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Hawai‘i
Peace Memorial, Koji, 1986
Granite monument commemorates Japanese immigration to Hawai‘i. |
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Jefferson Hall, East-West Center |
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Pair
of Fu Dogs, Anonymous, 1971
Stone temple dogs at makai and mauka ends of the building were a gift from Taiwan. |
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Jefferson Hall makai stairwell (M–F 7:45–4:30) |
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Wisdom
of the East, Affandi, 1967
Mahatma Gandhi, a Buddhist monk and Semar (a wise man of Indonesian legend) are
in God’s hand in this first-ever fresco by one of the East-West Center’s
first artists-in-residence. |
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Jefferson
Hall mauka stairwell |
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Inspiration,
Study, Creativity, Jean Charlot, 1967
Like its counterpart in the makai stairwell, this fresco was a gift from the
artist; foundations of Western art are attributed in the mural to Greek and
Roman cultures—inspiration (left), study (right), creativity (fire) and
human effort (hands).
(Click on red numbers to return to map)
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Seien
(Serene Garden), Kenzo Ogata, 1963
A gift of Japanese business leaders, the peace garden includes a willow tree grown
from Emperor Hirohito’s plant cutting from the Imperial Palace grounds in
Tokyo, as well as a pink shower tree planted by then–Crown Prince Akihito
and Princess Michiko of Japan in 1964; the stream is patterned after the Chinese
character kokoro (heart, spirit). |
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Chashitsu
Jakuan (Cottage of Tranquility), Anonymous, 1972
Tea house and garden were presented to the University by Soshitsu Sen, the XVth-generation
grand tea master of Urasenke Konnichian. (For tea ceremony information, call Urasenke
Foundation, 923-3059.) |
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Untitled,
Anonymous, 1967
A gift to the East-West Center and UH Manoa from His Majesty King Bhumibol Adulyadej
of Thailand, this carved and painted teak pavilion was one of the first three
outside Thailand. |
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| Center
for Korean Studies |
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Untitled,
Chong In-guk and Na Sang-gi, 1975–76
Ornately painted building and pavilion are replicas of Kyongbok Palace (Yi Dynasty
c. 1400) buildings in Seoul.
Walk through parking lot and across lawn for optional stops 25 and 26.
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| Newman
Center (M–F 10–5, Su 10–7) |
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Holy
Spirit (upper window), Holy Trinity (lower
window) and Untitled (other windows), Timothy Newman, 1982
Stained-glass windows in this Catholic chapel and meeting facility meld the architectural
tradition of European churches with the Pacific spirit of the Hawaiian islands.
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Maka
‘a e ‘Ike Aku i ke Awawa Uluwehi i na Kuahiwi o Manoa (Glowing Eyes
Looking at the Lush Valley in the Mountains of Manoa), Bumpei Akaji, 1979*
Hammered copper sculpture with brass brazing. |
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Pulelehua
(Kamehameha Butterfly), Robert Flint, 1986*
Ceramic mural invites visitors to enter the building, home of biological science
laboratories and the entomology department. |
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(Click
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28 |
| Hamilton
Library entrance |
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Shinto
Lion-Dogs, Anonymous, c. 1924
Stone koma-inu (lion-dogs) were brought from Japan in 1924 for the Shinto Inari
Shrine on King Street. In 1942, after the outbreak of World War II, they were
given to the University.
Hamilton Library (M–Th 8 a.m.–11 p.m., F 8–5,
Sa 9–5, Su noon–9)
ground floor, Lobby (right of turnstiles)
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Makahiki Ho‘okupu
(Harvest Celebration), Juliette May Fraser, 1938
Created for the Hawai‘i pavilion at the San Francisco World’s Fair,
the 50-foot charcoal and sanguine mural (on 13 Masonite panels) depicting
harvest and gift-giving cere- mony remained in storage until 1980, when it
was rededicated and placed in Hamilton Library on the artist’s 93rd birthday.
 Makai
Wall, ground floor
Nana i ke Kumu (Look to the Source), Yvonne Cheng,
1978*
Batik triptych suggests looking to the source of knowledge within the library.
basement
GovDocs, Judith Yamauchi, 1982
While a student in Lanny Little’s class, the artist was offered a wall
to paint. She turned it into a tribute to Hamilton’s government documents
librarians.
‘Anuenue #2 (Rainbow
#2), Reiko Brandon, 1977
Three-part woven wall hanging continues the artist’s rainbow series.
Another work in the series is at the Hawai‘i Convention Center.
fourth
floor
Seated Amida Buddha, Anonymous, 15th century*
Japanese wood sculpture with gold over black lacquer is seated on a four-part
red and gold lacquer lotus stand. Originally in the collection of the Honolulu
Academy of Arts, it was acquired by the Hawai‘i SFCA in 1977.
fifth floor
Mayan Warrior, Jean Charlot, 1970
Acrylic-painted Masonite is one of nine the artist created for the Flora Pacific
Exhibit in Honolulu. It is part of, and marks the entrance to, the Jean Charlot
Collection.
Untitled, Anonymous, collected 1950–1970
Thirteen pieces given to the library’s Hawaiian and Pacific Collection
in 1978 by Douglas Oliver, professor of Pacific anthropology, include seven
masks, a shield and other bark, fiber, feathers, mud and pigment artifacts
from the Sepik River region of Papua New Guinea.
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(Click
on red numbers to return to map)
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| 29 |
| Hamilton
Library Plaza |
Epitaph,
Harold Tovish, 1970*
Bronze, steel and granite sculpture suggests the
dilemmas and impermanence
of modern humans. |
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| 30 |
| Henke
Hall, opposite entrance |
Grid/Scape,
Mamoru Sato, 1982
Terrazzo and aluminum small-scale landscape sculpture, given in memory of architect
Glenn Edward Gunter (1943–1974), illustrates the significance of his life
(green) within Hawai‘i (black/lava). |
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| 31 |
| Keller
Hall |
Untitled,
Murray and Phyllis Turnbull, 1959
Step inside for the best view of the stained-glass windows at both ends of the
building. |
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32 |
| Physical
Science Building, ‘Ewa wall |
The
Great Manoa Crack Seed Caper, Student artists under the direction of Lanny
Little, 1981
Depicts a wide variety of dried, salted and sweetened fruits, candies and crackers
offered by crack seed stores in Hawai‘i. |
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| Bilger
Hall courtyards and hallways |
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Air, Juliette
May Fraser, 1953
The largest and most complex of the Bilger frescoes embraces the land-linked
culture that sustained early Hawaiian people.
Water, David Asherman, 1952
One of a pair of frescoes over the auditorium doors; depicts the Hawaiian god
Kane and his companion Kanaloa, bringing forth water to create Manoa Stream.
Earth, Sueko Kimura, 1953
The mate to Asherman’s Water, this fresco conveys the interconnectedness
of humans and the earth from which they draw life.
Fire, Richard Lucier, 1951
The oldest of four Bilger frescoes by artists who studied with Jean Charlot,
the one outside Room 106 reveals the capricious
nature of fire.
Continue to
Map C
Return
to beginning of tour
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