Colorado College Logo

  DigitalCC

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

3808 hits

  • Thumbnail for Fan painting - Calligraphy - detail of signature and seal.
    Fan painting - Calligraphy - detail of signature and seal. by Zhang Daqian (1899-1983)

    Fourteen uneven lines alternating between lines of five and lines of two characters, written in a regular-running script. The last line in slightly smaller characters contains the date and signature. From the signature, this is another work by the famous twentieth century artist Zhang Daqian. The signature here is very close to that on the other fan in the collection, and that one has the notation "man of Shu" or Sichuan, the province from which Daqian came. If this fan were to be by Daqian, it would be the latest dated work in the collection, by far. There were other artists with the pen name Daqian, but none of them were from Sichuan. Ultimately, it should be possible to compare this with other works by the artist done near that date to determine its authenticity. The calligraphic style immediately calls to mind the characters of the Song artist Huang Tingjian, who has always been an icon of the expressive possibilities of the brush. The long wavering terminations of strokes that extend beyond the normal bounds of the calligraphy were his trademark. If the date is correct, this would be the work of a younger Daqian, and one could critique the piece by noting that the expressive possibilities of Huang Tingjian's calligraphy are a bit overused here. This artist creates the long terminations whereever possible; Tingjian did it rarely, only for effect. The last line, "To wash one's ears it is not necessary to use the water from a Bodhisattva's spring" is interesting. The meaning, I would guess, is that ordinary water is as good for washing as that blessed by a deity.

  • Thumbnail for Fan painting - Calligraphy
    Fan painting - Calligraphy by Zhang Daqian (1899-1983)

    Fourteen uneven lines alternating between lines of five and lines of two characters, written in a regular-running script. The last line in slightly smaller characters contains the date and signature. From the signature, this is another work by the famous twentieth century artist Zhang Daqian. The signature here is very close to that on the other fan in the collection, and that one has the notation "man of Shu" or Sichuan, the province from which Daqian came. If this fan were to be by Daqian, it would be the latest dated work in the collection, by far. There were other artists with the pen name Daqian, but none of them were from Sichuan. Ultimately, it should be possible to compare this with other works by the artist done near that date to determine its authenticity. The calligraphic style immediately calls to mind the characters of the Song artist Huang Tingjian, who has always been an icon of the expressive possibilities of the brush. The long wavering terminations of strokes that extend beyond the normal bounds of the calligraphy were his trademark. If the date is correct, this would be the work of a younger Daqian, and one could critique the piece by noting that the expressive possibilities of Huang Tingjian's calligraphy are a bit overused here. This artist creates the long terminations whereever possible; Tingjian did it rarely, only for effect. The last line, "To wash one's ears it is not necessary to use the water from a Bodhisattva's spring" is interesting. The meaning, I would guess, is that ordinary water is as good for washing as that blessed by a deity.

  • Thumbnail for Repeating earthquakes in the Darfield region, New Zealand
    Repeating earthquakes in the Darfield region, New Zealand by Armstrong, Ryan Scott

    The M 7.1 3 September 2010 Darfield, New Zealand, earthquake ruptured a previously unknown fault system. Fault-slip models (e.g., Beavan et al., 2010; Holden et al., 2011; Eliott et al., 2012) have been calculated using InSAR, GPS, and seismic data. They show that although the rupture initiated on a SW-dipping thrust fault, the majority of fault motion was right-lateral strike slip from the surface to 10 km depth. The InSAR data used in the geodetic model provide the cumulative ground motion due to the Darfield earthquake and some early aftershocks, while the seismic model utilizes waveforms for the mainshock, limiting the solution to slip during the initial rupture. This study utilizes cross correlation methods to identify repeating earthquakes within continuous seismic waveforms from the Canterbury region, New Zealand between September 2010 and January 2011. Repeating events indicate portions of fault segments that are not locked, possibly due to high pore pressure (Bisrat et al. 2012), and thus can indirectly identify locked areas of fault segments. Despite the fact that our method initially recognized 8 groups of potentially repeating earthquakes, a cross correlation check at a second station indicates that none of the identified earthquakes are truly repeating earthquakes. Our method provides negative results, which indicate repeating earthquakes may not be present within the Darfield fault complex, although it remains unclear whether they are truly absent or the methodology is not sufficient to detect them. While our method failed to identify repeating earthquakes, it possibly identified clusters of events with similar focal mechanisms In theory, our study shows a direct relationship between the compactness of a cluster and the similarity of focal mechanisms.

  • Thumbnail for Hasedera - Scripture Hall
    Hasedera - Scripture Hall

    Copies of scriptures hand-scribed by the faithful are stored in this hall. Many short, and sometimes long, Buddhist texts are copied as part of a practice that accumulates merit. The Heart Sutra (Hannya Shingyo) is a one-page text widely copied throughout Buddhist East Asia. This merit is often dedicated to a deceased or ill loved-one with the hope that they fare well.

  • Thumbnail for Kashima Miya - Interior view of subsidiary shrine
    Kashima Miya - Interior view of subsidiary shrine

    Inside we see a small mirror, which is often present in a shrine as an embodiment (shintai) of the kami. There are also small containers visible that may be filled with water, rice or even sake as offerings.

  • Thumbnail for Kashima Miya - Main hall
    Kashima Miya - Main hall

    The path leads to steps upon which the worshipper will stand, drop a coin or two into the offerings box (from the ground up to about waist height), pull the string to jingle the little bell up tip, clap the hands to gain the attention of the kami, and then bow.

  • Thumbnail for Kashima Miya - Right "wing" at Kashima Shrine
  • Thumbnail for Kashima Miya - Left "wing" at Kashima Shrine
  • Thumbnail for Hasedera - Top of the stairs
    Hasedera - Top of the stairs

    Upon almost reaching the end of the covered stairways, there is a small landing where one is greeted by a small red Shinto shrine dedicated to a local deity.

  • Thumbnail for Hasedera - Kannon statue
    Hasedera - Kannon statue

    This is an infrared photo of the tall Kannon image of the main hall.

  • Thumbnail for Hasedera - Kannon face
    Hasedera - Kannon face

    Close-up of Kannon image in main hall.

  • Thumbnail for Hasedera - Kannon statue
    Hasedera - Kannon statue

    Kannon image in main hall.

  • Thumbnail for Hasedera - Main gate
    Hasedera - Main gate

    An alternative view of the main gate from a garden within the temple complex.

  • Thumbnail for Ikuta Jinja - An ema with a wish
    Ikuta Jinja - An ema with a wish

    This ema reads, "May Bun-chan's leg [or foot] heal quickly and may he graduate without any difficulty." Imprinted on the ema to the left is a place for the name and address of the petitioner, which is given in full. The petitioner's name is female; presumably this is a mother praying for her son.

  • Thumbnail for View from along path to Okunoin
    View from along path to Okunoin

    The path from Ichinohashi to Okunoin winds through massive trees, like the one on the left, and is lit by stone lanterns.

  • Thumbnail for Ikuta Jinja - Modern visitor
    Ikuta Jinja - Modern visitor

    This young woman sits in the shade on a ledge beside the main hall. She holds her cell phone and either reads or sends an email message.

  • Thumbnail for Reconstruction of a wall in the forest
    Reconstruction of a wall in the forest

    Many of the centuries-old structures in the forest enroute to Okunoin are crumbling. Some of the more prominent ones close to the pathway are being restored.

  • Thumbnail for Hasedera - Temple shop and pilgrim center
    Hasedera - Temple shop and pilgrim center

    At this building within the Hasedera complex, visitors can purchase amulets (o-mamori) and various memorablia. Here too pilgrims can receive a large stamp for placement in their "stamp book" which documents their visits to many holy places.

  • Thumbnail for Ikuta Jinja - Torii lined path
    Ikuta Jinja - Torii lined path

    This short path leading to a small shrine within the Ikuta Jinja compound is lined by vermillion torii. Many Shinto shrines will have paths almost covered by torii in this manner. The torii are commonly erected on behalf of donors to the shrine.

  • Thumbnail for Ikuta Jinja - An ema with a wish
    Ikuta Jinja - An ema with a wish

    This ema, written in an accomplished calligraphic style, reads, " For the curing of illness -- [Name] -- December 26, 1957. Please, somehow, help."

  • Thumbnail for Hasedera - Balcony surrounding main hall
    Hasedera - Balcony surrounding main hall

    The main hall at Hasedera commands a superb view of nearby hills that can be seen from various angles from the wooden balcony.

  • Thumbnail for Shrine along the path
    Shrine along the path

    This is the same structure as in cocrejpn0163.

  • Thumbnail for Hasedera - Main hall balcony and pagoda
    Hasedera - Main hall balcony and pagoda

    View of five-layered pagoda from balcony of main hall.

  • Thumbnail for Random view along Okunoin path
  • Thumbnail for Visitors enroute to Okunoin
    Visitors enroute to Okunoin

    The long path through the forest to Okunoin.