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454 hits

  • Thumbnail for From the series: A Collection of Famous Restaurants of Modern Times
    From the series: A Collection of Famous Restaurants of Modern Times by Utagawa Kunisada (Toyokuni III, 1786-1864) and Utagawa Hiroshige 1797-1858)

    In the upper rectangle: Kinoeneya Restaurant at Mukojima-mazaki. In the main section: Koshiro in the role of Soroku in the play Go-taiheiki Shiroishi-banashi Woodblock print in ink and colors on paper. Vertical ōban size. Signatures: Toyokuni ga, Hiroshige Publisher: Fujiokaya Keijiro These prints have a landscape and still-life by Hiroshige above, and below is an actor in a stage role by Kunisada.

  • Thumbnail for Pair of Roof Brackets
    Pair of Roof Brackets

    From South India,teak wood. 26†x 3.5†x 9.5â€

  • Thumbnail for Looking as if She Wants to Change: The Appearance of a Proprietess of the Kaei era (1848-1854) (Kaita-so: Kaei nenkan o kamisan no fuzoku)
    Looking as if She Wants to Change: The Appearance of a Proprietess of the Kaei era (1848-1854) (Kaita-so: Kaei nenkan o kamisan no fuzoku) by Tsukioka Yoshitoshi (1839-1892)

    # 18 from the series: Thirty-two Aspects of Customs and Manners (Fuzoku sanjuniso). Woodblock print in ink and colors on paper. Vertical ōban size. This image is a nice, but not great, later printing. Reference: John Stevenson, Yoshitoshi's Women: The Woodblock Print Series "Fuzoku Sanjuni so." Boulder, CO: Avery Press, 1986; reprinted in 1995 in association with the University of Washington Press.

  • Thumbnail for Actor Ichikawa Komazo as a Samurai
    Actor Ichikawa Komazo as a Samurai by Katsukawa Shunko (1743-1812)

    image size: 11.75" x 5.25". Woodblock print in ink and colors on paper. Condition is very faded; framed behind glass. Vertical hosoban size. This print comes from a group of six prints of similar style and size, all acquired from T.Z. Shiota in San Francisco between 1961 and 1966. They all portray famous Kabuki actors in roles from Kabuki plays. This print is distinguished from the others because impressed on its surface is a round red seal reading "Hayashi Tada," which is the seal of one of the earliest Japanese Ukiyo-e print dealers to sell prints in Paris, Hayashi Tadamasa (1853-1906).

  • Thumbnail for Rose Medallion Salad Bowl with scenes of Chinese family life
    Rose Medallion Salad Bowl with scenes of Chinese family life

    Made for export to England, 19th century. Porcelain with overglaze enamels and gold. 4.75†x 9.5†x 9.5†Possibly made for Sir Edward Vaughn Colt, Baronet, and his wife Martha, whom he married in 1804. With Arms of Baronet Colt of Westminster.

  • Thumbnail for Protectors of the Three Lineages - Thangka
    Protectors of the Three Lineages - Thangka

    Tentatively identified as made by Tibetan Buddhist artists for the Imperial palaces of the Ming and Qing dynasties in China. Previously identified as the Buddha Amitabha surrounded by Bodhisattvas. Ink and colors on cloth. image: 27.5†x 21.5†brocade fabric mounting: 48†x 32.5â€

  • Thumbnail for Daoist diety -  possibly Xi Wang Mu
    Daoist diety - possibly Xi Wang Mu

    Carved lacquer wooden figure of seated diety. Hands clasped frontally, bird headdress, covered with layers of red lacquer and gilding. With fitted brocade velvet covered stand. h:10 1/4†w:4 7/8â€.

  • Thumbnail for 36 Immortal Beauties
    36 Immortal Beauties by Toshikata Mizuno (1866-1908)

    Second of two woodblock prints (with 2005.017). three figures. Woodblock print; image: 12 7/8†x 8 5/8†(32.7 cm x 22 cm), sheet: 13†x 8 3/4†(33.2 cm x 22.2 cm).

  • Thumbnail for Nautch scene with three women
    Nautch scene with three women

    Punjabi school, made for export to the West; gouache on paper. 6.75†x 4.5â€

  • Thumbnail for Jidai Kagami (Mirror of the Ages)
    Jidai Kagami (Mirror of the Ages) by Chikanobu, Toyohara (1837-1912)

    Seventh set of two images of women from bound accordion-fold album of 30 woodblock prints with colophon. One half of full series of 50 prints depicting Japanese women of different historical periods highlighting their hairstyles and modes of dress.

  • Thumbnail for Jidai Kagami (Mirror of the Ages)
    Jidai Kagami (Mirror of the Ages) by Chikanobu, Toyohara (1837-1912)

    Eighth set of two images of women from bound accordion-fold album of 30 woodblock prints with colophon. One half of full series of 50 prints depicting Japanese women of different historical periods highlighting their hairstyles and modes of dress.

  • Thumbnail for Jidai Kagami (Mirror of the Ages)
    Jidai Kagami (Mirror of the Ages) by Chikanobu, Toyohara (1837-1912)

    First two images of women from bound accordion-fold album of 30 woodblock prints with colophon. One half of full series of 50 prints depicting Japanese women of different historical periods highlighting their hairstyles and modes of dress.

  • Thumbnail for Female Dancer
    Female Dancer

    Standing figure made of low-fired white ceramic material; unglazed; painted polychrome decoration. 12†high.

  • Thumbnail for Pine Tree with Birds and Flowers
    Pine Tree with Birds and Flowers by Anonymous artist of the Kano school

    Single six-panel screen. Ink, colors, and gold leaf on paper. 68" x 132.5". Although the artist is unidentified, there is a single jar-shaped seal, with the characters effaced, impressed on the right side. This shape seal is typically used by artists of the Kano school. This attribution concurs with the style of the painting, which is typical of Kano-school artists. Normally screens are made in pairs, so this one is missing its mate. The presence of the seal on the right side, as well as the composition (with the pine tree on the right and body of water on the left) suggest this is the right side of a pair. One of the most interesting features of this painting is the appearance of black underdrawing outlines of flowers adjacent to the white flowers, composed of thickly applied pigment, on the second panel from the right. These flowers were never meant to be visible in the finished painting. Their outlines were preliminary design features created by the artist in the process of sketching out his composition and then covered over by the gold leaf. Over time, the ink has bled through the gold which once obscured them. Painting has undergone restoration twice, in the 1920s and again in 1974.

  • Thumbnail for Guan Yin on Putuo Shan
    Guan Yin on Putuo Shan

    Carved, draped seated figure leaning on balustrade above turbulent water populated with dragon and carp with two immortals on base covered with much deteriorated red and gold lacquer. 10 X 4 1/2 X 3 1/2".

  • Thumbnail for Khedrupje’s Vision of Tsongkhapa on a Tiger - Thangka detail
    Khedrupje’s Vision of Tsongkhapa on a Tiger - Thangka detail by Unknown

    Ground mineral pigment on cotton, silk brocade backing, 49-1/2 (L) x 29 (W) inches. Je Tsongkhapa, c. 1357-1419 is revered as a manifestation of Manjushri, the god of wisdom, founder of the Galugpa or Yellow Hat sect, and a proponent of the Kadampa school of Buddhism. The tiger is sometimes shown as his vahana (vehicle), indicatin gTsongkhapa's ability to control the tiger-like bodily senses. He holds a skull in his left hand and a flaming sword in his right. At the top left is the Third Panchen Lama (Yontenod Palden Yoshe) and at the right is the philosopher-sage Nagarjuna. Along the bottom, left to right, are Jedung Lozang Palden, Mahakala and Asanga.

  • Thumbnail for Mughal miniature painting - Standing Man Holding a Rose
    Mughal miniature painting - Standing Man Holding a Rose by Unknown

    Paint on ivory, 5-1/2 (L) x 3-3/8 (W) inches. Full-lenth firgure of a Mughal prince with turban, holding a rose in his left hand; sheathed sword in his right hand; polychrome and gilding, painted on ivory. The prince is wearing a outer garment of brown with pink, green and white flowers over long white garment with stripped red and orange trousers and brown shoes with red designs; behind him is a floral dark blue floor, white geometric/ floral window and outside of the window are tall long green trees.

  • Thumbnail for Keris from Java
    Keris from Java by Unknown

    Wood, carved ivory and metal, 18-1/2 (L) x 1-1/2 (W) x 2-1/8 (Depth) inches; blade and handle. A pair of symmetrical horses flank the lower back of the handle and above them are a pair of winged apsarases. Lotus and vegetative/floral garlands, along with parallel incisions, cover the rest of the surface.

  • Thumbnail for River Scene, Shinagawa
    River Scene, Shinagawa by Hiroshige, Ando (1797-1858)

    Color woodblock;sheet: 13 7/8 x 9 1/2; image: 13 3/8 x 8 7/8. Landscape. From the series 100 Famous Views of Edo. Very fine; print mounted on backing paper; old hinges still attached.

  • Thumbnail for Embroidered Bridal Shawl from the Swat Region of Pakistan
    Embroidered Bridal Shawl from the Swat Region of Pakistan

    Silk embroidered cotton with applied border and metallic threads 42.5†x 78

  • Thumbnail for Spring in a Hot Spring
    Spring in a Hot Spring by Yoshida, Hiroshi (1876-1950)

    Woodblock print, 9.75 x 14.5 inches. Cherry blossoms in early spring in the foreground, a bridge over a stream with figures and buildings, and in the background a spa,trees, and mountains - all in delicate muted green, pink and brown. The artist captures what, for any Japanese person, is a nostalgic moment in an ideal setting. Unseen here are clouds of war gathering. Hiroshi was historically the most important artist in the Yoshida family. About 1900 and following, Americans bought many of his watercolors and, after the war, many of his prints. Yoshida Hiroshi is a second generation Yoshida family artist, who established the Yoshida Studio in Tokyo. The Yoshida family of artists began with Yoshida Kasaburô (1861-1894), then next Yoshida Hiroshi (1876-1950) and his wife Fujio (1887-1987), then their sons Toshi (1911-1995) with his wife Kiso (1919-2005) and Hodaka (1926-1995) with his wife Chizuko (1924- ) and daughter Ayomi (1958- ).

  • Thumbnail for Samsara (Wheel of rebirth) (Thangka)
    Samsara (Wheel of rebirth) (Thangka) by Unknown

    Ground mineral pigment on cotton, silk, 64 (L) x 39 (W) inches. This is a common Tibetan theme that represents a dynamic vision of karma and the cycles of rebirth in various forms, both coarse and subtle, earthly, heavenly and hellish. All are driven by the beastly desires symbolized by the snake, bird and pig located at the center of the wheel. The twelve causes of rebirth are shown on the rim while the six conditions of birth are shown inside the wheel. The wheel is held in the grasp of Yama, the lord of death. The message here is that the teachings of the Buddha offer a path to escape from this world of endless change and suffering.

  • Thumbnail for Samsara (Wheel of rebirth) (Thangka)
    Samsara (Wheel of rebirth) (Thangka) by Unknown

    Ground mineral pigment on cotton, silk, 64 (L) x 39 (W) inches. This is a common Tibetan theme that represents a dynamic vision of karma and the cycles of rebirth in various forms, both coarse and subtle, earthly, heavenly and hellish. All are driven by the beastly desires symbolized by the snake, bird and pig located at the center of the wheel. The twelve causes of rebirth are shown on the rim while the six conditions of birth are shown inside the wheel. The wheel is held in the grasp of Yama, the lord of death. The message here is that the teachings of the Buddha offer a path to escape from this world of endless change and suffering.

  • Thumbnail for Kanizawa
    Kanizawa by Hiroshige, Ando

    Woodblock print, 17.25 x 11.5 inches, by Ando (or Utagawa) Hiroshige; a modern copy printed with different size blocks. It shows three figures at night, one, perhaps a merchant seated on a horse and smoking a pipe, with two others standing alongside, near a fire. The village lies before them. Hiroshige (1792-1858) was one of the most important Ukiyo-e artists. His woodblock prints always have corners that are indented as here.

  • Thumbnail for Ideal Tibetan Government (Lotus Field) - third rendition
    Ideal Tibetan Government (Lotus Field) - third rendition by Unknown

    Ink and pencil drawing of an arrangement of lotuses signifying the structure of ideal Tibetan government, 23-5/8 (L) x 18 (W) inches. This is the same theme as 2004.2.3 and 2004.2.4, but here the various functions are symbolized by a hierarchy of lotuses rather than buildings. The Dalai Lama is again located at the top center, connected by lines to the heavens above. This is rendered with some skill by an artist with prior training.