Dyes, flies, and sunny skies: photodynamic therapy and neglected tropical diseases

Photodynamic therapy, in its various applications, represents the focused combination of electromagnetic radiation, a chemical (usually a dye) capable of its absorption and conversion, and oxygen to provide cytotoxicity (cell killing). The effect has been known for over a century, and there is considerable clinical use in terms of its application to various cancers. However, the antimicrobial properties of the technology, which are considerable, have received only a lukewarm reception by healthcare providers, and the possibilities for tropical disease therapy are mainly unexplored. This is particularly vexatious given both the inexpensive nature of the photosensitisers and light sources available and the lack of conventional forward progress in widespread diseases such as leishmaniasis, trypanosomiasis, and tuberculosis in the Developing World. The following review therefore covers the use, or potential use, of the photodynamic approach in this area, mainly with reference to tropical diseases having current ‘neglected’ status according to the World Health Organisation. © 2016 The Authors. Coloration Technology © 2016 Society of Dyers and Colourist

The Overseeing Mother: Revisiting the Frontal-Pose Lady in the Wu Family Shrines in Second Century China

Located in present-day Jiaxiang in Shandong province, the Wu family shrines built during the second century in the Eastern Han dynasty (25–220) were among the best-known works in Chinese art history. Although for centuries scholars have exhaustively studied the pictorial programs, the frontal-pose female image situated on the second floor of the central pavilion carved at the rear wall of the shrines has remained a question. Beginning with the woman’s eyes, this article demonstrates that the image is more than a generic portrait (“hard motif ”), but rather represents “feminine overseeing from above” (“soft motif ”). This synthetic motif combines three different earlier motifs – the frontal-pose hostess enjoying entertainment, the elevated spectator, and the Queen Mother of the West. By creatively fusing the three motifs into one unity, the Jiaxiang artists lent to the frontal-pose lady a unique power: she not only dominated the center of the composition, but also, like a divine being, commanded a unified view of the surroundings on the lofty building, hence echoing the political reality of the empress mother’s “overseeing the court” in the second century during Eastern Han dynasty