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                <text> Parents and crying child wandering aimlessly  --  Explanation by Artist:  " My husband's skin peeled off because of the burn. I held my babywith a broken arm. Blood covered our heads and faces. Skin from our faces and our arms dangled. Barefoot, clothes torn to shreds. "Don't cry. Don't cry. When your cry, I get sad." "Waahhh! Waahhh! (give me the breast)" " I haven't eaten since morning. My milk has dried up. Poor thing." "Waa, Waa."  Artist was 24 at the time of the bombing, 81 when she drew this picture.</text>
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                <text>Editorial assistant: Marcus Davis. Collection Librarian: Amy Bryant. Please send comments or content corrections to Michael Thiedeman, Department of Art, Earlham College, Richmond IN. 47374, USA. email address: thiedemi@earlham.edu</text>
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                <text>Collection Librarian:  Amy Bryant.  Please send comments or content corrections to Michael Thiedeman, Professor of Art, Earlham College, Richmond, IN  47374 USA.  email address:  thiedmi@earlham.edu</text>
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                <text>Editorial assistant: Marcus Davis. Collection Librarian: Amy Bryant. Please send comments or content corrections to Michael Thiedeman, Department of Art, Earlham College, Richmond IN. 47374, USA. email address: thiedemi@earlham.edu</text>
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                <text>Materials may by used for educational, non-commercial purposes only, in accordance with Fair Use policies. Acknowledgement to be given to the IDEAS Project, Earlham College, and to the Peace Memorial Museum of Hiroshima.</text>
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                <text>Arts-Aesthetics; Arts-Ceramics;</text>
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                <text>Raku ware tea bowl ("Chawan") named "Summer Festival Music."  The bowl is attributed to Raku Sonyu (1664-1716), the fifth generation of the Kyoto Raku family of potters. A study in understatement, note the gentle undulation of the rim of the bowl and the slight convexity of the contour of the side of the bowl, almost inviting one's hand to fit it.  The surface of the piece is typical of the black raku glaze, with a soft, slightly lustrous quality and a slightly pitted surface, giving it a highly tactile quality and one that almost resembles that of a river-worn rock, calling to mind the stricture that a good ceramic piece should be like an object found in nature, rather than an object deliberately made.</text>
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                <text>Research the origin of "Raku" ware in Japan and its relationship to Tea Ceremony.  Then, research the "raku" process as it was adapted and employed by American potters in the post-WWII period.  In what ways were the two directions of "raku" different and in what ways do those differences speak of the cultures that produced them.</text>
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                <text>Editorial assistant: Joseph Augustin; Collection Librarian: Amy Bryant. Please send any questions, comments, or content corrections to Michael Thiedeman, Professor of Art, Earlham College, Richmond, IN 47374-4095 USA.  email address:  thiedmi@earlham.edu</text>
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                <text>Earlham College</text>
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                <text>Japanese Ceramics: Raku Tea Bowl, "Summer Festival Music."  View showing interior of the bowl.</text>
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            <name>Description</name>
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                <text>A second view of the bowl named, "Summer Festival Music," an Edo period tea bowl attributed to Raku Sonyu, the fifth generation of the Raku family of potters.  Interior view of the piece.</text>
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              <elementText elementTextId="85266">
                <text>Asian Art Museum of San Francisco, CA</text>
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              <elementText elementTextId="85267">
                <text>Editorial assistant: Joseph Augustin; Collection Librarian: Amy Bryant. Please send any questions, comments, or content corrections to Michael Thiedeman, Professor of Art, Earlham College, Richmond, IN 47374-4095 USA.  email address:  thiedmi@earlham.edu</text>
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                <text>attributed to Raku Sonyu</text>
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                <text>Government-Documents; Government-Military; Government-Protest Movements; Media-Print; People-Historical Figures</text>
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                <text>Bird, Kai and Sherman, Martin J.</text>
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                <text>text source:  preface to the book, litaryAmerican Prometheus - The Triumph and Tradedy of J. Robert Oppenheimer,ot;&amp;qu  by Kai Bird and Martin J. Sherwin.  Alfred A. Knopf, N.Y., 2005; photo: Peace Memorial Museum, Hiroshima</text>
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                <text>Earlham College</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>May be used only for educational, non-commercial purposes, in accordance with Fair Use Policies.  Text credit must be given to authors Kai Bird and Martin J. Sherwin, who retain copyright.</text>
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                <text>United States of America</text>
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                <text>1946; 2005</text>
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                  <text>Materials in the Earlham collection are drawn from a broad spectrum of Asian cultures and includes materials both historic and contemporary, drawn from collections of current and former Earlham faculty and students, and other friends and students of Asia. We invite anyone who has resources on Asia that they wish to share to contact us and to contribute to the building of this valuable project of resources for teaching and learning about Asia.</text>
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                <text>Hiroshima:  Peace Memorial Museum, Art by Survivors, 12  --  "Staring dazed at scenes from hell."</text>
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                <text>Atomic Bomb--Hiroshima; Atomic bomb--Atomic bomb victims</text>
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                <text>Staring dazed at scenes from hell  --   Explanation by the Artist:   The atomic flame turned humans into insects, smashing people like ants. Running blindly, severely burned, covered with blood, pathetic people turned insects formed a picture of hell. Precious irreplaceable lives were snuffed out in the flames. Even the rivers were unrecognizable in the burning city of Hiroshima. Truly, a picture of hell. Worried about my relatives, I stared at it all in a daze." -- The scene depicted was 2,000 meters from the hypocenter, Hijiyama Hill (now Hijiyama Park). The artist was 22 at the time of the bombing, 51 when she drew this picture.</text>
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                <text>Hiroshima Peace Memorial Museum</text>
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                <text>Editorial assistant: Marcus Davis. Collection Librarian: Amy Bryant. Please send comments or content corrections to Michael Thiedeman, Department of Art, Earlham College, Richmond IN. 47374, USA. email address: thiedemi@earlham.edu</text>
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                <text>Fujise, Asako</text>
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                <text>Materials may by used for educational, non-commercial purposes only, in accordance with Fair Use policies. Acknowledgement to be given to the IDEAS Project, Earlham College, and to the Peace Memorial Museum of Hiroshima.</text>
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