Colorado College Logo

  DigitalCC

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

3808 hits

  • 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.

  • Thumbnail for Poster, Changing Roles, Japan, 1998
    Poster, Changing Roles, Japan, 1998

    This poster was photographed in front of a post office in Japan in 1998. The red triangular motif in the lower left is the logo for the "Peace People Japan." The interesting aspect, of course, is the depiction of a young woman, dressed in uniform, with wrenches in hand as she approaches a helicoptor. While much of Japan remains bound by tradition and roles defined by tradition, there is also far reaching social change occurring, with redefinitions of gender roles, etc.

  • Thumbnail for Japanese Ceramics: Raku Tea bowl, known as "Summer Festival Music."  View from side, showing profile of the piece.
    Japanese Ceramics: Raku Tea bowl, known as "Summer Festival Music." View from side, showing profile of the piece. by attributed to Raku Sonyu

    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.

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

    Bottle, stoneware. The form was covered with a contrasting white slip. Several horizontal bands were created by incising horizontal lines through the white slip. Within the horizontal bands, areas, defined by those incised lines, the potter or decorator then used brush and iron oxide to paint design motives on the surface, with the glaze then being applied over the decoration. The Avery Brundage Collection, B65P63

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

    Bottle, stoneware. In this example, the decorative technique employed was quite different from the other two Bundheong ware bottles shown here. In this instance, the surface of the piece was stamped with a pattern, perhaps made of fired clay. The surface of the piece was then coated with white slip (porcelain), including the impressed pattern elements. The surface was then scraped clean of the white slip, revealing the darker underlying clay, while the white clay remained in the indentations stamped into the surface, creating the contrasting pattern of light and dark that we see here. The Avery Brundage Collection, B60P388

  • Thumbnail for Thorp Collection 145, "Karst" tatang, Gaungxi Zhuangzu Autonomous Region.
    Thorp Collection 145, "Karst" tatang, Gaungxi Zhuangzu Autonomous Region.

    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 Korean ceramics: Bottle with medallion, porcelain.
    Korean ceramics: Bottle with medallion, porcelain. by unknown

    Bottle, thrown and faceted. The piece is porcelain with characters drawn on the surface with an underglaze cobalt slip or pigment. -- The Avery Brundage Collection, B64P30

  • Thumbnail for Thorp Collection 205, Map 1 -  Percentage of the total land area cultivated.
    Thorp Collection 205, Map 1 - Percentage of the total land area cultivated.

    Map 1 - Percentage of the total land area cultivated. 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 206, Map 6 - Percentage of Farmers who are owners.
    Thorp Collection 206, Map 6 - Percentage of Farmers who are owners.

    Map 6 - Percentage of Farmers who are owners. 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 Muroji, 015, detail of Haiden
    Muroji, 015, detail of Haiden

    Detail of the Haiden, hall for worship, directly to the east of the Mirokudo and south of the Golden Hall.