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  • Thumbnail for Coffee Makers and Juicers
    Coffee Makers and Juicers

    A display of high-tech coffee makers and juicers.

  • Thumbnail for Store display:  televisions
    Store display: televisions

    Televisions for sale

  • Thumbnail for Wrinkle creams
    Wrinkle creams

    Wrinkle creams, only 12,000 Yen! (That's about $100).

  • Thumbnail for Japanese Knick-knack Peddler
    Japanese Knick-knack Peddler

    A common sight in pre-war Japan, a peddler with a wide variety of goods was a blessing for the busy housewife.

  • Thumbnail for Noh Mask: Shikami
    Noh Mask: Shikami

    Shikami is one of the demon masks. His threatening expression, with scoowling eyes and bared fanglike teeht, well conveys his ferocity. Furrows are intensified with red and, as was often done in Noh demon masks to manifest rage, the eyes are highlighted in gold. - Matsushima Ken

  • Thumbnail for Traditional Korean seesaw
    Traditional Korean seesaw

    This is a traditional seesaw where a board is placed on a mount below (usually a bundle of hay or straw). The people, instead of sitting, stand, and time it so that they jump up and down, making the other person go higher every time.

  • Thumbnail for Wooden fan (side 2)
    Wooden fan (side 2)

    This fan has good detail and color quality, and is most likely inspired by a literary theme.The fan emerged in Japan by the 9th century AD. The Japanese have a long tradition of making wooden fans threaded together on the top of each rib. However, the size of this fan is large, and the format (circular when opened to its full extension) may be inspired by a type known as “big wheel fan,†attributed to Korea, during the Yi (Chosen) dynasty (1392-1910 AD). However, the brushwork, subject matter, and motifs of the paintings on the fans are Japanese. The size and weight of the fan might not have a practical function. The common motifs on Japanese wooden fans include stories from literature, such as the Tale of Genji.

  • Thumbnail for Ceremonial sword and sheath-front detail
    Ceremonial sword and sheath-front detail by Paiwan

    The ceremonial sword and sheath were important symbols of social status and male potency in traditional Paiwan culture in Taiwan. The sheath is decorated with human ancestral figures and a sacred mythological creature, the hundred-pace snake.

  • Thumbnail for Chinese feather fan with birds and flowers (side 1 )
    Chinese feather fan with birds and flowers (side 1 )

    This fan displays a pair of peacocks and peonies and other flowers, which are common subjects in these types of fan. Although its condition is poor,it is a very interesting artifacts. The Chinese export of feather fans first appeared in Europe during the first quarter of the 19th century. They are usually made of goose feathers (occasionally with added peacock feathers on the top) mounted on sticks which can be made of a variety of materials, including ivory and bone. The frames of the fans are carved, showing the quality of their craftsmanship, with flowers and classical scripts, which could be either an imitation of Oracle bone characters or seal/clerical scripts. Originally these fans would have been very costly.

  • Thumbnail for Ink -wash wooden wheel fan (side 2)
    Ink -wash wooden wheel fan (side 2)

    This fan features a genre scene in ink-wash style brushwork, The fan emerged in Japan by the 9th century AD. The Japanese have a long tradition of making wooden fans threaded together on the top of each rib. However, the size of this fan is large, and the format (circular when opened to its full extension) may be inspired by a type known as “big wheel fan,†attributed to Korea, during the Yi (Chosen) dynasty (1392-1910 AD). However, the brushwork, subject matter, and motifs of the paintings on the fans are Japanese. The size and weight of the fan might not have a practical function. The common motifs on Japanese wooden fans include stories from literature, such as the Tale of Genji.

  • Thumbnail for Ceremonial sword and sheath-handle
    Ceremonial sword and sheath-handle by Paiwan

    The ceremonial sword and sheath were important symbols of social status and male potency in traditional Paiwan culture in Taiwan. The sheath is decorated with human ancestral figures and a sacred mythological creature, the hundred-pace snake.

  • Thumbnail for Chinese Inscribed Bronze Mirror (front)
    Chinese Inscribed Bronze Mirror (front)

    4 3/4" w. Astronomical mirror.

  • Thumbnail for Chinese Inscribed Bronze Mirror (front)
    Chinese Inscribed Bronze Mirror (front)

    6 1/4" w. The central pierced knob surrounded by four radiating petals enclosed by a square band filled with dashes vertical and horizontal and loops at the corners, encircled by eight slightly raised bosses and dragons with birds, with outer concentric rings of archaic characters and dog-tooth bands. The recessed portion cast in linear relief integrated with the Ts, Ls, and Vs.

  • Thumbnail for Incense Burner on Stand
    Incense Burner on Stand

    Small brass incense burner, probably originally used for funerary rites within the home. Small turned dog on the top, with dragon heads projecting from the handles.

  • Thumbnail for Chinese Inscribed Bronze Mirror (back)
    Chinese Inscribed Bronze Mirror (back)

    4 3/4" w. Astronomical mirror.

  • Thumbnail for Chinese Ming Style Vase - view 2
    Chinese Ming Style Vase - view 2

    7" h. Baluster form, very finely painted in brilliant underglazed-blue from the lip down, a band of ruyi heads with hanging jewel pendants, on the bottom of the neck a band of stiff overlapping leaves followed by a narrow band of diamond diaper alternating with four Buddhist emblems, the Wheel of the Law, conch shell, umbrella and vase, followed by a band of pendant three prong spear heads on the shoulder, two chilong standing at the top of a cliff with a twisted tree trunk above and behind them with rock formations, on the tall splayed foot a band of formal lotus pod lappets, stippling and mottling simulating ""heaped and piled"" effect, surface with ""orange peel"" effect, seal characters of Yongzheng and of the period

  • Thumbnail for Chinese Jizhou Tomb Vases (pair)
    Chinese Jizhou Tomb Vases (pair)

    Pair - 5 1/2" h. Baluster - 6 1/8" h. A pair of pyriform vases on a high splayed foot, molded with a raised floral scroll above a raised band which is over a band overlapping lotus leaves, an incised thin band on the wide neck terminating in a flat ringed mouth. The dirty light brown and crazed glaze on the exterior falls to halfway down the foot where the grey sugary body is brown from firing. A third vase is of baluster form with moled leaves on the shoulder below the bulbous portion and on the foot, two applied tubular handles above an incised ring on the neck. The dirty light brown glaze is halfway down the foot.

  • Thumbnail for Chinese Carved Jade Seal of Turtle  - view 1)
    Chinese Carved Jade Seal of Turtle - view 1)

    2 1/4" x 2 1/4". Mottled green jade with white and black inclusions, carved in cylindrical form with a turtle surmounted.

  • Thumbnail for Chinese Mutton Fat Jade with Wooden Stand - bottom view
    Chinese Mutton Fat Jade with Wooden Stand - bottom view

    3 7/8" l. Greenish-white jade with russet markings carved in an archaistic style standing dragon, handcarved fitted wood stand.

  • Thumbnail for Rakuchu Rakugai - "In and Around the City of Kyoto"- detail of left side
    Rakuchu Rakugai - "In and Around the City of Kyoto"- detail of left side

    Detail of left side of screens done in paper on a wood frame. Right screen of an original pair of 6-fold screens; 67" H. x 142" W. (6 panels) The type originated in the Momoyama period, when they were presented to visiting warlords, to take home as a memento of their visit to Kyoto. This particular example is relatively late for the type, but a good example. The iconography for this particular type of screen pairs is set, and this example follows the program for the right hand screen of the original pair, depicting the colorful floats of the Gion Matsuri (Kyoto’s “signature†festival) in LR, and various Kyoto landmarks, like the Kiyomizudera (a temple with a veranda supported on high pilings) in the upper right.

  • Thumbnail for Main Road - The City of Chengdu
    Main Road - The City of Chengdu

    “The road in from the bridge and the old South gate is one of the city’s main arteries.†[2]

  • Thumbnail for Thorp Collection 114, Tibetan Beauties.
    Thorp Collection 114, Tibetan Beauties.

    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 Thorp Collection 165, Medecine Man - Yichang.
    Thorp Collection 165, Medecine Man - 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 Cosmetics
    Cosmetics

    Fingernail polish and lipstick for sale.

  • Thumbnail for Noh Mask: Hannya
    Noh Mask: Hannya

    The Hannya "devil" mask expresses the violent anger and distress of a woman whose love and trust have been betrayed, turning her into a raging, revengeful female demon. The two horns protruding from disorderly hair evince diabolic malevolence, and the upper lip, tense and pointed in the center like a snake's, and the glinting of the metal eyes and teeth effectively add to her menace. This mask is attributed to the monk Hannya, who is said to have lived in Nara during the Muromachi period and to have originated this type of mask. A lesser form of the hannya mask is the Namanari mask.