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3808 hits

  • Thumbnail for Malkosh
    Malkosh by Anonymous

    Rajasthani; gouache on paper.

  • Thumbnail for Sixteen Lohan on Bodhi Leaves
    Sixteen Lohan on Bodhi Leaves by Anonymous, previously attributed to Ding Yunpeng

    Ink, color, and gold on bodhi leaves. An album of 12 Bodhi leaf paintings, beginning with two images of paired guardian figures (the four kings), followed by eight paintings of lohan, a picture of the white-robed Guanyin, and another guardian. Although this painting is in an elaborated mount, with high-quality brocade and a Qing dynasty imperial inscription attributing it the famed painter Ding Yunpeng (1547-1628), it is most likely a late 19th century product.

  • Thumbnail for Sixteen Lohan on Bodhi Leaves
    Sixteen Lohan on Bodhi Leaves by Anonymous, previously attributed to Ding Yunpeng

    Ink, color, and gold on bodhi leaves. An album of 12 Bodhi leaf paintings, beginning with two images of paired guardian figures (the four kings), followed by eight paintings of lohan, a picture of the white-robed Guanyin, and another guardian. Although this painting is in an elaborated mount, with high-quality brocade and a Qing dynasty imperial inscription attributing it the famed painter Ding Yunpeng (1547-1628), it is most likely a late 19th century product.

  • Thumbnail for Sixteen Lohan on Bodhi Leaves
    Sixteen Lohan on Bodhi Leaves by Anonymous, previously attributed to Ding Yunpeng

    Ink, color, and gold on bodhi leaves. An album of 12 Bodhi leaf paintings, beginning with two images of paired guardian figures (the four kings), followed by eight paintings of lohan, a picture of the white-robed Guanyin, and another guardian. Although this painting is in an elaborated mount, with high-quality brocade and a Qing dynasty imperial inscription attributing it the famed painter Ding Yunpeng (1547-1628), it is most likely a late 19th century product.

  • Thumbnail for Book of Painting Designs by Tsubaki Chinzan (1801-1854)
    Book of Painting Designs by Tsubaki Chinzan (1801-1854) by after Tsubaki Chinzan (1801-1854)

    A slim two-volume set of woodblock printed desgins, including landscapes, animals, and floral subjects. Ink and color on paper.

  • Thumbnail for Book of Painting Designs by Tsubaki Chinzan (1801-1854)
    Book of Painting Designs by Tsubaki Chinzan (1801-1854) by after Tsubaki Chinzan (1801-1854)

    A slim two-volume set of woodblock printed desgins, including landscapes, animals, and floral subjects. Ink and color on paper.

  • Thumbnail for Cup - inside view
    Cup - inside view by Anonymous

    A white proto-porcelain bowl with a clear glaze, slightly tinted with green where the glaze pools in the bottom of the bowl.

  • Thumbnail for Red Bamboo
  • Thumbnail for Wall of Kyoto
    Wall of Kyoto by Kiyoshi Saito

    Ink and color on paper.

  • Thumbnail for Palm Leaf Manuscript
    Palm Leaf Manuscript by Anonymous

    Lacquered wood boards, palm leaves.

  • Thumbnail for Fan painting - Scholar in a boat looking up a cliff: the Ode on the Red Cliff
    Fan painting - Scholar in a boat looking up a cliff: the Ode on the Red Cliff by Zhu Liangcai (act. early 20th century)

    Detail. Ellen Laing lists this name in her index to twentieth century painters, and refers to one other figure painting, Two Ladies in a Garden, dated 1926. Liangcai belonged to the Changhong Painting society, and more details on his life may be available. One can compare this to the same subject also in the collection, attributed to the famous twentieth–century artist Jiang Daqian. Although the elements in the scene are exactly the same, Daqian creates a much more dynamic composition and moves the viewer into closer proximity to the figures in the boat. There is also much more energy in the brushwork. The stiffness in this example may be due to the fact that the artist is painting after a model, in this case, as the inscription says, the Ming artist Tang Yin (Liuju zhushi). The two works were done within a few years of each other, and both show early twentieth–century artists continuing traditional themes, but in very different ways.

  • Thumbnail for Matted Balinese painting
    Matted Balinese painting

    Woman with offerings headed toward a shrine accompanied by a young boy. Batuan

  • Thumbnail for Matted Balinese painting
    Matted Balinese painting

    Woman collecting water at a spring. Batuan

  • Thumbnail for Matted Balinese painting
    Matted Balinese painting

    Woman and child at a spring. Batuan

  • Thumbnail for Balinese painting
    Balinese painting

    Village Market scene

  • Thumbnail for Eight Manifestations of Guru Rinpoche
    Eight Manifestations of Guru Rinpoche by Unknown

    Ground pigment on cloth, mounted on brocade.

  • Thumbnail for Manjushri - reverse side
    Manjushri - reverse side by Unknown

    Ground ground pigment on cloth, mounted on brocade.

  • Thumbnail for Chenrezig
    Chenrezig by Unknown

    Ground pigment on cloth, mounted on brocade.

  • Thumbnail for Je-Tsun Drolma
    Je-Tsun Drolma by Unknown

    2-3/4 inches (H) x 1-3/4 (D) x 2 (W). Gilt bronze seated figure of Guru Ramp Chke (God of Learning).

  • Thumbnail for Commercial weights of bronze alloy
    Commercial weights of bronze alloy

    Initially identified as ancient "Siamese" stone weights. They are obviously not stone but metal. Subject matter and style suggest that they may have come from South India or Sri Lanka. Analogous temple carving style make dating difficult. One is a hamsa (celestial bird), the other represents a composite creature commonly called a yali. The yali is much more worn than the hamsa, suggesting greater age. They are in a simple yet refined style, adding an aesthetic touch to routine commercial transactions dependent upon standardized measures. They do not appear to be from the same set, but from the same tradition and system. It would be interesting to compare the weights of the two. The strong, abstract modeling of these items, especially of the yali, are likely to appeal to modern sculptural tastes.

  • Thumbnail for One of group of six Balinese paintings of women
    One of group of six Balinese paintings of women

    Six virtually identical paintings varying slightly in size depicting four bare breasted Balinese women surrounding a fifth operating a traditional loom ( a skill important to her desirability as a wife). This set is illustrative of a mode of routine production in which Balinese culture is transformed into a marketable commodity and a way of making a living in the developing cash economy of 20th century Indonesia. Dickinson accesssioned items 1985.8.41.11 and 12 are similar to the other six, but depict other idealized female activities: applying cosmetics, dressing and making flower ornaments.

  • Thumbnail for Lacquer box
    Lacquer box

    In shape of a peacock. It is painted in complex red and black patterns, somewhat after the Chinese manner. The bird however is a cross between a local chicken and an Indian peacock. It is unclear what this might have been made for, but it appears to be 75-100 years old or more.

  • Thumbnail for Balinese painting
    Balinese painting

    Goddess (or legong dancer) in a palanquin receiving offerings at the entrance to a house compound near the sea. Peliatan(?)

  • Thumbnail for Matted Balinese painting
    Matted Balinese painting

    Monkey king (Sugriva?) and flying female divinity in the forest. Batuan

  • Thumbnail for Matted Balinese painting
    Matted Balinese painting

    Unidentified narrative depicting a holy man in the forest, Batuan