[Q]: The following article contains an answer for the question: What are to be left undisturbed following a new policy that was enacted due to disastrous results? , can you please find it? Chinese imperial tombs are typically approached by a "spirit road", sometimes several kilometres long, lined by statues of guardian figures, based on both humans and animals. A tablet extolling the virtues of the deceased, mounted on a stone representation of Bixi in the form of a tortoise, is often the centerpiece of the ensemble. In Han tombs the guardian figures are mainly of "lions" and "chimeras"; in later periods they are much more varied. A looted tomb with fine paintings is the Empress Dowager Wenming tomb of the 5th century CE, and the many tombs of the 7th-century Tang dynasty Qianling Mausoleum group are an early example of a generally well-preserved ensemble.The complex of Goguryeo Tombs, from a kingdom of the 5th to 7th centuries which included modern Korea, are especially rich in paintings. Only one of the Imperial Tombs of the Ming and Qing Dynasties has been excavated, in 1956, with such disastrous results for the conservation of the thousands of objects found, that subsequently the policy is to leave them undisturbed.The Lei Cheng Uk Han Tomb Museum in Hong Kong displays a far humbler middle-class Han dynasty tomb, and the mid-2nd-century Wu Family tombs of Jiaxiang County, Shandong are the most important group of commoner tombs for funerary stones. The walls of both the offering and burial chambers of tombs of commoners from the Han period may be decorated with stone slabs carved or engraved in very low relief with crowded and varied scenes, which are now the main indication of the style of the lost palace frescoes of the period. A cheaper option was to use large clay tiles which were carved or impressed before firing. After the introduction of Buddhism, carved "funerary couches" featured similar scenes, now mostly religious. During the Han Dynasty, miniature ceramic models of buildings were often made to accompany the deceased in the graves; to them is owed much of what is known of ancient Chinese architecture. Later, during the Six Dynasties, sculptural miniatures depicting...
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[A]: the Imperial Tombs of the Ming and Qing Dynasties

[Q]: The following article contains an answer for the question: What is the name of the person who took part as a dancer in her father's production of Purcell's semi-opera from 1690, Masque of Dioclesian? , can you please find it? Descriptions of Imogen as a small child indicate that she had blue eyes, fair hair, an oval face reminiscent of her father's, and a rather prominent nose inherited from her mother. In 1912, at the age of five, she joined the kindergarten class at the Froebel Institute, and remained at the school for five years. Summers were often spent at the Holsts' rented country cottage at Thaxted in Essex, where Gustav Holst began an annual Whitsun Festival in 1916.In 1917 Imogen began boarding at Eothen, a small, private school for girls in Caterham, where Jane Joseph, Gustav's star pupil from SPGS, taught music. A letter home, dated 17 July 1917, tells of "compertishions [sic], and ripping prizes, and strawberries and cream for tea". At the school, Imogen studied piano with Eleanor Shuttleworth, violin with Andre Mangeot (described as "topping") and theory with Jane Joseph ("ripping"). Under Joseph's tuition Imogen produced her first compositionstwo instrumental pieces and four Christmas carol tuneswhich she numbered as Ops. 1, 2, and 3. In the summer term of 1920, she composed and choreographed a "Dance of the Nymphs and Shepherds", which was performed at the school under her direction on 9 July.Imogen left Eothen in December 1920 hoping to study under Ruby Ginner at the Ginner-Mawer School of Dance and Drama, but was rejected on health grounds, although there appeared to be no significant medical issue. She then studied at home under a governess, while waiting to start at St Paul's Girls School in the autumn. At Whitsun 1921 she took part as a dancer in her father's production of Purcell's semi-opera from 1690, Masque of Dioclesian, held in the St Paul's School grounds and repeated a week later in Hyde Park.In September 1921 Imogen began at St Paul's Girls School, and became a boarder from Spring 1922. In July 1922 she performed a Bach Prelude and Fugue on the piano, for which Joseph praised her warmly, writing: "I think everyone enjoyed the Bach from beginning to end, they all made nice contented noises at the...
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[A]: Imogen

[Q]: The following article contains an answer for the question: What is the last name of the person who performed a fertility dance, while Westenberg took pictures of him? , can you please find it? Pod was released in the UK on May 29, 1990 by 4AD. Watts-Russell planned the date to be not too close to the release of the Pixies' Bossanova two and a half months later, for more effective publicity of both albums. Watts-Russell believed the album would be better suited to a US independent distribution label rather than the Pixies' American distributor Elektra, and licensed Pod to Rough Trade America. When this division of Rough Trade went bankrupt, Elektra assumed distribution of Pod in the US. Deal has noted that the Breeders did not receive any royalties from initial US sales because of Rough Trade's bankruptcy.The album was widely anticipated by the British music press due to the involvement of Deal and Donellyknown from their highly regarded work with the Pixies and Throwing Muses, respectivelyand Albini, who likewise had a strong reputation for his previous engineering work. It reached number 22 in the UK, where it was promoted by a full-page ad in Melody Maker, and number 73 in the Netherlands. Pod sold moderately well, although Deal has noted it "never sold [anything]" compared to their next album, Last Splash (1993), which was certified platinum in the US and silver in the UK.Deal took the idea for the album's title from a painting that she saw in Boston; for her, the word "pod" evoked a uterus, which Wiggs has noted relates to the theme of fertility and the group's name. The cover art was designed by longtime 4AD album designer Vaughan Oliver and employs photography by Kevin Westenberg. Oliver, in an attempt to seduce Deal, whom he believed would appreciate the humor, attached a belt of dead eels over his underwear, which he intended as phallic symbols. He performed a fertility dance, while Westenberg took pictures of him using a long exposure to achieve the blurring and other visual effects.
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[A]:
Oliver