Colorado College Logo

  DigitalCC

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

168 hits

  • Thumbnail for untitled
    untitled by unknown

    Unknown location. This song is not documented in the collection. Quality: Fair. PLEASE NOTE: This should be number 6 of 11 songs on audiofile.

  • Thumbnail for East Asian Ceramics:  Then and Now.  03,  Shino-ware Ewer
    East Asian Ceramics: Then and Now. 03, Shino-ware Ewer by unknown

    Shino-ware was associated with kilns of the Mino district, near Tajimi in Gifu prefecture, central Honshu, north of Nagoya and Seto. Shino-ware is characterized by its glaze, which is known simply as Shino. It is usually a thick white glaze with a soft lustrous surface, neither matte nor glossy, and a surprising sense of tactile softness to the touch. Often, on the rim or other ridges of a form, the color will break to a warm orangish color, hinting at a sense of the clay body under the glaze (or it may suggest other images, as with the rim of Mrs. Ota's tea bowl in the Kawabata novel, Thousand Cranes). It is a subtle and rich glaze, one much favored by masters of tea. Often, but not always, designs were painted on the surface of pieces before they were glazed. These patterns, painted with an iron slip or pigment, are partially obscured and softened by the glaze over them, creating both a quiet subtlety of design and a sense of depth to the glazed surface. -- An aside about this particular piece is the difference in color of the lid of the ewer and the body of the ewer, proper, suggesting that perhaps the pieces were fired apart from one another and that, even if they were immediately side by side in the kiln, the atmosphere in the kiln (the amount of smokiness or clarity of flame) was slightly different around each of the two pieces. A problem that will be recognized by all potters, today, just as then. -- Russell Tyson Purchase Fund Income, 1966.332

  • Thumbnail for Japanese ceramics: Large dish with plant design, E-Shino ware.
    Japanese ceramics: Large dish with plant design, E-Shino ware. by unknown

    This large dish with plant design is an example of the type of Shino known as E-Shino, Pictured Shino. E-Shino pieces feature brush decoration applied to the piece before it is covered with the Shino glaze. The Shino glaze is composed almost entirely of one particular feldspathic rock and produced a great variety of surfaces, depending on how thickly the glaze was applied, the temperature reached in the kiln, and the atmosphere of the kiln (how smoky the fire was during critical phases of the firing). Zoom in on this image to see how lush the Shino surface was on many pieces.

  • Thumbnail for Korean ceramics: Bottle, Buncheong ware.
    Korean ceramics: Bottle, Buncheong ware. by unknown

    Bottle, stoneware. The form was covered with a white slip applied with a brush. The design on the piece was created by using a sharp tool to cut through the white slip coating, revealing the darker clay underneath, in the manner used in Buncheong ware. The Avery Brundage Collection, B67P41

  • Thumbnail for Japanese Ceramics: Dish with handle, Ao-oribe ware, view 02.
    Japanese Ceramics: Dish with handle, Ao-oribe ware, view 02. by unknown

    Another view of the Oribe dish shown in image ecasia000370, showing more clearly the interior of the piece.

  • Thumbnail for Korean Ceramics:  Porcelain Jar.
    Korean Ceramics: Porcelain Jar. by unknown

    Large spherical jar of the sort known as a "Moon" jar. The museum label comments, these jars "...were loved by Korean people not only because of their white color, which was suggestive of Confucian virtues, but also because the form was thought to represent the fertility and gentle, embracing qualities associated with women during the Joseon dynasty." This example presents an interesting comparison with the jar presented in file ecasia000358, another "Moon" jar from the collection of the Art Institute of Chicago. The one in Chicago has a more matte glaze surface, while this one has a transparent glaze. The difference in the glaze may be the result of placement in different locations in a kiln, with the matte surface possibly resulting from a slightly cooler temperature and the transparent glaze from a slightly higher temperature, as might result at the different ends of a tube kiln. (The Avery Brundage collection, B60P110+ )

  • Thumbnail for Immortal of Longevity and Deer
    Immortal of Longevity and Deer by Unknown

    Chinese painting using ink and colors on silk; image area 18 cm x 21.2 cm; subject from Daoist or folk belief;. Condition: good; upper end of mounting torn.

  • Thumbnail for After Hiroshige, front view stage 2
    After Hiroshige, front view stage 2 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 Portrait, full view
    Portrait, full view by Unknown

    19th century portrait depicting a subject seated in a garden by a stream, chrysanthemum in a vase and a pine tree. The chrysanthemum in the vase symbolizes autumn while the pine tree represents longevity. The image area is 67cm x 130.5 cm and was made using Chinese ink and colors on paper in a silk mounting. The subject and artiistic style are reminiscent of the famous artist, Ren Xiong (1820-1864). Ren Xiong and his family members were successful commercial painters in Shanghai and nearby regions and skilled in many subjects, including portraiture.

  • Thumbnail for After Hiroshige, front view stage 9
    After Hiroshige, front view stage 9 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).