Colorado College Logo

  DigitalCC

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

46 hits

  • Thumbnail for Ice cream to go
    Ice cream to go

    A traditional way of selling ice cream.

  • Thumbnail for Japanese Ichimatsu Doll in Blue Kimono
    Japanese Ichimatsu Doll in Blue Kimono

    Ichimatsu doll, 22†with human hair, glass eyes, and working wooden fan and joined limbs. Named after Sanogawa Ichimatsu, an 18th c. Kabuki actor who specialized in female roles, Ichimatsu dolls are an Edo (Tokyo) invention. They portray little Japanese girls and boys in their holiday silk kimonos and are sometimes commissioned by the rich as portraits of their children. The dolls are display objects, not toys, and are usually kept in a glass box. They can range in size from 5†to 30†and are especially valuable if triple jointed. A subcategory of Ichimatsu Dolls that is of particular interest to Berea College is the torei-ningyo or Friendship Doll. These are Ichimatsu dolls have their origins in the attempt by the Reverend Sidney L. Gulick to amend bad feelings in Japan created by the Exclusion Act of 1924, which denied immigration and citizenship rights to persons of Chinese and Japanese descent. Gulick, who knew Francis Hutchins, hit on the idea of sending “blue-eyed dolls†as ambassadors of friendship. He managed to have 12,379 sent to Japan by 1927. The dolls were very favorably received and in return, 58 large Ichimatsu dolls were commissioned from such noted doll-makers as Hirata Goyo to represent the Imperial Household, the 6 largest cities, the individual prefectures, and the Japanese territories of Korea, Taiwan, and Manchuria. Each Friendship Doll was furnished with accessories, including lacquered furniture, tea sets, lanterns, folding screens, parasols, geta (raised wood sandals), and other personal ornaments, not to mention passports. The friendship dolls sailed to America in 1927. They toured the country and were then given to museums, libraries and other appropriate institutions that had children’s departments, with Miss Japan going to the Smithsonian Institution. (See Sidney L. Gulick, Dolls of Friendship: The Story of a Goodwill Project between the Children of America and Japan, Friendship Press, NY: 1927.) Many Friendship Dolls are now lost or forgotten, though efforts are being made to find the original group and some have even returned to Japan for restoration, arriving there to great local fanfare. In addition, Gulick’s grandson, Sidney L. Gulick III, continues to send dolls to Japan.

  • Thumbnail for Photo Album of Osaka and Kobe with gold lacquer decorated cover
    Photo Album of Osaka and Kobe with gold lacquer decorated cover

    H: 10.75", W: 14", D: 2.25". Exterior relief design of geese and flora with stream on front; Ivory and mother-of-pearl inlay; back decorated with insects and plants in gold leather spine; hand tinted photographs of places, mainly in Osaka and Kobe, Japan; Inside inscription reads: "Presented to N.W. Utley and Wife by Rev. C.B. Moseley; Aug 9, 1890, Kobe, Japan"

  • Thumbnail for Escape
    Escape by Sadao Watanabe

    17" x 14" print depicting the Biblical story of the flight into Egypt, stencil print (kappazuri). Watanabe is, perhaps, the most famous Christian Japanese print-maker. His work is in collections from South Africa to Australia, from the Philippines to Europe. Institutions with his work include the Museums of Modern Art of Tokyo and New York, the Honolulu Academy of Arts, the British Museum, and the Haifa Museum. 10 of Watanabe’s prints are on permanent display in the Vatican Museum of Modern Art. Watanabe has had innumerable shows in the US, Japan, Brussels, the Netherlands, China, Germany, Denmark, and Indonesia and has won the prizes of the Folk Art Museum, the Japanese Print Association, and the Kokuga sosaku kyokai. He was twice invited to this country by the Lutheran Church of America and has honorary degrees from such Christian schools as Linfield College, McMinniville, OR and Valpariso University, IN. He won the Confessor of Christ Award from Christ Seminary Seminex in cooperation with the Lutheran School of Theology, Chicago, and before his death in 1996, received the Distinguished Contribution to Christian Culture Award from the Christian Literature Society of Japan.

  • Thumbnail for Gold Lacquer Inro with Ivory Netsuke - front view
    Gold Lacquer Inro with Ivory Netsuke - front view

    H: 6 cm W: 5 cm L: 1.8 cm D: of netsuke 4.2 cm. Gold lacquer inro with overlay design in mother of pearl and shakudo. Design: flying cranes. Ivory netsuke: turtle and toad; signed inside. Cover: Korin

  • Thumbnail for Bronze Chinese Mirror - reverse side
    Bronze Chinese Mirror - reverse side

    H: 3/4" W: 5-1/8". Mirror, bronze disc with light green and yellow patina. Obverse: polished. Reverse: decorative outer edge, inscribed inner edge, center boss raised with hole to attach mirror to support; square container of light wood with sliding lid.

  • Thumbnail for Dinner in Chinatown
    Dinner in Chinatown

    A group eats food from a street vendor.

  • Thumbnail for Hawker Centre
    Hawker Centre

    A typical Hawker Centre where food stalls are lined up.

  • Thumbnail for Inside a Hawker Centre
    Inside a Hawker Centre

    Rows of food stands serving various dishes inside a typical Hawker Centre.

  • Thumbnail for Street vendor
    Street vendor

    A vendor prepares roasted chestnuts.

  • Thumbnail for Japanese Ichimatsu Doll in Blue Kimono - face detail
    Japanese Ichimatsu Doll in Blue Kimono - face detail

    Ichimatsu doll, 22†with human hair, glass eyes, and working wooden fan and joined limbs. Named after Sanogawa Ichimatsu, an 18th c. Kabuki actor who specialized in female roles, Ichimatsu dolls are an Edo (Tokyo) invention. They portray little Japanese girls and boys in their holiday silk kimonos and are sometimes commissioned by the rich as portraits of their children. The dolls are display objects, not toys, and are usually kept in a glass box. They can range in size from 5†to 30†and are especially valuable if triple jointed. A subcategory of Ichimatsu Dolls that is of particular interest to Berea College is the torei-ningyo or Friendship Doll. These are Ichimatsu dolls have their origins in the attempt by the Reverend Sidney L. Gulick to amend bad feelings in Japan created by the Exclusion Act of 1924, which denied immigration and citizenship rights to persons of Chinese and Japanese descent. Gulick, who knew Francis Hutchins, hit on the idea of sending “blue-eyed dolls†as ambassadors of friendship. He managed to have 12,379 sent to Japan by 1927. The dolls were very favorably received and in return, 58 large Ichimatsu dolls were commissioned from such noted doll-makers as Hirata Goyo to represent the Imperial Household, the 6 largest cities, the individual prefectures, and the Japanese territories of Korea, Taiwan, and Manchuria. Each Friendship Doll was furnished with accessories, including lacquered furniture, tea sets, lanterns, folding screens, parasols, geta (raised wood sandals), and other personal ornaments, not to mention passports. The friendship dolls sailed to America in 1927. They toured the country and were then given to museums, libraries and other appropriate institutions that had children’s departments, with Miss Japan going to the Smithsonian Institution. (See Sidney L. Gulick, Dolls of Friendship: The Story of a Goodwill Project between the Children of America and Japan, Friendship Press, NY: 1927.) Many Friendship Dolls are now lost or forgotten, though efforts are being made to find the original group and some have even returned to Japan for restoration, arriving there to great local fanfare. In addition, Gulick’s grandson, Sidney L. Gulick III, continues to send dolls to Japan.

  • Thumbnail for 53 Stages of the Tokaido
    53 Stages of the Tokaido by Utagawa Hiroshige (1797-1855)

    Shirasuga, the Slope at Shiomi (Shirasuga, Shiomizaka zu) from the series Fifty-three Stages of the Tokaido Road (Tôkaidô gojûsan tsugi no uchi). This famous set of color woodblock prints appeared between 1833-34 and was published by Hôeidô and Senkakudô. Good condition.

  • Thumbnail for Black Japanese Helmet
    Black Japanese Helmet

    Helmet, black with gold 5-petal flower emblem, red underside. Japanese helmet of the type called jingasa, 12x 13 inches. Lacquered wood in excellent condition. During the Tokugawa period, a key means of social control were the great parades of warlords and their retainers going to and from the capital city of Edo, where they were required to spend every other year in attendance upon the Shogun. These “alternate attendance†(sankin kotai) processions, up to 4,000 strong in the case of the Maeda clan, had the effect of keeping the common people of Japan in awe of the warriors. “Alternate attendance†thus helped keep the peace, something that the Shogunate was so good at doing that there was no war for the 250 years of the Tokugawa reign. As the Pax Tokugawa continued on and on, however, the Shogun and his retainers became warriors who never went to war. The actual ability to fight thus became secondary to maintaining a fearsome image. As Herman Ooms puts it in his essay in Edo: Art in Japan, 1615-1868, form became norm, and image, more important than reality. It is just this process that transformed armor into Art. Armor in the late Tokugawa Period is all about image, a point quite clear in this helmet. The helmet purports to be covered with silk that parts to reveal rough steel plates held together with large, round rivets. In fact, the helmet is made entirely of a thin, light wood covered with a layer of lacquer and gilt.

  • Thumbnail for Gold Lacquer Inro with Ivory Netsuke
    Gold Lacquer Inro with Ivory Netsuke

    H: 6 cm W: 5 cm L: 1.8 cm D: of netsuke 4.2 cm. Gold lacquer inro with overlay design in mother of pearl and shakudo. Flying crane design. Ivory netsuke: turtle and toad; signed inside. Cover: Korin

  • Thumbnail for No Durians Allowed
    No Durians Allowed

    Durians are banned in Hawker Centers because of their strong smell, which some love and some hate.

  • Thumbnail for Fruit stand
    Fruit stand

    Shoppers look at produce from a fruit stand in Chinatown.

  • Thumbnail for Elijah
    Elijah by Yo Iwashita

    7-1/2" x 6-1/2". Sleeping man w/angels and God in chariot overhead. Monochrome woodblock print bearing the number 73. Yo or Hiroshi Iwashita was born in 1917. Other than that one fact, almost nothing is known about him. The presence of his work at Berea College is thus of interest in showing this collection to have more than the usual, standard works by well-known masters. Similarly, in New prints (Shin hanga), Berea college has both standard work by the famous Toshi Yoshida (1911-1955) but also an usual print by Koho Shoda (1875?-1925?), an Artist who style is intriguing in showing connections to Creative Prints but who is so unknown that not even his birth and death dates are clear. Iwashita's style is also intriguing. It resembles the rough manner of Munakata Shiko (b.1903), perhaps, the best known of the Creative Print masters. In this respect, Iwashita is a better representative of the Creative Print movement than Watanabe who used the unusual stencil-print technique.

  • Thumbnail for Japanese Ichimatsu Doll in Blue Kimono - back view
    Japanese Ichimatsu Doll in Blue Kimono - back view

    Ichimatsu doll, 22†with human hair, glass eyes, and working wooden fan and joined limbs. Named after Sanogawa Ichimatsu, an 18th c. Kabuki actor who specialized in female roles, Ichimatsu dolls are an Edo (Tokyo) invention. They portray little Japanese girls and boys in their holiday silk kimonos and are sometimes commissioned by the rich as portraits of their children. The dolls are display objects, not toys, and are usually kept in a glass box. They can range in size from 5†to 30†and are especially valuable if triple jointed. A subcategory of Ichimatsu Dolls that is of particular interest to Berea College is the torei-ningyo or Friendship Doll. These are Ichimatsu dolls have their origins in the attempt by the Reverend Sidney L. Gulick to amend bad feelings in Japan created by the Exclusion Act of 1924, which denied immigration and citizenship rights to persons of Chinese and Japanese descent. Gulick, who knew Francis Hutchins, hit on the idea of sending “blue-eyed dolls†as ambassadors of friendship. He managed to have 12,379 sent to Japan by 1927. The dolls were very favorably received and in return, 58 large Ichimatsu dolls were commissioned from such noted doll-makers as Hirata Goyo to represent the Imperial Household, the 6 largest cities, the individual prefectures, and the Japanese territories of Korea, Taiwan, and Manchuria. Each Friendship Doll was furnished with accessories, including lacquered furniture, tea sets, lanterns, folding screens, parasols, geta (raised wood sandals), and other personal ornaments, not to mention passports. The friendship dolls sailed to America in 1927. They toured the country and were then given to museums, libraries and other appropriate institutions that had children’s departments, with Miss Japan going to the Smithsonian Institution. (See Sidney L. Gulick, Dolls of Friendship: The Story of a Goodwill Project between the Children of America and Japan, Friendship Press, NY: 1927.) Many Friendship Dolls are now lost or forgotten, though efforts are being made to find the original group and some have even returned to Japan for restoration, arriving there to great local fanfare. In addition, Gulick’s grandson, Sidney L. Gulick III, continues to send dolls to Japan.

  • Thumbnail for Evening Sight of Shrine Entrance
    Evening Sight of Shrine Entrance by D. Mori

    Signed D. Mori, 12 x 19†watercolor painting, no date, excellent condition. The style of this painting would seem to place it in the Meiji Period, but with an attribution of this importance, more research is clearly needed. A Meiji date is indicated by the overall soft tone of the painting and the way in which forms blend into one another. The painting is thus reminiscent of the work of famous Insho Domoto (1891-1975), an example of whose work is in Union College. The softness of the lines in the painting in Berea College is a feature that a number of American Art educators found of interest in Japanese painting of the Meiji period. One such was Arthur Wesley Dow (1857-1922) author of Composition, Understanding Line: Notan and Color. The term notan is Japanese and refers to a design concept in which softening the line equates negative and positive compositional space. Dr. Foster, Professor History at Berea College, informs me that Dow is connected to Berea College. In addition, Justice Oliver Wendell Holmes, William Howard Taft, and Woodrow Wilson are among the notable donors listed on the Berea College website. One does not normally think of these people as particularly involved with Japan, but all of them owned Ukiyo-e woodblock prints, these now in the collection of the Library of Congress. In addition, Francis S. Hutchins was President of Berea College from 1937 to 1967. Robert Hutchins (1899-1997) was President of the University of Chicago from 1929-1945 and Chancellor from 1945-1951. Robert Hutchins worked closely with programs such as “Great Ideas†originally created by William Rainey Harper I (1856-1906), who founded the school. Harper’s grandson Paul V. Harper (1915-2005) was Professor of Surgery and Radiology at the University of Chicago and taught Judo there. Indeed, Paul Harper’s wife, Phyllis, is recognized as one of the founders of women’s judo in this country. Thus, as Christine Guth has shown, there are sometimes surprising links between American intellectuals and Japan in the decades before WWI (see her: Longfellow’s Tattoos: Tourism, Collecting and Japan, University of Washington Press, 2004 and “Charles Longfellow and Okakura Kakuzo: Cultural Cross-Dressing in the Colonial Context,â€(Positions: East Asia Cultures Critique,Volume 8, Number 3, Winter 2000, pp. 605-636).

  • Thumbnail for Photo Album of Osaka and Kobe with Gold Lacquer -detail Decorated Cover (cover detail)
    Photo Album of Osaka and Kobe with Gold Lacquer -detail Decorated Cover (cover detail)

    H: 10.75", W: 14", D: 2.25".Exterior relief design of geese and flora with stream on front; Ivory and mother-of-pearl inlay; back decorated with insects and plants in gold leather spine; hand tinted photographs of places, mainly in Osaka and Kobe, Japan. Inside inscription reads: "Presented to N.W. Utley and Wife by Rev. C.B. Moseley; Aug 9, 1890, Kobe, Japan"

  • Thumbnail for Family photo from Photo Album of Osaka and Kobe with Gold Lacquer Decorated Cover
    Family photo from Photo Album of Osaka and Kobe with Gold Lacquer Decorated Cover

    H: 10.75", W: 14", D: 2.25". Exterior has relief design of geese and flora with stream on front; ivory and mother-of-pearl inlay; back decorated with insects and plants in gold leather spine; hand tinted photographs of places, mainly in Osaka and Kobe, Japan. Inside inscription reads: "Presented to N.W. Utley and Wife by Rev. C.B. Moseley; Aug 9, 1890, Kobe, Japan".

  • Thumbnail for Gold Lacquer Inro with Ivory Netsuke - back view
    Gold Lacquer Inro with Ivory Netsuke - back view

    H: 6 cm W: 5 cm L: 1.8 cm D: of netsuke 4.2 cm Gold lacquer inro with overlay design in mother of pearl and shakudo Design: flying cranes. Ivory netsuke: turtle and toad; signed inside. Cover: Korin

  • Thumbnail for Sword Guard (Tsuba) with Octopus and Ape
    Sword Guard (Tsuba) with Octopus and Ape

    Sword guard (tsuba), signed Yoshinaga(?),and dated 1862. Curatorial files identify the work as in the Garyuken line of Nara Variation. Copper and brass. Excellent condition. This sword guard was part of a group of 20 in a three-layered lacquered wooden box. All are of high quality and this one was singled out only because of its large size and unusual decoration. The guard bears the image of an octopus attacking a monkey. The image is typical of late Tokugawa Period in being showy, with copper and brass highly polished and looking like gold. It is also a bit odd and unsettling. The sword guard has the quality that Gerald Figal calls “monstrous†(Civilization and Monsters, Spirits of Modernity in Meiji Japan, Durham and Loudon, 1999). As Figal points out, “monstrous†is a fair description, not only of Art in 19th c. Japan, but also of this chaotic, disturbed time. No less than the paintings or prints of Hokusai or the helmet discussed above, then, this sword guard captures well the spirit of its time.

  • Thumbnail for Restaurant meal
    Restaurant meal

    Dishes from a restaurant in Chinatown.

  • Thumbnail for Preparing food
    Preparing food

    Preparing a dish from this fish ball stand.