Podcasts about UNESCO

As regular listeners may know, in my free time, I'vbe been  researching Japanese washi. I'm looking for the "perfect paper," something that I can return to again and again in my own prints. It hasn't been straightforward. There's a lot of washi out there. A lot to test. A lot to understand. The search continues.   I'd like to introduce  you to a papermaking community in Saitama Prefecture, Japan — Ogawa Washi. In Ogawa and Higashi-Chichibu, papermakers have been producing washi for over 1,300 years with studios continuing  to operate there today.   I had the opportunity  to speak with Seiko Musashi; Ogawa washi exporter, art program coordinator, translator, about the history of the area, who is making paper now, and how these paper maing studios continue even as generations change and family lines shift.   We also talk about how Ogawa connects outward. In the past few years they've hosted longer, week-long workshops in mokuhanga and washi making. Including groups from RMIT University, University of Massachusetts Lowell, and earlier visits from the University of California Santa Cruz through connections with Terry McKenna and his Karuizawa Mokuhanga School. It's one of the ways this small papermaking community stays active and engaged with artists from outside of Japan.   Seiko has dedicated much of her life to sharing Ogawa's washi beyond Japan — and in our conversation, we reflect on what the future might look like for communities like Ogawa. Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on my website andrezadoroznyprints.com Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com   Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. If there are any issues with something you've heard in the episode please don't hesitate to email.  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Ogawa Washi - these are the following links to Ogawa Washi and Seiko Musashi (Office Harvest).  www.officeharvest.com Wano Kaze is the Ogawa Washi shop - www.wanokaze-washi.com Patty Hudak - is an American artist who splits her time between Vermont and NYC, who works in installation, and mokuhanga. She has travelled the world, and is a part of three artist collectives. Patty's interview with The Unfinished Print can be found, here. Come Closer Mia O - is one of the most interesting and creative mokuhanga printmakers working in the medium, today. As a South Korean born, Japan based printmaker Mia's work moves outside the traditional formats of mokuhanga, through shape, collage, colour, and even the folds of washi. Mia's interview with The Unfinished Print can be found, here.  Untitled Michi no Eki (道の駅）- is a community driven space crated by the Japanese government in order for local people from the area ususally found off of highways. You can find toursim information as well as rest and get food and drink. kōgyō kumiai (工業組合）- is a manufacturing collective in which groups of manufacturers or craftspeople cooperate for mutual benefit. Terry McKenna - is a mokuhanga printmaker and teacher residing in Karuizawa, Japan. He received guidance in the art form from Richard Steiner, a prominent mokuhanga printmaker based in Kyoto. Terry established the Karuizawa Mokuhanga School, a renowned residency dedicated to mokuhanga education, located in Karuizawa, Japan.  Further details about Terry and his school can be found, here. Additionally, you can listen to Terry's interview with The Unfinished Print: A Mokuhanga Podcast, here and Richard Steiner's interview here.  Your Magic Tree (2013) 43 cm × 26.2 cm Tokyo Metropolitan Art Museum - is a major public art museum located in Ueno Park in Tokyo. Founded in 1926 as Japan's first public art museum, it is operated by the Tokyo Metropolitan Government and is known primarily as a venue museum, hosting a wide range of temporary exhibitions rather than maintaining a large permanent collection. It presents major international shows, large juried exhibitions by Japanese art associations, and exhibitions organized by independent artist groups. More info, here.    The Great Britain Sasakawa Foundation - is a UK-based not-for-profit organization that promotes relations between The United Kingdom and Japan. Established in 1985, it supports projects in areas such as arts and culture, education, research, policy, and public engagement that strengthen understanding between Japan and the United Kingdom. It provides grants to individuals and institutions, funds exhibitions and cultural exchanges, and supports academic research related to Japan. More info, here.    Daiwa Anglo-Japanese Foundation - is a UK charity established in 1988 with support from Daiwa Securities Co Ltd to strengthen links between Britain and Japan. It promotes UK–Japan relations by awarding grants to individuals and organizations across diverse fields, offering scholarships to outstanding British graduates to study Japan and its language, and organizing a year-round public programme to deepen understanding of Japan in the UK. Its London headquarters, Daiwa Foundation Japan House, serves as a cultural hub hosting lectures, seminars, exhibitions, and other Japan-related events, while its Tokyo Office supports scholars, administers grants from Japan, and contributes to the wider network fostering UK–Japan exchange. More info, here.    Richard Flavin (1943-2020) - was a printmaker, papermaker, letterpress printer, and artist with a strong interest in Japan, particularly traditional culture, and utilitarian antiques. He was committed to Japanese hand papermaking and woodcut printmaking. More info, here.   Richard Flavin Washi House - can be found, here.    Timothy Barrett - is a master craftsman, scholar, and innovator in hand made papermaking. He is the founding director of the papermaking program at the University of Iowa's Center for the Book, established in 1986, which is one of the few facilities in the United States where both Western and Japanese-style handmade paper are produced and taught. Barrett's work brings together research, teaching, and artistic practice, emphasizing the expressive, historical, and functional qualities of paper as a material. Timothy Barrett has written many books on papermaking such as Japanese Papermaking (2005), and Nagashizuki: The Japanese Craft of Hand Papermaking (1979).    Paul Denhoed - is a Canadian paper maker who has lived in Japan for twenty five years. He currently works with Oguni Washi in Niigata, where Paul teaches students how to make Japanese washi. More info, here.    shodo -is the name attributed to calligraphy in the Japanese style, which involves writing characters using a brush and ink.   Echizen - is a region in Fukui Prefecture, Japan, known for its long history of papermaking. The area is home to many paper artisans. One notable figure is Iwano Ichibei. He is a Living National Treasure in papermaking and the ninth generation of his family still making paper today. More information can be found here.in English, and here in Japanese.    kawara ban - were single sheet prints in Edo Period Japan which reported newsworthy events in writings and illustrations and made in various formats and sizes. They were mass-printed on inexpensive paper to keep costs accessible, emphasizing short-term public enjoyment rather than preservation.    kawaraban of Commodore Perry entering Japan.    Nicholas Cladis - is an artist and paper historian who teaches and lives in Iowa. He lived in Echizen from 2014-2020 where he studied how to make washi, taught at the Fukui Prefectural University, as well as being the International liaison for the paper making union. More info can be found on his website, here. You can find Nicholas' episode with The Unfinished Print, here.    Nasu Kozo -  paper is some of the best Japanese washi from Ibaraki Prefecture. It is durable, strong, and highly absorbent perfect of mokuhanga.    Sekishu-Banshi Washi- is, like Nasu kozo washi a traditional and very durable handmade paper from the Iwami region of Shiman Prefecture.  It is an UNESCO-recognized, unbleached, and hand-beaten paper which has been used for calligraphy, restoration, and shoji as well as mokuhanga. Here is a video from UNESCO about Sekishu-Banshi.   Ogawa Washi Michi no Eki - is the michi no eki discussed in our interview with Seiko Musashi. More info, here.    neri - is a natural, viscous, plant-based mucilage used in traditional Japanese papermaking to keep fibers evenly suspended in the vat, prevent them from clumping, and slow the drainage of water through a screen. It is typically extracted from the roots of tororo-aoi (sunset hibiscus) and is essential for the nagashi-zuki technique, where it helps distribute fibers smoothly and uniformly during sheet formation.   Hosokawa shi - is one of the traditinal handmade papers made in Ogawa. It was added to the UNESCO Representative List of Intangible Cultural Heritage of Humanity in 2014. More info, here.    Mariko Jesse - is an illustrator, and mokuhanga printmaker who splits her time in Tōkyō, London, and California. Her work can be found, here. Mariko is also a part of the collective, wood+paper+box, which can be found, here. Mariko's interview with The Unfinished Print, can be found, here.    Japanese Paper Company - is an online Japanese washi shop which sells Japanese washi. An interview with Megan Adie, a co-owner of the JPC, with The Unfinished Print, can be found, here. More info about the JPC can be found, here.              

Some lesser-known or small Chinese towns and cities — with a strong festive ambience during Chinese New Year — alongside Neo-Chinese style destinations, have experienced "wealth beyond measure" during the nine-day Spring Festival holiday. Both domestic and international tourists have shown a tendency to linger in these areas.在为期9天的春节假期期间，一些不太出名的小城镇以及新中式风格的旅游目的地迎来了"泼天富贵"。国内游客和外国游客都喜欢在这些地方多玩几天。This year's extended Spring Festival holiday, which began on Feb 15 and concluded on Monday, inspired widespread travel.今年春节假期从2月15日开始，到2月23日结束，激发了人们的出游热情。"It's really stunning looking down at the lantern show from the ancient city walls. I felt like I was traveling back in time," said Sha Anna as she marveled at a lantern show on Feb 17 in Datong, Shanxi province. The Beijing resident visited the picturesque ancient city with family.北京居民沙安娜（音译）2月17日与家人一起游览了山西省大同市的古城。她在欣赏灯会时感叹道："从古城墙上俯瞰灯会，真的很震撼。我感觉自己穿越回了古代。"The city rose to popularity after the release of the Chinese-developed video game Black Myth: Wukong in 2024, which features several game scenes closely related to ancient Buddhist culture and Taoism.大同在2024年国产游戏《黑神话：悟空》发售后火了，这款游戏的几个场景与古老的佛教和道教文化密切相关。She said a desire to experience the lively festive atmosphere of Chinese New Year that differed from Beijing, led her to plan a trip to Datong — a city that boasts a rich cultural heritage. "The food here is also very delicious, especially the knife-cut noodles. The city left us with memories of historical legacies and human touch, and we will come back next Spring Festival."沙安娜说，她想体验与北京不同的热闹新年气氛，于是计划去大同旅游。大同市拥有丰富的文化遗产。她说："这里的食物也非常美味，尤其是刀削面。这座城市给我们留下了历史遗产和人情味的记忆，明年春节我们还会来。"Lively discussions on Datong and many other niche but attractive towns and small cities circulated online during the Spring Festival holiday. Their distinctive celebration practices, flavorful cuisine and strong cultural heritage have generated interest from tourists looking for unique experiences.春节期间，大同和许多其他小众但具有吸引力的城镇在网上引发了热议。它们独特的庆祝方式、风味美食和深厚的文化底蕴吸引了寻求独特体验的游客。Data from travel portal Tuniu shows that the number of tourists to Baoting Li and Miao autonomous county in South China's Hainan province and Dehong Dai and Jingpo autonomous prefecture in Southwest China's Yunnan province increased twofold compared with the previous Spring Festival period, as these places enjoy distinctive and exotic ethnic cultures. Destinations such as Chao zhou in Guangdong province, Shang rao and Jingdezhen in Jiangxi province have seen tourist numbers double year-on-year.旅游门户途牛网的数据显示，前往海南省保亭黎族苗族自治县和云南省德宏傣族景颇族自治州的游客数量比上一个春节增加了一倍，这些地方拥有独特而富有异域风情的民族文化。广东潮州、江西上饶和景德镇等目的地的游客数量同比翻了一番。Qunar, another online travel agency, noted strong enthusiasm among young people for Neo-Chinese style destinations — which blend contemporary and traditional Chinese cultures — during the holiday period. The agency reported that some history or novel-based theme parks like Millennium City Park and Wansui Mountain Wuxia City in Henan province were among the top destinations on their platform during the holiday.另一家在线旅游机构去哪儿网指出，假期期间，年轻人对新中式风格旅游目的地的热情很高。该机构报告称，河南的清明上河园和万岁山武侠城等一些历史或小说主题公园是假期期间其平台上最受欢迎的目的地之一。The extended holiday also stimulated Chinese people's desire for long-distance overseas trips. According to Qunar, between Feb 15 and Monday, its users flew to nearly 1,000 cities worldwide. The most popular overseas destinations were those with shorter flight times, friendly visa policies and milder climates, including Bangkok, Kuala Lumpur and the Hong Kong Special Administrative Region.这个长假也刺激了中国人出国长途旅行的欲望。根据去哪儿网的数据，2月15日至23日期间，去哪儿网的用户飞往全球近1000个城市。最受欢迎的海外目的地是飞行时间较短、签证政策友好、气候温和的地方，包括曼谷、吉隆坡和香港。Among the travelers who went overseas was Zhang Yi, who took a four-day trip to Thailand with her family and returned to Shanghai on Sunday. "It was our third time visiting the country, but the first time celebrating Chinese New Year there. Thailand is a good place to relax," she said.张怡（音译）是出境游的游客之一，她与家人去泰国玩了四天，于周日返回上海。她说："这是我们第三次去泰国，但第一次在那里庆祝中国新年。泰国是个放松身心的好地方。"Qunar also noted that many of its users spent the Spring Festival holiday in Italy, the host nation of the recently concluded Milano Cortina 2026 Winter Olympics. "Based on our figures, flight ticket bookings to Italy on Feb 14 and Feb 15 — the day before the Spring Festival holiday started and the first day of the holiday — increased by 64 percent compared with the previous two days," it said.去哪儿网还指出，许多用户选择在意大利度过春节假期。意大利是最近结束的2026年米兰-科尔蒂纳冬奥会的主办国。该机构表示："根据我们的数据，2月14日和2月15日前往意大利的机票预订量与前两天相比增长了64%。"Additionally, the social media trend "becoming Chinese" has extended to the tourism market, with an increasing number of international travelers visiting the mainland during the Spring Festival holiday to partake in festivities. In 2024, Spring Festival was officially inscribed on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO, enhancing its global influence.此外，社交媒体上"成为中国人"的热潮也延伸到了旅游市场，越来越多的外国游客在春节期间来内地旅游。2024年春节被列入联合国教科文组织人类非物质文化遗产代表作名录，提升了其在全球的影响力。Data from Qunar shows that flight bookings to the mainland made by travelers holding non-Chinese passports grew by 20 percent year-on-year during the holiday.去哪儿网的数据显示，春节期间，持非中国护照的旅客赴内地机票预订量同比增长20%。Top destinations for these international travelers included not just big cities like Shanghai and Beijing but also lesser-known places like Jinggangshan in Jiangxi and Altay in the Xinjiang Uygur autonomous region.这些国际游客的主要目的地不仅包括上海、北京这样的大城市，还包括江西井冈山、新疆维吾尔自治区阿勒泰等不太知名的地方。"Most of these travelers came from South Korea, Vietnam, Singapore, Australia, and the United States. Domestic places with richer festive atmospheres and celebration events are most attractive to them," said Qunar, adding that travel trends among international travelers have transformed from quick sightseeing excursions to immersive experiences of Chinese traditions.去哪儿网表示："这些游客大多来自韩国、越南、新加坡、澳大利亚和美国。节日氛围和庆祝活动更丰富的国内地方对他们最有吸引力。"该机构指出，国际游客的旅游趋势已从快速观光游览转变为沉浸式体验中国传统。niche /niːʃ/ 小众的；定位明确的festive ambience /ˈfestɪv ˈæmbiəns/ 节日气氛linger in /ˈlɪŋɡə(r) ɪn/ 在……逗留；流连于picturesque /ˌpɪktʃəˈresk/ 风景如画的rise to popularity /raɪz tuː ˌpɒpjuˈlærəti/ 流行起来；走红human touch /ˈhjuːmən tʌtʃ/ 人情味year-on-year /ˌjɜːr ɒn ˈjɪr/ 同比Millennium City Park /mɪˈleniəm ˈsɪti pɑːk/ 清明上河园sightseeing excursions /ˈsaɪtsiːɪŋ ɪkˈskɜːʃənz/ 观光游览；短途旅游

José Antonio Gázquez, responsable de Estipa Servicios Turísticos, ha detallado el enfoque de las actividades diseñadas para transmitir el "ADN ciezano". Entre sus propuestas destacan la "Ruta con sabor", que incluye almuerzos camperos entre frutales, y el "Paseo de la floración", un recorrido guiado centrado en la labor agrícola. Gázquez ha subrayado la importancia de vincular este entorno natural con el patrimonio histórico, recomendando la visita al yacimiento islámico de Siyâsa y a la Cueva de la Serreta, cuyas pinturas rupestres cuentan con la protección de la UNESCO.Por su parte, Antonio Santos, representante de la empresa Agromarketing y gestor de la finca agroturística La Floración, ha señalado el auge de las experiencias inmersivas. Según Santos, el interés de Turespaña por utilizar imágenes de Cieza en promociones internacionales y la organización de visitas para prensa alemana confirman la proyección exterior del municipio. Actividades como la observación de estrellas desde los campos y la degustación de mermeladas artesanales son ahora reclamos fundamentales para el turista extranjero.La coordinación institucional y asociativa también juega un papel determinante. Arturo Camacho, técnico de la Oficina de Turismo de Cieza, ha destacado la diversidad de la programación, que abarca desde competiciones deportivas hasta el nuevo festival Flora Fest. En el ámbito cultural, Blanca Melero, profesora del Conservatorio Maestro Gómez Villa, ha presentado iniciativas como "Pianos en flor", que traslada la música a espacios emblemáticos como el Balcón del Muro, y el concierto "Voces que florecen", consolidando una oferta que une arte y naturaleza.

Na reprezentativní seznam nehmotného kulturního dědictví lidstva UNESCO přibylo v prosinci 2025 hraní amatérského divadla v Česku. V návaznosti na zápis vznikl ve spolupráci Ministerstva kultury, Národního institutu pro kulturu a amatérských divadelníků celorepublikový projekt Amatéři sobě zaměřený na podporu a viditelnost této tradice. Hostem redaktorky Adéla Šimoníkové bude koordinátor tohoto projektu Jan Julínek.

Luister hier na die klankopname of op die potgooi-platform van jou keuse of lees die blog-inskrywing hier onder. . . Naleef-gedagte: …in-wording (onder konstruksie) Deon se gesels oor die Hebreeuse woord, die kern van Israel se geloof, die Shema (Deut 6) ,en die postuur van luister, het my laat dink aan die luisteryke “Heilige familie kerk” (La Sagrada Familia) in Barcelona. Die bouwerk aan hierdie indrukwekkende Katedraal, ontwerp deur die Spaanse Argitek Antoni Gaudí, het in 1882 begin. Hulle beplan om na 144 jaar in Junie 2026 die bouwerk klaar te maak — 100 jaar na Gaudi se dood! Met Gaudi se dood in 1926 was die bouwerk maar ongeveer 20% ver. N.a.v kritiek oor die lang bouproses het hy blykbaar opgemerk “My client is not in a hurry.” Na sy dood was daar 'n Spaanse burgeroolog in 1936 en Gaudi se oorspronklike planne en modelle is vernietig en 'n hele paar argitekte ná hom moes namens Gaudi die planne en modelle rekonstrueer. Hoewel die bouery al vir jare voortduur ,en nog nie klaar is nie, is die Katedraal al lankal in gebruik. Die Pous het die gebou geheilig en as 'n UNESCO erfenisgebied verklaar. Selfs al word daar beplan om in Junie vanjaar die buitekant van die argitek-wonder te voltooi, word daar beweer dat die die afronding met standbeelde, lig en kuns eers in 2034 voltooi sal wees. Hierdie bou-proses, wat na 'n ewigheid voel, en die postuur van luister – 'n openheid om te hoor en te leer ge-hoor-saam leef – het my laat wonder: Kinders raak soms goed kwyt of vang onbesonne dinge aan…en ons glimlag en dink “Siestog, hulle is nog net kinders, hulle leer nog, hulle is nog in wording.” Ons maak spasie vir hierdie wording se vrae, wonder en foute. Ons moedig dit selfs aan. Maar is groot-mense regtig afgehandel, wanneer ons so vol kritiek, ‘n foutlose perfektheid van mekaar verwag? Of, veroorsaak die plooilose kunsmatige intillegensie dat ons só min genade met onsself het: “Ek moes van beter geweet het! Hoe kon ek so dom wees? Teen die tyd behoort ek mos te weet, in beheer te wees…Die wêreld, die kerk, my werk en my mense verwag dit immers van my!” Dan bestaan daar natuurlik ook die afgehandeldes: Klaar gedink, klaar besluit – selfversekerde ék-weet-mense. Dalk steek hierdie afgehandeldheid maar kop uit by elkeen van ons. Dalk hét ons nie ruimte vir leer, groei, verander…of selfs die moontlikheid dat ek nog altyd verkeerd was oor 'n saak, 'n persoon of gebeure nie. Afgehandeldes verwag natuurlik ook afgehandeldheid by ander! Dit maak nogal die lewe, 'n beroep en 'n verhouding spanningsvol as jy moet voorgee dat jy perfek, afgerond, kant-en-klaar is. Veral as jy voor jou siel weet “Ek weet nie. Ek is nie in beheer nie. Ek sukkel met dit, daai en die ander…” Ek en jy is, wanneer ons eerlik kan wees met onsself, soos Gaudi se meesterwerk: onafgehandeld – vir ewig in-wording. Hoe anders sal jou lewensbenadering en verhoudings lyk wanneer jy hierdie “in-wording” genade ook dáár kan uitleef: Jy vra dalk meer vrae as wat jy stellings maak; Jy haal die juk van perfektheid se angs van jou skouers af en word oral bekend as 'n ewige student; In plaas van kritiek en verwerp, sien jy “Siestog, hy leer nog, hy groei nog, hy ontdek nog…” en dan nie op 'n beterweterige manier nie, maar op ‘n ek-is-ook-nog-in-wording manier. Wat help kla en skel en self-marteling oor onafgehandeldheid? Dit is soos om na 100 jaar die meesterlike katedraal af te breek omdat dit nou nog nie klaar is nie. Dis tog absurd! Om 'n onafgehandelde verder af te breek, maak tog geen sin nie. ‘n Beter benadering is dalk eerder “Hoe word ek deel van die in-wording storie van God met jou? In-wording beteken nie, in onbruik nie. In-wording beteken nie, minder heilig of indrukwekkend nie. In-wording beteken nie, laat staan maar soos dit is nie. Paulus skryf vir die gemeente in Korinte, ‘n gemeente wat nog duidelik in-wording is. Hy sluit 'n lang gesprek oor die sluier-van-ons-gebrokenheid af met die mooi woorde in 2 Kor 3:18 “Ons almal weerspieël die heerlikheid van die Here, want die sluier is van ons gesig af weggeneem. Ons word al meer verander om aan die beeld van Christus gelyk te word. Die heerlikheid wat van ons uitstraal, neem steeds toe. Dit doen die Here wat die Gees is.” Die woorde “Ons word al meer verander” se tydsgleuf is tot in die oneindigheid…m.a.w dit beteken letterlik “vir-ewig-in-wording” en so ook die woorde “die heerlikheid van ons uitstraal neem steeds toe”. Ek is nog nie klaar nie, jy is nog nie klaar nie, die kerk is nog nie klaar nie…ons is vir ewig nog in wording en die argitek-bouer is die Here, wat die Gees is en die manier hoe die Gees primêr in die Bybel werk is deur mense. Mag ons al meer met die genade leef van “My client is not in a hurry.” omdat ons vertrou dat 'n meesterstuk soms langer as 'n ewigheid neem. Na-leef teks: “Ons almal weerspieël die heerlikheid van die Here, want die sluier is van ons gesig af weggeneem. Ons word al meer verander om aan die beeld van Christus gelyk te word. Die heerlikheid wat van ons uitstraal, neem steeds toe. Dit doen die Here wat die Gees is.” 2 Korintiërs 3:18 Na-leef vrae Waar in jou lewe is jy nog in wording? Wat gaan jou help om jou kind-wees, jou openheid vir wording, te onthou? Wat gaan jou help om ruimte te maak vir ander se ewige wording?

O Presidente de Cabo Verde, José Maria Neves, reafirmou o compromisso com a valorização do património africano, defendendo que a riqueza natural e cultural do continente deve ser colocada ao serviço do desenvolvimento sustentável. O estadista defendeu que o património africano, muitas vezes “silenciado”, deve ganhar visibilidade e integrar a lista de Património Mundial da UNESCO: “Queremos que mais países inscrevam o seu património natural e cultural”. Na qualidade de Champion da União Africana para a Preservação do Património Natural e Cultural de África, o chefe de Estado de Cabo Verde sublinhou que “África é um continente riquíssimo em termos de património natural e cultural” e alertou para a necessidade de transformar esse potencial em oportunidades concretas: “É preciso colocar toda esta riqueza ao serviço do continente africano”. À margem da 39.ª Sessão Ordinária da Assembleia da União Africana, que decorreu em Addis Abeba, o Presidente de Cabo Verde liderou um evento de alto nível subordinado ao tema “Património Mundial e Segurança Hídrica em África: Construir Caminhos para a Sustentabilidade e a Agenda 2063”, promovido por Cabo Verde no quadro das comemorações do 20.º aniversário do Fundo Africano para o Património Mundial. José Maria Neves defendeu que o património africano, muitas vezes “silenciado”, deve ganhar visibilidade e integrar a lista de Património Mundial da UNESCO: “Queremos que mais países inscrevam o seu património natural e cultural”. “O que pretendemos é que o património natural e cultural africano seja uma alavanca para o desenvolvimento sustentável do continente”. Segundo o Presidente, investir na preservação pode impulsionar sectores estratégicos: “O património pode levar ao crescimento do turismo, dos transportes, das indústrias criativas, à criação de emprego e de novas oportunidades para a juventude africana.” O estadista apelou ainda ao reforço do financiamento internacional e ao envolvimento do sector privado. “É preciso estimular as agências internacionais no sentido do financiamento da preservação”, defendendo que também os privados devem alocar recursos ao fundo africano. Segundo o chefe de Estado, está em curso um esforço de sensibilização junto de Estados-membros, parceiros internacionais e sector privado. “Falamos em mobilizar recursos em torno de 20 milhões de dólares americanos para o relançamento do seu trabalho”, afirmou, clarificando, contudo, que a fase actual não é ainda de angariação directa de montantes. “Está-se a fazer mais um trabalho de sensibilização e não um trabalho de recolha de valores específicos neste momento”, explicou. No plano nacional, José Maria Neves revelou que Cabo Verde tem projectos a serem trabalhados com o Fundo Africano para o Património Mundial. Entre eles, destacou a candidatura do Campo de Concentração do Tarrafal a Património Mundial e o processo relativo aos Escritos de Amílcar Cabral. O país já conta com a Cidade Velha classificada pela UNESCO, estando em curso o levantamento de “patrimónios silenciados” para valorização futura . O Presidente destacou a ligação entre património e segurança hídrica, apontando a gestão sustentável da água como factor crítico para o futuro do continente. “Fizemos referência à relação entre a água, os recursos hídricos e o património mundial, enquanto instrumentos que poderão levar-nos ao desenvolvimento sustentável e ao cumprimento da Agenda 2063”, referiu, assinalando a “grande abertura” das agências parceiras para apoiar iniciativas nesta área. “O património natural e cultural são as nossas catedrais e basílicas”, concluiu, defendendo que a sua preservação pode contribuir “enormemente para o crescimento da economia e para a melhoria das condições de vida dos africanos”.

In this episode, we examine how Spain's plan to offer over 500,000 migrants legal status will affect African migrants in the country. Following an announcement by Spain's government, several in support of the proposal say it's practical and crucial for Spain's economy, while critics warn it could encourage irregular migration. We speak to a young Nigerian man in the queue for documentation. And we take a look at a recently released UNESCO report that shows Africa is giving the creative industries greater priority in comparison to other regions, with 62% of countries now including culture in development plans.Presenter: Nkechi Ogbonna Technical Producer: Herbert Masua Senior Producers: Bella Twine and Blessing Aderogba Editors: Samuel Murunga and Maryam Abdalla

En el marco del Día Internacional de la Lengua Materna proclamado por la UNESCO y celebrado el 21 de febrero, conversamos con educadores de español sobre el valor de nuestro idioma como pilar de identidad, cultura y educación en Australia.

21. februar je svetovni dan maternega jezika. UNESCO kot razglasitelj ob zori tisočletja ga je izbral kot opomin na tragični 21. februar leta 1952, ko je pakistanska policija (v takratnem Vzhodnem Pakistanu) ubila več bangladeških študentov, ki so protestirali zaradi neupoštevanja in zapostavljanja njihovega maternega jezika – bengalščine. Zastaviti življenje za svoj lastni jezik je nekaj, česar nemara ne pozna veliko ljudstev, vsaj del naših prednikov pa je to precej radikalno izkusil v preteklem stoletju. Tistim, ki tega niso izkusili, oziroma njihovim povojnim rodovom se še danes precej pozna, da ne vedo točno, za kaj vse dejansko gre pri prepovedi ali javne ali celo zasebne rabe maternega jezika! Ob letošnji poslanici vodje pisarne Društva slovenskih pisateljev Glorjane Veber ob svetovnem dnevu maternega jezika lahko tudi preberemo, da gre pravzaprav za jezik odraščanja iz skupka živih celic pa do odrasle osebe. Med drugim je tudi zapisala, da se ne začne z besedo, ne z abecedo, slovnico ali pravilno izgovorjenim stavkom. Vznikne v bližini srca, ko smo še brez imena in čutimo ritem telesa matere, ki nas pod njim nosi. Predvsem pa slišimo njen in njenih bližnjih glas. Ta je jezik, kot vrata med zunaj in znotraj. In med drugim nadaljuje: vsaka generacija prejme drugačen jezikovni kod, zato materni jezik ni le sredstvo sporazumevanja, je eksistencialni fenomen, ki presega golo uporabnost. In se zato ne bi smeli bati algoritmov, ki znajo napovedati naslednjo besedo, nič pa ne vedo in povedo o tišini, iz katere beseda nastane. Sicer pa poslanico gospe Veber najdete na mreži, kjer med drugim sklene, da »prihodnost jezika ni zapisana v tehnologiji, temveč v naših odnosih do sebe, do drugih in do maternega jezika«. Zanimalo nas je, kaj o omenjenem povodu za svetovni dan maternega jezika – torej tudi o zastavitvi življenja zanj in o njegovem pomenu pravi predstojnik oddelka za slovenistiko ljubljanske Filozofske fakultete prof. dr. Hotimir Tivadar. FOTO: Hotimir Tivadar VIR: Lojze Grčman https://si.aleteia.org/2023/02/08/kaj-sem-vprasal-profesorja-ki-sem-ga-srecal-po-20-letih/

Während Karneval, Fasching und Fasnacht in Deutschland längst vorüber sind, begann am 23. Februar um vier Uhr morgens die Basler Fasnacht. Neben eindrucksvoll gestalteten und mehrere Meter hohen Laternen ist auch die Musik der Trommler und Pfeifer ein unverwechselbares Markenzeichen des Brauchs, der 2017 von der UNESCO zum Weltkulturerbe ernannt wurde.

I listened to the first 20 seconds of the track, heard the hummed murmur of a Ba'aka voice and thought, "I can work with that." It wasn't until the next day that I heard the engaging, immersive, gently rocking polyphony that the murmur develops into. I learned that the Ba'aka musical style is over 30,000 years old, older than any continuous musical heritage. UNESCO describes Ba'aka music as a "masterpiece of the oral and intangible heritage of humanity".For me, the beautifully simple, deeply resonant recording needed to be front and centre - ancient polyphony, charming music borne of and a reflection on the spiritual forest the Ba'aka inhabit, now under multiplied threat. Deforestation, civil war - commercial colonialism is eating away at their home and aural heritage, even conservation efforts. Intangible archaeology is being lost. What will matter is what we do with these sounds. It is hoped that by bringing the recording into another musical world, I can in some small way help connect with their heritage as well as amplify a shared future. A Ba'aka voice can be heard at the start: “Better record that.” Bayaka voices in the forest at dawn reimagined by David Lol Perry.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

News Connect（ニュースコネクト）あなたと経済をつなぐ5分間1日1つ、5分間で、国際政治や海外のビジネスシーンを中心に、世界のメガトレンドがわかる重要ニュースを解説。朝の支度や散歩、通勤、家事の時間などにお聴きいただけるとうれしいです。▼出演：竹村由紀子（報道ディレクター／映像作家）https://twitter.com/Yukiko_Takemura▼Podcast「世界のクリエイティブ思考」×「ニュースコネクト」コラボイベントhttps://open.spotify.com/episode/1nHQcrys4cl3kWaDAB5qkUhttps://open.spotify.com/episode/5jLjbZG7NLHHK5RCkAQRjKhttps://open.spotify.com/episode/6FZYSB3d0NJ7jvEV0EVpX5▼Podcast「世界のクリエイティブ思考」https://open.spotify.com/show/53kqwZLMXYHUaPH8X7UFev▼Podcast「The Creative Mindset」https://open.spotify.com/show/2CCKng04AT7jF2E3jHPcWZ▼支援プログラム「Chronicleサポーター」については、こちらをご参照ください。https://chronicle-inc.net/support⁠https://note.com/t_nomura/n/n43e514e703b4▼参考ニュース：Creators face projected global revenue losses of up to 24% by 2028, new UNESCO report shows（UNESCO）https://www.unesco.org/en/articles/creators-face-projected-global-revenue-losses-24-2028-new-unesco-report-shows▼Podcast Studio Chronicle公式サイトhttps://chronicle-inc.net/

Hear about travel to Puebla, Mexico as the Amateur Traveler talks to Scott Thompson from Livit Immersion Center about his adopted home in this historic colonial city in central Mexico. Why should you go to Puebla? Scott says, "Puebla's kind of an outlier. It's the one big city that nobody's ever heard of. So there's not a lot of tourist industry. The international tourist industry, especially. The city is a world heritage city, and it's recognized by UNESCO since 1987. So it's full of history and architecture and culture and food. There's 2,600 historic buildings and monuments in the city center." Scott Thompson's Recommended Itinerary for Visiting Puebla, Mexico Day 1: Get Oriented in Historic Puebla https://amateurtraveler.com/travel-to-puebla-mexico/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Chef Walter Potenza joins the show to talk about Italian cuisine being horned by UNESCO and cooking at the Olympics See omnystudio.com/listener for privacy information.

Unesco estima quedas significativas de receitas para criadores de música e audiovisual até 2028 devido ao aumento da produção de conteúdos por IA; quadro afeta financiamento público e ameaça liberdade artística.

Today I have the immense pleasure of talking with Carissa Véliz, an associate professor at the University of Oxford, about her new book, Prophecy: Prediction, Power, and the Fight for the Future—from Ancient Oracles to AI.  Linking this work to her previous book, Privacy is Power: Why and How You Should Take Back Control of Your Data, Véliz writes: “ surveillance and prediction are digital technology's original sins.”In our wide-ranging discussion, we talk about how both massive and intrusive invasions of privacy at all levels of society and false claims to be able to predict the future erode democracy, are corrosive to ethics, and undermine people's ability to think for themselves.  Instead, we are conditioned to trust an unregulated band of “effective altruists” who claim to know better than we what kinds of lives we should prefer and the choices we should make.  Véliz argues instead that we should embrace the uncertain to build resilience, to prepare for contingency but not be determined by what we cannot see, and to foster curiosity and imagination.Carissa Véliz is an Associate Professor in Philosophy at the Institute for Ethics in AI, and a Fellow at Hertford College at the University of Oxford. She is the recipient of the 2021 Herbert A. Simon Award for Outstanding Research in Computing and Philosophy. She is a member of UNESCO's Women 4 Ethical AI. She advises companies and policymakers around the world on privacy and the ethics of AI. She is a board member of the Proton Foundation, along with Sir Tim Berners-Lee and Proton's CEO Andy Yen. She is the author of the highly-acclaimed Privacy Is Power (an Economist book of the year, 2020) and the editor of the Oxford Handbook of Digital Ethics. Her new book Prophecy was described as “The most important book you will read for years” by Roger McNamee, the tech investor and best selling author.

This episode explores how science education becomes an act of resilience, hope, and nation-building in Ukraine. From the creation of the country's first national science museum to mobile science labs traveling near the front lines, the Junior Academy of Sciences of Ukraine demonstrates how curiosity can endure even amid war. The guest traces a personal journey from law and political science into science education, driven by a commitment to Ukraine's future. Listeners learn how museums, labs, competitions, and business incubators form an educational "vertical" that guides children from first wonder to real-world innovation. The conversation highlights international collaboration, UNESCO recognition, and the global importance of engaging young minds in science. Ultimately, it's a powerful reminder that investing in knowledge is investing in peace, progress, and possibility.

Brett Kaufman is an archaeologist at the University of Illinois Urbana-Champaign.His work lives at a rare intersection: field excavation + ancient languages + hard science. He studies the peoples, states, and empires of the Middle East and North Africa—from the Bronze Age to the present—combining archaeological evidence with historical texts and Semitic inscriptions to understand how power, identity, and institutions are built (and rebuilt).He's directed or supervised excavations across Tunisia, China, Italy, Israel, and New York, and his research has been supported by major institutions including NSF, National Geographic, China's NSFC, and the Getty. In the lab, he uses materials-science tools to reverse-engineer ancient technology—especially metals—so the past becomes something you can test, not just imagine.In this episode, we follow Kaufman's core obsession: the human experience under pressure. What part of the human experience are you trying to understand right now?*EPISODE LINKS:*- Brett Kaufman's UIUC Website: https://classics.illinois.edu/directory/profile/bsk- Phoenicia, Carthage, and Popular Government in the Pre-Classical Mediterranean: The Other Democracy by Brett Kaufman: https://amzn.to/4qLAQEx*OUTLINE:*0:00 Preview0:53 Host intro2:40 Speaking Dead Languages: Phoenician, Punic, Hebrew3:48 When History Lies7:35 Fieldwork: How Archaeology Actually Happens9:32 Who Decides Where We Dig? 11:27 Ethics12:25 Tunisia After the Arab Spring13:59 How Long Does an Excavation Last?15:21 When Your Hypothesis Is Wrong16:03 Is Archaeology Dying?17:00 What Is the Point of Archaeology?18:28 Tourism, UNESCO, and Shared Heritage20:04 Why Archaeology Doesn't Make Money21:39 Should There Be More Archaeologists?23:37 Luck, Tenure, and Academic Stress24:54 Fear of Failure26:18 What Brings Humans Together?27:04 Us vs. Them30:27 Breaking Social Constructs31:36 Was the Past Actually Better?32:33 The Agricultural Revolution: Teeth Rot & Arthritis33:49 Hunter-Gatherer Emotions, Medieval Institutions, Star Wars Technology40:57 Bronze in Mesopotamia & the Andes42:21 Is There Objective Truth?43:50 Good vs. Evil1:12:18 Feasting, Ritual, Taboo1:13:51 How Brett Kaufman Finds Meaning1:14:18 Nine Animals & a Neolithic Household1:16:57 Why Young People Feel Lost1:21:22 Responsibility as Meaning1:27:12 Fear of Failure1:31:41 Ignore Bullies1:33:15 Why Civilizations Collapse1:34:43 Climate Oscillations & Scarcity1:37:17 Climate Volatility1:40:22 Can Archaeology Predict the Future?1:42:21 Idealism vs. Pragmatism1:44:40 Different Human Species Sharing Tools1:46:42 Animal Welfare & Habitat Loss1:47:44 The Third Epidemiological Transition

Hii leo jaridani tunaangazia masuala ya Akili Mnemba na wabunifu wa maudhui duniani kwa lugha, waumini wa dini ya kiislamu wakati huu wa Ramadhani katika ukanda wa Gaza, na matibabu ya kwanza ya ugonjwa wa kichocho huko Mwanza nchini Tanzania.Shirika la Umoja wa Mataifa la Elimu, Sayansi na Utamaduni, UNESCO, limesema wabunifu wa maudhui duniani kwa lugha ya kiingereza content creators wanakabiliwa na hatari ya kupoteza hadi asilimia 24 ya mapato yao ifikapo mwaka 2028 kutokana na kasi ya maendeleo ya Akili Mnemba, au AI.Waumini wa dini ya kiislamu duniani kote wameanza mfungo wa mwezi mtukufu wa Ramadhani, kipindi kinachoambatana na sio tu ibada bali pia mlo kama vile futari na daku. Hata hivyo kwa wakazi wa Gaza, eneo la Palestina linalokaliwa na kimabavu na Israeli hali si hali kwani mlo na mengine yanayoambatana na kipindi hiki vinasalia kuwa ndoto.Serikali ya Tanzania na Shirika la Umoja wa Mataifa la Mpango wa Maendeleo UNDP kupitia Ushirikiano wa Upatikanaji na Ufikishaji wa Huduma (ADP), inaendesha mpango wa majaribio wa kihistoria katika mikoa ya Simiyu, Mwanza, na Kigoma ili kutoa matibabu ya kwanza ya ugonjwa wa kichocho yaliyoandaliwa mahususi kwa ajili ya watoto walio chini ya umri wa miaka mitano.Mwenyeji wako ni Anold Kyanda, karibu!

Shirika la Umoja wa Mataifa la Elimu, Sayansi na Utamaduni, UNESCO, limesema wabunifu wa maudhui duniani kwa lugha ya kiingereza content creators wanakabiliwa na hatari ya kupoteza hadi asilimia 24 ya mapato yao ifikapo mwaka 2028 kutokana na kasi ya maendeleo ya Akili Mnemba, au AI. Tupate taarifa zaidi kutoka kwa Leah Mushi.

Cada 21 de febrero se conmemora el Día Internacional de la Lengua Materna, una fecha proclamada por la UNESCO para promover la diversidad lingüística y la multiculturalidad. En este podcast de El Expresso de las 10 celebramos el Día Internacional de la Lengua Materna, en el contexto de uno de los festivales organizado por la universidad de Guadalajara: PortAmérica Latitudes que presenta como cada año el ShowRocking, con la creatividad culinaria de los mejores chefs nacionales e internacionales, y que hoy integra Saberes de Mujeres Indígenas, un proyecto que celebra la riqueza culinaria y los conocimientos ancestrales de comunidades Purépecha, Mazahua y Mixteca, donde Cada platillo es un puente entre la tradición y la innovación. Con la compañía de Gabriela Juárez piña, Responsable de las acciones comunitarias del programa salud intercultural en el Área Metropolitana de Guadalajara de la Unidad de Apoyo a las Comunidades Indígenas de la Universidad de Guadalajara, Beatriz García Cortés, Cocinera tradicional de origen Mixteco, artesana representante de la herencia culinaria del pueblo Ñuu Savi (mixteco), Esperanza Pérez Ruiz de origen purépecha, Heredera del conocimiento ancestral de la medicina tradicional, Representante del colectivo “Nosotras no olvidamos nuestras tradicionales” y Cristina Apolonia Mazahua de Origen Mazahua, artesana, mujer medicina y cocinera tradicional. Presidenta de la Red Promotora de los derechos Humanos de las mujeres indígenas en el estado de Jalisco (RED PRODEMI).

The winner of the 2026 Global Teacher Prize has just been announced. Rouble Nagi from India has been named winner and has taken home the US $1 million in prize money. Rouble was recognised for her work in transforming neglected walls in her community into hundreds of vibrant, open-air learning centres. The GEMS Education Global Teacher Prize is the largest of its kind and is a Varkey Foundation initiative organised in collaboration with UNESCO. It's now in its 10th year and aims to shine a spotlight on the positive impact teachers make on society and recognise the exceptional educators who have made an outstanding contribution to the profession. One Australian teacher was a top 10 finalist this year – Colleen O'Rourke, Digital Technologies Educator from the Hills Christian Community School in Adelaide, South Australia. She's been recognised for developing the Nature-Nurture-Network curriculum and for her work in supporting neurodivergent learners. Dominique Russell sat down with Colleen ahead of the announcement to hear all about this work and what it means to her to be recognised in the top 10 this year. Host: Dominique Russell Guest: Colleen O'Rouke

Η Λωρίδα της Γάζας φιλοξενεί ορισμένα από τα σημαντικότερα κατάλοιπα της ανθρώπινης ιστορίας, που χρονολογούνται από την Εποχή του Χαλκού έως την Οθωμανική και τη Βρετανική Αυτοκρατορία. Πολλοί ιστορικοί χώροι υπέφεραν από εγκατάλειψη ήδη πριν από τον πόλεμο. Ωστόσο, η πολιτιστική υπηρεσία των Ηνωμένων Εθνών, η UNESCO, αναφέρει ότι έχει επιβεβαιώσει ζημιές σε τουλάχιστον 150 ιστορικούς χώρους πολιτιστικής κληρονομιάς από την έναρξη της σύγκρουσης μεταξύ Ισραήλ και Χαμάς.

Dải Gaza là nơi lưu giữ một số di tích lịch sử phi thường của nhân loại, có niên đại từ thời kỳ đồ đồng cho đến đế chế Ottoman và Anh. Nhiều di tích lịch sử đã bị bỏ bê trước chiến tranh, nhưng cơ quan văn hóa UNESCO của Liên Hiệp Quốc cho biết, họ đã xác minh được thiệt hại đối với ít nhất 150 di tích lịch sử, kể từ khi bắt đầu cuộc xung đột Israel-Hamas. Người Palestine ở Dải Gaza đang cân nhắc xem, làm thế nào để cứu lấy các di tích lịch sử của họ.

Iztapalapa recibirá certificado de la UNESCO por Representación de Semana SantaSeis muertos y 45 heridos tras volcadura de autobús en BrasilA las 20:00 horas, Carlos Castellanos te informa en vivoMás información en nuestro Podcast

Emisiunea Moldova Zoom, pe care o realizăm de jumătate de an la RFI România, a câștigat aseară premiul „Excelența în jurnalism”, categoria radio, oferit de Uniunea Ziariștilor Profesioniști din România (UZPR). Moldova Zoom este singura emisiune cotidiană din presa din România dedicată actualității din Republica Moldova. „Un proiect nou pentru spațiul informațional din România și o abordare foarte echilibrată din punctul de vedere al selectării și prezentării subiectelor”, așa a explicat opțiunea juriului pentru Moldova Zoom Dan Constantin, președintele UZPR. „RFI România va menține și pe viitor angajamentul pentru acest proiect de importanță publică în cadrul căruia construim poduri informaționale și un spațiu românesc unic”, declară redactorul-șef Ovidiu Nahoi. Temele ediției: - Republica Moldova ar putea trece din nou printr-un val de scumpiri a energiei. Asta după solicitarea operatorilor de energie. Bombardamentele din Ucraina se văd și în facturile cetățenilor moldoveni. De ce? Ne explică jurnalistul Vitalie Cojocari în ”Cronica lui Vitalie”. - Europa pleacă de la München fără ruptura transatlantică temută, dar și fără un răspuns clar la întrebarea-cheie: cum și când se termină războiul din Ucraina? La patru ani de la începutul războiului, există premise reale pentru o pace durabilă sau doar pentru o pauză fragilă? Liliana Barbăroșie a discutat subiectul cu Dumitru Mînzărari, expert în securitate și lector la Baltic Defence College. - La Chișinău are loc astăzi reuniunea Biroului Congresului Autorităților Locale și Regionale al Consiliului Europei. - Autoritățile din ministere și alte instituții moldovene vor efectua vizite în Statele Unite, după negocierile dintre președinta Maia Sandu și secretarul de stat al SUA, Marco Rubio, de la Munchen. - O nouă rundă de negocieri pentru pacea în Ucraina începe astăzi la Geneva între reprezentanții Rusiei, SUA și Ucrainei. - La Chișinău are loc, în premieră, extinderea celui mai amplu proiect dedicat sculpturii românești contemporane, „Luna Sculptorilor Români”. - Marți și miercuri în Republica Moldova sunt valabile un Cod Portocaliu și un Cod Galben de precipitații puternice și intensificări ale vântului. Știrile zilei: La Chișinău are loc marți reuniunea Biroului Congresului Autorităților Locale și Regionale al Consiliului Europei (CALRE). În cadrul reuniunii va fi efectuat un schimb de opinii privind reforma administrației publice locale, inițiată în Republica Moldova, anunță Guvernul de la Chișinău. Republica Moldova deține în această perioadă președinția prin rotație a Consiliului Europei. *** Autoritățile din ministere și unele instituții din Republica Moldova vor efectua o serie vizite în Statele Unite ale Americii, după negocierile dintre președinta Maia Sandu și secretarul de stat al SUA, Marco Rubio, de la Munchen. Inițiativa acestei întâlniri a venit din partea americană, a declarat ambasadorul Moldovei în SUA, Vladislav Kulminski, în cadrul unei emisiuni la TV8. „Întâlnirea este importantă și pentru că SUA continuă să joace un rol-cheie pentru Moldova în ceea ce privește asigurarea securității. Datorită acestei întâlniri, multe inițiative vor putea fi accelerate”.  Potrivit diplomatului, negocierile dintre Maia Sandu și Marco Rubio au fost pregătite din timp de serviciile diplomatice ale ambelor țări. Mai mult, inițiativa a venit din partea americană, ceea ce a reprezentat un semnal clar că Moldova continuă să se afle în atenția Washingtonului.  Diplomatul a subliniat că vizitele vor fi la nivel de ministere și instituții din domeniul energetic și economic și că negocierile sunt de o importanță majoră și „vor ajuta la deschiderea unui nou capitol” în relațiile bilaterale. *** O nouă rundă de negocieri pentru pacea în Ucraina începe astăzi la Geneva între reprezentanții Rusiei, SUA și Ucrainei. Negocierile vor fi unele dificile. Este puțin probabil ca războiul să se încheie prea curând, pentru că Putin va face totul pentru a-l prelungi, a declarat la RFI analistul politic Nicolae Țibrigan, cercetător la Academia Română. *** La Chișinău are loc, în premieră, extinderea celui mai amplu proiect dedicat sculpturii românești contemporane, „Luna Sculptorilor Români”, ajuns la cea de-a VI-a ediție. Evenimentul marchează sărbătorirea a 150 de ani de la nașterea lui Constantin Brâncuși și integrează capitala Republicii Moldova în circuitul internațional al acestui demers cultural, consolidând dialogul artistic dintre România și Republica Moldova. Expoziția este realizată în parteneriat cu Uniunea Artiștilor Plastici din Republica Moldova, în cadrul proiectului inițiat de Ateneul Național din Iași, cu sprijinul Primăriei Municipiului Iași, și desfășurat sub patronajul Comisiei Naționale a României pentru UNESCO, și include artiști plastici din ambele țări, notează TVR Moldova. *** În această dimineață, circulația pe drumurile publice din Republica Moldova se desfășoară în condiții de iarnă. Astăzi și mâine este valabil un Cod Portocaliu și Cod Galben de precipitații puternice și intensificări ale vântului. Potrivit meteorologilor, în zonele aflate de codul portocaliu se așteaptă ninsori și lapoviță abundentă, cu cantități între 20 și 35 de litri pe metru pătrat. Vântul va sufla cu rafale de până la 15-20 metri pe secundă. Va viscoli, se vor forma troiene, iar vizibilitatea va fi redusă. Pe drumuri este posibil să se formeze ghețuș, iar izolat se pot produce depuneri de lapoviță și polei. Agenția națională a drumurilor îndemnă șoferii să manifeste prudență sporită. În următoarele zile, temperaturile ar putea coborî până la -10 grade noaptea.

.The Gaza Strip is home to some extraordinary remnants of human history, dating from the Bronze Age through to the Ottoman and British empires.Many historic sites suffered from neglect before the war - but the United Nations cultural agency, UNESCO, says it has verified damage to at least 150 historic heritage sites since the start of the Israel-Hamas conflict. Palestinians in the Gaza Strip are reckoning with how to save their historical monuments.

VOV1 - Hôm nay, TBT Tô Lâm đã đến Điện Kính Thiên, Khu di tích Hoàng thành Thăng Long dâng hương bày tỏ lòng thành kính tưởng nhớ, tri ân các bậc tiên đế, tiên hiền có công với đất nước và tới dâng hương tưởng nhớ Chủ tịch Hồ Chí Minh tại Nhà 67, ở Khu Di tích Chủ tịch Hồ Chí Minh.Trong không khí linh thiêng của những ngày giáp Tết, Tổng Bí thư Tô Lâm đã dâng hương bày tỏ lòng thành kính tưởng niệm, tri ân công đức các bậc tiền nhân đã khai mở nền văn hiến Thăng Long, khai sáng văn minh Đại Việt; cẩn cáo về những thành quả xây dựng, phát triển đất nước; đồng thời cầu mong cho các bậc tiền nhân, tiên hiền phù hộ cho quốc thái dân an, nhân dân ấm no, hạnh phúc.Chúc Tết, cán bộ, công nhân viên Trung tâm bảo tồn di sản Thăng Long, Tổng Bí thư mong muốn, mỗi cán bộ, công nhân viên tiếp tục phát huy tinh thần trách nhiệm cao nhất góp sức mình gìn giữ những giá trị tốt đẹp của dân tộc Việt Nam và của Thăng Long – Hà Nội, bảo tồn và phát huy những giá trị lịch sử văn hóa của khu di sản đã được Tổ chức Giáo dục, Khoa học và Văn hóa của Liên Hợp Quốc (UNESCO) ghi danh là Di sản văn hóa thế giới.Điện Kính Thiên được xây dựng năm 1428 dưới thời Lê, trên nền Điện Càn Nguyên, Điện Thiên An thời Lý-Trần. Đến thời Nguyễn, Điện Kính Thiên thời Lê vẫn là trung tâm của khu Hành cung dù quy mô đã thu hẹp hơn trước. Vị trí Điện Kính Thiên được xem là nơi hội tụ khí thiêng của non sông đất nước. Đây cũng là cung điện quan trọng bậc nhất của Hoàng thành Thăng Long xưa, nơi cử hành các nghi lễ long trọng nhất của triều đình, nơi đón tiếp sứ giả nước ngoài và là nơi thiết triều bàn những việc quốc gia đại sự.Tại Nhà 67,  thắp nén hương thơm dâng lên Chủ tịch Hồ Chí Minh - vị Lãnh tụ kính yêu của dân tộc Việt Nam, Tổng Bí thư Tô Lâm kính cẩn nghiêng mình, xúc động tưởng nhớ công ơn vô hạn của Chủ tịch Hồ Chí Minh. Người không chỉ để lại cho dân tộc ta một sự nghiệp cách mạng vĩ đại, mà còn để lại cho toàn Đảng, toàn dân ta một di sản cao quý, đó là tấm gương sáng ngời về phẩm chất đạo đức cao đẹp, suốt đời phấn đấu, hy sinh cho đất nước và hạnh phúc của nhân dân.Chủ tịch Hồ Chí Minh không chỉ cống hiến trọn đời mình cho sự nghiệp giải phóng dân tộc, giải phóng con người Việt Nam, mà còn cho cuộc đấu tranh của nhân loại tiến bộ vì lương tri và phẩm giá con người, vì hòa bình trên thế giới và tình hữu nghị giữa các dân tộc. Tên tuổi và sự nghiệp của Người còn mãi với non sông đất nước ta, sống mãi trong lòng dân tộc ta và trong trái tim nhân loại.Tổng Bí thư Tô Lâm dâng hương tại Hoàng thành Thăng Long và dâng hương tưởng nhớ Chủ tịch Hồ Chí Minh tại Nhà 67

Τα κινεζικά πανεπιστήμια έχουν ανέλθει στην κορυφή των παγκόσμιων κατατάξεων. Η πρωτοβάθμια εκπαίδευση στη χώρα είναι καθολική. Μέσα σε λίγα μόνο χρόνια, το ποσοστό εγγραφής στην τριτοβάθμια εκπαίδευση στην Κίνα αυξήθηκε από 29% το 2012, όταν ο Σι Τζινπίνγκ ανέλαβε την εξουσία, σε 60,8% το 2025.Τι κρύβεται πίσω από αυτή τη δραματική στροφή προς την υπερεκπαίδευση; Σε ποιο βαθμό έχει επηρεάσει η εκπαίδευση την οικονομική επιτυχία της Κίνας; Υπάρχει κάποια σκοτεινή πλευρά σε αυτή την ιστορία; Είναι η εκπαίδευση πραγματικά καθολική; Τι συμβαίνει με τις μειονότητες; Και πώς σχετίζεται η εκπαίδευση με τις πολιτικές του Κινεζικού Κομμουνιστικού Κόμματος;Για να απαντήσουμε σε αυτά τα ερωτήματα, συνομιλήσαμε με τον καθηγητή Edward Vickers, κάτοχο της Έδρας της UNESCO στην Εκπαίδευση για την Ειρήνη, την Κοινωνική Δικαιοσύνη και την Παγκόσμια Ιθαγένεια στο Πανεπιστήμιο Kyushu της Ιαπωνίας.Αυτή η συζήτηση αποτελεί μέρος της σειράς podcast του Κινεζικού Προγράμματος του Ινστιτούτου Διεθνών Σχέσεων σε συνεργασία με το "Ti Kosmos podcast". Παρουσιάστρια του podcast είναι η Μαριλίζα Αναστασοπούλου.Αυτή η συζήτηση αποτελεί μέρος της σειράς podcast του Κινεζικού Προγράμματος του Ινστιτούτου Διεθνών Σχέσεων σε συνεργασία με το "Ti Kosmos podcast". Παρουσιάστρια του podcast είναι η Μαριλίζα Αναστασοπούλου.Το Κινεζικό Πρόγραμμα του Ινστιτούτου Διεθνών Σχέσεων (Ι.ΔΙ.Σ.) προωθεί τη συστηματική μελέτη της σύγχρονης Κίνας στην Ελλάδα, επιδιώκοντας να προσφέρει σε βάθος κατανόηση της ιστορικής εξέλιξης, των αντιθέσεων, των πολιτικών οικονομικών και κοινωνικών διεργασιών, καθώς και του παγκόσμιου ρόλου της σύγχρονης Κίνας.Για περισσότερες πληροφορίες σχετικά με το Πρόγραμμα, δείτε στο: https://chinaprogram.gr

UNESCO has declared 13 February World Radio Day. In 2026, the focus is on the challenge artificial intelligence poses to radio. Contributing to this year's UNESCO-themed World Radio Day on behalf of Radio Slovakia International is our colleague Jozef Bohunický.

International Radio Day is celebrated annually on February 13th. This international observance was established by UNESCO in 2011 and endorsed by the United Nations General Assembly in 2012. SBS Assyrian spoke to two former SBS Assyrian producers and broadcasters, Dinkha Warda and Philip Darmo, who started the Assyrian program from 1976 until 1991. Both reflected on the role that SBS Assyrian played in helping Assyrian migrants settle in their new country and on how the radio helped people connect and tell their stories.

Bulletin d'actualités. L'Organisation mondiale UNESCO a proclamé le 13 février Journée mondiale de la radio. Le theme de cette année est Radio et l'Intelligence artificielle. Vendredi 13. Cette combinaison du chiffre 13 et du vendredi provoque de l'inquiétude chez certaines personnes. Les superstitions et les Slovaques.

- Đoàn đại biểu BCH Trung ương Đảng, Quốc hội, Chủ tịch nước, Chính phủ, UBTW MTTQ Việt Nam đặt vòng hoa vào lăng viếng Chủ tịch Hồ Chí Minh.- Quyền Bộ trưởng Bộ Công thương Lê Mạnh Hùng yêu cầu bảo đảm nguồn cung xăng dầu - “huyết mạch” của nền kinh tế - trong mọi tình huống.- Sau hơn 10 ngày diễn ra, Hội chợ Mùa Xuân lần thứ nhất năm 2026 sẽ bế mạc vào tối nay. - Ngày làm việc cuối cùng trước kỳ nghỉ Tết Nguyên đán 2026, lượng người rời các thành phố lớn tăng mạnh, áp lực giao thông tăng cao tại các tuyến đường cửa ngõ.- Lãnh đạo 27 nước thành viên EU nhất trí kế hoạch tái cấu trúc nền kinh tế, đặt mục tiêu nâng cao năng lực cạnh tranh và bảo đảm tăng trưởng bền vững trước sức ép từ Mỹ, Trung Quốc và Nga. - Nhân Ngày Phát thanh Thế giới 13/2, UNESCO lựa chọn thông điệp “Ây-ai là công cụ, không phải là tiếng nói” trong bối cảnh, ngành phát thanh đang bước vào giai đoạn chuyển mình sâu sắc trước làn sóng công nghệ và trí tuệ nhân tạo.

Bugün Dünya Radyo Günü. Radyo kimi zaman haber alma, kimi zaman müzik dinleme,, kimi zaman da yalnızlığı unutturan bir ses. Birleşmiş Milletler Eğitim, Bilim ve Kültür Örgütü UNESCO, eğitimin, toplumsal tartışmanın ve düşünce özgürlüğünün taşıyıcısı olan radyoya hakettiği değeri hissetirmek için 2011 yılında 13 Şubat'ı Dünya Radyo Günü ilan etmişti. O günden bu yana her 13 Şubat, radyo ve radyocular için özel bir gün olarak kutlanıyor. Radyo, günümüzde dünya nüfusunun %95'ine ulaşabilme olanağı ile dünyada milyarlara ulaşan kitle iletişim araçlarından biri olarak kabul görüyor. Radyo sayesinde mesafelerin hükmü ortadan kalkıyor, dünyanın en ücra noktalarından bile haber almak hiç olmadığı kadar kolaylaşıyor. Bazıları için sosyal medya platformlarından bilgi daha ulaşılabilir olsa da yapay zeka içerikleri, doğruluğu konusunda kullanıcıları şüpheye düşürüyor. Bu noktada radyo diğer haber alma mecralarına göre daha güvenilir görülüyor. Kayıttayız'da bu hafta radyonun önemini ve Türkiye'deki radyoculuğu konuştuk.

En 2011, los Estados Miembros de la UNESCO proclamaron el 13 de febrero Día Mundial de la Radio y en 2012 la Asamblea General de las Naciones Unidas aprobaron la celebración de esa jornada como día internacional de las Naciones Unidas. Se trata de un día destinado a agradecer a las emisoras las noticias que difunden, las voces que amplifican y las historias que comparten. Ahora la inteligencia artificial abre un nuevo capítulo, no solo para innovar, sino también para ahondar en el vínculo con los oyentes. Si es utilizada de forma ética, en apoyo del criterio, la creatividad y los valores de servicio público de los profesionales de la radio, la IA puede convertirse en un aliado para fortalecer la confianza del gran público. La tecnología por sí sola no genera confianza. Las emisoras de radio sí lo hacen. ¿Qué proyectos escolares refuerzan en Bizkaia la radio como medio periodístico de comunicación? ¿Cómo se impulsa desde los centros escolares la importancia del medio? 

The Palace of Westminster, which houses Big Ben and the House of Commons, is falling apart. With parts of the rodent-infested building complex over a 1000 years old, the troubled iconic UNESCO world heritage site came to light last week when a mouse ran past the Leader of the Opposition during a televised interview. A new report has been published on the path forward. Joining Sean was a man who spends most of his days holed up there Mark Paul, London correspondent for the Irish Times.

Με την συμμετοχή άνω των 300 ατόμων πραγματοποιήθηκε την Δευτέρα το βράδυ σε αίθουσα του Πανεπιστημίου Σύδνεϋ μεγάλη εκδήλωση όπου τιμήθηκε η Παγκόσμια Ημέρα Ελληνικής Γλώσσας, όπως καθιερώθηκε η 9η Φεβρουαρίου από την UNESCO τον περασμένο Νοέμβριο.

In this episode of Crossing Faiths, John Pinna speaks with Dennis Petri, focusing on the evolution and current state of metrics used to gauge religious freedom and persecution. Petri explains how documenting religious incidents is crucial for making them visible to policymakers, countering older secularization theories that often overlooked religious influence in public life. The discussion highlights the transition from anecdotal evidence to sophisticated datasets—such as those from the Pew Research Center—while acknowledging persistent gaps in capturing implicit discrimination and the nuanced cultural contexts of faith. A major theme of the interview is the potential for artificial intelligence and "big data" to enhance real-time reporting and move research beyond nationwide aggregates toward more detailed, sub-national analysis. Ultimately, Pinna and Petri emphasize the need for a "new IRFA moment" to update international religious freedom policies in alignment with modern technological advancements and data-driven insights. Prof. Dr. Dennis P. Petri is a political scientist, researcher, and international consultant, with extensive experience in Latin America, Europe, Africa, and the Middle East. He has worked in academic and policy roles for various universities, international NGOs, and multilateral organizations. Currently, Petri is Visiting Professor at the UN mandated University for Peace and Professor in International Relations and Humanities at the Latin American University of Science and Technology of Costa Rica. He also lectures at the Central American Public Administration Institute, the UNESCO mandated Latin American Faculty of Social Sciences (FLACSO), and The Hague University of Applied Sciences. He has been a visiting scholar at the University of Amsterdam (The Netherlands), the Interamerican Center for Social Security Studies, Bar-Ilan University (Israel), and Regent's Park College, University of Oxford (UK). About Dennis Petri: https://petri.phd/about/

Imagina tomar un capuchino perfecto en un bar art déco, cruzarte con una gasolinera que parece una nave espacial (la Fiat Tagliero) y ver a la gente jugar al billar con aires de dolce vita… todo eso a más de 2.300 metros, en una capital africana. Esa ciudad existe: Asmara, patrimonio UNESCO por su arquitectura modernista italiana. Pero detrás del encanto congelado en el tiempo está Eritrea: un Estado autoritario bajo el mando de Isaias Afwerki desde la independencia hace más de 30 años, sin elecciones nacionales, con servicio militar obligatorio que en la práctica puede extenderse indefinidamente, y severas restricciones a la libertad de prensa, asociación y expresión —la cara bonita de una ciudad que convive con una represión cotidiana. Hoy, como parte de nuestra serie de distopías les contaremos sobre Eritrea, y por qué le dicen la Corea del Norte de Africa.Una producción de El Grupo Muy Importante@elgrupomuyimportanteProducción EjecutivaDaniela Ormazábal y Federico CapocciEdición, montaje y música originalFederico CapocciAsistencia de Producción 
Camila NapoletanoSuscríbete a nuestro Patreon para contenido exclusivo y sorpresashttps://www.patreon.com/cosasmuyimportantesConviértete en un supporter de este podcast: https://www.spreaker.com/podcast/cosas-muy-importantes-historia-curiosa--4353665/support.

La doctora en Ci

Long confined to tourist clichés, Swiss yodelling is moving on from being a folkloric curiosity. This ancient Alpine vocal technique, which alternates between "chest voice" and "head voice", was inscribed on UNESCO's Intangible Cultural Heritage list in December 2025. Today, yodelling is sung in a multitude of contexts and crosses the boundaries of folk music to blend with rock, pop and even rap. FRANCE 24's Jade Lévin reports, with Josh Vardey.

How did Belgium become the first (and to date only) country in the world to have its beer culture recognised as world heritage by UNESCO? The post EP056 | Generational Handover appeared first on Belgian Smaak.

Wandering Works for Us PodcastDate: 6 Feb 2026Title: Alcobaça, Portugal: Monastery History, Medieval Love Stories & Wine TraditionsSummary of EpisodeIn this episode of Wandering Works for Us, we explore Alcobaça, Portugal, a historic town known for its rich cultural heritage, medieval architecture, and deep ties to wine production. Our visit begins at the Monastery of Alcobaça, a UNESCO World Heritage Site and one of Portugal's most important Gothic monuments, founded in the 12th century by Cistercian monks. We share our experience walking through its vast stone halls and reflect on the legendary love story of Pedro and Inês de Castro, whose tombs rest inside the monastery.We then visit the Wine Museum of Alcobaça (Museu do Vinho de Alcobaça), the largest wine museum in Portugal, housed in a former 19th-century winery. Here, we learn how the monks of Alcobaça shaped agriculture and winemaking in the region and how wine became central to the town's identity.Although the Ceramics Museum of Alcobaça was closed during our visit, we discuss its importance and Alcobaça's long tradition of Portuguese ceramics, known throughout the country for their craftsmanship and everyday beauty.To end the day, we take a walk up to the castle ruins above Alcobaça, where we're rewarded with stunning panoramic views of the monastery and town, one of the best photo spots in the area.This episode is perfect for travelers interested in Portuguese history, cultural travel, wine tourism, UNESCO sites, and off-the-beaten-path destinations in Portugal.Key Topics[00:30] Welcome back to us! A recap of the holidays, etc.[01:40] Intro to Alcobaça[02:10] Why we wanted to visit Alcobaça [05:10] Alcobaça Monastery, history of the Monastery, architecture [08:00] Parts of the Monastery and the importance of the monks[11:35] Inês and Pedro Graves → Link to our podcast of this story [13:30] Tour of the Monastery→ private tour here![13:45] Across the road from the monastery are restaurants and cafes to people-watch and have lunch. [14:15] Wine Museum–a wine memorabilia museum[19:40] Wine tasting at the museum[21:30] The ceramics Museum (it was closed…)[22:35] Castle Ruins at the top of the hill  [23:55] Other cool things in Alcobaça: the river walk, shopping, fun parks[25:05] Make sure you visit the Atelier do Doce for pastriesWhat's up next? Lisboa part 2, Portugal day trips, England and Scotland (again) Important Links To follow all of our antics and adventures, please visit our social media pages and our website at wwforus.com! You can send us a message at any of these places, and feel free to email us at wandering@wwforus.comLike what we are doing? Buy us a gin and tonic and help us keep going!InstagramFacebookTiktokYouTubeLooking for a tour guide in Portugal? I have a whole list!Blog post for this episodeMonasteries of Portugal blog postInês and Pedro Blog post  Thanks to Everyone!Special thanks to all of you who have listened, subscribed, followed us on social media and just took the time to say hello and tell us how much you enjoy our podcast and blog. YOU GUYS ARE THE BEST!!RESOURCES & LINKSDid you know we have a newsletter? Click here to sign up for updates, tips, and tricks!---> Wandering Works for Us NewsletterPS--booking a trip soon? Here are some resources we use.​Get your Guide​​Viator​​Trip Advisor​​Booking.com​​VRBO​Expedia.comAiralo.com Like what you read? We have a Ko-Fi set up, so you can tip us or buy us a gin and tonic. Anything helps to keep the content coming!Support this podcast at — https://redcircle.com/wandering-works-for-us/donations

Feb. 2026--Education topics discussed in this episode include:· UNESCO…What is UNESCO?· The 2030 Agenda—what is that?· How do these two impact the United States?· What are “Sustainable Development Goals”?Sources: · Transforming our world: the 2030 Agenda for Sustainable Development· Sustainable Development Goals for Education

It's Monday, Let's raise a glass to the beginning of another week. It's time to unscrew, uncork or saber a bottle and let's begin Exploring the Wine Glass!  Today we're touching down in the stunning, UNESCO-protected medieval village of Saint-Émilion, a place where the wine flows like time travel and the reviews are occasionally aged in pure bitterness. While most visitors rave about the breathtaking vineyard views and silky smooth Grand Crus , we're here for the "fresh drama" hiding in the cellar. We'll explore the "defamatory" BBQ beef, the entitlement of guests who bought 30 bottles but fumed over not getting a free gift , and the "disgraceful" timeline dispute where a brief 10-minute wait somehow morphed into a 90-minute saga of outrage. It's a vintage blend of world-class hospitality and the ultimate owner clap-backs—so pour yourself a glass and let's get into the petty side of the Right Bank! Please take a moment of your time to subscribe, rate and review Exploring the Wine Glass. It's completely free and is a great way to let other wine lovers know about the podcast. Be sure to head over to the website, Exploringthewineglass.com, to read my award winning blog and to see what else I have been up to. And most of all, please tell your friends about the podcast!   Slainte!  Find out more about my Wine Education Classes here Order Spanish Wine Bingo Game here Earn your Rioja Enthusiasts Certification here Music: WINE by Kēvens Official Video Follow me on Instagram!   Follow me on Twitter! Subscribe to my YouTube channel SIGN UP FOR EXPLORING THE WINE GLASS NEWSLETTER SUBSCRIBE ON iTUNES STITCHER | iTUNES | YOUTUBE | SPOTIFY | PODBEAN | AUDIBLE | BOOMPLAY Even ask your smart speaker to play Exploring the Wine Glass GIVE US A RATING AND REVIEW Thoughts or comments? Contact Lori at exploringthewineglass@gmail.com. Please support our sponsors Dracaena Wines - Our Wines + Your Moments + Great Memories Use code 'Explore' at checkout to receive 10% off your first order GET SPECIAL OFFERS FOR DRACAENA WINES

Menu Holistic Wealth Trailblazers​ About Us About Keisha Blair Global Holistic Wealth Day Contact us Menu Podcast Quizzes Personal Financial Identity Quiz Aligned for Love: Relationship Readiness Quiz Holistic Wealth Teen Superpower Quiz – Discover Your Strengths! Services Holistic Wealth Coaching Program Resources Our Courses Student Portal My account Membership Holistic Wealth Podcast Why Reconnecting to Self Is the Most Radical Act of The New Year + The Holistic Wealth Retreat  The new year doesn't arrive asking us to become more. It asks us to remember. Yet most people don't cross into a new year feeling whole, clear, or renewed. They arrive depleted, disconnected and running on a nervous system that has forgotten what safety feels like. There’s a global disconnection crisis that’s rarely being talked about. That’s why reconnecting with self is emerging as the most radical—and necessary—act of our time. In this episode of the Holistic Wealth podcast we’re discussing this plus answering some listener questions about the Holistic Wealth Retreat on the Holistic Wealth Trail. February is also Black History Month, a very special celebration of Black History. Resources Used in This Episode:Holistic Wealth Expanded and Updated Book by Keisha Blair Holistic Wealth Retreat on the Holistic Wealth TrailHolistic Wealth Personal Workbook by Keisha Blair What is the Global Disconnection Crisis?We live in an era of unprecedented access, convenience, and information—yet human beings are more dysregulated than ever before. Consider this:77% of people globally report chronic stress that directly impacts their physical health60–90% of doctor visits are linked to stress-related conditionsChronic loneliness increases mortality risk by 26%, comparable to smoking nearly a pack of cigarettes a dayFewer than 10% of people experience sustained nervous-system calm on a regular basis. This means that 90% of people are in a sustained state of nervous system dysregulation. In other words, the majority of humanity is living in fight-or-flight as a baseline state.When people say, “I feel disconnected from myself,” what they are really saying is:“My nervous system has not felt safe enough to come home.”Reconnection is not indulgence. It is biological repair. Topic: Why Reconnecting to Self Is the Most Radical Act of The New Year + The Holistic Wealth Retreat  TUNE IN: APPLE PODCASTS | SPOTIFY | STITCHER What Reconnecting With Self Actually MeansReconnection is not a mindset shift. It is not a productivity hack. It is not another item on a wellness checklist. True reconnection restores three broken feedback loops:1. Body → BrainWhen the body feels safe, the mind regains clarity.2. Environment → Nervous SystemYour surroundings directly influence cortisol, inflammation, sleep, and gene expression.3. Time → IdentityWhen time slows, the self re-emerges.This is why people cannot think their way back to themselves.They need place, pace, and presence.Why Place Matters More Than We've Been ToldModern wellness focuses heavily on habits while ignoring something far more powerful: environment.Where you are physically can change how your body functions.This insight is at the heart of the Holistic Wealth Retreat, located along the Holistic Wealth Trail—a first-of-its-kind ecosystem designed not as infrastructure for human repair.Situated on the foothills of the UNESCO world heritage Blue Mountain range, at approximately 3,000 feet above sea level, the retreat exists within a rare microclimate and biodiversity cluster that supports:Improved oxygen efficiencyLower blood pressure trendsDeeper sleep cycles due to natural temperature differentialsReduced cortisol and inflammatory markersThese effects are especially meaningful for individuals managing stress related conditions, arthritis, diabetes, cancer recovery, autoimmune conditions, and chronic stress—not as cures, but as biological support systems.No forced programming.No performative wellness.No constant stimulation.Just an environment intentionally designed to let the nervous system stand down.Guests often say the same thing:“I didn't realize how far from myself I had drifted until I arrived.”So far, we’ve welcomed guests from the United States, Canada, the UK, and across Europe. April is a very special time at the Holistic Wealth Retreat, as we celebrate Global Holistic Wealth Month and Global Holistic Wealth Day on April 9th. Private Chef Services and Healing Healing does not happen in isolation from nourishment. Private chef services at the Holistic Wealth Retreat are available by request and are designed around:Blood sugar stabilityAnti-inflammatory principlesCultural nourishmentFood is not treated as fuel alone, but as memory, medicine, and healing. This matters, because regulation does not come from discipline. It comes from feeling cared for.Why This Is HistoryThe Holistic Wealth Retreat is not an isolated destination. It is part of something larger. The Holistic Wealth Trail represents the very first known retreat-based ecosystem intentionally designed to integrate rest, place, legacy, and long-term human wealth—not just financial wealth. Its the first of its kind and longest Holistic Trail in Jamaica and the world and spans the Island. To date:The Holistic Wealth movement has reached over 300 million people globallyIts frameworks have been referenced in international media, academic discussions, and policy conversationsPhysical spaces now exist where people can experience what was once only conceptualHistory rarely announces itself loudly at the beginning. It starts quietly, with intention, long before the world catches up.The Mission: 1 Billion With Holistic WealthThe mission is simple—and ambitious to reach 1 billion people with Holistic Wealth.Not through hustle culture. Not through burnout disguised as success. Not through systems that extract more than they give but through a redefinition of wealth itself—one that includes:Nervous-system healthEnvironmental safetyTime abundanceLegacy and intergenerational repairHolistic Wealth asks a different question than the world has been asking:What if success didn't cost us our bodies, our peace, or our humanity?The InvitationIf this new year feels different— If you feel less interested in becoming more and more interested in belonging to yourself again—that is not regression.It is wisdom. Reconnection is not a retreat from life. It is a return to it. And this return—to self, to place, to wholeness—is how history quietly changes.  What You Will Learn Why the New Year Is the Most Fragile Time of AllThe first quarter of the New Year from January to March is often framed as a season of acceleration—goals, resolutions, productivity, but physiologically, the new year is one of the most vulnerable times for the human body:Cortisol levels spike after prolonged holiday stressBlood sugar instability increasesInflammation markers riseEmotional processing catches up after months of suppressionThis is why so many people feel unmotivated, foggy, or emotionally raw in the early months of the year.The body is not asking for more productivity hacks and optimization. It is asking for re-anchoring. Featured on the Show: Feature One Holistic Wealth – Holistic Wealth (keishablair.com)Holistic Wealth (Expanded and Updated): 36 Life Lessons To Help You Recover From Disruption, Find Your Life Purpose and Achieve Financial FreedomCertified Holistic Wealth Consultant ProgramTrauma of Money Certification programHolistic Healing Certification programCheck out the new Global Holistic Wealth Day website: www.globalholisticwealthday.comBecome a Global Holistic Wealth Day Ambassador: https://www.globalholisticwealthday.com/become-an-ambassador/  Feature Two Order Keisha Blairs new book, Holistic Wealth:36 Life Lessons To Help You Recover From Disruption, Find Your Purpose and Achieve Financial Freedom.Visit www.keishablair.com and subscribe. Also check out our FREE financial identity quiz and online courses at the Institute on Holistic Wealth. Check out our signature program, and become a Certified Holistic WealthTM Consultant and help people build a life of Holistic Wealth. Check out our signature program, and become a Certified Holistic Wealth Consultant and help people build a life of Holistic Wealth.  Feature Three Order my award-winning, bestselling book Holistic Wealth: 32 Life Lessons To Help You Find Purpose, Prosperity and Happiness, and the Holistic Wealth Personal Workbook. Feature Four Follow me on Instagram and Twitter – and ask me your questions related to holistic wealth! Feature Five Full Transcripts are available on the Institute on Holistic Wealth website and are available to members of the Institute on Holistic Wealth (Become a member of the Institute on Holistic Wealth). The post Why Reconnecting to Self Is the Most Radical Act of The New Year + The Holistic Wealth Retreat  appeared first on Holistic Wealth Courses.

This episode we are talking about the Four Great Temples--Asukadera, Daikandaiji (aka Kudara Odera), Kawaradera, and Yakushiji.  Much of the information, outside of the Nihon Shoki itself, comes from Donald F. McCallum's book:  "The Four Great Temples: Buddhist Archaeology, Architecture, and Icons of Seventh-Century Japan". For sources, photos, and more information, check out our blogpost at: https://sengokudaimyo.com/podcast/episode-142 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is episode 142: The Four Great Temples   Rising up into the sky, the bronze spire atop the pagoda seemed to touch the heavens.  The beams, doors, and railings were all painted bright red, with white walls, and green painted bars on the windows.  At each level, the eaves swept out, covered in dark ceramic tiles, with shining bronze plaques covering the ends of the roof beams.  At each corner, a bronze bell hung, chiming in the breeze.  This pattern continued upwards, tier after tier. Around the base of the pagoda, throngs of government officials dressed in their formal robes of office moved past, flowing through the temple's central gates.  As they passed, they looked up at the impressive tower, the largest of its kind in all of Yamato.  From somewhere, a deep bell chimed, and the crowds made their way towards the lecture hall.  There, the monks were prepared, with sutras and voices at the ready.  Facing a sacred image, they would read through their sutras in unison.  Their voices would carry through the great empty space and reverberate through the crowds—those that could get close enough to hear, anyway.  The chanting created a musical cacophony.     In that sea of human voices, one could almost sense something more—something spiritual.  A power, that one could almost believe could hold at bay just about any disaster that could befall a person—or even the state itself.   Alright, so this episode we are still in the reign of Ohoama, aka Temmu Tennou.  I know we've already seen how that ends, but there is still a lot to cover. But before I go too far, I'd like to first give  a shout out to Lisa for helping to support the show on Ko-Fi.  I can't tell you how much we appreciate it.  If you would like to support us as well, we'll have more information at the end of this, and every episode. We've talked about how the reign of Ohoama was a time where the court reinforced, but also subtly adjusted, the laws of the Ritsuryo state.  They seem to have equally courted the Kami, Buddhism, and even continental ideas of yin and yang.  Today we are going to dive into Buddhism and the State.  More specifically, I want to talk about something called the Yondaiji, the Four Great Temples, and look at how these government temples, also known as "kanji" or "Tsukasa no dera" came to be, what we know about them from archaeological research, and the role they played in the State.  This is going to probably recap things from earlier episodes.  I am also drawing a lot from a book by Donald F. McCallum called, appropriately, "The Four Great Temples", which goes into a lot more detail than I'll be able to get into, here, but I recommend it for those who are really interested in this subject. Up to this point, we've talked a little about the relationship that the court had with Buddhism.  By the late 7th century, Buddhism had spread throughout the archipelago, and there were many temples likely created by local elites.  Sensoji, in Asakusa, Tokyo, claims a founding of 628, though it may have actually been founded sometime just after 645.  There are other temples around Japan, far from the Home Provinces, which likewise had similar claims to being founded in the early to late 7th century, and I question how much a role the government had in each of them. .  In 673, there were two temple-related mentions of note in the Chronicles.  In one of Ohoama's earliest edicts he orders the copying of the Issaiko, the Buddhist canon, at Kawaradera.   That same year, 673, Prince Mino and Ki no Omi no Katamaro—whom we discussed last episode—were sent to build Takechi temple, later known as Daikandaiji.  I mention Daikandaiji specifically because while it was originally built as the Temple of Takechi, at some point took on that other  name—"Daikandaiji", aka Ohotsukasa no Ohodera—which Aston translates as the "Great Temple of the Great Palace", as it appears to have specifically been designated as the great temple of the government. In other words, it is one of a few National Temples.  And this became particularly important in the year 680, which is the year we are told the government stopped administering—and, more importantly, stopped funding—all but a handful of so-called "national temples".  At this point, as I've mentioned, Buddhism was widespread enough that there were enough adherents that could maintain their own local temples. Of course, local elites likely found some cachet in funding temples, and communities of believers in various areas would likewise have been asked to provide funds as well. So the court accordingly declared that going forward, the government would only administer 2 or 3 national temples.  For all other temples, if tthey had been granted the proceeds of sustenance-fiefs, those would be limited, from the first year to the last, of 30 years in total.  As I read it, that indicates that if they had received the fiefs 15 years ago, they would be allowed to hold onto them for another 15 years, after which point they would need to find alternative sources of funding.  The early national temples appear to be Daikandaiji and Kawaradera.  Finally, there is Yakushiji, which Ohoama began construction on in 680 for his queen, Uno no Sarara, when she was ill—and just hold on to that for now.  Interestingly, Asukadera, or Houkouji, in many ways the original national temple, was not designated as such in the new reorganization, but it would continue to be administered by the government as a temple in a special arrangement. That's why the original count in the Nihon Shoki mentions "2 or 3" national temples instead of four.  These four temples are mentioned in the Shoku Nihongi, the Chronicles following the Nihon Shoki, as the Four Great Temples, or Yondaiji.  Although that work wasn't compiled and published until the end of the 8th century, the term Yondaiji appears in an entry for 702, about five years after the last entry in the Nihon Shoki, and over a decade before its publication So at this point we're going to look at each of these "great" temples individually, plus a couple of other important ones, and what they tell us about the history of Buddhism, Buddhist temples, and the Yamato state at this point in Ohoama's reign. The first of these four temples, chronologically, is Asukadera.  This is the temple originally built by the Soga, and the first major Buddhist temple built.  Its layout shows three separate golden image halls, or kondou.  And here we should probably recap something about the general layout of a Buddhist temple, so we can understand what we are talking about. The most important buildings in a Buddhist temple at this time were the kondou, the golden image halls; the pagoda, or stupa; and the koudou, or lecture hall.  The golden image halls held golden Buddhist images—Buddhas, Boddhisatvas, Arthats, and more.  These rooms are often somewhat dark, and would have been lit mainly by candles, as well as the sun coming through—though even then the sun often is obscured by overhanging rooves and latticework.  Sometimes the doors would have small openings so that the sun's rays strike in a particular way at different times.  All of this presents an image of bright gleaming gold in the darkness—a metaphor for the teachings of the Buddha, but also an intentionally awe inspiring display for those who came to view them and pray. The kondo were usually the first structures to be built for a temple, so if your temple had nothing else, it probably had an image hall. The next structure that one would probably build would be the stupa, or pagoda.  A pagoda was a tower, in which were sometimes kept images, but more importantly, it would often hold some kind of relic.  The idea of the stupa originated as a place to house relics—often bone fragments and teeth attributed to the Buddha, even if those were actually precious stones.  Stupas were originally (and still, in many places) large mounds, but as Buddhism made its way over the Silk Road, these were replaced with multi-tiered towers. Pagodas are often 3 or 5 storeys, though the number of stories can go up to 7 or 9 or as low as 1.    Once again, in a world where most buildings, other than perhaps a specially made lookout tower, were only one or maybe two stories in height, a three to five story pagoda must have been something to behold, especially covered with tiled eaves, adorned with bronze bells, and brightly painted in the continental fashion. In Europe I would point to similar uses of gold and ostentatious ornamentation on the cathedrals of the day, and even in churches more generally, if on a smaller scale.  This is meant to impress and thus lend authority to the institution.  And of course, because that institution was so closely aligned to the State, it gave the State authority as well.  We mentioned, previously, how the monumental structures of the kofun had given way to the Buddhist temples as a form of ritual display. The last of the three buildings I would mention is the lecture hall, or Koudou.  This would also likely have Buddhist images, but it was more of a functional hall for conducting rituals, including recitation of sutras and presenting Buddhist teachings.  The koudou was often at the back or north end of the temple complex.  In early Buddhist temple layouts, it was common to have everything in a straight line, more or less, and to remain symmetrical.  So there would be a main gate through which one would enter.  In front of you there you probably saw the pagoda.  Beyond the pagoda was a path, and then the kondou, or image hall, typically with a lantern in front, and behind that was the koudou, or lecture hall.  This was all typically oriented on a north-south axis, such that one would enter through the southern gate and walk north towards the lecture hall.  The north-south orientation is likely another feature from the continent, where the most important buildings were often south-facing, and thus in the north of the compound.  This was the same with the palace layout, and likely for similar reasons—not just cultural, but also practical.  After all, the sun, in the northern hemisphere, remains slightly to the south, and so this would have provided the most light through the day.   This layout was not strictly adhered to, however. For instance, if we look at Asukadera, you would enter through the southernmost gate and you were then met with another gate for an inner compound.  This middle gate would lead you to a large courtyard, about 320 meters on a side, with a covered walkway, or gallery, along the entire circumference of the compound.  Entering through the middle gate one would have first noticed the large pagoda and not one but three golden image halls.  A path led to the pagoda, and then beyond from the pagoda to the central kondou.  There is even a stone where a large bronze lantern was likely situated between the pagoda and the kondou.  Based on archaeological evidence, it appears that there was originally just one image hall, directly north of the pagoda, but at a later date, they added two more kondou to the east and west of the pagoda.  This has been compared to a temple layout found in Goguryeo, but given that these were likely later additions, and we know that Baekje artisans were involved, I suspect that is just later coincidence. Connecting the layout of the temples to continental examples has been a keen area of study for many scholars.  The general theory is that temple layouts can help point to whether there was more of a Baekje, Silla, or Goguryeo influence during the construction of the temple, and what that might have meant for Yamato's international relations as well as various political factions in the court who may have leaned more towards one group or another. The last building at Asukadera, the koudou, or lecture hall, was directly north of the kondou, but you couldn't get there directly.  The entire pagoda and image hall compound was separate from the lecture hall, which stood north and apart, though still on the temple grounds, which would have been surrounded by an outer wall.   At this point, since we're talking about the layout of Asukadera and where it came from, I'm going to digress from the next of the four great temples and talk about two other early temples that are important for understanding Buddhist temple building at this time. So bear with me for this slight detour. The first of these is Shitennoji, the Temple of the Four Heavenly Kings, in modern Osaka.  This temple is said to have been built in 593, and is attributed to Shotoku Taishi.  Presumably he made a vow to do so during the war between the Soga and the Mononobe, which we discussed back in episode 91.  As you may recall from that and earlier episodes, the Mononobe were considered to be against the idea of Buddhism, while the Soga were promoting it.  Shitennouji was important, but doesn't show up in the Chronicles as much as other temples, and was all the way over in Naniwa.  As such, I suspect that it was not considered a good candidate for "national" temple status at the time.  Still, if we look at the original layout, Shitennoji is quite similar to what we see in Asukadera.  Everything is on a north-south axis.  You go through a middle gate to the inner compound.  There you find a pagoda, and past that, a lantern and then the kondou.  Unlike Asukadera, the koudou, or lecture hall, is incorporated into the back wall, such that the gallery continues from the middle gate around to either side, and then meets at the sides of the lecture hall.  There are also east and west gates, as well as other buildings, but the main layout is pretty comparable. The second is another temple, which also lays claim to being founded by Prince Shotoku Taishi, and which was not included in the four great temples.  This may have had to do with the fact that it wasn't in the Asuka valley, but also may have had to do with just the timing.  That temple is the famous one known as Horyuji.  Horyuji was founded on the site of the Ikaruga palace, said to have been the home of none other than Prince Umayado, aka Shotoku Taishi.  As such, one imagines it was quite the prominent temple in its day.  However, it was at a distance from the capital, and it also had the misfortune to have burned down in about 670, just before Ohoama ascended the throne, and it wasn't fully rebuilt until about 711, leaving a forty year gap where the temple was not necessarily at the forefront of Buddhism. Still, like Shitennoji, it is interesting to look at the original layout for Horyuji and compare it to Asukadera.  First off, you have the same north-south orientation, and you have the same separate, internal compound for the image hall and the pagoda.  Unlike in Asukadera, however, the kondou and the pagoda, which both faced south, were on an east-west axis, flanking the central pathway.  Entering through the middle gate one would have seen a five storey pagoda on the left and the kondo on the right.  The Koudou was outside the inner compound in the rear, along that central north-south axis.  There is also evidence of two other buildings.  One likely held a large bell—and possibly a drum—and the other was likely a sutra repository, where they could keep holy texts and various ritual implements. I will also note that, even though Horyuji burned down in 670 and was accordingly not that prominent during Ohoama's reign, it is absolutely worth visiting because substantial portions of those rebuilt buildings are still standing today. Indeed, both the Horyuji pagoda and kondou are among the oldest wooden buildings in the world. The central pillar of the pagoda was felled in 594 according to dendrochronological dating. The kondou was damaged by fire during a restoration in 1949, but about 15-20% of the original building from 670 still remains.  Going back to the Great Temples, the next of these to be built was Kudara Ohodera.  Kudara here means "Baekje", but this appears to refer more to the temple's location near the Kudara river, rather than to the kingdom of Baekje.  Kudara Ohodera is remarkable in a couple of different ways.  First off, there is the fact that it is the first temple with a firm royal lineage—that is to say a temple that claims to have been founded by the sovereign.  Asukadera was founded by Soga no Umako, the Prime Minister, and though Prince Umayado is said to have been the Crown Prince, nonetheless, he never reigned as sovereign, though he was considered the founder of both Shitenouji and Houryuuji.  Kudara Ohodera, however, is said to have been founded at the behest of Tamura, aka Jomei Tennou, who reigned from 629-641.  The temple appears to get its start in a record dated to 639, and by 645 it appears to be fully operational. There is another tale of its founding—in the Daianji Engi, the history of Daianji, a successor temple to Kudara Ohodera, there is mention of a Kumagori Dojo, and many modern histories claim that this was the actual first temple, but there isn't much evidence.  Donald McCallum, in his treatment of Kudara Ohodera's history in his book, "The Four Great Temples", suggests that the Kumagori Dojo story is likely a later legendary founding that got recorded, as there is scant evidence for it, and no mention of it in other records.  On the actual founding of Kudara Ohodera, however, there does appear to be general agreement with the Nihon Shoki, despite some minor differences in the dates. The call to build Kudara Ohodera comes alongside Tamura's also building Kudara Palace.  Kudara Ohodera was also built on a grand scale, and it is said to have had a nine-storey pagoda—almost double the size of a five-storey pagoda, which already towered over other buildings of the time. Despite all of this, for a long time it was unclear where Kudara Ohodera was actually situated.  There were several sites proposed, but most recently archaeological research on Kibi Pond seems to have placed the temple there.  At excavations on the southern side of the pond were found remnants of the foundations of two buildings, arranged in an east-west format.  The western foundation would appear to be for a pagoda—but one much larger than any of the five storey pagodas we've seen elsewhere.  And to the east was the foundation for what appears to be the kondo.  This golden image hall, however, is likewise much larger than any other hall of this time.  This arrangement would fit very well with a Houryuuji-like temple layout.  There were also various other traces that were consistent with the early mid-7th century, which would coincide with the 639-645 dates for Kudara Ohodera's construction.  Subsequent excavations appear to have found quarters for the priests, as well as at least part of a gallery wall and one gate, situated due south of the kondo.  There may have been another gate south of the pagoda.  The koudou, the lecture hall, may have been in the area that was later excavated to create the pond, and therefore we may never have any hard evidence of its location, despite numerous attempts to dig trenches to find more of the temple buildings.  This probably also means that, similar to Shitennouji, the lecture hall  was incorporated into the enclosing gallery wall rather than being outside, because if it was outside, then it likely would have been farther north and we would probably have seen some trace.  As it is, the lack of any trace suggests that it was inside or part of the enclosure with the pagoda and kondou. The large size of this archeological site concurs with what we know about Kudara Ohodera, both in its description and in the fact that it is referred to as "Ohodera", or "Great Temple"—no other temple has really been given that name directly, though there are a few references to "Ohodera"  that are ambiguous and might refer either to this temple or Asukadera..  Still, if this temple, sometimes also called Kibi Pond Temple due to its location, is *not* Kudara Ohodera then that just brings up more questions.  How could there have been such a monumental Buddhist temple this close to Asuka and within the bounds of the later Fujiwara-kyo and yet nobody thinks to mention it?  It doesn't appear to have been started and abandoned, as there were quite a few structures built.  So if this isn't Kudara Temple then someone has some 'splaining to do. Indeed, McCallum notes that while there are some objections, the preponderance of evidence seems to lean greatly in favor of the Kibi Pond site for Kudara Ohodera.  We still have yet to find the Kudara palace, however, so who knows.  There are also questions about the construction as various architectural features are missing in ways that are not consistent with other sites. Some oddities, such as a seeming lack of rooftiles given the apparent size of the building, actually may be a point in favor of this being Kudara Ohodera, since we know that the temple was moved in 673 when Ohoama requested that they build the Takechi Ohodera, which appears to have been Kudara's successor temple.  If they had reused the material from Kudara Ohodera to build, at least in part, Takechi Ohodera, that could explain why rooftiles and other such things are not present in the numbers expected at the Kibi Pond site. Takechi Ohodera is another bit of a mystery.  I can't help but note that Takechi is the name given Ohoama's son who was with him on the front lines of the Jinshin no Ran.  We also see a "Takechi no Agata-nushi", who is noted as the governor of the district of Takechi.  In all cases here it is spelled "Taka-ichi", or "high market", and it is not an uncommon name—we even find a Miwa no Kimi no Takechimaro.  In the record of the Jinshin no Ran it is noted that the governor of Takechi was possessed by the kami of Takechi and of Musa.  These were named as Kotoshironushi and Ikuikazuchi.  They claimed that they had been the kami that escorted Ohoama to Fuwa and saw him safely there.  As such, donations were made to their shrines.  Musa is an area in modern Takaichi district, which includes the area of Asuka, and is part of Kashihara city.  The Takaichi Agata Jinja—or the Takechi District Shrine—sits in the Shijo area of Kashihara city, north of Mt. Unebi. There are several proposed locations for Takechi Ohodera, but despite excavations, no clear temple features have been found.  As such, there isn't anything to clearly point to one or the other. What we do know is that Takechi Ohodera underwent another transformation.  According to the Daianji Engi, the Takechi Ohodera was renamed to Daikandaiji in 677.  There is no specific mention of this in the Nihon Shoki, other than a note that Takechi Ohodera was also known as Daikandaiji and a reference, in 679, of "fixing the names".  Personally, I can't help but wonder if this is a case of a nickname becoming the name-in-fact.  As I mentioned earlier in the episode, Daikandaijij, which can also be read as "Oho-tsukasa no Oho-tera" can be translated into something like Great Government Official Great Temple or Great Temple of the Royal Court.  We do know the location of this temple in later years, but this is probably not exactly where Takechi Ohodera was originally built. For one thing, it is suspicious that the temple lines up exactly with the later grid for Fujiwara-kyo, the later capital city that was built north of Asuka.  We also are told by the Daianji Engi that a nine storey pagoda and kondou were built between 697 and 707 CE.  There are also notes about activities at the temple mentioned in the Shoku Nihongi for the same period.  And yet there were also activities being held during that time which would not seem feasible if they were renovating in place.  So likely the new construction was at a new site—possibly near the old site.  And at this later site, the rooftiles were from a later period, closer to the period of the later construction and not really matching with earlier construction dates. So what did this temple of many names – Kudara Ohodera, then Takechi Ohodera, then Daikandaiji – actually look like?  We probably have a layout for the original temple and the later temple.  If Kibi Pond Temple is the original Kudara Ohodera, the original temple had the kondou and the pagoda on the same east-west axis, and likely had the koudou north of that – very Horyuji-like.  But based on the layout at the later temple site, we have something quite different.  From the central gate, there is a path straight towards the Kondou, with the Koudou directly north of that, and the nine-storey pagoda in an odd, off-set position, southeast of the kondou.  This disrupts the symmetry even more than the Kudara Ohodera layout.  There is some speculation that this asymmetry was temporary and that they planned to fill the other space but just never got around to it, but there is no indication that they had prepared for anything, either.  Also odd is the fact that the koudou, the lecture hall, was the same size as the image hall, the kondou, and that was roughly the same size as the enormous hall at Toudaiji, which is really saying something.  This really was a tremendous building, fitting for the main temple of the royal government. The third of the four great temples is Kawaradera, and this one is challenging to plot out chronologically as there isn't a lot of documentation.  There is no exact date for the building of Kawaradera.  There is a mention of it in 653, but the same entry in the Nihon Shoki also states that there are sources that claim it should be Yamadadera, instead.  Based on other evidence, this actually seems more likely.  Yamadadera is thought to have been the work of Soga no Kurayamada no Ishikawa no Maro, and it is where he eventually fled when accused of treason.  It was founded in 641, according to the Joguki, the record of Prince Shotoku, but construction didn't actually start until2 years later, and monks only began to occupy it in 648.  The following year, however, construction halted as that is when Ishikawa no Maro fled there and committed suicide.  Construction was resumed in 663, but still took time.  Still, even in the middle of this very long DIY project, it makes sense that there might be some activities in 653, even if construction was paused.   Later the temple would be completed, and seems to have had powerful backing.  Uno no Sarara, Ohoama's queen, was a granddaughter of Ishikawa no Maro, and so likely had a connection to the temple, but it never attained the status of a national temple the way the others had.  As far as its layout—it was similar to Shitennouji, with the pagoda, kondo, and koudou all in a line on the north-south axis. Kawaradera was another matter.  Though we aren't sure when it was built, exactly.  If we discount the 653 date as applying to Yamadadera instead, then the first date we really see anything at Kawara is Kawara Palace, built for Takara Hime—aka Saimei Tennou—who took up residence there when the Itabuki Palace burned.  Later it would be used for her mogari—her temporary interment.  The next mention of a temple at Kawara isn't until this reign, in 673, when Ohoama had the Buddhist canon, the Issaiko, copied, as I noted at the top of the episode.  So it must have been established and built some time before 673. Although we don't know when it was founded, we very clearly know where it was, as the foundations stones are still present, and quite clear—and unlike other Asuka era temples, it would stay in Asuka, rather than being removed up to the new capital at Heijo-kyo. Given everything else and its apparent importance, the lack of information on when Kawaradera was established is quite odd.  McCallum suggests that this could have been deliberate as a way to help delegitimize the temple in the 8th century, but also admits that it may have just been due to the general problems with early record keeping back in the day and there may not have been a good record of why and when the temple was founded.  The rooftiles are similar to those used during the time that the court was at Ohotsu.  I would also note that there is a connection between the foundation stones and a quarry up near Ohotsu at what is, today, Ishiyamadera.  That still doesn't tell us when Kawaradera was founded, as that could have been any time, and doesn't necessarily mean that it was during the time the court was in Ohotsu. Regardless of what textual evidence does or does not exist, the archaeological evidence is pretty staggering.  Even today you can go and see some of the exposed foundation stones.  This was a massive temple.  There was a south gate and then a middle gate just north of that.  The main enclosure was divided into two courtyards.  In the first, just beyond the middle gate, at the north end was the middle kondo, while in the courtyard itself, facing each other on an east-west axis, was a western kondou and the temple pagoda.  Past the middle kondou was a larger courtyard, with the koudou, or lecture hall, in the north, with a bell tower or sutra hall in the south west and southeast corners.  The walls of the enclosure were made up of a covered gallery, and around the outside of the northern courtyard, containing the koudou, were smaller chambers believed to be the monks quarters, something we don't necessarily see at all of the other sites. Despite being an important temple, and one of the Four Great Temples during the Asuka periods, when the capital eventually moved to Heijo-kyo, in modern Nara, Kawaradera had the distinction of being the only one of the four that was not moved as well. All three of the other Great Temples had new compounds built in Heijo-kyo, and the temples were thus "transferred" to the new capital.  Presumably that means that most of the monks and administration moved there, and those new temples took up the roles, duties, and responsibilities of the old temples.  The temple complexes in Asuka were not necessarily destroyed or deconstructed, but instead were apparently left to their own devices, becoming reduced in status.  Many of them fell into disrepair, and when disasters, such as fire, struck they were not rebuilt to the same extent as before, if at all.   Kawaradera, however, appears to have not been transferred.  It would eventually be replaced as one of the Four Great Temples by the temple of Koufukuji, which was specifically a temple for the Fujiwara family, who were having a bit of a moment in the Nara period.  Some have speculated that Kawaradera was specifically left behind in Asuka for that reason—so that the Fujiwara family temple could sneak into the ranks of national temples.  Or it may have been that Kawaradera had a particular connection to Takara Hime and the site of her interment.  If it was a memorial temple to her, then perhaps it didn't seem appropriate to remove it from its physical location.  McCallum also suggests that it was so powerful in its position in Asuka that it preferred to stay and keep its stipend-fiefs, perhaps believing that even the move to Heijo-kyo would be just another short fad, as had been Ohotsu and Fujiwara-kyo.  Of course, if so, they were sorely mistaken. And so Kawaradera would eventually fade from the picture, but during the time of Ohoama's reign, and into that of his immediate successors, it seems that it certainly held some sway. The fourth of the Four Great Temples was the temple of Yakushiji—the temple of the Medicine Buddha.  This is the latest temple of the bunch.  Its construction was ordered in the year 680 in response to Ohoama's queen, Uno no Sarara, falling ill.  And so he vowed to build a temple for her—specifically a temple to Yakushi Nyorai, the Medicine Buddha, whom we discussed last episode.  That said, there is considerable time between the order to construct a temple and getting enough of it built to actually be functional.  I haven't really touched on this, except when I briefly discussed Yamadadera and how long that took to build, but all of these temples were massive works, much more complicated than the traditional palace buildings.  For the most part, palace architecture could be built relatively quickly with the tools and labor available.  This was a good thing, seeing as how, for many years, the sovereign had moved again and again, either because of the previous sovereign's death in the palace or just because they chose a new location for a palace.  As such, one couldn't spend years building a new palace.  So palace buildings were simply made with wooden posts, sunk into the ground, with thatched roofs.  In a few examples we see attempts to use wooden boards or tiles, but they weren't complicated. A temple, on the other hand, was something different.  Temples were largely wood, but they were massive in size and their roofs were covered in heavy ceramic tiles.  All of that weight had to be properly distributed on a strong base—simple posts were not likely to work.  Instead they were built on raised stone foundations.  That's great for us looking at them, today, but at the time it would have been an inordinate amount of labor.  Hence why a temple like Yamadadera took so long to build. So Yakushiji may have been founded in 680, but was likely not finished until much later, which is why we don't really see it in the records for Ohoama's reign and why the order for national temples probably only states that there were just two or three.  However, it would become one of the four great temples, and is also notable because, in its transfer to Heijokyo, it largely retained its shape and layout, meaning that you can go to it, today, and still get some sense of what it may have been like back in the Asuka period.  Granted, there are certainly differences, but there are enough similarities that it is likely worth a visit.  Many of the other temples were significantly modified when they were rebuilt in the new capital in Nara.  The layout for Yakushiji is a basic rectangular layout.  North of the central gate there is not one, but two pagodas, on an east-west axis from each other, flanking the path to the kondo, roughly in the center.  Finally the koudou at the north end, built into the roofed gallery.  The modern Yakushiji, a UNESCO world heritage site, maintains one of the pagodas from 730.  Other buildings have been lost and rebuilt over the years.  Today, the covered gallery only goes around half of the compound.  This temple would be important, but mostly in the period following the current reign. This period of the four Great Temples perhaps gives us some insight into the relationship between Buddhism and the State.  Early on, Buddhism was the province largely of the Soga family, and Soga no Umako was apparently the most powerful figure of his day.  He founded Asukadera, and early temples weree founded by Soga or their associates, including Prince Umayado.  McCallum points out that the National Temples, however, were, with one exception, founded by sovereigns.  Kudara Ohodera was the first, Kawaradera was likely founded for Takara Hime, and Yakushiji was founded for Queen Uno.  The only one of the four that wasn't expressly founded on a sovereign's order was that of Asukadera, the temple by Soga no Umako.  This may explain why it was both included and excluded as a national temple in the Chronicles.  After all, there is no doubting its importance, but the narrative of a single, strong, royal house is somewhat impeded by the idea that one of those temples was founded by what was, for all of his power and authority, a private individual.  Ultimately they didn't include it in the edict and yet still acknowledged it as one of the Great Temples. McCallum also points out that these four may not have been fixed quite so early on.  For example, on the matter of Houryuuji—there is a bronze plaque that mentions an "Ikaruga no Ohodera", suggesting that the Ikaruga Temple—that is to say Houryuuji, founded on the estates of Prince Umayado—was at one time granted that title.  Of course, there are questions as to the exact date of the inscription, and whether or not they meant "Ohodera" in the later sense of a national temple or simply in the sense that it was large; and the term may have meant something else, earlier on. The roster of official temples, the Tsukasa no Tera or Kanji, would grow over time, but that is something for a later period.  It is worth noting, though, that the Chronicles at this point seem to distinguish between three types or levels of temples at this time, based on other edicts that we see.  There is also the matter of temple names. The first edict is from the 5th day of the 4th lunar month of 679, six years into Ohoama's reign.  The declaration states that the court would consider the history of any temple with sustenance fiefs and add or remove them as appropriate.  This suggests that there were temples with sustenance fiefs—that is, that had stipends based on lands whose official output went to their upkeep—and temples without such fiefs.  The latter were likely more local temples, likely funded by local elites, possibly out of actual devotion, or an attempt to gain the power that Buddhism presumably brought, or possibly just in emulation of the central court, much as the peripheral elites had also constructed the keyhole shaped kofun.  Along with the adjustments of stipends, we are also told that the administration quote-unquote "fixed" the names of the temples. This again goes to the government's control of the temples and Buddhism.  McCallum suggests that what is meant here is that they moved away from locative names to Buddhist names for the temple; up to this point, temple names appear to be about the location of the temple.  So we have Asuka dera, or Asuka Temple, built in Asuka.  Kudara Ohodera is Kudara Great Temple because it was by the Kudara river and the Kudara palace.  When it was moved to Takechi, they changed the name to Takechi temple.  Kawaradera was at Kawara, while the temple we know as Houryuuji was known at the time as Ikaruga Temple—or possibly Ikaruga Great Temple.  But later these temples would be known by their Buddhist names, so Asukadera is Houkouji.  Kudara Ohodera becomes Daikandaiji—and in fact, it is after this point that we see Daikandaiji in the narrative.  Ikaruga dera—though not one of the yondaiji, or four Great Temples—becomes Horyuuji.  I'm not quite so sure about Kawaradera, but Yakushiji, which is founded after this decree, comes to us with a Buddhist name rather than just the name of a location. This change in name likely simplified, somewhat, the concept of moving, or transferring the temples.  Rather than establishing a brand new temple with new administration and everything, they could build a new temple, but grant it the name and rights of the old temple.  The old temple grounds could still be used and occupied—it was still *a* temple, but it was no longer *the* temple, at least for official purposes.  It would be strange, however, to move the Asuka Temple up to the area of modern Nara city and still call it the Asuka Temple. The year after reassessing the stipends and fixing the names of the temples we get the edict about the 2 or 3 national temples.  And we've mostly discussed that, but here I would just point out that it does add a third distinction to the types of temples.  So we have temples with no stipends, temples with stipends—but they would only last for 30 years total after which they were expected to find new sources of funding—and the national temples, which would presumably receive funding through the government in perpetuity—or until the court changed its mind. So why do we care about any of this?  Obviously Buddhism has had a huge impact on Japanese culture.  However, this isn't just about the religion as an idea, but about the institutions.  These temples—especially these great temples—contained a fair amount of wealth.   It wasn't just the golden images, or the elaborate amount of work and materials that went into the creation of the buildings.  There was also the sustenance-fiefs that were paying for the upkeep.  These temples were also being managed by formal government administrators.  They also performed rituals that the court relied on.  Association with these temples was no doubt important.  Later we see princes and other members of high status families taking high ranking positions, and the temples ended up cultivating their own power.  Over time, the power of various Buddhist institutions would grow,  often challenging or even rivaling the power of the court itself. There are a few other items from this reign that we see related to these temples and Buddhism, more generally.  In 677 we see a Buddhist festival at Asukadera, where the entire canon was apparently reda out.  The sovereign himself showed up and did obeisance to the Three Precious Things—an interesting bit of religious piety and humility.   At the same time, he had all of the Princes and Ministers find one person each to renounce the world and become a monk or nun—both men and women were chosen, without apparent distinction.  We are also assured that they all did so of their own volition, and weren't forced.  In 679, we see a regulation on the clothing of priests and nuns, as well as the men and horses who  accompanied them when they traveled.  If priests are going around with a full on noble retinue, well, that probably says something about the status of priests—at least the abbots and heads of these institutions. 680 – A fire breaks out at the nunnery at Tachibana temple.  Tachibanadera is situated south of Kawaradera, and similar to that temple, it seems to have previously been the site of a royal palace and also isn't recorded as being founded in the Nihon Shoki—it appears fully formed in this record.  Tachibanadera's own records seem to suggest that it was founded in 606, and claims a founding by Shotoku Taishi.  It is also said to be the site of the palace where Shotoku Taishi was born to his mother, Princess Anahobe no Hashibito, consort of Tachibana no Toyohi, aka Yomei Tennou.  Shotoku Taishi is also the subject of the primary image of Tachibana temple, today.  Although Tachibanadera wasn't one of the Four Great Temples, it was likely connected to one—Kawaradera.  Not only was it built on the same north-south axis as Kawaradera, but some of the tiles are similar to Kawaradera's founding tiles.  The layout was similar to Yamada-dera or Shitennouji, with the pagoda, kondou, and kooudou, all in a single north-south orientation.  It is possible that Kawaradera was a monastery for male monks while Tachibanadera may have been the complementary nunnery for female initiates.  680 had a lot going on.  In the 10th lunar month, the sovereign handed out alms to monks and nuns—silk and cloth.  A month later, Ohoama vowed Yakushiji in hopes that it would help his wife, Queen Uno, who was unwell.  He also granted a general amnesty, likely to just add further merit.  Apparently it was successful, as she would go on to live for quite some time after that, even helping to take the reins of government when Ohoama himself fell ill. In 682, Princess Hidaka fell ill.  190 people, both men and women, were pardoned for capital or lesser crimes, in an attempt to make merit, and the following day we are told that over 140 people renounced the world at Daikandaiji—likely on the Princess's behalf. The year after that, 683, we see the sovereign making appointments to the official buddhist offices of Soujou, Soudzu, and Risshi—Doctors of the Law.  This was probably a somewhat regular occurrence, though this is the first time we see the Risshi, it seems.  The mention here is apparently due to the admonition given that "Those who control the monks and nuns should act according to the law."  Definitely seems to be something there—perhaps a reason as to why the Soujou and Soudzu were being appointed.  But the Nihon Shoki doesn't give us a lot more to go on other than speculation. Later that same year, in the 7th lunar month, we see priests and nuns gathered at the palace for the first ever ango, or retreat.  An ango is where priests and nuns of different temples are brought together.  The term refers to a practice said to come from the time of Shakyamuni, before there were temples.  Shakyamuni's acolytes, who spent much of the year wandering, would return to one place during the rainy season. At that time they would listen and discuss Shakyamuni's teachings.  In some sects, this practice of coming together would be particularly important, and it was a mark of honor for how many retreats a monk might have attended over the years. In 685, the court promoted Buddhism with an edict requiring every household to maintain a Buddhist altar, with a statue of the Buddha and a copy of a sutra inside.  It is unclear to me if this was just for merit-making or what, but it must have been somewhat lucrative for the various temples, who would have likely been the source for said sutras, and, at least peripherally, the statues as well.  Later that year, in the 4th lunar month, there was another ango at the palace.  The month after that, Ohoama went to Asukadera and presented precious objects and worshipped.  In the 8th lunar month Ohoama went to Joudouji – Aston claims this is Asukadera, also known as Houkouji—and the next day he visited Kawaradera and provided rice to the monks there.  One month after that, Ohoama was feeling ill, so the court ordered Daikandaiji, Kawaradera, and Asukadera—the three Great Temples that were fully operational at that point—to chant sutras for his sake.  In return they were granted various quantities of rice. Ohoama recovered for a time, but it was perhaps a precursor of what was to come.  A month later a monk from Baekje and a lay monk were sent out to seek a medicinal herb known as white okera.  Today, a similar compound is known in Chinese traditional medicine as Bái Zhú.  A few months later Ohoama went to the medicinal herb garden of Shiranishiki, and a few weeks later he was presented with Bai Zhu, the boiled white okera.   That same day, ritualists performed the Chikonsai, the "Calling of the Spirit".  All of this seems to indicate the early onset of symptoms that may have been temporarily abated, but likely were part of the disease or illness that would eventually take his life. But we covered most of that last episode, and we are already dragging on longer than I expected, so I think I'm going to end it here.  Coming up in the narrative, since I started to mention it, I'll probably take a look next at the founding of the new capital of Fujiwara kyo, and what that would mean, along with other initiatives that would outlive Ohoama. Until then if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.

When kids reach the ages of five through twelve, their emotions often become bigger, more complex, and harder to navigate for both parents and children. In this conversation, Alyssa Blask Campbell, M.Ed., CEO and founder of Seed & Sew, helps parents understand what is really happening in a child's nervous system during big emotional moments. We talk about why kids can know better but still struggle to do better, how sensory needs and nervous system regulation impact behavior, and why power struggles often show up after long school days. Alyssa shares simple scripts, real life examples, and compassionate tools to help parents respond with connection instead of correction, while still holding clear boundaries. This episode will help you feel more confident supporting your child's emotions while staying regulated yourself. Show Notes: Learn more about Seed and Sew Follow @seed.and.sew Click here to learn more about Dr. Elana Roumell's Doctor Mom Membership, a membership designed for moms who want to be their child's number one health advocate! Click here to learn more about Steph Greunke, RD's online nutrition program and community, Postpartum Reset, an intimate private community and online roadmap for any mama (or mama-to-be) who feels stuck, alone, and depleted and wants to learn how to thrive in motherhood. Listen to today's episode on our website Alyssa Blask Campbell, M.Ed., is the CEO and founder of Seed & Sew and a globally recognized expert in emotional development. She co-created and researched the Collaborative Emotion Processing (CEP) method, transforming the way adults understand and support children's emotions. Her New York Times bestselling book Tiny Humans, Big Emotions shares this groundbreaking work, and her second book Big Kids, Bigger Feelings, a USA Today bestseller, was published by HarperCollins in September 2025. Alyssa hosts the Voices of Your Village podcast and developed a professional development program for early childhood educators that provides unlimited, free coaching from leading experts in education. She speaks internationally for organizations such as UNESCO and has been featured in The Washington Post, CNBC, NBC News Daily, and Vermont Public. For more information, visit seedandsew.org and follow @seed.and.sew. This Episode's Sponsors  Enjoy the health benefits of PaleoValley's products such as their supplements, superfood bars and meat sticks.  Receive 15% off your purchase by heading to paleovalley.com/doctormom  Discover for yourself why Needed is trusted by women's health practitioners and mamas alike to support optimal pregnancy outcomes. Try their 4 Part Complete Nutrition plan which includes a Prenatal Multi, Omega-3, Collagen Protein, and Pre/Probiotic. To get started, head to thisisneeded.com, and use code DOCTORMOM20 for 20% off Needed's Complete Plan! Active Skin Repair is a must-have for everyone to keep themselves and their families healthy and clean.  Keep a bottle in the car to spray your face after removing your mask, a bottle in your medicine cabinet to replace your toxic first aid products, and one in your outdoor pack for whatever life throws at you.  Use code DOCTORMOM to receive 20% off your order + free shipping (with $50 minimum purchase). Visit BLDGActive.com to order. INTRODUCE YOURSELF to Steph and Dr. Elana on Instagram. They can't wait to meet you! @stephgreunke @drelanaroumell Please remember that the views and ideas presented on this podcast are for informational purposes only.  All information presented on this podcast is for informational purposes and not intended to serve as a substitute for the consultation, diagnosis, and/or medical treatment of a healthcare provider. Consult with your healthcare provider before starting any diet, supplement regimen, or to determine the appropriateness of the information shared on this podcast, or if you have any questions regarding your treatment plan.

The second part of the discussion of embroidery history covers blackwork and Opus Anglicanum, then embroidery samplers and beetle-wing embroidery. Research: Абильда, Айжан. “Scythians are creators of embroidery art.” Qazaqstan Tarihy. May 24, 2019. https://e-history.kz/en/news/show/7178#:~:text=Embroidery%20is%20a%20traditional%20East,a%20wedding%20or%20a%20party. Angus, Jennifer. “Nature’s Sequins.” Cooper Hewitt. Sept. 14, 2018. https://www.cooperhewitt.org/2018/09/14/natures-sequins/ “The art of printing textile.” Musee de L’Impression sur Etoffes. https://www.musee-impression.com/en/the-collection/ Badshah, Nadeem. “Bayeux tapestry to be insured for £800m for British Museum exhibition.” The Guardian. Dec. 27. 2025. https://www.theguardian.com/world/2025/dec/27/bayeux-tapestry-to-be-insured-for-800m-for-british-museum-exhibition “Bayeux Tapestry.” UNESCO. https://www.unesco.org/en/memory-world/bayeux-tapestry “The Bayeux Tapestry.” La Tapisserie de Bayeux. Bayeux Museum. https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/ Binswanger, Julia. “These Delicate Needles Made From Animal Bones May Have Helped Prehistoric Humans Sew Warm Winter Clothing.” Smithsonian. Dec. 11, 2024. https://www.smithsonianmag.com/smart-news/these-delicate-needles-made-from-animal-bones-may-have-helped-prehistoric-humans-sew-warm-winter-clothing-180985601/ Britannica Editors. "Scythian art". Encyclopedia Britannica, 27 May. 2018, https://www.britannica.com/art/Scythian-art “Chasuble (Opus Anglicanum).” The Met. https://www.metmuseum.org/art/collection/search/466660 Chung, Young Yang. “Silken Threads: A History of Embroidery in China, Korea, Japan, and Vietnam.” Abrams. 2005. Daniels, Margaret Harrington. “Early Pattern Books for Lace and Embroidery.” Bulletin of the Needle and Bobbin Club. https://www2.cs.arizona.edu/patterns/weaving/articles/nb33_lac.pdf “DMC.” Textile Research Center Leiden. https://trc-leiden.nl/trc-needles/organisations-and-movements/companies/dmc “Dragon Robe Decoded.” Sotheby’s. May 23, 2019. https://www.sothebys.com/en/articles/dragon-robe-decoded Embroiderers’ Guild. https://embroiderersguild.com/ Embroiderers’ Guild of America. https://egausa.org/ “Embroidery Techniques from Around the World: Crewel.” Embroiderer’ Guild of America. Oct. 28, 2024. https://egausa.org/embroidery-techniques-from-around-the-world-crewel/ Francfort, H.-P., 2020, “Scythians, Persians, Greeks and Horses: Reflections on Art, Culture Power and Empires in the Light of Frozen Burials and other Excavations”, in: , Londres, British Museum, p. 134-155. https://www.academia.edu/44417916/Francfort_H_P_2020_Scythians_Persians_Greeks_and_Horses_Reflections_on_Art_Culture_Power_and_Empires_in_the_Light_of_Frozen_Burials_and_other_Excavations_in_Londres_British_Museum_p_134_155 “Girlhood Embroidery.” Pilgrim Hall Museum. https://www.pilgrimhall.org/girlhood_embroidery.htm Gower, John G., and G.C. Macaulay, ed. “The Complete Works of John Gower.” Clarendon Press. 1901. https://www.gutenberg.org/files/71162/71162-h/71162-h.htm#Page_1 “Introducing Opus Anglicanum.” Victoria and Albert Museum. https://www.vam.ac.uk/articles/about-opus-anglicanum?srsltid=AfmBOor2pOTddjxaPC9AXHvvQuGXD4Tyx9N3zBeISzMSDHX1KnaUnfnL “Introducing the Scythians.” British Museum. May 30, 2017. https://www.britishmuseum.org/blog/introducing-scythians Nazarova, Yevhenia. “Ukraine's Ancient 'River Guardians.'” Radio Free Europe. Oct. 17, 2021. https://www.rferl.org/a/scythian-dig-ukraine-river-guardians-discovery/31507187.html "Ancient Peruvian Textiles." The Museum Journal XI, no. 3 (September, 1920): 140-147. Accessed December 22, 2025. https://www.penn.museum/sites/journal/843/ “Embroidery – a history of needlework samplers.” Victoria & Albery Museum. https://www.vam.ac.uk/articles/embroidery-a-history-of-needlework-samplers “History of The Broderers.” The Worshipful Company of Broderers. https://broderers.co.uk/history-broderers “The History of Britain's Bayeux Tapestry.” Reading Museum. https://www.readingmuseum.org.uk/collections/britains-bayeux-tapestry/history-britains-bayeux-tapestry Kennedy, Maev. “British Museum to go more than skin deep with Scythian exhibition.” The Guardian. May 30, 2017. https://www.theguardian.com/culture/2017/may/30/british-museum-skin-scythian-exhibition-tattoo-empire Lattanzio, Giaga. “Byzantine.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/byzantine/ Leslie, Catherine Amoroso. “Needlework Through History: An Encyclopedia.” Greenwood Press. 2007. Libes, Kenna. “Beetle-Wing Embroidery in Nineteenth-Century Fashion.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/beetle-wing-19thcentury/ Liu Y, Li Y, Li X, Qin L. The origin and dispersal of the domesticated Chinese oak silkworm, Antheraea pernyi, in China: a reconstruction based on ancient texts. J Insect Sci. 2010;10:180. doi: 10.1673/031.010.14140 “Mrs. Jacob Wendell (Mary Barrett, 1832–1912).” The New York Historical. https://emuseum.nyhistory.org/objects/68658/mrs-jacob-wendell-mary-barrett-18321912 Muntz, Eugene and Louisa J. Davis. “A short history of tapestry. From the earliest times to the end of the 18th century.” London. Cassel & Co. 1885. Accessed online: https://archive.org/details/shorthistoryofta00mntz/page/n3/mode/2up Pohl, Benjamin. “Chewing over the Norman Conquest: the Bayeux Tapestryas monastic mealtime reading.” Historical Research. 2025. https://academic.oup.com/histres/advance-article/doi/10.1093/hisres/htaf029/8377922 Puiu, Tibi. “Pristine 2,300-year-old Scythian woman’s boot found in frozen Altai mountains.” ZME Science. Dec. 29, 2021. https://www.zmescience.com/science/scythian-boots-0532/ Razzall, Katie. “Bayeux Tapestry to return to UK on loan after 900 years.” BBC. July 8, 2025. https://www.bbc.com/news/articles/c14ev1z6d5go Royal School of Needlework. https://royal-needlework.org.uk/ Salmony, Alfred. “The Archaeological Background of textile Production in Soviet Russia Territory.” The Bulletin of the Needle and Bobbin Club. Volume 26. No. 2. 1942. https://www2.cs.arizona.edu/patterns/weaving/periodicals/nb_42_2.pdf “Sampler.” Victoria & Albert Museum. https://collections.vam.ac.uk/item/O46183/sampler-jane-bostocke/ Schӧnsperger, Johann. “Ein ney Furmbüchlein. 1525-1528. Met Museum Collection. https://www.metmuseum.org/art/collection/search/354716 Schӧnsperger, Johann. “Ein new Modelbuch … “ 1524. https://www.metmuseum.org/art/collection/search/354660 Shrader, Dustin. “Embroidery Through the Ages.” Impressions. July 28, 2023. https://impressionsmagazine.com/process-technique/embroidery-through-the-ages/39234/#:~:text=The%20Age%2DOld%20Beginning&text=We%20tend%20to%20typically%20think,to%20generation%20across%20the%20millennia. “Silk Roads Programme.” UNESCO. https://en.unesco.org/silkroad/silkroad-interactive-map Sons of Norway's Cultural Skills Program. “Unit 8: Hardanger Embroidery.” 2018. https://www.sofn.com/wp-content/uploads/2018/11/unit8hardanger_rev8.11.pdf “Suzhou Embroidery.” Smithsonian National Museum of Asian Art.” https://asia-archive.si.edu/learn/for-educators/teaching-china-with-the-smithsonian/videos/suzhou-embroidery/ Teall, John L., Nicol, Donald MacGillivray. "Byzantine Empire". Encyclopedia Britannica, 5 Dec. 2025, https://www.britannica.com/place/Byzantine-Empire Warner, Pamela. “Embroidery: A History.” B.T. Bedford, Ltd. 1991. Watt, James C. Y., and Anne E. Wardwell. “When Silk Was Gold: Central Asian and Chinese Textiles.” Metropolitan Museum of Art. Harry N. Abrams. New York. 1997. https://cdn.sanity.io/files/cctd4ker/production/d781d44d3048d49257072d610034400182246d3e.pdf Watt, Melinda. “Textile Production in Europe: Embroidery, 1600–1800.” The Met. Oct. 1, 2003. https://www.metmuseum.org/essays/textile-production-in-europe-embroidery-1600-1800 See omnystudio.com/listener for privacy information.

The first installment of this two-parter covers ancient embroidery around the world, and then focuses on European embroidery, Chinese dragon robes, and the Bayeux Tapestry. Research: Абильда, Айжан. “Scythians are creators of embroidery art.” Qazaqstan Tarihy. May 24, 2019. https://e-history.kz/en/news/show/7178#:~:text=Embroidery%20is%20a%20traditional%20East,a%20wedding%20or%20a%20party. Angus, Jennifer. “Nature’s Sequins.” Cooper Hewitt. Sept. 14, 2018. https://www.cooperhewitt.org/2018/09/14/natures-sequins/ “The art of printing textile.” Musee de L’Impression sur Etoffes. https://www.musee-impression.com/en/the-collection/ Badshah, Nadeem. “Bayeux tapestry to be insured for £800m for British Museum exhibition.” The Guardian. Dec. 27. 2025. https://www.theguardian.com/world/2025/dec/27/bayeux-tapestry-to-be-insured-for-800m-for-british-museum-exhibition “Bayeux Tapestry.” UNESCO. https://www.unesco.org/en/memory-world/bayeux-tapestry “The Bayeux Tapestry.” La Tapisserie de Bayeux. Bayeux Museum. https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/ Binswanger, Julia. “These Delicate Needles Made From Animal Bones May Have Helped Prehistoric Humans Sew Warm Winter Clothing.” Smithsonian. Dec. 11, 2024. https://www.smithsonianmag.com/smart-news/these-delicate-needles-made-from-animal-bones-may-have-helped-prehistoric-humans-sew-warm-winter-clothing-180985601/ Britannica Editors. "Scythian art". Encyclopedia Britannica, 27 May. 2018, https://www.britannica.com/art/Scythian-art “Chasuble (Opus Anglicanum).” The Met. https://www.metmuseum.org/art/collection/search/466660 Chung, Young Yang. “Silken Threads: A History of Embroidery in China, Korea, Japan, and Vietnam.” Abrams. 2005. Daniels, Margaret Harrington. “Early Pattern Books for Lace and Embroidery.” Bulletin of the Needle and Bobbin Club. https://www2.cs.arizona.edu/patterns/weaving/articles/nb33_lac.pdf “DMC.” Textile Research Center Leiden. https://trc-leiden.nl/trc-needles/organisations-and-movements/companies/dmc “Dragon Robe Decoded.” Sotheby’s. May 23, 2019. https://www.sothebys.com/en/articles/dragon-robe-decoded Embroiderers’ Guild. https://embroiderersguild.com/ Embroiderers’ Guild of America. https://egausa.org/ “Embroidery Techniques from Around the World: Crewel.” Embroiderer’ Guild of America. Oct. 28, 2024. https://egausa.org/embroidery-techniques-from-around-the-world-crewel/ Francfort, H.-P., 2020, “Scythians, Persians, Greeks and Horses: Reflections on Art, Culture Power and Empires in the Light of Frozen Burials and other Excavations”, in: , Londres, British Museum, p. 134-155. https://www.academia.edu/44417916/Francfort_H_P_2020_Scythians_Persians_Greeks_and_Horses_Reflections_on_Art_Culture_Power_and_Empires_in_the_Light_of_Frozen_Burials_and_other_Excavations_in_Londres_British_Museum_p_134_155 “Girlhood Embroidery.” Pilgrim Hall Museum. https://www.pilgrimhall.org/girlhood_embroidery.htm Gower, John G., and G.C. Macaulay, ed. “The Complete Works of John Gower.” Clarendon Press. 1901. https://www.gutenberg.org/files/71162/71162-h/71162-h.htm#Page_1 “Introducing Opus Anglicanum.” Victoria and Albert Museum. https://www.vam.ac.uk/articles/about-opus-anglicanum?srsltid=AfmBOor2pOTddjxaPC9AXHvvQuGXD4Tyx9N3zBeISzMSDHX1KnaUnfnL “Introducing the Scythians.” British Museum. May 30, 2017. https://www.britishmuseum.org/blog/introducing-scythians Nazarova, Yevhenia. “Ukraine's Ancient 'River Guardians.'” Radio Free Europe. Oct. 17, 2021. https://www.rferl.org/a/scythian-dig-ukraine-river-guardians-discovery/31507187.html "Ancient Peruvian Textiles." The Museum Journal XI, no. 3 (September, 1920): 140-147. Accessed December 22, 2025. https://www.penn.museum/sites/journal/843/ “Embroidery – a history of needlework samplers.” Victoria & Albery Museum. https://www.vam.ac.uk/articles/embroidery-a-history-of-needlework-samplers “History of The Broderers.” The Worshipful Company of Broderers. https://broderers.co.uk/history-broderers “The History of Britain's Bayeux Tapestry.” Reading Museum. https://www.readingmuseum.org.uk/collections/britains-bayeux-tapestry/history-britains-bayeux-tapestry Kennedy, Maev. “British Museum to go more than skin deep with Scythian exhibition.” The Guardian. May 30, 2017. https://www.theguardian.com/culture/2017/may/30/british-museum-skin-scythian-exhibition-tattoo-empire Lattanzio, Giaga. “Byzantine.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/byzantine/ Leslie, Catherine Amoroso. “Needlework Through History: An Encyclopedia.” Greenwood Press. 2007. Libes, Kenna. “Beetle-Wing Embroidery in Nineteenth-Century Fashion.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/beetle-wing-19thcentury/ Liu Y, Li Y, Li X, Qin L. The origin and dispersal of the domesticated Chinese oak silkworm, Antheraea pernyi, in China: a reconstruction based on ancient texts. J Insect Sci. 2010;10:180. doi: 10.1673/031.010.14140 “Mrs. Jacob Wendell (Mary Barrett, 1832–1912).” The New York Historical. https://emuseum.nyhistory.org/objects/68658/mrs-jacob-wendell-mary-barrett-18321912 Muntz, Eugene and Louisa J. Davis. “A short history of tapestry. From the earliest times to the end of the 18th century.” London. Cassel & Co. 1885. Accessed online: https://archive.org/details/shorthistoryofta00mntz/page/n3/mode/2up Pohl, Benjamin. “Chewing over the Norman Conquest: the Bayeux Tapestryas monastic mealtime reading.” Historical Research. 2025. https://academic.oup.com/histres/advance-article/doi/10.1093/hisres/htaf029/8377922 Puiu, Tibi. “Pristine 2,300-year-old Scythian woman’s boot found in frozen Altai mountains.” ZME Science. Dec. 29, 2021. https://www.zmescience.com/science/scythian-boots-0532/ Razzall, Katie. “Bayeux Tapestry to return to UK on loan after 900 years.” BBC. July 8, 2025. https://www.bbc.com/news/articles/c14ev1z6d5go Royal School of Needlework. https://royal-needlework.org.uk/ Salmony, Alfred. “The Archaeological Background of textile Production in Soviet Russia Territory.” The Bulletin of the Needle and Bobbin Club. Volume 26. No. 2. 1942. https://www2.cs.arizona.edu/patterns/weaving/periodicals/nb_42_2.pdf “Sampler.” Victoria & Albert Museum. https://collections.vam.ac.uk/item/O46183/sampler-jane-bostocke/ Schӧnsperger, Johann. “Ein ney Furmbüchlein. 1525-1528. Met Museum Collection. https://www.metmuseum.org/art/collection/search/354716 Schӧnsperger, Johann. “Ein new Modelbuch … “ 1524. https://www.metmuseum.org/art/collection/search/354660 Shrader, Dustin. “Embroidery Through the Ages.” Impressions. July 28, 2023. https://impressionsmagazine.com/process-technique/embroidery-through-the-ages/39234/#:~:text=The%20Age%2DOld%20Beginning&text=We%20tend%20to%20typically%20think,to%20generation%20across%20the%20millennia. “Silk Roads Programme.” UNESCO. https://en.unesco.org/silkroad/silkroad-interactive-map Sons of Norway's Cultural Skills Program. “Unit 8: Hardanger Embroidery.” 2018. https://www.sofn.com/wp-content/uploads/2018/11/unit8hardanger_rev8.11.pdf “Suzhou Embroidery.” Smithsonian National Museum of Asian Art.” https://asia-archive.si.edu/learn/for-educators/teaching-china-with-the-smithsonian/videos/suzhou-embroidery/ Teall, John L., Nicol, Donald MacGillivray. "Byzantine Empire". Encyclopedia Britannica, 5 Dec. 2025, https://www.britannica.com/place/Byzantine-Empire Warner, Pamela. “Embroidery: A History.” B.T. Bedford, Ltd. 1991. Watt, James C. Y., and Anne E. Wardwell. “When Silk Was Gold: Central Asian and Chinese Textiles.” Metropolitan Museum of Art. Harry N. Abrams. New York. 1997. https://cdn.sanity.io/files/cctd4ker/production/d781d44d3048d49257072d610034400182246d3e.pdf Watt, Melinda. “Textile Production in Europe: Embroidery, 1600–1800.” The Met. Oct. 1, 2003. https://www.metmuseum.org/essays/textile-production-in-europe-embroidery-1600-1800 See omnystudio.com/listener for privacy information.