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  • Thumbnail for Thorp Collection 067, Huangshan., Anhui (Yellow Mountains)
    Thorp Collection 067, Huangshan., Anhui (Yellow Mountains)

    Huangshan., Anhui (Yellow Mountains) This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of the image I.D. No. ecasia000072, "Altar of Heaven at night, Beijing."

  • Thumbnail for Thorp Collection 009, marble terrace - Fobidden City, Beijing
    Thorp Collection 009, marble terrace - Fobidden City, Beijing

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, the first Thorp image presented in this project collection.

  • Thumbnail for Thorp Collection 007, throne room - Forbidden City, Beijing
    Thorp Collection 007, throne room - Forbidden City, Beijing

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, the first Thorp image presented in this project collection.

  • Thumbnail for Daisenin garden, view 09, northeast portion of east garden, detail, "bridge"
  • Thumbnail for Tamba pottery, view 15., detail, upper flue section of wood kiln chamber
    Tamba pottery, view 15., detail, upper flue section of wood kiln chamber

    Close-up photo of the upper end, upper flue, of the chamber being reconstructed in the previous (000334) image.

  • Thumbnail for Thorp Collection 063, Small Dams.
    Thorp Collection 063, Small Dams.

    Thorp Collection, Small Dams. This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this collection.

  • Thumbnail for East Asian Ceramics:  Then and Now.  05,  Punch'ong-ware Flask
    East Asian Ceramics: Then and Now. 05, Punch'ong-ware Flask by unknown

    In this Korean piece, a folk art piece from the 15th century, we see a whimsical design of fish that, in fact, makes a sophisticated use of positive and negative shapes. The surface of the stoneware vessel was coated with a thick white slip (a clay in a liquid state), done while the vessel, itself, was still damp, semi-soft clay. A sharp tool was then used to draw the design on the surface, with the tool cutting away a line in the white surface slip, revealing the darker clay of the vessel body beneath the slip. The piece was then glazed with a clear (transparent) glaze that would reveal the pattern under the glaze after firing. Although the glaze is clear, after firing it has a pale greenish color. This color comes from the presence of iron oxide in the glaze, which may have been added to the glaze before application or it may be iron from the dark, iron rich clay body used to make the piece. In the latter case, the iron would be pulled into the glaze during the firing process, which would be done in a wood-burning kiln with the presence of smoke and carbon monoxide creating the cool, greenish iron color (in the presence of a clear burning flame, iron oxide would produce a different palette of colors, ranging from tan to a sienna orange -kaki color in Japan- to the black of temmoku glazes). It is this particular greenish iron color that gives these Korean wares their name, punch’ong. The thick potting of this piece identifies it as the product of a rural, folk art kiln; this was not created as a “work of art.†-- Bequest of Russell Tyson, 1964.936

  • Thumbnail for Thorp Collection 122, Road - Mapochuan - Paingshui, Gansu.
    Thorp Collection 122, Road - Mapochuan - Paingshui, Gansu.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Thorp Collection 123, Goiter- Gansu.
    Thorp Collection 123, Goiter- Gansu.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Horyuji, view 11, cloister walk, west side of compound at turn for sutra repository
    Horyuji, view 11, cloister walk, west side of compound at turn for sutra repository

    A pleasant image. Afternoon sun casting a pattern of light and shadow through the wooden grill work of the western wall of the walk surrounding the compound at Horyuji,looking northward at the point at which the image in view 7 was taken.

  • Thumbnail for Thorp Collection 128, Mongol VIllage.
    Thorp Collection 128, Mongol VIllage.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Thorp Collection 135, Loess Cliffs - farm land.
    Thorp Collection 135, Loess Cliffs - farm land.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Thorp Collection 126, Bare, white Alkali - Pootau, Suiyuan.
    Thorp Collection 126, Bare, white Alkali - Pootau, Suiyuan.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Thorp Collection 134, Oats - Chestnutearth, Chahar.
    Thorp Collection 134, Oats - Chestnutearth, Chahar.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Thorp Collection 117, Poppies Tao Valley, Gansu.
    Thorp Collection 117, Poppies Tao Valley, Gansu.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Japanese ceramics:  Tea leaf storage jar, Bizen ware.
    Japanese ceramics: Tea leaf storage jar, Bizen ware. by unknown

    Tea leaf storage jar, of modest size (perhaps 12" tall) but strongly articulated as a form. Unglazed stoneware with strong fire markings, characteristic of Bizen ware. Rice straw soaked in sea water salt brine was draped across the form as it was placed in the kiln; at the peak temperatures of the firing, the salt brine would volatilize and combine with the silica in the clay to form an "accidental" natural glaze. This procedure probably was followed initially as a means to keep pieces from fusing to one another in the firing, by separating them with high silica content rice straw, but with the discovery of the result of soaking the straw in brine, it became a frequent decorative technique on Bizen ware. Museum Purchase B67P10

  • Thumbnail for East Asian Ceramics:  Then and Now.  04, Shino-ware Jar by Rosanjin
    East Asian Ceramics: Then and Now. 04, Shino-ware Jar by Rosanjin by Kitaoji Rosanjin

    This Shino-ware jar was created by Rosanjin, a great Japanese ceramic artist of the first half of the 20th century. Rosanjin, a restaurateur by profession, was an "amateur" potter, who bagan making pottery because he could not find ceramic pieces that he felt were what he wanted to use in his restaurant. He often looked back to earlier traditions to find forms, glazes, techniques, and ideas from which to draw in his own modern work. In this piece, obviously, he has referred to the tradition of shino-ware with underglaze iron brush decoration. He has applied them to his own contemporary form, although it is interesting to note the undulations of the rim of the piece and to then look at the rims of many Momoyama and Edo period shino-ware tea ceremony bowls. The brown brushed design on this side of the piece are said to be stylized representations of pine trees; on the other side of the piece are forms suggesting birds. The orangish areas on the surface are areas where the glaze was

  • Thumbnail for East Asian Ceramics:  Then and Now, 02  Oribe-ware Box.
    East Asian Ceramics: Then and Now, 02 Oribe-ware Box. by Higashida Shigemasa

    This is a contemporary ceramic object with a fluid green glaze that pools and catches on the texture of the surface, creating a strongly accented surface that is related directly to form and the process by which the piece was formed. The color, the "accidental" flow of the glaze across the heavily textured surface, the white glaze that is said to cover the inside of the piece, and the casual irregularity of the form, are all references to the style of historic Oribe-ware. -- Roger L. Watson and Margaret Dornbusch funds, 2005.52 -- [A parenthetic observation: photographs and images of works of art can be very misleading. This box, in fact, is perhaps 6 or 7 inches long, yet, in this image, it could easily be mistaken as being a much larger sculptural object. Without something to indicate scale, it may be very difficult to judge the actual size of an art object from an image of the object.]

  • Thumbnail for Horyuji, view 06,  Kondo and Five-Story Pagoda, exterior front
    Horyuji, view 06, Kondo and Five-Story Pagoda, exterior front

    The Five-storied Pagoda at Horyuji is placed to the west of the north-south walk, with its soaring height visually balancing the greater ground area occupied by the kondo to the east of the walk. Earlier layouts for compounds, based on Chinese-Korean models, placed the middle gate, the pagoda, and the kondo, along a north-south axis, forcing the worshipper to encounter each directly, straight ahead, as the worshipper moved into the compound. In this ground plan at Horyuji, from the chumon, the worshipper moves laterally to the right (east) or to the left (west) to approach the kondo or the pagoda. This departure from the continental ground plans for the layout of a compound is important and represents an example of Japanese assimilation and adaptation of continental influences.

  • Thumbnail for Thorp Collection 189, Shin Lin (Stone Forest), Yunnan.
    Thorp Collection 189, Shin Lin (Stone Forest), Yunnan.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Thorp Collection 195, Hangzhon.
    Thorp Collection 195, Hangzhon.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Thorp Collection 182, Chitien Buddha Kunming, Yunnan.
    Thorp Collection 182, Chitien Buddha Kunming, Yunnan.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Thorp Collection 161, Temple Gate N. of Yichang.
    Thorp Collection 161, Temple Gate N. of Yichang.

    This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.

  • Thumbnail for Thorp Collection 084, Sunrise - Hanzhou, Zhejiang
    Thorp Collection 084, Sunrise - Hanzhou, Zhejiang

    Sunrise - Hanzhou, Zhejiang. This image and all othrs identified as I.D.Nos. ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing."

  • Thumbnail for Muroji, 014,  Haiden, hall for worship, seen from veranda of the Golden Hall.
    Muroji, 014, Haiden, hall for worship, seen from veranda of the Golden Hall.

    Directly in front of the Golden Hall, on the south side, is an open area, which is used for ceremonies. The Mirokudo is on the western side of the open area, facing to the east. The small building in this image is on the eastern side of the open area. It is a building for worship, used to honor the dragon of Ryuketsu Shrine, which is directly to the east of Muroji. One of two straw dragons constructed as part of the Autumn Ryuketsu Shrine Festival is hung from a tree in the open area here at Muroji, while the other is hung by the river in front of the shrine, part of an interesting intermingling of rituals between the temple and the shrine.