Q: This article: When an ally of the U-Tsang ruler threatened destruction of the Gelugpas again, the fifth Dalai Lama Lozang Gyatso pleaded for help from the Mongol prince Gushi Khan (15821655), leader of the Khoshut (Qoshot) tribe of the Oirat Mongols, who was then on a pilgrimage to Lhasa. Gushi Khan accepted his role as protector, and from 16371640 he not only defeated the Gelugpas' enemies in the Amdo and Kham regions, but also resettled his entire tribe into Amdo. Sonam Chopel urged Gushi Khan to assault the U-Tsang king's homebase of Shigatse, which Gushi Khan agreed upon, enlisting the aid of Gelug monks and supporters. In 1642, after a year's siege of Shigatse, the U-Tsang forces surrendered. Gushi Khan then captured and summarily executed Karma Tenkyong, the ruler of U-Tsang, King of Tibet.Soon after the victory in U-Tsang, Gushi Khan organized a welcoming ceremony for Lozang Gyatso once he arrived a day's ride from Shigatse, presenting his conquest of Tibet as a gift to the Dalai Lama. In a second ceremony held within the main hall of the Shigatse fortress, Gushi Khan enthroned the Dalai Lama as the ruler of Tibet, but conferred the actual governing authority to the regent Sonam Chopel. Although Gushi Khan had granted the Dalai Lama "supreme authority" as Goldstein writes, the title of 'King of Tibet' was conferred upon Gushi Khan, spending his summers in pastures north of Lhasa and occupying Lhasa each winter. Van Praag writes that at this point Gushi Khan maintained control over the armed forces, but accepted his inferior status towards the Dalai Lama. Rawski writes that the Dalai Lama shared power with his regent and Gushi Khan during his early secular and religious reign. However, Rawski states that he eventually "expanded his own authority by presenting himself as Avalokitesvara through the performance of rituals," by building the Potala Palace and other structures on traditional religious sites, and by emphasizing lineage reincarnation through written biographies. Goldstein states that the government of... contains an answer for the question: What was the last name of the person who was on a pilgrimage to Lhasa?, what is it ?
A: Khan

Question: This article: After Quirigua's pivotal victory over Copan in 738, K'ak' Tiliw Chan Yopaat rebuilt the main group in the image of Copan itself. Thus, the acropolis, palace, and ballcourt all lie at the southern end of the Great Plaza. The ceremonial centre is laid out around three plazas, the northernmost is the Great Plaza. This plaza measures 325 m (1,066 ft) from north to south and is the largest plaza in the whole Maya region. At the southern end of the Great Plaza is the Ballcourt Plaza, surrounded on three sides by structures associated with the acropolis. The Acropolis Plaza is a fully enclosed plaza within the acropolis itself. The area to the west of the Ballcourt Plaza was probably the riverside docking area and there is evidence that the southern part of the Great Plaza was a marketplace. A number of ceramic-lined wells have been excavated close to the site core, these were all built in the 8th century and although some continued in use into the 9th century, none are known to have been built that late. 1A-1 is an enormous platform forming the northern part of the Great Plaza. It measures 100 by 85 metres (328 by 279 ft) and rises 0.5 metres (20 in) above the level of the southern part of the plaza. It forms the northern portion of the Great Plaza, being built by K'ak' Tiliw Chan Yopaat when he extended the plaza northward. The platform was built from river cobbles and was paved with stone slabs. Platform 1A-1 supported the stelae A, C, D, E and F and Zoomorph B. The platform was built in two phases over about 20 years. 1A-3 is a large mound marking the northern edge of the Great Plaza. It originally measured 82.5 by 20 metres (271 by 66 ft) and was 7 metres (23 ft) high. A 63-metre (207 ft) wide stairway climbed the southern face of the structure from the plaza. The structure was later extended to the north but this second phase of construction was never finished. The acropolis is the largest architectural complex at Quirigua, it lies at the southern limit of the ceremonial centre of the city. It is a complex... contains an answer for the question: What is the name of the plaza that is with in the acropolis itself?, what is it ?
Answer: The Acropolis Plaza

Question: This article: Bellette and Haefliger returned to Australia just before the outbreak of World War II. Shortly after her arrival, Bellette held an exhibition at Sydney's Macquarie Galleries. The couple became influential members of the Sydney Art Group, a network of "fashionable" moderns whose membership included William Dobell and Russell Drysdale. Bellette painted and held regular shows "a solo show every second year and a group show every year at the Macquarie Galleries". Her husband served as art critic for The Sydney Morning Herald for a decade and a half.In 1942, Bellette won the Sir John Sulman Prize with For Whom the Bell Tolls. She won it again in 1944 with her painting Iphigenia in Tauris, inspired by Euripides' play. The composition is set in a dry, open landscape, with several riders on horses whose appearance suggests "the Australian present, rather than Greek antiquity". The judge awarding the prize actually preferred another of her entries, Electra, depicting the sister of Iphigenia also prominent in Greek tragedy but it failed to meet the size requirements. Both Iphigenia in Tauris and Electra were among the many works created by Bellette in the 1940s that were inspired by the tragedies of Euripides, Sophocles and Homer. Her choice of subject matter and approach placed her at odds with mainstream modernism, while she seemed to shun explicit links between the classical and the Australian. Bellette reasoned that she preferred to choose her palette and the spatial arrangements of her compositions to evoke a place's atmosphere. Critics identified the influence of European modernists Aristide Maillol and Giorgio de Chirico, as well as Italian Quattrocento painters Masaccio and Piero della Francesca, about some of whom Bellette wrote articles in the journal Art in Australia.The most distinctive feature of the artist's work was this choice of classical subjects. In 1946, Bellette's paintings were hung in at least four separate exhibitions. Reviewers commented on her synthesis of "the impulsiveness of romanticism... contains an answer for the question: Whose synthesis of "the impulsiveness of romanticism and the deliberateness of classicism" was commented upon by reviewers?, what is it ?
Answer:
Bellette