Colorado College Logo

  DigitalCC

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

3808 hits

  • Thumbnail for Kana-dehon Chushingura Act III: Scene at the palace in Kamakura
    Kana-dehon Chushingura Act III: Scene at the palace in Kamakura by Utagawa Kuniteru

    Studied first under Kunisada and later with Toyokuni, took the name Kuniteru around 1844. Kana-dehon Chushingura (The Treasury of Loyal Retainers) was a popular and frequently performed Kabuki play in the late 18th and early 19th century in Edo. Based on actual historical events from 1701 – 1703, the play tells of forty-seven ronin (samurai without a lord) who seek revenge for the unjust death of their leader Enya-Hangan. Included here are printed depictions of some of the particularly dramatic acts of the play. Act III: Enya-hangan draws his sword in reaction to the insults of Moronao, a capital offence resulting in a death sentence.

  • Thumbnail for The Window, front view
    The Window, front view by Kawanishi Hide

    In contrast to Kawanishi’s view of the industrial port of Kobe, this print represents the modern-looking traditional side of Japan, with starkly vertical and horizontal lines of shoji screens opened just enough to reveal a stone lantern and garden greenery. This work is a charming example of how sosaku hanga could emphasize the apparent paradox of the inherent modernity of traditional Japan.

  • Thumbnail for Ken Tenju hanging scroll, view of brocade
    Ken Tenju hanging scroll, view of brocade by Tenju, Ken

    Japanese Edo period hanging scroll with vertically-oriented painting and a brown brocade mounting. The image area is 28 cm x 187 cm and depicts the landscape of a Nanga school with the scene of a mountain and hut to the left, a river to the right, a bridge in the foreground, and an inscription to the upper right.

  • Thumbnail for Small pottery spoon
    Small pottery spoon

    This is a small pottery spoon probably covered with copper-green lead-silicate glaze, much of which has chipped off. Such a glaze was common in the Han dynasty for changing color when buried in the earth. It becomes iridescent and silvery. This spoon mouth is bumpy and in some places uneven. The end of the handle seems to have been carved into a design but was worn smooth. This pottery spoon was most likely made during the Eastern Han dynasty (25-220 AD).

  • Thumbnail for After Hiroshige, front view stage 3
    After Hiroshige, front view stage 3 by unknown

    One of nineteen prints which illustrate the process of making a multi-block multicolor woodblock print.The print reproduced is the view of Asakusa Kinryuzan (Asakusa Kannon Temple) from Ando Hiroshige’s Toto yukimi hakkei (Eight Views of Snow in the Eastern Capital).

  • Thumbnail for Landscape
    Landscape by Pu Ju

    Vertical landscape done in the blue and green style, with small pavilion on a rocky outcropping above man in small boat below. Four line inscription links the foreground imagery with that of the far distance. Three seals placed at varying points on the painting.

  • Thumbnail for Painting of chrysanthemums (detail of the flowers)
    Painting of chrysanthemums (detail of the flowers) by Ch’i Pai-shih (Qi Baishi) (1863-1957)

    (Part of a set of four) Qi Baishi (1863-1957) is perhaps China’s most revered master of the twentieth century. These four paintings are representative of Qi’s floral, fruit and aquatic subjects. The cascading forms, bright colors and strong sense of abstract design in the compositions are characteristic of his style.

  • Thumbnail for Painting of a squash vine (detail of squash)
    Painting of a squash vine (detail of squash) by Ch’i Pai-shih (Qi Baishi) (1863-1957)

    (Part of a set of four) Qi Baishi (1863-1957) is perhaps China’s most revered master of the twentieth century. These four paintings are representative of Qi’s floral, fruit and aquatic subjects. The cascading forms, bright colors and strong sense of abstract design in the compositions are characteristic of his style.

  • Thumbnail for Popular woodblock prints: pair of military door gods (1)
    Popular woodblock prints: pair of military door gods (1)

    Colored woodblock prints of popular images are associated with popular religious beliefs and ceremonies mostly observed at Chinese lunar New Year. Images of protective, military door gods (in pairs) were replaced on the front, street doors each year at New Year’s time to prevent evil from entering the house.

  • Thumbnail for Bronze vessel (detail)
    Bronze vessel (detail)

    In ancient Japan (prior to the Meiji era, 1868-1912), metalwork was solely for swords and Buddhist statues. During the Meiji era, a decree abolishing sword-wearing and the restoration of Shintoism, the original religion of Japan, as the national religion caused the making of metalwork to shift to objects for export and home consumption; the functions of objects and subject of decoration tended to be secular. This vase, designed with a style of Chinese bronze vessel, bears 8 different scenes on the entire body. There are four large panels, with subjects ranging from figurative to seascapes, on the main body of the vessel, and four small horizontal scenes, landscapes and seascapes are the subjects (possibly a display of the four seasons), on the bottom. The designs are done in relief. The borders of the panels are also ornamented with plant patterns, chrysanthemums and gingko tree leaves in particular common Japanese floral motif. A great deal of artistic appeal and distinctive styles are the trademark of Meiji metalwork.

  • Thumbnail for After Hiroshige, front view stage 14
    After Hiroshige, front view stage 14 by unknown

    One of nineteen prints which illustrate the process of making a multi-block multicolor woodblock print.The print reproduced is the view of Asakusa Kinryuzan (Asakusa Kannon Temple) from Ando Hiroshige’s Toto yukimi hakkei (Eight Views of Snow in the Eastern Capital).

  • Thumbnail for After Hiroshige, front view stage 13
    After Hiroshige, front view stage 13 by unknown

    One of nineteen prints which illustrate the process of making a multi-block multicolor woodblock print.The print reproduced is the view of Asakusa Kinryuzan (Asakusa Kannon Temple) from Ando Hiroshige’s Toto yukimi hakkei (Eight Views of Snow in the Eastern Capital).

  • Thumbnail for After Hiroshige, front view stage 19
    After Hiroshige, front view stage 19 by unknown

    One of nineteen prints which illustrate the process of making a multi-block multicolor woodblock print.The print reproduced is the view of Asakusa Kinryuzan (Asakusa Kannon Temple) from Ando Hiroshige’s Toto yukimi hakkei (Eight Views of Snow in the Eastern Capital).

  • Thumbnail for After Hiroshige, front view stage 7
    After Hiroshige, front view stage 7 by unknown

    One of nineteen prints which illustrate the process of making a multi-block multicolor woodblock print.The print reproduced is the view of Asakusa Kinryuzan (Asakusa Kannon Temple) from Ando Hiroshige’s Toto yukimi hakkei (Eight Views of Snow in the Eastern Capital).

  • Thumbnail for Imperial bronze bell (side detail)
    Imperial bronze bell (side detail)

    This bell is dated by the inscription in a cartouche as having been made in the 50th year of the reign of Emperor Kangxi, i.e. 1711. The bell was evidently meant to be part of a larger set of bells, thus it represents a continuation of the ancient practice of producing sets of bells that were suspended from a rack. Each bell was specifically manufactured to produce a particular note in the Chinese musical scale. The inscription on the opposite side of the bell has three characters indicating which musical note the bell produces when struck. In addition, this bell is an excellent example of superior quality, imperial level bronze casting.

  • Thumbnail for Painting of shrimp
    Painting of shrimp by Ch’i Pai-shih (Qi Baishi) (1863-1957)

    (Part of a set of four) Qi Baishi (1863-1957) is perhaps China’s most revered master of the twentieth century. These four paintings are representative of Qi’s floral, fruit and aquatic subjects. The cascading forms, bright colors and strong sense of abstract design in the compositions are characteristic of his style.

  • Thumbnail for Shadow puppet (set of 3)
    Shadow puppet (set of 3)

    These shadow puppets represent one of the traditional Chinese crafts. They also represent one of the popular-level puppet theater traditions in China (the others being hand puppets and string puppets). The shadow puppets are cut and carved out of thin sections of hide, which is then given coatings of color. These examples are in pristine condition and retain their brilliant colors. One of the shadow puppets wears a Manchu headdress and Manchu platform shoes. The treatment of the eye sockets suggests that these puppets were made in the Beijing area

  • Thumbnail for Pair of platform shoes worn by Manchu women (front and bottom)
    Pair of platform shoes worn by Manchu women (front and bottom)

    Shoes for bound feet of Chinese women contrast with the “platform†shoes worn by Manchu women, who did not bind their feet. These platform shoes, it is said, enabled Manchu women to imitate the seductive sway of Chinese women with bound feet. The decoration on these shoes is appliqué, not embroidery.

  • Thumbnail for Chinese feather fan with male figures and floral patterns (side 2)
    Chinese feather fan with male figures and floral patterns (side 2)

    This fan centers on two male figures (likely from literary or historical novels) with floral patterns around, which is much more rare than the bird and flower themes. Although their conditions are poor, they are very interesting artifacts. The Chinese export of feather fans first appeared in Europe during the first quarter of the 19th century. They are usually made of goose feathers (occasionally with added peacock feathers on the top) mounted on sticks which can be made of a variety of materials, including ivory and bone. The frames of the fans are carved, showing the quality of their craftsmanship, with flowers and classical scripts, which could be either an imitation of Oracle bone characters or seal/clerical scripts. Originally these fans would have been very costly.

  • Thumbnail for Lotus shoe for bound feet (arch detail)
    Lotus shoe for bound feet (arch detail)

    This shoe has never been worn, as the sole is intact and clean and its heels also bear nice needlework. Although the colors and fabrics have either faded or worn out, the stitching is refined. The motifs are often associated with auspicious symbolism (fertility) in addition to its aesthetic quality. The custom of women's foot-binding has been documented before the 10th century in China, and was officially abolished in the Qing dynasty (1645-1911). However, Chinese women continued to accept this torment as a social norm. The foot-binding custom was not completely extinguished until the 1950s and 60s in China under enforcement from Christian missionaries and foreign military in the 1890s.

  • Thumbnail for Blue Jambhala
    Blue Jambhala

    Blue Jambhala in his wrathful aspect, associated with the Aksobhya Buddhas, with mongoose in left hand, skull bowl in right, crowned by Aksobhya, standing on Kubera, who vomits jewels. A pot full of jewels sits in the deity's lotus throne. Jambhala, who appears in several colors and iconographic forms, is a deity for wealth, prosperity, and success. (De Mallman notes that Jambhala is sometimes included in the Ratnasambhava class)

  • Thumbnail for Kubera
    Kubera

    Dark, red sandstone artifact from Madhya Pradesh. 6 x 4.5 x 3 inches. One of the guardians of the eight directions, Kubera belongs to a class of ancient folk deities called yakshas, who were adopted by Buddhism, Jainism, and Hinduism. He represents the power of monetary wealth. He conventionally holds a bowl or pomegranate in his right hand and a moneybag in his left. A mongoose that has the power to vomit a wish-fulfilling gem normally accompanies him. This is a fine quality image that was originally made as an architectural detail for a Hindu temple.

  • Thumbnail for Ukiyo-e print of a beautiful woman
  • Thumbnail for Chinese silk painting of peonies in a garden
    Chinese silk painting of peonies in a garden

    38 1/2 x 17 1/8 ink and color on silk textile of peonies in a garden. These appear to be a pair of fine Chinese bird and flower paintings cut from their original mounts and provided with matching frames.

  • Thumbnail for Woodblock print with animal theme
    Woodblock print with animal theme by Takahashi, Rikio [1917-1999]

    7-3/8 x 14-5/8 wood block print of two puppies, a cat, and a pair of sparrows.