The Golden Heian Era: The geomancers in 794 decided that Heian-kyo (modern Kyoto) would be an auspicious site for the imperial family. It was indeeduntil 1869. Grants of tax-free land over the years had been made to Buddhist temples and members of the court aristocracy. The most powerful families thus carved out for themselves whole regions that were to become the fiefdoms of Japanese feudalism. By the end of the eighth century the clans had created a hierarchy of shiki, or rights, from the highest to the lowest ranks of society. The aristocrat or court patron lent his prestige to a powerful provincial proprietor, who employed a competent estate-manager to oversee smallholders, who in turn worked their farms with dependent laborers. This elaborate structure of interdependent rights and obligations was to serve Japanese society right into the 20th century. Meanwhile, Heian court life blossomed in an effusion of aesthetic expression. Princes and princesses judged the merits of birds, insects, flowers, roots, or seashells. Literary party games held in ornate palace gardens required each guest to compose a small poem as his wine cup floated toward him along a miniature winding channel of water. Expeditions were organized to the best viewing points for the first spring cherry blossoms, and special pavilions were built to watch the rising of the full moon. Every gesture, from the most banal opening of an umbrella to the sublimest act of lovemaking, had its appropriate ceremonial. Conversation often took the form of elegant exchanges of improvised verse. The changing role of Chinese culture in Japanese life was epitomized in the language itself. In the absence of an indigenous alphabet, Japanese scholars had with the greatest difficulty tried to adapt the complex ideograms of monosyllabic Chinese to the essentially polysyllabic Japanese. Thus developed the katakana system used as a vehicle for writing Buddhist names and concepts. After rival Fujiwara factions had been struggling for years to gain control of the imperial throne, they turned to the Taira and Minamoto armies in 1156 to wage the four-year war that heralded the end of the golden age of the Heian court. The Taira, controlling the region along the Inland Sea, defeated the Minamoto armies based in the Kanto province east of the capital.

Question: "What allowed powerful families to claim large regions before the height of Japanese feudalism?"

Response: "Grants of tax-free land to members of the court aristocracy and Buddhist temples"

A: yes

Jenny was a 13 year old girl with blond hair and blue eyes. She had gotten out of her last day of school and was free for the summer. Two of her friends were going to the nearby beach to do some swimming and enjoy the sun. Jenny went with them and when they got there the beach was very full and there were people everywhere. They changed into their bathing suits and went to the water. The water was very cold. They chose not swim and walked to the sand. Then they laid down on some towels and enjoyed the sun. After several hours Jenny and her friends fell asleep. They woke up and the sun was beginning to set. When Jenny sat up she found that it was painful to touch her skin. When she looked down she saw that she had a very bad sunburn. Her friends were also very badly sunburned so they went home. Jenny's mother gave her a cream to put on the sunburn. Afterwards she felt a lot better and went to sleep.

Question: "Why did they decide not to swim?"

Response: "People everywhere"

A: no

Albrecht Durer (/'dU@r@r, 'djU@r@r/; German: ['albRect 'dy:Ra]; 21 May 1471 - 6 April 1528) was a painter, printmaker and theorist of the German Renaissance. Born in Nuremberg, Durer established his reputation and influence across Europe when he was still in his twenties, due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by emperor Maximilian I. His vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known engravings include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Durer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions.

Question: "What was one of his revered woodcuts he made in his twenties?"

Response: "Saint Jerome in his Study"

A:
yes