Colorado College Logo

  DigitalCC

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

35 hits

  • 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 Kitchen Gods
    Kitchen Gods

    15-1/8" x 19-7/7". Popular print, woodcut on red paper. The gods Can Gung and Can Ma.

  • Thumbnail for Korean amulets and chatelaines (3)
    Korean amulets and chatelaines (3)

    These are interesting pedagogically in discussions of Asian shamanism but need further study.

  • Thumbnail for Leather shadow puppet
    Leather shadow puppet

    Monkey warrior to be used in shadow puppet (Wayang Kulit) performances of the Ramayana epic.

  • Thumbnail for Two Balinese Shadow Puppets (puppet 1)
    Two Balinese Shadow Puppets (puppet 1)

    Height: 50 cm Material: Gilt wood; one wearing silk shot through with gold over cotton petticoats, the other wearing a cotton dress. Balinese puppets came from the small island of Bali. “They are made of painted leather or wood and adorned with splendid garments, mantles, diadems, necklaces...their expressions are either ecstatic or demonic...These figures represent jinn, demons, heroes, and divinities from Indian mythology and legend†(Encyclopedia of World Art). The Bali puppets at Beeghly Library are not the flat-leather puppets (of wayang-kulit) which performed before screens, but are wayang-golek, “a completely rounded wooden figure that was developed in Java, it is less powerful because it is more photographic†(McGraw-Hill Dictionary of Art).

  • Thumbnail for Santali tribal figure of Shiva, base for Kali figure
    Santali tribal figure of Shiva, base for Kali figure

    Cast bronze with gilding, 25 x 9.25 inches. Santali refers to tribal groups; sometimes it is used to mean tribes of a certain region, but it is also used generically to reference tribals, that is, indigenous Indian peoples who were never fully assimilated into Hindu India. In this sense, images such as these are relevant to discussions of the caste or varna system of South Asia and the official government policy of reservation for Untouchables, Scheduled Castes and Scheduled Tribes that formed a part of the Constitution of the Republic of India. This is comparable to what in the US would be called Affirmative Action, but with much more specific initiatives. The notion that there are indigenous peoples of India who are regarded as having inhabited the subcontinent prior to the appearance of the Aryan tribes who brought their Sanskritic traditions can provide provocative possibilities for discussion in a range of disciplines (Religious Studies, Anthropology, Sociology, History, Art History). These are relatively large (Ganesha is over 3 ft. in height; Siva-Kali about 2 feet) and quite handsome pieces which follow more or less standard Hindu iconographic schemes (the Hindu deities Siva, Kali, Ganesha) but in style depart from the styles of sculpture practiced in Hindu states and courts. Thus they lend themselves to discussions of standard Hindu iconography as well as to the nature of tribal traditions in South Asia; they could also generate interesting discussions of 'classical' versus 'tribal' in Asian art: what makes a work 'folk' art (that is, its origin, its makers or patrons, its formal qualities?). And how have these traditions come to intersect and interact in the last century? While these are designated as 19th century they may in fact be more recent in manufacture.

  • Thumbnail for Standing female figure wearing skirt and headdress
    Standing female figure wearing skirt and headdress

    Wood-carved with added white paint. This handsome figure is another Manderman folk piece. She seems to most closely resemble what are often called bhuta figures from 19th-20th-century Karnataka. Bhuta is another term that is used in various ways; in the orthodox tradition it has meaning associated with ghosts, with evil forces, with potentially malevolent spirits. Bhuta has been used as a term to signify those malevolent spritis outside the orthodox traditions of Hinduism and thus has also come to signifiy, more generically, folk deities, powerful forces outside the pantheon of the Hindu tradition; but in this sense these are not necessarily malevolent or destructive; rather they are beings/ forces/ spirits of limited and often highly localized powers. What this figure shares with other Karnataka figures that have been termed bhutas are the material and general form: she is made of wood, rather simply carved, with a strongly stylized, geometric body. Her body is contructed of a series of geometric shapes, with tubular arms, a cylindrical trunk pinched at the waist, her face strongly circular with large ears that project at a direct perpendicular from the cheeks. The details of the face are simplified in a manner that is shared with the marble Jina. There are several details that set this figure apart from better-known so-called bhutas from Karnataka: she seems to wear a garment that covers her upper body, a feature quite unusual in the depiction of females in Indian art in general and in typical bhutas from Karnataka, in which the upper body is also usually nude except for jewelry; her skirt falls in wide gores with only a few folds, while in most bhuta figures from Karnataka the skirt is rendered in a continuous series of thin folds that create a more detailed pattern of vertical forms along the lower body; and rarely are typical Karnataka bhutas painted, as this figure is. Further research may suggest a different provenance, as wooden 'folk' figures hail from many regions.

  • Thumbnail for Chinese god of longevity (Ch’ien Lung)
  • Thumbnail for Early Japanese Female Figurine
    Early Japanese Female Figurine

    Hollow clay figurine possibly used in health or death rituals.

  • 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 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 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 Balinese male figure
    Balinese male figure

    Part of a set;These are small statues known as pretima or pratima in Bali that likely date to the mid-twentieth century. Such objects are preserved in small temple shrines and taken out in procession on festival occasions. Their specific identities are iconographically unmarked. They are known only through context, community memory and ritual use. On occasions of temple renovation a Brahmana priest sometimes ritually repaints pretima. The male figure appears to have been repainted in this way and the female figure has not. This explains its relatively crude painting by contrast to the more refined painting on the female figure, which would have been done by an artisan at the time of its production.

  • Thumbnail for Tudi gong
    Tudi gong

    Tudi gong. Chinese household deity. Image used in traditional Chinese household rituals.

  • Thumbnail for Balinese female figure
    Balinese female figure

    Part of a set;These are small statues known as pretima or pratima in Bali that likely date to the mid-twentieth century. Such objects are preserved in small temple shrines and taken out in procession on festival occasions. Their specific identities are iconographically unmarked. They are known only through context, community memory and ritual use. On occasions of temple renovation a Brahmana priest sometimes ritually repaints pretima. The male figure appears to have been repainted in this way and the female figure has not. This explains its relatively crude painting by contrast to the more refined painting on the female figure, which would have been done by an artisan at the time of its production.

  • Thumbnail for Coin sword
    Coin sword

    Sword made of coins threaded onto a string. Said to have been hung over the cots of newborn babies to ward off evil spirits.

  • Thumbnail for Immortal of Longevity and Deer
    Immortal of Longevity and Deer by Unknown

    Chinese painting using ink and colors on silk; image area 18 cm x 21.2 cm; subject from Daoist or folk belief;. Condition: good; upper end of mounting torn.

  • Thumbnail for Ceremonial sword and sheath-full view
    Ceremonial sword and sheath-full view 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 Two Balinese Shadow Puppets (puppet 1 face)
    Two Balinese Shadow Puppets (puppet 1 face)

    Height: 50 cm Material: Gilt wood; one wearing silk shot through with gold over cotton petticoats, the other wearing a cotton dress. Balinese puppets came from the small island of Bali. “They are made of painted leather or wood and adorned with splendid garments, mantles, diadems, necklaces...their expressions are either ecstatic or demonic...These figures represent jinn, demons, heroes, and divinities from Indian mythology and legend†(Encyclopedia of World Art). The Bali puppets at Beeghly Library are not the flat-leather puppets (of wayang-kulit) which performed before screens, but are wayang-golek, “a completely rounded wooden figure that was developed in Java, it is less powerful because it is more photographic†(McGraw-Hill Dictionary of Art).

  • Thumbnail for Korean amulets and chatelaines (4)
    Korean amulets and chatelaines (4)

    These are interesting pedagogically in discussions of Asian shamanism but need further study.

  • Thumbnail for Korean amulets and chatelaines (8)
    Korean amulets and chatelaines (8)

    These are interesting pedagogically in discussions of Asian shamanism but need further study.

  • Thumbnail for Santali tribal figure of Shiva, base for Kali figure - detail
    Santali tribal figure of Shiva, base for Kali figure - detail

    Cast bronze with gilding, 25 x 9.25 inches. Santali refers to tribal groups; sometimes it is used to mean tribes of a certain region, but it is also used generically to reference tribals, that is, indigenous Indian peoples who were never fully assimilated into Hindu India. In this sense, images such as these are relevant to discussions of the caste or varna system of South Asia and the official government policy of reservation for Untouchables, Scheduled Castes and Scheduled Tribes that formed a part of the Constitution of the Republic of India. This is comparable to what in the US would be called Affirmative Action, but with much more specific initiatives. The notion that there are indigenous peoples of India who are regarded as having inhabited the subcontinent prior to the appearance of the Aryan tribes who brought their Sanskritic traditions can provide provocative possibilities for discussion in a range of disciplines (Religious Studies, Anthropology, Sociology, History, Art History). These are relatively large (Ganesha is over 3 ft. in height; Siva-Kali about 2 feet) and quite handsome pieces which follow more or less standard Hindu iconographic schemes (the Hindu deities Siva, Kali, Ganesha) but in style depart from the styles of sculpture practiced in Hindu states and courts. Thus they lend themselves to discussions of standard Hindu iconography as well as to the nature of tribal traditions in South Asia; they could also generate interesting discussions of 'classical' versus 'tribal' in Asian art: what makes a work 'folk' art (that is, its origin, its makers or patrons, its formal qualities?). And how have these traditions come to intersect and interact in the last century? While these are designated as 19th century they may in fact be more recent in manufacture.

  • Thumbnail for Standing female figure wearing skirt and headdress - closeup view
    Standing female figure wearing skirt and headdress - closeup view

    Wood-carved with added white paint.This handsome figure is another Manderman folk piece. She seems to most closely resemble what are often called bhuta figures from 19th-20th-century Karnataka. Bhuta is another term that is used in various ways; in the orthodox tradition it has meaning associated with ghosts, with evil forces, with potentially malevolent spirits. Bhuta has been used as a term to signify those malevolent spritis outside the orthodox traditions of Hinduism and thus has also come to signifiy, more generically, folk deities, powerful forces outside the pantheon of the Hindu tradition; but in this sense these are not necessarily malevolent or destructive; rather they are beings/ forces/ spirits of limited and often highly localized powers. What this figure shares with other Karnataka figures that have been termed bhutas are the material and general form: she is made of wood, rather simply carved, with a strongly stylized, geometric body. Her body is contructed of a series of geometric shapes, with tubular arms, a cylindrical trunk pinched at the waist, her face strongly circular with large ears that project at a direct perpendicular from the cheeks. The details of the face are simplified in a manner that is shared with the marble Jina. There are several details that set this figure apart from better-known so-called bhutas from Karnataka: she seems to wear a garment that covers her upper body, a feature quite unusual in the depiction of females in Indian art in general and in typical bhutas from Karnataka, in which the upper body is also usually nude except for jewelry; her skirt falls in wide gores with only a few folds, while in most bhuta figures from Karnataka the skirt is rendered in a continuous series of thin folds that create a more detailed pattern of vertical forms along the lower body; and rarely are typical Karnataka bhutas painted, as this figure is. Further research may suggest a different provenance, as wooden 'folk' figures hail from many regions.

  • Thumbnail for Kulit souvenir
    Kulit souvenir

    This Javanese roundel is a tourist souvenir, but have been grouped with a set of Balinese shadow puppers as accessories.

  • Thumbnail for Swing throne for deity
    Swing throne for deity

    Object used in religious rituals.