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  • Thumbnail for Kimono Display
    Kimono Display

    Beautiful white silk fabric to be used for kimonos.

  • Thumbnail for Dobuku or Short Jacket
    Dobuku or Short Jacket

    The dobuku was a short jacket worn by high-ranking samurai from the late Muromachi to early Edo periods. This example is made of leather and has seven white leather paulownia crests appliqued to the front and back.

  • Thumbnail for Bridal skirt ornament
    Bridal skirt ornament

    Embroidered frontispiece thought to have been worn by brides after the wedding ceremony. Each dangling portion carries good luck motifs.

  • Thumbnail for Mandarin square
    Mandarin square

    Embroidered square patch worn on front of mandarin civil servant garment to denote rank of wearer.

  • Thumbnail for Woman's red apron
    Woman's red apron

    Apron worn on the front of a woman's robe. Not an 'apron' in the Western cooking sense, but rather a final garment piece that is worn like an apron. Symbols represented are the eight auspicious symbols.

  • Thumbnail for Chinese Lady's Changfu (third level informal court attire) robe with designs of flowers, bats, waves, butterflies, and clouds (sleeve detail)
    Chinese Lady's Changfu (third level informal court attire) robe with designs of flowers, bats, waves, butterflies, and clouds (sleeve detail)

    Roundels contain auspicious imagery--peonies and bats; bats are also featured in the wave pattern hem; and bats, flowers, and butterflies float freely outside the roundels on the front and back of the garment. Plain weave pale green satin ground with sections of dark blue ground on the sleeve; red, blue, yellow and orange satin stitch and seed (Peking) stitch silk thread embroidery. Length: 126 cm; sleeve length: 74 cm length. The ground color was probably originally darker, closer to turquoise. This garment is typical of its type in that it mimics the shape of men's garments. It was made for wives of officials who were required to wear the same type garments as their husbands. Both have eight roundels with embroidered designs, three in front, three in back, and one on each shoulder. The sleeves are cut wide and have bands filled with embroidered patterns between the large cuffs and the shoulders. Women's robes are distinguished from those worn by men by their high side slits and by their decorative motifs, as here, dominated by flowers, bats, and butterflies.

  • Thumbnail for Chinese Lady's Changfu (third level informal court attire) robe with designs of flowers, bats, waves, butterflies, and clouds (back)
    Chinese Lady's Changfu (third level informal court attire) robe with designs of flowers, bats, waves, butterflies, and clouds (back)

    Roundels contain auspicious imagery--peonies and bats; bats are also featured in the wave pattern hem; and bats, flowers, and butterflies float freely outside the roundels on the front and back of the garment. Plain weave pale green satin ground with sections of dark blue ground on the sleeve; red, blue, yellow and orange satin stitch and seed (Peking) stitch silk thread embroidery. Length: 126 cm; sleeve length: 74 cm length. The ground color was probably originally darker, closer to turquoise. This garment is typical of its type in that it mimics the shape of men's garments. It was made for wives of officials who were required to wear the same type garments as their husbands. Both have eight roundels with embroidered designs, three in front, three in back, and one on each shoulder. The sleeves are cut wide and have bands filled with embroidered patterns between the large cuffs and the shoulders. Women's robes are distinguished from those worn by men by their high side slits and by their decorative motifs, as here, dominated by flowers, bats, and butterflies.

  • Thumbnail for Chinese woman's coat - back
    Chinese woman's coat - back

    Yellow ground figured satin with design of butterflies, flowers, and auspicious objects, and satin stitch silk thread and couched gold thread embroidery with designs of flowers and butterflies. Sleeves have embroidery on green ground silk; center panel and border panel of blue ground silk. Length: 91 cm

  • Thumbnail for Chinese woman's skirt - whole
    Chinese woman's skirt - whole

    Green ground satin with multi-colored satin stitch silk thread embroidery of floral designs. Length: 82 cm. Although the coat is not an elaborate example, the embroidery is finely executed and the piece is in decent condition. Its very nice to have this garment intact, to be able to see the embroidery panels on the sleeves, which are often removed and used in the West as decorative wall panels. As for the skirt, the embroidery is finely executed but obviously not as meticulous as earlier Qing examples. Still, as securely datable garments, these are good indicators of the quality of traditional clothing of their day. That they were made for a foreigner is also interesting, as they reflect the vogue of fashion conscious ladies of that time for Asian art (which was being avidly collected in the West).

  • Thumbnail for Chinese woman's coat - front
    Chinese woman's coat - front

    Yellow ground figured satin with design of butterflies, flowers, and auspicious objects, and satin stitch silk thread and couched gold thread embroidery with designs of flowers and butterflies. Sleeves have embroidery on green ground silk; center panel and border panel of blue ground silk. Length: 91 cm

  • Thumbnail for Presentation Gift Cover (Fukusa)
    Presentation Gift Cover (Fukusa)

    Embroidered silk. Fukusa were decorative rectangular or square panels of lined fabric of various sizes that were used to place atop a gift during presentation. This example depicts a golden Dutch warship under sail with the wind on a calm sea. The ship is rendered in heavy gold couched thread and fine satin stitches. "Namban" art, depicting 'southern barbarians' (as the Dutch and the Portuguese were first thought to be by the insular Japanese), was very popular subject matter in Edo period decorative arts.

  • Thumbnail for Thorp Collection 163, Weaving Nets Yichang.
    Thorp Collection 163, Weaving Nets Yichang.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Kimono Store Display
    Kimono Store Display

    A beautiful kimono featuring a cherry blossom (sakura) pattern.

  • Thumbnail for Embroidered baby hat
    Embroidered baby hat

    Hat put on infant or young child in order to protect it from evil spirits.

  • Thumbnail for Pink embroidered garment - back view
    Pink embroidered garment - back view

    This view shows how the textile artist conceptualized of the embroidery as flowing around the woman's figure. It also highlights how the garment is one continuous piece of silk wrapped around, rather than pieced together as much modern clothing is today.

  • Thumbnail for Small Purse
    Small Purse

    Embroidered purse of about 3 inches square sowing images of butterflies and peonies. Given the subject matter of the images, it was probably used by a woman.

  • Thumbnail for Cotton robe-front view
    Cotton robe-front view

    Robe made of Japanese cotton and old Japanese kimonos with complex embroidered decorations on the front and back. From Hokkaido.

  • Thumbnail for Japanese Ichimatsu Doll in Blue Kimono - obi detail
    Japanese Ichimatsu Doll in Blue Kimono - obi 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 Japanese Ichimatsu Doll in Blue Kimono - side detail
    Japanese Ichimatsu Doll in Blue Kimono - side 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 Japanese Ichimatsu Doll in Blue Kimono - side view
    Japanese Ichimatsu Doll in Blue Kimono - side 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 Chinese Lady's Changfu (third level informal court attire) robe with designs of flowers, bats, waves, butterflies, and clouds (edging detail)
    Chinese Lady's Changfu (third level informal court attire) robe with designs of flowers, bats, waves, butterflies, and clouds (edging detail)

    Roundels contain auspicious imagery--peonies and bats; bats are also featured in the wave pattern hem; and bats, flowers, and butterflies float freely outside the roundels on the front and back of the garment. Plain weave pale green satin ground with sections of dark blue ground on the sleeve; red, blue, yellow and orange satin stitch and seed (Peking) stitch silk thread embroidery. Length: 126 cm; sleeve length: 74 cm length. The ground color was probably originally darker, closer to turquoise. This garment is typical of its type in that it mimics the shape of men's garments. It was made for wives of officials who were required to wear the same type garments as their husbands. Both have eight roundels with embroidered designs, three in front, three in back, and one on each shoulder. The sleeves are cut wide and have bands filled with embroidered patterns between the large cuffs and the shoulders. Women's robes are distinguished from those worn by men by their high side slits and by their decorative motifs, as here, dominated by flowers, bats, and butterflies.

  • Thumbnail for Javanese ceremonial robe
    Javanese ceremonial robe

    Of particular didactic interest because of the synthesis of Indian, Chinese, Hindu and Buddhist elements worn in an Islamic Javanese court.

  • Thumbnail for Ashikaga Yoshimasa
    Ashikaga Yoshimasa

    This portrait done with ink and color and gold leaf on silk is believed to be of the eighth Ashikaga shogun, Yoshimasa.

  • Thumbnail for Kosode
    Kosode

    The kosode was the principal Japanese outer robe from the sixteenth century on, having previously served as outer garment for the lower classes and as undergarment for the upper classes. From the kosode evolved the modern kimono. Kosode literally means small sleeves," a reference not to the length or width of the sleeves themselves but to the size of the wrist openings. This kosode is a representative example of the Kanbun style of kosode decoration that was particularly popular during the Kanbun era (1661-1673) of the Edo period. On the back of this kosode, large overlapping maple leaves form the arc across teh shoulders to the right hem, with the red figured satin (rinzu) background exposed on the left." - Kawakami Shigeki

  • Thumbnail for Kimono Fabric Display
    Kimono Fabric Display

    Beautiful fabrics on display for kimonos.