Balbal (statue-menhir), Burana, Kirghizistan, Western Turkic Khanate, 6th-10th century CE. Kurgan stelae, also called balbals, are human-shaped stone monuments placed on or around burial mounds known as kurgans. They were created by many different cultures over more than 3,000 years, from the Bronze Age through the Middle Ages. The earliest examples date to the 4th millennium BCE, particularly among the Yamna and Kemi Oba cultures of the Pontic-Caspian steppe. These monuments were probably created as memorials to the dead and were sometimes associated with burials, funeral rituals, and sacred enclosures. In some traditions, balbals may also have represented enemies killed by the deceased. Kurgan stelae are distributed across a vast area, including Eastern Europe, southern Russia, Ukraine, Siberia, Central Asia, Mongolia, Turkey, and the Caucasus. Because different peoples produced their own versions over many centuries, they should not be regarded as belonging to a single culture. Among the cultures associated with such monuments were the Scythians, Sarmatians, Slavs, and Turkic peoples. The appearance of the stelae varies considerably: some are simple stone slabs with only a face carved into them, while others depict detailed human figures wearing specific clothing and displaying weapons, jewelry, hairstyles, and drinking vessels. Warriors are often shown carrying swords, daggers, bows, or drinking horns. Medieval Turkic balbals sometimes formed long rows extending from burial monuments. Historical accounts describe them as memorials, with individual stones possibly representing people associated with the deceased. Another important group is the Hakkari stelae, thirteen Bronze Age monuments discovered in southeastern Turkey that depict mostly armed male figures holding drinking vessels. Dating approximately to 1500–1000 BCE, they show similarities to artistic traditions found across the Eurasian steppe. Historically, these monuments are important because they provide evidence about ancient peoples' burial customs, warfare, clothing, social status, religious beliefs, and artistic traditions. Many stelae have been lost or destroyed over time, often being reused as building or fencing material, while surviving examples are preserved in museums and archaeological sites. In short, kurgan stelae are ancient stone representations of people connected with burial and memorial traditions, and their long history and enormous geographic distribution reflect repeated cultural developments and interactions across the Eurasian steppe.
Vajrapani, India, Kashmir, 8th century CE. Cleveland Museum of Art (ID: 1971.14)
The name Vajrapani means “he who holds (pani) the thunderbolt (vajra)” in Sanskrit. Adopted by Buddhists as a protector not only in India and the Himalayan regions of Nepal and Tibet, Vajrapani also was incorporated into art of China, Korea, and Japan. The attributes of the thunderbolt and the club were derived from images of Zeus and Hercules that travelers from the Mediterranean world brought to the region as early as the 320s BCE.
This rare, early bronze image of Vajrapani visually conveys his power to overcome fear and obstacles to enlightenment, and for this reason he is invoked by Buddhist practitioners. He sits on a pedestal in the form of a rocky mountain populated with wild lions, and he has tamed poisonous snakes to use as ornaments. (Cleveland Museum of Art)
Tai Ahom people are descendants of Tai peoples that migrated to what is nowadays East India (Assam and Arunachal Pradesh provinces) under the leadership of king Sukaphaa (at least according to local historical tradition) - the founder of the Ahom Kingdom, in 13th century and mixed with native Tibeto-Burman populations, creating unique, but distinctly Tai culture. Most of Tai Ahom are Hindu and speak Assamese as a native tongue - Ahom is all but extinct as a spoken language. Around 900.000 people claim Tai Ahom identity in India today
Traditional clothing of Tai Ahom:
(images already have credits)
P.S. i know it's not technically South-East Asia, but they're one of the largest Tai groups outside of South East Asia and are often overlooked when both Tai peoples and Indian cultures are discussed. Although there seems to be some interest in Thailand towards their cultural cousins, I've seen Thai photoshoots model Tai Ahom clothes - that's how i found out about them in the first place!
Bedouin women produce vegetable dyes for a variety of purposes from indigenous and imported plant material, obtained whole in the form of roots, leaves or flowers and pulverised in a small mortar and pestle. For the colouring of the cotton dishdashah, the most commonly used plant pigments are derived from waris (Flemingia rhodocarpa or Flemingia grahamiana), zi'faran (Crocus sativus), sidr (Zizyphus spina-christi), and nabat al-'arta (Calligonum comosum).
Scanned from the book The Craft Heritage of Oman; 2003; Neil Richardson & Marcia Dorr
Haim Synagogue, Tehran, Iran
Built in 1913, this synagogue is named after Rabbi Haim Moreh. In the 1950s, it sheltered Iraqi Jewish refugees. Managed by Rabbi Dr. Reuben Montabian and Albert Sedgh, Haim Synagogue currently holds weekly shabbat services.
FAREEDA KOKIKHEL AFRIDI // ACTIVIST
“She was a Pakistani feminist, a women's rights activist in Pakistan. Afridi was critical of the Pakistani government, the Taliban, and the patriarchal nature of Pakistani society. In June 2012, she told journalists she was being threatened. Her friends and colleagues suspected the threats originated with FATA Taliban militants. On 5 July 2012, as Afridi left her home to go to work in Hayatabad a suburb of Peshawar, she was shot once in the head and twice in the neck by two motorcyclists, who afterwards escaped. She died in hospital. She was the second female in Khyber Pakhtunkhwa to be targeted by Taliban extremists.”
(Image description: A middle aged Cambodian woman is looking slightly towards the left. She is against a black background, with a black shirt, mostly concealed under a peachy-beige scarf wrap.)
Sophiline Cheam Shapiro/ (ឝភីរោ ជៀម សុភិលីន): Why she kicks ass
- She is a groundbreaking choreographer, dancer, vocalist and educator whose challenging work has infused the venerable classical form with new ideas and energy.
- She was one of the first students to learn from the masters of dance who had survived both the end of the court and the later violence of Pol Pot, who specially targeted artists.
- Being among the first generation of classically trained Cambodian dancers to graduate from the School of Fine Arts in Phnom Penh, Sophiline devoted herself to master the complex and intricate gestures and movements of classical Cambodian dance.
- Along with her husband, Sophiline launched the Khmer Arts Academy to teach a new generation of Cambodian-Americans the traditional art and culture of Cambodia.
- In 1990 Shapiro did a classical Cambodian dance adaptation of Othello called SAMRITHECHAK (2000) (សម្រីតិចក់) where she used symbolism and metaphors to allude the Khmer Rouge of their guilt and denial of the crimes they committed on Cambodia.
- Her choreography includes THE GLASS BOX (2002) and SEASONS OF MIGRATION (2005), which she has set on Cambodia’s finest performing artists and toured to three continents. Notable venues include Cal Performances, the Hong Kong Arts Festival, New York’s Joyce Theater and the Venice Biennale. PAMINA DEVI had its world premiere at the Schönbrunn Palace Theater as part of Vienna’s New Crowned Hope Festival (2006).
- She has received numerous honors, including Asia 21, Creative Capital, Durfee, Guggenheim and Irvine Dance Fellowships, as well as the Nikkei Asia Prize for Culture.
Great Mosque, Xi'an, China (2) (3) by Kandukuru Nagarjun
Via Flickr:
The oldest and one of the most renowned mosques in China, founded in 742. The existing Xi’an Great Mosque was constructed during the Ming Dynasty and further expanded in the Qing Dynasty.
The skeleton of a three-year-old camel, found buried on its side together with a necklace of soft stone, shell, glass and semi-precious beads, was discovered in a pre-Islamic cemetery near Samad ash Shan. The beads are of late Iron Age provenance (300 BC - AD 793) and testify to the value placed on the camel at this early time.
Scanned from the book The Craft Heritage of Oman; 2003; Neil Richardson & Marcia Dorr
MARIAM-UZ-ZAMANI // EMPRESS OF THE MUGHAL EMPIRE
“She was the chief consort, principal wife and the favourite wife of the third Mughal emperor, Akbar. She was also the longest-serving Hindu empress of the Mughal Empire with a tenure of forty-three years (1562–1605). Her marriage to Akbar led to a gradual shift in the latter's religious and social policies. She is widely regarded in modern Indian historiography as exemplifying both Akbar's tolerance of religious differences and their inclusive policies within an expanding multi-ethnic and multi-religious empire. She was said to possess uncommon beauty and was widely known for both her grace and intellect. She is regarded as the most prodigious woman trader of the Mughal empire who helped chart the role of Mughal women in the newly expanding business of foreign trade. She was the mother of Akbar’s eldest surviving son and eventual successor, Jahangir, and the grandmother of Shah Jahan.”



