Kidney shape with scalloped rim; decorated in polychrome enamels, with a border of diapers, frets, scales, butterflies, and sprays on the rim, honeycomb-diaper band at the well, central emblem of an eagle bearing a shield and holding a laurel branch in one talon and arrows in the other, and with a banner inscribed E Pluribus Unum.
Back view of painted earthenware figures of women, boasting long sleeves and slender shape and an extended bouffant hairstyle. Funerary figurines
Front of brush made of wood and hair.
2"h x 4"w. small bowl with crackled light green glaze.
7 1/2" h. Bottle-form vase with pyriform body raised on a high splayed foot, the neck spreading outward near the top of culminating to an inverted scalloped collar which is surmounted by an inward tapered lip, two degenereated animal head handles are applied to the neck, molded with lobed bulbous portion above which is a band of vertical reeding with looped pendants, then a Greek key band followed finally by reeding continuing up to the collar, minutely crazed greenish-beige glaze carelessly applied.
5 5/5" h. A baluster dorm with undulating foliate mouth and tall splayed foot ring , decorated in low relief, molded, with four separated panels of stiff lotus blossoms framed in arabesque reserve and divided by broad vertical columns which is all flanked by bands, top and bottom, of very thin rayed leaves, the bottom band continuing down the foot, extremely thin and light weight, the buff white glaze covers just the exterior and part of the interior, leaving the concave domed interior and the foot ring unglazed, white porcelaneous body.
2 1/6""h. Faceted, flared sides molded with raised animals, tigers, deer, etc., octagonal lip, four comma-shape feet, unctuous cream-white glaze, body thick and translucent.
3 3/4" h. Slender ovoid form, painted vividly in deep underglaze-blue with a scene of a bird perched on a branch with twigs devoid of leaves, below is a branch of blooming peonies and leaves and a bat in flight, finely crackled with the lines colored green on a white ground, glazed all over except for the bottom of the foot ring intentional heaped and piling in the blue.
Front view of one of a set of small offering plates. The front side features an incised lotus in which the green glaze sits to highlight the design. A light crackle effect can be seen on all of the set pieces; the underside is useful for showing how the glaze flows over the body of the plate, clinging but not entirely covering it.
2 1/4"" x 2 1/4"". Mottled green jade with white and black inclusions, carved in cylindrical form with a turtle surmounted.
6" w. Conical form with incised design of scrolled waves with combed effect, small unglazed base with shallow foot ring burnt red, rayed design just above the foot ring, grayish blue glaze
2" average height. One of 3 cups, campanualate with slightly thickened rims and solid straight sided foot-rings, yellowish glassy and finely crazed glaze, grey body.
Depicts Don Quixote, lance in hand, "Mimbrino's Helmet" (a barber's bowl) on his head, astride Rosinante, and led by Sancho Panza. Floral sprigs in rim touched in gold. Outer foliate border.
Ichimatsu doll, 22â€ 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 5â€ to 30â€ 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 â€œblue-eyed dollsâ€ 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 childrenâ€™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, Gulickâ€™s grandson, Sidney L. Gulick III, continues to send dolls to Japan.
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.
2" average height. One of set of 3 cups, campanualate with slightly thickened rims and solid straight sided foot-rings, yellowish glassy and finely crazed glaze, grey body.
2" w. Disc-form pendant reticulated carving of cranes amid pine trees, greyish-green stone.
Top view of blue-green glazed celadon pot, potentially once lidded. Exterior woven pattern hints at a later production date.
Copied from an engraving -"L'urne Mysterieuse". Base on urn outlines profiles of Louis XVI & Marie Antoinette and commemorates their deaths. Profiles of Dauphin and Madam Royal hidden in branches. Dot & blue spear border.
2" h x 4 1/4" w. The conical bowl on a narrow shallow foot ring is covered with a chocolate glaze on the exterior and interior of the reddish brown stoneware except for the base and just above the foot ring. For other views of this piece, see related records below.
Painted on each side with a petal shaped panel showing a mythical beast, the sides with birds on riverbanks and the neck with flowering plants, all between a pair of ear-shaped handles. Famile Verte pattern.
Of octagonal form with notched corners; decorated in famille rose enamels and gold with floral sprays on the rim, spearheads at the well, central armorial with the motto.
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 Watanabeâ€™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.
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 â€œmonstrousâ€ (Civilization and Monsters, Spirits of Modernity in Meiji Japan, Durham and Loudon, 1999). As Figal points out, â€œmonstrousâ€ 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.
Shipped from Yokohama to the campus. The bell is inscribed with the following text in both English and Japanese: "Are we not all one family". Weight: 400 lbs; Diameter: 21.6 inches. A wooden ringer hangs on a post of the torii that supports and frames the bell. Library staff ring the bell at the end of each academic year. Location: basement of Beeghly Library. The library construction post-dates the bell and it appears the stairwell nook in which the bell resides, hovering over a very Japanese-looking bed of rocks, was designed specifically for this piece. Although this is not an old bell from a Japanese temple, it is an interesting, finely created example of the craft, showing the perpetuation of this craftmaking skill into the present age. It is a fitting symbol of friendship between the two cultures and typifies the Japanese propensity for spreading the doctrine of peace through traditional symbolic imagery in the post WW II era.