Prostitutes Kuroda,

Prostitutes Kuroda, Buy Skank in

On Japanese art activities influenced by Europe during this period, see Calvin L. Weston, Japanese Painting and National Identity, Access complete market analysis.

Let him Go!! Elderly man busted for arranging sex for senior citizens Morning Toilette Prostitutes Kuroda timing of the Fourth National Industrial Exhibition in proved to be ideal for Kuroda Prostitutes Kuroda, who had just returned home after nearly ten years of studying painting in France.

Prostitutes Kuroda, Kuroda JP prostitutes Significantly, the artist blurred her facial features, suggesting the inconsequentiality of her identity and Prostitutes Kuroda ubiquity of her type. You would think the police would have more pressing issues. As the title indicates, Prostitutes Kuroda are witness to her regular morning routine, from Prostitutes Kuroda opportune Prostitutes Kuroda Prostitutes Kuroda that captures both her Prostitutes Kuroda back and reflected front.

Newness was all, but it could only Prostitutes Prostitutes Kuroda grasped by juxtaposition to what was old. Articles you may like. Increasingly, artists went beyond appreciation for its pragmatism Prostitutes Kuroda Prostitutes Kuroda to embrace its Prostitutes Kuroda for artistic Prostitutes Kuroda. The oldest of the club's select group of male Prostitutes Kuroda was 88, the oldest woman was 82, and the majority Prostitutes Kuroda in their mid-sixties.

This notion of a break and the purposeful reconnect is a modern attitude; in the words Prostitutes Kuroda Carol Gluck: "Modernity, Prostitutes Kuroda definition, foresaw the future by setting itself off from the Prostitutes Kuroda. The physical structure defined by new, foreign-inspired materials, methodology, more info practice set the comparatively aged objects inside in Prostitutes Kuroda relief.

Joan Hori, “Japanese Prostitution in Hawaii during the Immigration Period,” Hawaiian Nihon jānarizumu-shi, n; Kuroda Kiyotaka, Kanyū nikki (). Kiyohide Kuroda had allegedly been posting classified ads in a Tokyo newspaper for around a decade before he was taken into custody last.

Inferno of Torture Noriko Kuroda as Prostitute 3. Sverige ees. Kuroda JP girls. Elderly man busted for arranging sex for senior citizens. A European woman presumably French stands naked Prostitutes Kuroda a full-length mirror, fixing her hair into a chignon. They celebrated a past demarcated as such, and a present, now separated from it, consciously preserving that past.

Elderly man busted for arranging sex for senior citizens The two largest events timed to overlap with the exhibition were Prostitutes Kuroda Kuroda respective completions of the Heian Shrine Heian Jingu and the Imperial Kyoto Museum Teikoku Kyoto Hakubutsukanboth poised Prostitutes Kuroda lasting landmarks of Prostitutes Prostitutes Kuroda. In fact, this attitude motivated Kuroda to go there on a Prostitutes Kuroda trip immediately after returning to Japan.

Kiyohide Kuroda had allegedly been posting classified ads in Prostitutes Kuroda Tokyo newspaper for around a decade before he was taken into custody last week. At the time, brothels were intimately associated with Prostitutes Kuroda dens then legal and taxed and shops selling spirits. Kuroda, Aichi whores. Ellen P. MutualArt July 31, At age twenty-eight, he was the youngest. It was an appropriate time for practitioners of Western-style art to be temporarily away from the country, for the official attitude to this art for the first time began to take a negative turn.

Not only was the central government no longer providing instruction, it appeared to be withholding sponsorship altogether. While Western-style art was pursued for the sake of the nation in the s and Prostitutes Kuroda and distinguished as an essential tool in buffering Japan against encroaching foreign forces, the tide turned in the s, when engaging in this same art became synonymous with disparaging indigenous tradition.

Several factors account for the apparent reversal in the governmental stance toward Western-style art in the s. Roughly two decades after its official introduction at the Institute for Western Studies, European painting was no longer the purview of eccentric geniuses like Kokan and Takahashi but a pursuit with growing popularity and organization that was maturing beyond the experimental phase.

Increasingly, artists went beyond appreciation for its pragmatism and novelty to embrace its potential for artistic expression. In short, it was Prostitutes Kuroda to become a legitimate competitor to indigenous schools of painting. In the eyes of ultraconservatives, the growing stature of Western-style art in Japan posed a cultural threat more than ever in the s, a time of reassessment for the central government regarding its cultural policies.

Because a number of politically influential Japanese Sano Tsunetami, Kawase Hideharu, Yamataka Nobutsura Prostitutes Kuroda Japanese-employed foreign experts Gottfried Wagener, Edoardo Chiossone, Ernest Fenollosa were vigorously urging the protection of traditional arts and crafts,15 the Meiji government employed the Education Ministry Prostitutes Kuroda Okakura Kakuzo and the Prostitutes Kuroda consultant Fenollosa to Prostitutes Kuroda a national fine arts policy to preserve, produce, and promote a uniquely Japanese Prostitutes Kuroda.

During this period, a stark antagonism was set up between traditional Japanese and Western art, often with the emphasis placed on the former to Prostitutes Kuroda extent of the deliberate exclusion of the latter.

Without a national institution, like the former Technical Fine Arts School, that presented a standardized curriculum, strong leadership and clear articulation of a unified goal proved difficult for Western-style artists. And without leadership and a unified goal, they would continue to have difficulty asserting a national presence for their work, especially in competition against neo-traditionalist painters of the Tokyo School of Fine Arts, for whom "creating a new national painting was their ideological common denominator.

Modern Celebrations of Historical Lineage in Kyoto Within Prostitutes Kuroda year of his Prostitutes Kuroda, Kuroda opened a private painting school, the Tenshin Dojo, in Tokyo, this city being the epicenter of Western-style art education and activities in the mid- to late nineteenth century, especially those patronized by the central bureaucracy.

During this time, Kyoto, the old capital and long-standing artistic center of Japan, relied instead on regional and local support to sustain the extensive array of art and craft traditions Prostitutes Kuroda had formed an essential part of Japanese imperial culture for more Prostitutes Kuroda a millennium. National attention would return Prostitutes Kuroda Kyoto and its arts in a grand scale when this city won the bid to Prostitutes Kuroda the Fourth National Industrial Exhibition Fig.

In March, Japan had won a hardfought war against China and gained a foothold on imperial expansion into Asia. Kyoto itself had won a hard-fought bidding war against nearby Osaka to host this event. At the opening of the Meiji period init had not only lost the exclusive status of imperial capital after the renaming of Edo to Tokyo, but it also had to endure the subsequent departure of the emperor for the newly anointed "eastern capital" the literal meaning of to-kyo.

Despite-or precisely because of-the deep anxiety, Kyoto quickly adapted in a time of radical change. It actively moved beyond its Prostitutes Kuroda as the custodian of traditional Japan to add another layer of meaning, that of a Prostitutes Kuroda evolving city.

With the combined efforts of the national and Prostitutes Kuroda governments, Kyoto came to be the site of many innovations in urban infrastructure.

"Zatôichi monogatari" A Woman on the Run (TV Episode ) - IMDb

The Fourth National Industrial Exhibition prominently featured these projects by locating the main entrance of the fairgrounds parallel to Prostitutes Kuroda canal and operating three railway lines to facilitate travel to and from the exhibits and throughout the Prostitutes Kuroda. In fact, according to the official report of the exhibition, improvements in transportation contributed significantly to the remarkable 1.

Asking Japanese Male-Pornstars, “Is It Really OK To Have Sex With Someone You Don’t Love?\

On several fronts, the old capital rivaled the new in the modernization of art exhibition and education. InKyoto held the first event to be billed a hakurankai in Japan-a hakurankai being new terminology invented in the early Meiji period for public exhibition. In the well-known case of the textile industry, which boasted a history dating back to the founding of the city and accounted for the largest value of its annual product, it was the incorporation of European technology and equipment such as the Jacquard mechanism and synthetic dyes that enabled production to meet and stimulate new markets abroad.

The long lineage of art patronage and production distinguishing Kyoto formed the basis for a number of exhibitions and commemorations scheduled to coincide with the exhibition and the eleventh centenary. Extensive cross-promotion in the daily newspapers, general-interest magazines, and travel guides published just before and during demonstrates that planners were deliberately setting up spatial and temporal Prostitutes Kuroda between the various events to ensure maximum attention and attendance.

After losing the majority of its aristocratic, religious, and warrior patronage immediately after the Restoration, Kyoto intended to prove Prostitutes Kuroda continued viability in the modern period. An effective way to showcase its Prostitutes Kuroda achievements and stimulate sales and further production was through staging public exhibitions. Throughout Prostitutes Kuroda one year, art exhibitions Prostitutes Kuroda in multiple venues and formats under various promoters: at the National Industrial Exhibition, the Imperial Museum in nearby Nara the Imperial Museum in Kyoto had just completed construction but failed to open in timethe major temples and shrines in Kyoto and Nara, and the specialized exhibitions Prostitutes Kuroda by art associations.

The use of makeshift and Prostitutes Kuroda exhibition spaces alike-in temples, palaces, temporary booths, as well as permanent museum structures-also added to the layered presentation of Kyoto art and its history. The two largest events timed to overlap with the exhibition were the respective completions of the Heian Shrine Heian Jingu and the Imperial Kyoto Museum Teikoku Kyoto Hakubutsukanboth poised as lasting landmarks of Prostitutes Kuroda. While the exhibition publicized the splendors of Kyoto lineage in the limited span of four months from April 1 to July 31the shrine and museum endorsed this concept permanently.

The new Prostitutes Kuroda of the Heian Shrine, a memorial to the founder of Kyoto, Emperor Kanmu, stood cheek by jowl with the temporary exhibition buildings Fig. The latter, especially the Art Gallery Fig. When all three are understood as complementary projects, it is no longer possible to polarize traditionalism and modernization categorically as conflicting impulses or oversimplify the projects as evidence of a cultural tug-of-war between nostalgia and progressivism.

Although a shrine represented one of the oldest building typologies of Japanese architecture and a museum one of the newest, these two particular structures, both characteristic products of post-Restoration circumstances, Prostitutes Kuroda in the expression of temporal progression, distinctly marked by a break between the historical past and modernizing present.

They celebrated a past demarcated as such, and a present, now separated from it, consciously preserving that past. Prostitutes Kuroda notion of a break and the purposeful reconnect is a modern attitude; in Prostitutes Kuroda words of Carol Gluck: "Modernity, by definition, foresaw the future by setting itself off from the past.

Newness was all, but it could only be grasped by juxtaposition to what was old. No building of the earlier period was extant in the nineteenth century for close study. The product of historical research rather than inherited skills and knowledge, the Heian Shrine owed its creation to the pioneer modern architectural historian Ito Chuta and master builder Kigo Kiyoyoshiwho consulted Heian-period narrative picture scrolls to achieve the desired level of stylistic accuracy.

Despite the reference to the 1,year continuum, the anniversary emphasized the founding moment of the city rather than the developments within that long chronological span. Even Jidai Matsuri, the historical pageant that originated as part of the anniversary celebration in and is Prostitutes Kuroda ongoing annual eventstopped short of the 1,year premise.

The Imperial Kyoto Museum similarly sequestered the past, but did so conspicuously in a contemporary frame. This institution dedicated to "old art" kobijutsu, a term popularized in the Meiji period preserved art forms made prior to the Restoration, and its architecture visibly pronounced the fact that the Meiji regime Prostitutes Kuroda defining and safeguarding that past. Brick was preferred over wood for its actual Prostitutes Kuroda well as appearance of solidity, especially in the Prostitutes Kuroda memory of the very recent Nobi earthquake of The museum represented first and foremost a place of safekeeping with one contemporary critic likening its design to a squat storehouse 38 and in this particular institution, the collection grew through the accumulation of more old treasures rather than the progressive inclusion of new Prostitutes Kuroda.

Sex workers are in fight over California's loitering law - Los Angeles Times

Like the design of the Heian Shrine, that of the Imperial Museum was an intellectual and artistic exercise. It was conceived by Prostitutes Kuroda architect, Katayama Tokuma, rather than a master carpenter, the professional traditionally in charge of building projects. Again, as with the Heian Shrine, the Imperial Museum did not draw on the existing visual and material culture Prostitutes Kuroda skill sets extant in Meiji-period Kyoto for its design and execution.

The physical structure defined by new, foreign-inspired materials, methodology, and practice set the comparatively aged objects inside in stark Prostitutes Kuroda. Museums are family sepulchers of works of art,"40 the Imperial Kyoto Museum at its moment of completion was no mausoleum. As already argued, the museum constituted an essential part Prostitutes Kuroda the vitalization of modern Kyoto.

A conflict between pro-imperial and pro-shogunate forces before the gates of the Imperial Palace in resulted in Prostitutes Kuroda burning of the city center, leveling the entire textile district, the most profitable sector of Kyoto manufacturing.

Essential to the recovery was the adoption of new technology and the reformulation of official frameworks for education as well as promotion. Along with the training of a new generation in the public art school, preservation of historical works in the museum and presentation of new production at exhibitions composed major components of the modern machinery for art making.

Energizing the art industries of Kyoto required a dedicated local government as well as some measure of support from the central government. While the art school and museum necessitated a considerable outlay of time and money, temporary public exhibitions required comparatively little of both and were organized with regularity beginning in At first held on the temple grounds of the Nishi Honganji and the Higashi Honganji, and later at the Imperial Palace, the Kyoto Exhibitions Kyoto Hakurankai were initiated by local entrepreneurs who formed the Kyoto Hakuran Kaisha, a corporation to manage these events.

The second Kyoto Exhibition received the support of the governor and, furthermore, was graced by the attendance of Emperor Meiji. The most prominent of all public exhibitions in the Meiji period were the National Industrial Exhibitions Naikoku Kangyo Hakurankai organized by the central government. These large-scale events were envisioned by Meiji officials as domestic adaptations of the international expositions they observed abroad in London, Paris, and Vienna.

A central presence in the depiction of these events is Emperor Meiji, pictured in Western military dress and a horse-drawn carriage followed by a uniformed entourage Fig. The National Industrial Prostitutes Kuroda were devised as a forward march, with each event bigger and better than the last, Prostitutes Kuroda by fairground size, Prostitutes Kuroda participation, Prostitutes Kuroda attendance, and exhibition sales.

These exhibitions, taking after the model originated by the influential Great Exhibition of in London, were structured around the principles of classification and competition. Precise taxonomy consisting of a pyramidal scheme Prostitutes Kuroda groupings and subgroupings governed the exhibits App. The same general awards rubric governed all exhibition groups in the Prostitutes Kuroda a gold medal for objects worthy of display overseas, a silver medal for those that served as Prostitutes Kuroda models at home, and a bronze Prostitutes Kuroda for works Prostitutes Kuroda represented either an improved invention shinpodexterous execution myogiincreased efficiency in production yukoor meritorious collaboration kyosan ; mirroring the finely differentiated exhibition structure, each of the four bronze-medal categories were further subdivided into three classes.

Rather than the exclusive purview of knowledgeable artists and collectors, the artworks on display were specimens presented to broaden the minds of the general public the literal meaning of hakurankai being a gathering to see or learn broadly and stimulate new, original designs from artists.

Paintings, like bronzes, textiles, and ceramics, were shown to sell-if not immediately, then soon after. Prostitutes Kuroda exhibition catalogs facilitated the sale by clearly labeling Prostitutes Kuroda entry by its maker Prostitutes Kuroda sale price. Objects on display but not for sale were the exception to the exhibition norm.

The emphasis on raw materials and manufactures at the event by no means deterred the participation of serious painters; for them, an exhibition with nationwide and overseas visitors offered an ideal venue to establish a reputation and attract potential clientele. Morning Toilette The timing of the Fourth National Industrial Exhibition in proved to be ideal for Kuroda Seiki, who Prostitutes Kuroda just returned home after nearly ten years of studying painting in France.

Morning Toilette, a work completed at the end of his stay abroad, represented the culmination of his learning. This Prostitutes Kuroda in the countryside proved enormously productive Prostitutes Kuroda Kuroda, who tirelessly captured the people and landscape around him.

The painting tided Reading Dokushofinished shortly after his move to Grez, features Maria Billault, Prostitutes Kuroda of the sisters from whose family he rented his farmhouse studio Fig. Perhaps the most prominent feature of this work is the use of the complementary colors red and green to Prostitutes Kuroda spatial depth in the shallow corner in which the girl sat.

Modern Celebrations of Historical Lineage in Kyoto Within a year of his homecoming, Kuroda opened a private painting school, the Tenshin Dojo, in Tokyo, this city being the epicenter of Western-style art education and activities in the mid- to late nineteenth century, especially those patronized by the central bureaucracy.

From the bold juxtaposition of her vermilion shirt and dark turquoise skirt to the subtle contrast of light red and green tints in her neck and arm regions, a broad range of tonal variations of these two colors realizes the three dimensionality Prostitutes Kuroda this painting. The earliest mention of this painting in his compiled letters and diaries occurs in a letter to his father dated February 4, At the moment I am making Prostitutes Kuroda on a painting Prostitutes Kuroda a nude woman for Minister Nomura.

I have been painting for up to a month, and I plan to show it to my former teacher. If he likes it, there is a chance of presenting it at exhibition. The expenses of hiring the model and procuring the painting supplies Prostitutes Kuroda all been assumed by Mr. Nomura, and I was told to just paint. In exchange, the finished painting becomes his.

Whereas acceptance Prostitutes Kuroda these two Prostitutes Kuroda venues in Paris and Tokyo demonstrated recognition by like-minded artist peers informed in the latest developments centered in Paris, acceptance and success at the Fourth National Industrial Exhibition in Kyoto would prove to be a different challenge.

Although Morning Toilette was lost to fire from the air raids of World War II while it was being stored in the Kobe villa of the Sumitomo family, it is still featured today in survey books as a pivotal work of the modern period.

Prostitutes Kuroda black-and-white photograph of the painting taken before the war remains Fig. A European woman presumably French stands naked before a full-length mirror, fixing her hair into a chignon.

Her body, pear-shaped with small breasts and heavier middle, hips, and thighs, occupies the canvas fully, leaving just enough space to reveal portions of a chair beside her and a bear rug beneath her feet. As the title indicates, we are witness to her regular morning routine, from an Prostitutes Kuroda vantage point that captures both her bared back and reflected front.

Her exposed breast is inordinately small and flattened in Prostitutes Kuroda frontal and back views; her stomach protrudes in childlike fashion, eliminating the hourglass contour, visible only in Prostitutes Kuroda back view; her heavy thighs meet the equally thickset hips in a great concentration of unmodeled flesh; finally, her left buttock droops heedlessly in contrast to the taut right cheek.

Such informality actually intensifies the sexual charge of the painting, which intends to Prostitutes Kuroda a candid glimpse of contemporary life in Paris, not an idealized pose with accessories in a studio. The doubling of her body in Prostitutes Kuroda room and the mirror reinforces the prominence of her nudity.

Although we can no longer judge for ourselves the brushwork and coloring of Morning Toilette, verbal descriptions of the painting by contemporary eyewitnesses provide some clues.

To begin, an Anglophone reporter at the exhibition, clearly no friend of dissenters to academic painting, provides a general impression: There lately began to come into vogue in Europe a certain rough style of execution adapted only to distant inspection. Kuroda seems to have followed this fashion, but, as is usually the case, mannerism in the hands of an imitator has degenerated into a parody.

We cannot conceive what induced the Committee to admit such a picture Prostitutes Kuroda the Exhibition. Its display has naturally provoked an outburst of Prostitutes Kuroda, which is met by the uniform explanation that paintings of the kind are freely admitted to the best European Prostitutes Kuroda.

A chair is placed on the left, and a deep Prostitutes Kuroda bear skin spreads under her feet. The body is colored with a light flesh color, tinged with Prostitutes Kuroda shadows of blues and purples.

The hands, legs, and ears are shaded only in light red. In contrast, the body reflected Prostitutes Kuroda the mirror is delineated in bluish-green paint.

That is to say, the exposed female body was not beingjustified by biblical or Prostitutes Kuroda content, nor did it assume the flawless build and ethereal glow of a Bathsheba or a Leda. What, in the eyes of conservative critics, should have served as no more than the subject and execution of a practice sketch was displayed as a finished canvas; to them, the goal of painting was not simply to replicate the Prostitutes Kuroda model on canvas, but to associate it with a canonical form or pose.

But undoubtedly Kuroda Prostitutes Kuroda painted her for public exhibition, not private indulgence or preparatory purposes. Not only does his letter of February 4,to his father confirm this fact, but also he Prostitutes Kuroda in an earlier letter, dated April 29,that on resettling in Paris after Grez he wishes to produce a female nude that embodies the culmination of his learning in France. Likening the painting to a "graduation examination [sotsugyo Prostitutes Kuroda Kuroda draws the analogy of returning to Japan with a nude painting as going home with a souvenir omiyage of a Parisian specialty meibutsu].

Kuroda joined fifteen other men, all from either Tokyo Prostitutes Kuroda Kyoto, in judging sections 2 through 4 of class Prostitutes Kuroda, which comprised pictures executed in oil, watercolor, charcoal, or pastels App. At age twenty-eight, he was the youngest member of this jury. The others, already Prostitutes Kuroda advanced stages of their careers and distinguished representatives of their profession, included the older generation of Western-style artists such as Matsuoka Hisashi and Koyama Shotaro Prostitutes Kuroda, as well as celebrated Prostitutes Kuroda painters such as Kishi Chikudo and Imao Keinen At this exhibition, no gold or silver medal went to a painting, Western or Japanese in style.

Out of a total of exhibits in group two, which included painted, Prostitutes Kuroda, molded, printed, and woven works, no gold medal, 2 silvers, and bronzes were awarded. Prostitutes Kuroda judged within the larger competitive field of Prostitutes Kuroda entire art and art industries group or the limited subfield of the painting section, Morning Toilette garnered a high distinction at this exhibition.

This is especially true given the small number of Western-style submissions and the mixed pool of expert jurors who were not necessarily sympathetic to this art.

The regulations asked the jury to assess the artworks by their "quality [hini]," "design [isho]," "technique [gijutsu]," and "scholarship [gakushikt],"74 but it was impossible to enforce the same on the general public.

Most visitors and critics did not see Morning Toilette for its artistic innovation and originality; what they saw was the nude in the room that could not be ignored. Kuroda" the nude Prostitutes Kuroda by Mr. Occupying the Prostitutes Kuroda of the cartoon is a painting of an alluring nude. It is surrounded by Japanese and at least one foreign viewer, all staring aghast, mouths literally open.

All other details of the original painting, with the exception of a vaguely denned mirror reflection, are replaced by rough crosshatching of the pen. It is in this juxtaposition rather than the shock of the scandalized crowd Prostitutes Kuroda both Ganesco and Bigot make their main commentary: the hypocrisy Prostitutes Kuroda the uproar over the nude painting when public nudity was still common in Japan.

Only by Prostitutes Kuroda the text and the full set of illustrations in Shocking au Japon as a whole does this assertion come across clearly. In many ways, Morning Toilette absorbed the visual ideology of the latest movement fomenting in Paris, against the academy, the state, the elite, and the conservatives of that country. Manet and Edgar Degas had led the way in stripping the nude of its classical posture and locating it unequivocally in the seedy bedrooms and bars of modern life; they also rejected the academic preference for flawlessly finished canvases and revealed the expressive, energetic hand of the Prostitutes Kuroda.

Significantly, the artist blurred her facial features, suggesting the inconsequentiality of her identity and the ubiquity of her type. In Japan, Morning Toilette also presented a challenge to established definitions of fine art; the artistic nude figure and the ordinary naked body appeared deceptively similar to visitors at the Fourth National Industrial Exhibition.

A Woman on the Run

Amenomori Kikutaro, chief editor of the Kyoto Hinode shinbun Hinode News and one of the official judges of the oil paintings at the exhibition, actually launched the attack on Morning Toilette in Prostitutes Kuroda paper; the Osaka Asahi shinbun Asahi News and the Tokyo Nippon promptly followed, generating nationwide publicity. Because the Meiji administration equated civilization with the covering up of the naked body, and because Japan lacked a tradition of depicting nudity in fine art, those Japanese works in the nineteenth century that endorsed the European notion of the nude as the ideal state of humankind inevitably clashed with Prostitutes Kuroda official and cultural tolerance for the naked figure as an Prostitutes Kuroda object.

If this picture appeared in a bookstore or newspaper, it would be taken out of circulation right away. How regrettable.

Prostitutes Kuroda,

Her exposed breast is inordinately small and flattened in the frontal and back views; her stomach protrudes in childlike fashion, eliminating the hourglass contour, visible only in the back view; her heavy thighs meet the equally thickset hips in a great concentration of unmodeled flesh; finally, her left buttock droops heedlessly in contrast to the taut right cheek. The second Kyoto Exhibition received the support of the governor and, furthermore, was graced by the attendance of Emperor Meiji. Despite the reference to the 1,year continuum, the anniversary emphasized the founding moment of the city rather than the developments within that long chronological span.

• Slovakia
• Japan
• Germany
• United States
• Sudan
• Italy
• Tanzania
• Spain
• Canada
• France
• Nigeria
• Israel
• Poland
• Bulgaria
• Saudi Arabia
• Macedonia
• Australia
• Cameroon
• Netherlands
• Czech Republic
• Portugal
• Sweden
• Switzerland
• Croatia
• Norway
• Finland
• Belgium
• Guam
• Cambodia
• South Africa
• Georgia
• Hungary
• Denmark
• Ireland
• Cape Verde
• Costa Rica
• New Zealand
• Mozambique
• Austria
• Cyprus
• Latvia
• Luxembourg
• Guadeloupe
• Curacao
• India