Colorado College Logo

  DigitalCC

Use AND (in capitals) to search multiple keywords.
Example: harmonica AND cobos

262 hits

  • Thumbnail for Snow at Yamanaka Village, near Fujiwaka
    Snow at Yamanaka Village, near Fujiwaka by Utagawa Hiroshige

    One of the most well known 19th century ukiyo-e artists, famous for his landscape views, particularly his images of the Tokaido. As the busiest highway in the 18th and early 19th centuries, the Tokaido offered numerous chances to experience a variety of social classes and day-to-day activities. Numerous images of this highway were created during the Edo period, some in singular views and others in series, the most famous of which are Hiroshige’s numerous editions. The images depicted the commercial activity along the road and famous views seen on the journey. Hiroshige, in particular, also chose many of the views based on varying times of year and the weather conditions that offered an ever-changing impression of the landscape. Greatly influenced by his teacher Utagawa Toyoharu, Hiroshige often employed perspective views rather than the more traditional stacked and flattened views of the landscape found in the Kano school of painting. This slightly more western view helps to explain his popularity among 19th century artists in Europe. Often palaces decorated with traditional Kano painting would have rooms devoted to each season of the year. Though appealing to a far less sophisticated audience, Hiroshige continued an interest in the seasons frequently depicting particular stations along the Tokaido in a variety of climactic conditions. Fujikawa was station number thirty-seven. Though innovative in both his use of a more western perspective and in many of his subject matters, Hiroshige, nevertheless, evinced a careful understanding of Japanese landscape traditions.

  • Thumbnail for Kana-dehon Chushingura Act IV: Oboshi Yuranosuke display's Hangan's sword
    Kana-dehon Chushingura Act IV: Oboshi Yuranosuke display's Hangan's sword by Eisen Keisai

    From the Kanadehon Chushingura (Model of the Kana Syllabury: the Forty-seven Loyal Retainers) series. Keisei Eisen was born in Edo, the son of a calligraphy artist. He was apprenticed to Kikugawa Eizan and studied traditional painting before becoming a printmaker. Throughout his career, Eisen’s work was productive and varied. Book illustrations and prints were his first commissioned works. Early on, he achieved lasting fame for his bijin-ga (pictures of beautiful women), and both contributed to and edited the Ukiyo-e ruiko (History of Prints of the Floating World) one of the few surviving sources of information-rich material on printmaking art and artists in Japan. At times, he struck partnerships with other artists of his age, such as his collaboration with Hiroshige, which resulted in a series of landscape prints entitled The Sixty-nine Stations on the Kiso Highway. Eisen also released many surimono (privately issued prints), shunga (erotic prints), and some landscape pieces. In addition to his career as a printmaker, Eisen pursued other sources of income. A self-described hard-drinker who humbly titled his version of Japanese print history Mumeio zhuihitsu (Essays by a Nameless Old Man), Eisen was also the manager and proprietor of a brothel for a time. Today, however he is most famous for his portrayals of the beauties of old Japan. Kana-dehon Chushingura (Model of the Kana Syllabury: the Forty-seven Loyal Retainers) was a popular and frequently performed Kabuki play in the late 18th and early 19th century in Edo. Based on actual historical events from 1701 – 1703, the play tells of forty-seven ronin (samurai without a lord) who seek revenge for the unjust death of their leader Enya-Hangan. Act IV: Enya-hangan commits hara-kiri, while his loyal retainer Yuranosuke vows revenge on Moronao

  • Thumbnail for The Tenryu River near Mitsuke station
    The Tenryu River near Mitsuke station by Utagawa Hiroshige

    From the first Tokaido series, Hoeido Tokaido edition. One of the most well-known 19th century ukiyo-e artists, famous for his landscape views, particularly his images of the Tokaido. As the busiest highway in the 18th and early 19th centuries, the Tokaido offered numerous chances to experience a variety of social classes and day-to-day activities. Numerous images of this highway were created during the Edo period, some in singular views and others in series, the most famous of which are Hiroshige’s numerous editions. The images depicted the commercial activity along the road and famous views seen on the journey. Hiroshige, in particular, also chose many of the views based on varying times of year and the weather conditions that offered an ever-changing impression of the landscape. Greatly influenced by his teacher Utagawa Toyoharu, Hiroshige often employed perspective views rather than the more traditional stacked and flattened views of the landscape found in the Kano school of painting. This slightly more western view helps to explain his popularity among 19th century artists in Europe. This was near station number twenty-eight.

  • Thumbnail for Figures in a Garden
    Figures in a Garden by Qian, Hui'an

    Chinese hanging scroll with vertically-oriented painting; ink and colors on paper; image area 39.4 cm x 142.8 cm; brocade frame, mounted on paper with flush roller and brocade ends; subject bearded sage with staff, possibly Confucius or Lao Tzu, and woman standing on a bridge; calligraphy and seal.

  • Thumbnail for Street Drama, characters
    Street Drama, characters by Utagawa Kuniyoshi

    Horizontal Japanese Ukiyo-e print; two panels from probable triptych; black and polychrome woodblock print on paper; various seals of Kuniyoshi, including “Ichiyosai†(a style name of Kuniyoshi). Artist is known for his depictions of heroic episodes in Japanese history. In his later work he tended to have a taste for the bizarre and the ghoulish. His work is influenced by European models, and in this work, the background has some degree of vanishing-point perspective. The works of Kuniyoshi are collected by many museums around the world, including Metropolitan of New York, Boston, San Francisco, Cleveland, The British Museum London, and the Nelson-Atkins in Kansas City.

  • Thumbnail for Lotus, characters
    Lotus, characters by Wu Shouxian

    Chinese hanging scroll with vertically-oriented painting; black ink and trace of red on paper; image area 31 cm x 132.4 cm; brocade frame, flush roller with brocade ends; lotus represents purity, perfection, summer, and the flower carried by Ho Hsien-Ku, the eighth of the eight immortals revered in Buddhist worship; calligraphy, one seal by the artist.

  • Thumbnail for Lotus, full view
    Lotus, full view by Wu Shouxian

    Chinese hanging scroll with vertically-oriented painting; black ink and trace of red on paper; image area 31 cm x 132.4 cm; brocade frame, flush roller with brocade ends; lotus represents purity, perfection, summer, and the flower carried by Ho Hsien-Ku, the eighth of the eight immortals revered in Buddhist worship; calligraphy, one seal by the artist.

  • Thumbnail for Senju Bridge by Night, front view
    Senju Bridge by Night, front view by Shoda Koho

    Yet another print from the Hasegawa series of night scenes, this one foregrounds lantern-carrying pedestrians and a portable shop crossing the silhouetted bridge, with glimmers of light on a distant shore beyond passing boats.

  • Thumbnail for Pipa Song
    Pipa Song by Jiang Yun

    Horizontal Chinese painting; ink and colors on paper; 38.8 cm x 24.3 cm; lady and lute on covered barge, only mast and lanterns of another barge are visible, with willow, pine, and blossoming trees. Jiang Yun’s painting was a token of friendship, responding to a friend’s request. The subject is based on the famous Tang era poem, Lyrics of the Pipa (Lute) by Bai Juyi (772-846 C.E.).

  • Thumbnail for Portrait, full view
    Portrait, full view by Unknown

    19th century portrait depicting a subject seated in a garden by a stream, chrysanthemum in a vase and a pine tree. The chrysanthemum in the vase symbolizes autumn while the pine tree represents longevity. The image area is 67cm x 130.5 cm and was made using Chinese ink and colors on paper in a silk mounting. The subject and artiistic style are reminiscent of the famous artist, Ren Xiong (1820-1864). Ren Xiong and his family members were successful commercial painters in Shanghai and nearby regions and skilled in many subjects, including portraiture.

  • Thumbnail for Ken Tenju hanging scroll, picture view
    Ken Tenju hanging scroll, picture view by Tenju, Ken

    Japanese Edo period hanging scroll with vertically-oriented painting and a brown brocade mounting. The image area is 28 cm x 187 cm and depicts the landscape of a Nanga school with the scene of a mountain and hut to the left, a river to the right, a bridge in the foreground, and an inscription to the upper right.

  • Thumbnail for Ken Tenju hanging scroll, upper seal
    Ken Tenju hanging scroll, upper seal by Tenju, Ken

    Japanese Edo period hanging scroll with vertically-oriented painting and a brown brocade mounting. The image area is 28 cm x 187 cm and depicts the landscape of a Nanga school with the scene of a mountain and hut to the left, a river to the right, a bridge in the foreground, and an inscription to the upper right.

  • Thumbnail for Silk embroider depicting Ouyang Hai pushing an artillery-laden horse off the tracks before an oncoming train (detail train)
    Silk embroider depicting Ouyang Hai pushing an artillery-laden horse off the tracks before an oncoming train (detail train) by Yang Shengrong

    Silk embroidery is today supported by the Chinese government. As in the past, it is not unusual for an existing painting to be copied in embroidery. In this instance, the painting represents one of the mythical heroes of the Peoples Liberation Army (PLA), Ouyang Hai. He reputedly shoved a frightened horse laden with artillery off the tracks in front of an oncoming train. During the Cultural Revolution (1966-1975), PLA heroes, actual or fictitious, became part of the government propaganda machine and were to serve as role models for the people. To advertise their heroic deeds, they were commemorated in all artistic media: paintings, prints, sculptures. This particular depiction of Ouyang Hai was originally created as a painting in 1964 by Yang Shengrong.

  • Thumbnail for Landscape
    Landscape by Pu Ju

    Vertical landscape done in the blue and green style, with small pavilion on a rocky outcropping above man in small boat below. Four line inscription links the foreground imagery with that of the far distance. Three seals placed at varying points on the painting.

  • Thumbnail for Cormorant Fishing, front view
    Cormorant Fishing, front view by Arai Yoshimune

    From the Hasegawa series. Flames of the fishing boat are obscured by the fisherman’s net, framed by a bridge silhouetted above. Another good example of shin-hanga.

  • Thumbnail for Painting of a branch of loquats
    Painting of a branch of loquats by Ch’i Pai-shih (Qi Baishi) (1863-1957)

    (Part of a set of four) Qi Baishi (1863-1957) is perhaps China’s most revered master of the twentieth century. These four paintings are representative of Qi’s floral, fruit and aquatic subjects. The cascading forms, bright colors and strong sense of abstract design in the compositions are characteristic of his style.

  • Thumbnail for Shadow puppet (set of 3)
    Shadow puppet (set of 3)

    These shadow puppets represent one of the traditional Chinese crafts. They also represent one of the popular-level puppet theater traditions in China (the others being hand puppets and string puppets). The shadow puppets are cut and carved out of thin sections of hide, which is then given coatings of color. These examples are in pristine condition and retain their brilliant colors. One of the shadow puppets wears a Manchu headdress and Manchu platform shoes. The treatment of the eye sockets suggests that these puppets were made in the Beijing area

  • Thumbnail for Popular woodblock prints: pair of military door gods (1)
    Popular woodblock prints: pair of military door gods (1)

    Colored woodblock prints of popular images are associated with popular religious beliefs and ceremonies mostly observed at Chinese lunar New Year. Images of protective, military door gods (in pairs) were replaced on the front, street doors each year at New Year’s time to prevent evil from entering the house.

  • Thumbnail for Pair of platform shoes worn by Manchu women (front and bottom)
    Pair of platform shoes worn by Manchu women (front and bottom)

    Shoes for bound feet of Chinese women contrast with the “platform†shoes worn by Manchu women, who did not bind their feet. These platform shoes, it is said, enabled Manchu women to imitate the seductive sway of Chinese women with bound feet. The decoration on these shoes is appliqué, not embroidery.

  • Thumbnail for Bronze vessel (detail)
    Bronze vessel (detail)

    In ancient Japan (prior to the Meiji era, 1868-1912), metalwork was solely for swords and Buddhist statues. During the Meiji era, a decree abolishing sword-wearing and the restoration of Shintoism, the original religion of Japan, as the national religion caused the making of metalwork to shift to objects for export and home consumption; the functions of objects and subject of decoration tended to be secular. This vase, designed with a style of Chinese bronze vessel, bears 8 different scenes on the entire body. There are four large panels, with subjects ranging from figurative to seascapes, on the main body of the vessel, and four small horizontal scenes, landscapes and seascapes are the subjects (possibly a display of the four seasons), on the bottom. The designs are done in relief. The borders of the panels are also ornamented with plant patterns, chrysanthemums and gingko tree leaves in particular common Japanese floral motif. A great deal of artistic appeal and distinctive styles are the trademark of Meiji metalwork.

  • Thumbnail for After Hiroshige, front view stage 15
    After Hiroshige, front view stage 15 by unknown

    One of nineteen prints which illustrate the process of making a multi-block multicolor One of nineteen prints which illustrate the process of making a multi-block multicolor woodblock print.The print reproduced is the view of Asakusa Kinryuzan (Asakusa Kannon Temple) from Ando Hiroshige’s Toto yukimi hakkei (Eight Views of Snow in the Eastern Capital).

  • Thumbnail for After Hiroshige, front view stage 14
    After Hiroshige, front view stage 14 by unknown

    One of nineteen prints which illustrate the process of making a multi-block multicolor woodblock print.The print reproduced is the view of Asakusa Kinryuzan (Asakusa Kannon Temple) from Ando Hiroshige’s Toto yukimi hakkei (Eight Views of Snow in the Eastern Capital).

  • Thumbnail for Imperial bronze bell (side detail)
    Imperial bronze bell (side detail)

    This bell is dated by the inscription in a cartouche as having been made in the 50th year of the reign of Emperor Kangxi, i.e. 1711. The bell was evidently meant to be part of a larger set of bells, thus it represents a continuation of the ancient practice of producing sets of bells that were suspended from a rack. Each bell was specifically manufactured to produce a particular note in the Chinese musical scale. The inscription on the opposite side of the bell has three characters indicating which musical note the bell produces when struck. In addition, this bell is an excellent example of superior quality, imperial level bronze casting.

  • Thumbnail for Rubbing of stone engraving depiction of the poetess Xie Tao (detail)
    Rubbing of stone engraving depiction of the poetess Xie Tao (detail)

    Although of lesser quality, this depiction of Xie Tao is interesting because it is a rare (imaginary) portrayal of a woman writer. The text at the top of the scroll is her biography. Xie (768 – 831/32) was a noted courtesan/poetess who lied in Chengdu, Sichuan. In addition to her poetry she is famous for developing an ornamented paper to be used for writing out brief poems.

  • Thumbnail for Ceramic tomb figure of woman on horseback (detail)
    Ceramic tomb figure of woman on horseback (detail)

    This tomb figure, probably dating from the early Tang dynasty (7th century), is evidence of a time in China when women were granted great personal freedoms, including riding on horseback. This contrasts with restrictions placed on women in later periods when they were, in theory, to be confined to the house, a constraint furthered by the practice of binding the feet of Chinese women.