scholars agree that it is possible to analyze the art of Champa in terms of distinct "styles" typical for various historical periods and different locations.

Several have attempted through their study to set down a classification of historical styles. Each style is named after a place in Vietnam at which works exemplative of that style have been found.

Scholars have coded the ruins to reflect the diversity of periods and styles. Works of this style reflect foreign influence from a variety of sources, primarily from the Khmer of pre- Angkorian Cambodia , but also from the art of Dvaravati , the Javanese art of Indonesia , and of southern India.

Originally, the pedestal had a religious function, and was used to support a huge lingam as a symbol for Siva , the primary deity in Cham religion.

The pedestal itself is decorated with relief carvings featuring scenes from the lives of ascetics: ascetics playing various musical instrument, an ascetic preaching to animals, an ascetic receiving a massage.

To the Cham, the pedestal symbolized Mount Kailasa, the mythological abode of Siva which also accommodated numerous forest- and cave-dwelling ascetics, just as the lingam it supported represented the god himself.

The pediment shows the dawn of the present era according to Hindu mythology. Vishnu is reclining at the bottom of the ocean. His bed is Sesha the serpent.

A lotus grows upwards from Vishnu's navel, and Brahma emerges from the lotus in order to recreate the universe. An unfinished pediment shows the birth of Brahma from a lotus growing from the navel of Vishnu.

The style lasted until well into the 10th century. Epic storylines are played out with many different characters, often depicting traditional scenes of Vietnamese life.

Despite nearly dying out in the 20th century, it has been saved by efforts of preservation and is now largely seen by tourists to Vietnam. Vietnamese literature is literature , both oral and written, created largely by Vietnamese-speaking people, although Francophone Vietnamese and English-speaking Vietnamese authors in Australia and the United States are counted by many critics as part of the national tradition.

For much of its history, Vietnam was dominated by China and as a result much of the written work during this period was in Classical Chinese.

Although regarded as inferior to Chinese, it gradually grew in prestige. Her poetry continues to be widely popular.

Many Vietnamese poems, along with folk "literature" in general, tends to be much more of an oral tradition - as literacy as it is defined today in the past was restricted mostly to scholars and the elite.

From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.

Unsourced material may be challenged and removed. Kinship Clothing Marriage Games. Vietnamese folk religion Confucianism Buddhism Taoism Christianity.

Vietnamese martial arts. Music and performing arts. Television Cinema. World Heritage Sites. Flag Coat of arms.

Main article: Cinema of Vietnam. Main article: Vietnamese calligraphy. See also: Photography in Vietnam. Main article: Vietnamese ceramics.

Main article: Music of Vietnam. Main article: Traditional Vietnamese dance. Main article: Vietnamese literature.

Main article: Vietnamese poetry. Constructs such as ibid. Please improve this article by replacing them with named references quick guide , or an abbreviated title.

October Learn how and when to remove this template message. Archived from the original on Retrieved A City that remembers in the making of modern vietnam.

Essays on Modern and Contemporary Vietnamese Art. Singapore: Singapore Art Museum for symposium on modern and contemporary Vietnamese art.

Singapore Art Museum for symposium on modern and contemporary Vietnamese art. Parameswaran Collection". Vietnam Cultural Window. Chiang Mai.

Cognoscenti Books, Trans Asia Photography Review. Singapore: National University of Singapore Press. Police Security Civil Defense Force.

Outline Index. Asian art. States with limited recognition. Dependencies and other territories. Categories : Vietnamese art Art by country.

Hidden categories: CS1 errors: missing periodical Articles needing additional references from October All articles needing additional references Articles with ibid from October Commons category link is locally defined Region topic template using suffix.

Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Police Security Civil Defense Force.

Outline Index. Categories : Vietnamese martial arts. Hidden categories: CS1 maint: uses authors parameter Articles needing additional references from October All articles needing additional references.

Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file.

Download as PDF Printable version. Wikimedia Commons. Related Chinese martial arts Kung fu film Wushu sport Wuxia.

Part of a series on the. Traditions Kinship Clothing Marriage Games.

Die Hälfte des so erzeugten Stroms, den die Regierung als Waffe im Kampf gegen die Armut anpreist, soll an die Nachbarn verkauft werden. Eine von ihnen, Yae, eine schwangere junge Frau, dem Ertrinken um Haaresbreite entgangen und in einem von der Armee bewachten Lager gelandet, Abigail Savage. Letzte Woche. Details Besetzung Wiederholungen Ähnliche Marie Tussaud. Seit Jahrhunderten ist er die soziale und kulturelle Lebensader der Region. Ursache Meine Teuflisch Gute Freundin Buch die acht Staudämme am Oberlauf in China. Zwischen und sind die Mangrovenwälder in Südvietnam von

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Les 6 choses que vous devriez essayer dans votre voyage Vietnam pas cher Arte Vietnam example of such a theme is the motif of the makara sea-monster, which came to Champa from Java, where it is prominent in the art of the Borobudur and other temples of Neu In Unserer Familie Ein Baby Für Alle same period. A Streamkiste App grows upwards from Vishnu's navel, and Brahma emerges from the lotus in order to recreate the universe. However, various debates erupted in Hanoi on the role of artists Streamkiste App Society induring the first meeting of the writers and artist associations, members demanded for greater freedom of expression which went against what Ho Chi Minh had earlier laid down. Needless to say he earned quite a few giggles and embarrassed glances from his subjects. Traditional Vietnamese music is extremely diverse, consisting of Formel 1 Monaco different styles Frozen Ground Trailer Deutsch from region to region. Online Gallery of British Library. A few bronze sculptures and decorative items made of metal remain as well.

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