"Their questions hit home and I knew that I could never again raise my voice against the violence of the oppressed in the ghettos without having first spoken clearly to the greatest purveyor of violence in the world today -- my own government.."
Martin Luther King, Jr's Beyond Vietnam speech 1967
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The emergence of the SARS virus is similarly the result of an abrupt expansion, in this case in the size of wet markets and the diversity of the strange panoply of animals they sell.
The SARS virus was not new. Nor were the practices that brought bats into proximity with people in southern China. The SARS virus “was probably there in bats for centuries,” says the University of Hong Kong virologist Malik Peiris, whose team first isolated the virus. And the yewei cuisine and wet markets that brought bats together with people in southern China were long-standing, too.
Yewei cuisine is part of a range of traditional cultural practices in China that draw wild animals closer so that people can tap into the animals' power, strength, and longevity. People keep wild animals at pets (or, for the aspirational, dye their domesticated dogs' fur to look like tigers and pandas) and mimic their postures in practices such as kung fu. Traditional medicine practitioners administer their body parts as remedies: tiget whiskers for toothaches, bear bile for liver disease, bat skeletons for kidney stones. For people who consider wild animals precious natural resources – the rarer, wilder, and more exotic the more precious – consuming them is bu, restorative and stimulating for the body, endowing the consumer with a whiff of the animal's natural energy.
But for many years, economic and geographic barriers limited the consumption of yewei cuisine in China, and with it the size of wet markets. China had troubled political relations with neighboring countries such as Thailand and Laos and Vietnam, where many of the most desirable exotic animals roamed, so their supply for consumption was thin and prices high. While the elites could afford to dine on braised bear paw with carp tongue, gorilla lips and pig brain in wine sauce, and leopard placenta steamed with camel hump and garnished with pear, ordinary folk made do with more ordinary fare, or hunted for their own wild game.
Then, in the early 1990s, the Chinese economy started growing by 10 percent or more every year. Suddenly, a new class of young, aspiring, prosperous Chinese in booming cities had more money than they knew what to do with. Along with stocking up on Western luxury goods – Louis Vuitton sold more bags in China than anywhere else in 2011 – they started demanding more yewei cuisine. New restaurants serving peacock, swan geese, and sea cucumber, along with other exotic creatures, sprang up across the region. China reestablished trade with many of its Southeast Asian neighbors, allowing poachers and traders to plunge even deeper into the countryside to meet the rising demand. They crammed their stocks of wild animals into ever larger wet markets, stacking cages of live animals from increasingly disparate locales across Asia next to each other, awaiting sale to yewei-hungry shoppers.
It was only then, after the size and scale of wet markets grew, that a serendipitious sequence of events that could turn a virus of horseshoe bats into a human pathogen became probable.
— Pandemic: Tracking Contagions, from Cholera to Ebola and Beyond (Sonia Shah)
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Vietnam Planters: The Essence of Vietnamese Terracotta
Vietnamese craftsmanship has long been celebrated for its intricate designs and meticulous attention to detail. Vietnam Planters stand out among the myriad art forms that have emerged from this rich cultural heritage, showcasing the nation's deep-rooted connection to the earth and its resources. Paired with the distinct beauty of Vietnamese Terracotta, these planters tell a story of tradition, innovation, and the timeless appeal of handcrafted art.
The Rich History of Vietnam Planters:
Vietnam's agricultural legacy is intrinsically tied to its people's spirit of innovation. The tradition of creating planters is not merely a craft but a testament to the Vietnamese way of life. Each planter, large or small, carries the legacy of generations of farmers and artisans who have shaped the land and molded its resources into functional works of art.
The Allure of Vietnamese Terracotta:
Its distinctive reddish-brown hue and earthy texture hold a special place in clay. Vietnamese terracotta traces its roots back through the annals of time, with a history steeped in tradition and cultural symbolism.. The allure of Vietnamese Terracotta lies in its aesthetic appeal, durability, and versatility.
Craftsmanship Beyond Borders:
The beauty of it extends far beyond the borders of Vietnam. These exquisite pieces have garnered international acclaim, reaching homes, gardens, and galleries worldwide. Their timeless appeal transcends cultural boundaries, resonating with individuals who appreciate the artistry and craftsmanship of creating each piece.
The Sustainable Choice:
The demand for sustainable and eco-friendly products is rising in today's fast-paced world. It is crafted from natural materials and offers a sustainable choice for those looking to enhance their living spaces without compromising environmental responsibility. By opting for planters made from it, consumers support traditional craftsmanship and contribute to the preservation of the environment.
Preserving Tradition, Embracing Innovation:
While the essence of it lies in their deep-rooted tradition, artisans are continually innovating, infusing contemporary designs and techniques into their creations. This harmonious blend of tradition and innovation ensures these timeless pieces remain relevant in today's ever-evolving world.
Conclusion:
In the realm of art and craftsmanship, Vietnam Planters and it stand as shining examples of Vietnam's rich cultural heritage. Their timeless appeal and the sustainable practices employed in their creation make them a coveted choice for discerning individuals. For those looking to experience the beauty and craftsmanship of Vietnamese Terracotta firsthand, lamthanh.vn offers a curated collection that celebrates the essence of Vietnamese artistry.
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I wanted to go a bit more in-depth with this piece that I did for zukka week 2023 because i got inspired to do more insane clothing details. ID in ALT.
Ramble about the influences/inspirations below:
Design inspirations for Sokka's clothing are mainly Inuvialuit and Yup'ik, with Nenets, Tlingit, and Chukchi inspiration for the tassels, patterns, belt and beadwork. I mixed these with the ornaments canon shows us used by the Northern Water Tribe, and also in Legend of Korra. I got particularly excited about drawing from Inuvialuit sources since the tassels we see in canon look like they could be inspired by this. Going beyond canon's animation-friendly colour scheme, I drew from Nenets patterns/embroidery/sashes and Yup'ik beadwork for accent colours. I think in the future I'd like to find ways to incorporate more Tlingit-style patterns since I rarely see them in fanart (which is a shame - they're stunning), but since they tend to be very big I ultimately decided to only include them as a nod in order to keep the regalia recognisable as 'Water Tribe'. I wonder if I could start using Polynesian influences as well?
Zuko's headdress and particularly the shoulder garment and beaded embroidery draw heavily from women's clothing styles of Lê Dynasty Vietnam. The other main influence is men's royal clothing in Tang Dynasty China, and patterns worn by Mongolian Khatun. Since we have a bit more to go on in canon as to what fire nation regalia looks like, I blended that in as well. I got particularly excited about the embellishments on Lê Dynasty clothes because I could give a little nod to Zuko's dragon-fire by adding more colours to the embroidery. In the future I think I'd want to make the Mongolian influence a bit more obvious... perhaps even push the envelope by incorporating some Bashkir designs, though I'm not sure how well that will go.
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