This group of pieces line the edge of a porch across the front of the Ichino home, with its showroom here at the front of the ground floor. The two pieces on the left are very traditional Tamba pieces with their trailed decoration, which is calligraphic on the second piece, a traditional sake bottle.
Section of the moss garden on the west side of the hojo, photo taken in 1972. Sense of refreshing cool, moist environment, in contrast to the brilliant summer sun ten feet away in the rock garden. Note the tree root here and compare to the photo from 2005, in which the trees have been removed, but the tree root remains in the lower foreground -- the moss garden, as seen in image ecasia000903, has changed and remained the same.
Image of moss garden on west side of Hojo at Ryoanji, taken in 1972, summer. Wall of rock garden, at that time, extended along west and north sides of moss garden; subsequently wall removed from moss garden. Compare with image ecasia000903. Date of original moss garden?
Woman gardener in traditional garb works in the moss garden at Ginkakuji, Kyoto, sweeping leaves off from the carpet of moss. Note: slide taken in 1972.
Postcard commemorating Nixon's historic visit to China, 1972.
Intaglio print on paper. British sculptor and printmaker of Chinese birth. She grew up in Singapore and at the age of 18 decided to go to London to study at Saint Martin’s School of Art (1954–6) where she took a particular interest in wood-carving; she then transferred to the Slade School of Art, where she concentrated on printmaking, graduating in 1960. Whilst at college she often travelled through Asia and Europe en route back to Singapore, with Indian and South-East Asian sculpture and spirituality making a great impact on her work. While Lim always acknowledged a debt to the work of Constantin Brancusi in her simplification and abstraction of forms, it is in her concern for the specific qualties of materials, as in her use of charred wood to create contrast, that the influence of Eastern spirituality and concepts of balance can be seen. In 1960 she married the painter and sculptor William Turnbull, settling in London but continuing to travel widely. In the 1960s and 1970s her sculptures were mainly carved from wood, using forms inspired by basic rhythmic forms and structures, with each element forming a balanced whole. Her prints from this time also explore these modulations, as in the etchings Set of Eight (1975; see 1995 exh. cat., pp. 24 and 28), which consist of simple patterns of blocks and lines.
The Colorado College yearbook, published 1900-2007, was known as The Pikes Peak Nugget from 1900-1941 and The Nugget or Colorado College Nugget afterward. Year on cover differs from title page in some years.
The Colorado College yearbook, published 1900-2007, was known as The Pikes Peak Nugget from 1900-1941 and The Nugget or Colorado College Nugget afterward. The Nugget was not published in 1971 and 1973. Year on cover differs from title page in some years.
In this cover photo from Newsweek, President Richard Nixon toasts Chinese Premier Zhou Enlai in the Great Hall of the People in March, 1972.
Intaglio print on paper. British sculptor and printmaker of Chinese birth. She grew up in Singapore and at the age of 18 decided to go to London to study at Saint Martin’s School of Art (1954–6) where she took a particular interest in wood-carving; she then transferred to the Slade School of Art, where she concentrated on printmaking, graduating in 1960. Whilst at college she often travelled through Asia and Europe en route back to Singapore, with Indian and South-East Asian sculpture and spirituality making a great impact on her work. While Lim always acknowledged a debt to the work of Constantin Brancusi in her simplification and abstraction of forms, it is in her concern for the specific qualties of materials, as in her use of charred wood to create contrast, that the influence of Eastern spirituality and concepts of balance can be seen. In 1960 she married the painter and sculptor William Turnbull, settling in London but continuing to travel widely. In the 1960s and 1970s her sculptures were mainly carved from wood, using forms inspired by basic rhythmic forms and structures, with each element forming a balanced whole. Her prints from this time also explore these modulations, as in the etchings Set of Eight (1975; see 1995 exh. cat., pp. 24 and 28), which consist of simple patterns of blocks and lines.
Program of Colorado College Class of 1972 Commencement ceremony, May 31, 1972, Colorado College, Colorado Springs, Colorado.
