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Photographs of the fair held on the grounds of the University of Washington, depicting buildings, grounds, entertainment and exotic attractions. This collection showcases design and working drawings of important examples of both historic and more contemporary residential, commercial, and public buildings in the Puget Sound region.

Turn of the 20th century photographs documenting the landscape, people, and cities and towns of Western Washington.

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Photographs ca. Over 29, images of Russian sites, mostly buildings constructed from the Middle Ages and the present. A collection of images illustrating the geography, folkways, lifestyles and architecture of the vast regions of the Russian Federation and other newly independent states of the former Soviet Union. A selection of items drawn from the Seattle office of the Industrial Workers of the World labor organization. Includes pamphlets, leaflets and correspondence documenting the I.

They depict images of the Boxer Rebellion in , glimpses of diplomatic and commercial life during that time period, and the early wool industry in Tientson. This collection tells the story of the Chernobyl reactor accident, seen through the eyes of Professor Willaim Zoller, an atmospheric chemist, invited by the United Nations to examine the site. Images of buildings and city views drawn from across time and throughout the world.

A selection of original Civil War correspondence between soldiers from the battlefields and their family members and friends on the homefront. These letters describe firsthand accounts of battle, reflections on the nature of war and its profound effect on those involved - both on those at the front lines and loved ones who remained anxiously at home.

Images showing work projects in King County, Washington established under the auspices of the Civil Works Administration in Through such relief programs, Franklin Delano Roosevelt attempted to provide recovery for millions of Americans suffering from unemployment as a result of the Great Depression. Images ca. Photographs taken from the s until depicting activities in Washington State, the Pacific Northwest, and Alaska and the Klondike. Digital collection of artifacts related to the landslide that occured near Darrington and Oso, Washington on March 22, This collection is presented by the Darrington Historical Society as a way to relay the experience, and tell the story from the perspective of the Darrington Community.

Images chosen from a group of approximately photographic prints representing the work of some of the most well known architects in the Pacific Northwest. Photographed by the partnership of Phyllis Dearborn and Robert Massar. Examples of decorated and decorative papers such as Western marbled paper, paste paper, and Dutch gilt paper produced between the 17th and 19th centuries, from Europe, primarily Germany, France and Italy. A sampling of personal logs, photo albums, ephemera, and papers from the radiological surveys undertaken after atmospheric nuclear weapons testing conducted by the United States in the South Pacific between and Print advertisements published in local magazines, city directories, and theater pamphlets from to Themed groupings include health care and hygiene products, liquor, tobacco, machinery, manufacturing, transportation, fashion, food and household goods and local tourism.

Maps offering rich insight to years of Pacific Northwest history. These items are hosted by Washington State University. Photographs and videos of musical instruments from around the world. The growing collection is housed in the University of Washington Ethnomusicology Division which invites one or more international artists to campus each year to share their musical traditions through teaching and performance.

Items documenting labor's perspective on the events of the Everett Massacre. Fashion plates from the 19th and early 20th centuries of women's and men's costume. Drawn from the some of the leading fashion journals of the time, they depict styles and dress from the Empire , Georgian , Regency , Romantic , Victorian , Late Victorian and Edwardian periods. This was one of the first relief operations organized under Franklin Delano Roosevelt's New Deal designed to provide state assistance for the unemployed who suffered under the Great Depression.

Over 21, historic images relating to freshwater and marine subjects including dams, fisheries, fish species, vessels and maps. It is believed that he made this slide collection for the classes he taught, during various trips to India and South Asia from s to Photograph collections on glaciers, landforms, geology, glaciology, and related subjects from the materials in Special Collections.

Around local members put together an album of photographic portraits collected from members over the previous 25 years or so. The leather-bound book was donated to the Seattle Public Library in Only portraits remain and some are unidentified but they all form a remarkable resource for Seattle history. Documentation using photographs and pamphlets of the construction of the Grand Coulee Dam, built during to as part of the Columbia Basin Irrigation Project for the development of the Columbia River for waterpower, irrigation, and flood control. Includes a look at the recommendations for and against building the dam, images of land clearing activities by the Public Works Administration, and the dam construction itself.

Interview recordings from the late s and early 90s that relate to post-war Seattle history and cover a diverse array of topics -- such as transportation, race relations, housing, city planning and labor -- narrated by an equally diverse group including well-known politicians such as Cheryl Chow, Martha Choe and Paul Schell; community activists such as Aaron Dixon and Hazel Wolf.

Photographs from of Edward Harriman's scientific expedition to Alaska, including images of Alaskan Native Americans and their villages, scenic views of the coastline, glaciers and Alaskan towns. Photographs from documenting the Klondike and Alaska gold rushes, including depictions of frontier life in Skagway and Nome, Alaska and Dawson, Yukon Territory.

A teaching tool featuring a sampling of materials held in the Special Collections Division focusing on the history of the book and medieval manuscripts from the 11th to the 19th century. The digital collection is comprised of images of binding, printing, papermaking and illustration examples and techniques. This database chronicles by example the history of educational practice and reading, and the changing perceptions of gender, race and class and the role of religion in teaching.

Both European and American books from the 18th to the 20th c.

Historic China and Other Sketches -

Images, primarily from the s to the s, in an ever-growing digital collection of photographs documenting the workers of the Pacific Northwest and Alaska. Included are photographs and photographic postcards taken between the s- s.

700 sketches in 30 years! Chinese professor records change of Chongqing city with pen

Nath Mughal Architecture Image Collection. Photographs of the political career and personal life of Henry M. He began his Congressional career in , first as a representative and then as a senator during a period that spanned 43 years and nine presidents. Jackson was a strong player in foreign and defense policies, as well as domestic energy and environmental policies, serving as a member on the Joint Committee on Atomic Energy, the Armed Services Committee, the Governmental Affairs Committee, and chairman of the Committee on Interior and Insular Affairs.

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K-Manhwa Korean graphic novels have been part of Korean popular culture since the early twentieth century. A selection of over 1, covers have been digitized for viewing here. Katims Milton was the conductor of the Seattle Symphony from to This collection contains digitized versions of the audio reels he donated to the University of Washington Music Library. UW-Restricted collection. A selection of photographs from the H. Ambrose Kiehl Photograph Collection taken between and The photographs are typical of those found in many family albums of that period and illustrate everyday family life at the turn of the century.

A selection of the best-of-the-best artifacts from the shared collection held by 61 historical societies, libraries and museums, members of the Association of King County Historical Organizations. King County, Washington, through 12, historical 19th and 20th century images portraying people, places, and events in the county's urban, suburban, and rural communities.

Images from the period , documenting the logging industry and other forest related activities in Washington State. Includes images of loggers and logging camps, skid roads, donkey engines, loading operations, logging trucks and railroads. Rare literary works for the Between Liberation Space and Time, exhibition which featured items from the Korean collection of the University of Washington Libraries. The Labor Archives of Washington State has hundreds of photographs and digitized documents showing workers, industrial settings, strikes and union activities, civil rights campaigns, and more.

This portal highlights items from those collections. Photographs of Seattle, ca. Text and hand colored lithographs from: The history of the Indian tribes of North America, with biographical sketches and anecdotes of the principal chiefs. Embellished with one hundred and twenty portraits, from the Indian gallery in the Department of war, at Washington. By Thomas L.

McKenney and James Hall. Philadelphia, E. Biddle, Photographs, ca. A selection of historical menus and other graphic materials from restaurants and dining facilities in the Pacific Northwest from to including the Space Needle Restaurant, Ivar's Acres of Clams, the Dog House, and cruises aboard the Alaska and Pacific Steam Ship Lines. These photographers were active in the Pacific Northwest community from the late 's to the present. Archival items come from live performances, formal and informal interviews, lectures, readings, images, writings, and drawings.

Slides taken by Professor William Zoller, Professor of Chemistry, University of Washington, over a period of three years during research trips with his team to study the chemistry and impacts of the eruption of Mount Saint Helens. Photographs in a study of plant habitats following the May 18, eruption of Mount St.

Included are "permanent plot views", photos taken of the same site over a period of years, along with more general photos of impacted habitats and photos of some of the more common species of plants. A selection of photographic albums and text documenting the Mountaineers official annual outings undertaken by club members from , primarily on the Olympic Peninsula, in Mount Rainier National Park and on Glacier Peak.

The images depict camping and climbing activities, equipment and pack horses, portraits of members, and a variety of splendid scenic views of the Northwest. Portal for digital resources about mountains and mountaineering in Special Collections at the University of Washington. This project has made textual and visual resources about the history of Pacific Northwest mountaineering available online through the University of Washington Libraries Digital Collection. One to four minute film clips from home movies, industrial films, documentaries, news footage, art films, and photomicroscopy techniques.

Sub-collections include the Richard J. Musical scores dating from the 17th through 19th centuries comprised mainly of operas, opera excerpts, and other vocal music. Satirical prints, or caricatures, from the Napoleonic Period, all giving political commentary on events of the period. Fifty of the prints were created by French artists, and thirty-three by English artists. Professor R. Nath's collection of Mughal architecture. Mughal architecture was a far reaching and highly influential style of Indian architecture throughout the 16th, 17th, and 18th centuries, with roots in Islamic and Persian monuments.

Subset of International Collection. The newspapers, North American Times and North American Post ,two significant newspapers which tell the story of Japanese immigration and Japanese American community life in Seattle and beyond. Over photographs including cartes-de-visite and cabinet card studio portraits of entertainers, actors, and actresses who performed on the American stage in the mid- to late s. Many are posed in costume and represent characters from popular theatrical productions of the time.

A growing collection of annual financial reports of companies currently or historically based in the Pacific Northwest. Photographs by Frank Nowell documentating scenery, towns, businesses, mining activities, Native Americans, and Eskimos in the vicinity of Nome, Alaska from A web-based museum showcasing aspects of the rich history and culture of Washington State's Olympic Peninsula communities.

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Moreover, the number of gibbons depicted in the painting can be flexible, not only limited to three, sanyuan. Since the positions in Song courts are hold by elites who achieved jinshi degree, the paintings with gibbons, egrets or deer are used for praising those elites in general. During Song dynasty, the connection between painters and literati, paintings and poem is closer. This timelessness theme evolved from Six Dynasty period and early Northern Song.

A donkey rider travelling through the mountains, rivers and villages is studied as an important iconographical character in developing of landscape painting. In this specific painting Travelers in a wintry forest , the potential candidates for the donkey rider are dismissed and the character can only be Meng Haoran. Meng Haoran has made more than two hundred poems in his life but none of them is related with donkey ride.

Depicting him as a donkey rider is a historical invention and Meng represents a general persona than an individual character. Ruan Ji was depicted as donkey rider since he decided to escape the office life and went back to the wilderness. The donkey he was riding is representing his poverty and eccentricity. Du Fu was portrayed as the rider to emphasis his failure in office achievement and also his poor living condition. Meng Haoran, similar to those two figures, disinterested in office career and acted as a pure scholar in the field of poem by writing real poems with real experience and real emotional attachment with the landscape.

The donkey rider is said to travel through time and space. The audience are able to connect with the scholars and poets in the past by walking on the same route as those superior ancestors have gone on. Besides the donkey rider, there is always a bridge for the donkey to across. The bridge is interpreted to have symbolic meaning that represents the road which hermits depart from capital city and their official careers and go back to the natural world.

The theme of the art in display is carefully picked to reflect not only a personal taste, but also his social status and political achievement. In emperor Zhezong's lecture hall, a painting depicting stories form Zhou dynasty was hanging on the wall to remind Zhezong how to be a good ruler of the empire. The painting also serves the purpose of expressing his determination to his court officers that he is an enlightened emperor.

Most educated and respected scholars were selected and given the title xueshi. They were divided into groups in helping the Instituted of Literature and were described as descending from the immortals. Xueshi are receiving high social status and doing carefree jobs. Lately, the xueshi yuan, the place where xueshi lives, became the permanent government institution that helped the emperor to make imperial decrees.

During Tang dynasty reign of Emperor Xianzong , the west wall of the xueshi yuan was covered by murals depicting dragon-like mountain scene. In , immortal animals like Mount Ao, flying cranes, and xianqin, a kind of immortal birds were added to the murals. Those immortal symbols all indicate that the xueshi yuan as eternal existing government office. During Song dynasty, the xueshi yuan was modified and moved with the dynasty to the new capital Hangzhou in The mural painted by Song artist Dong yu, closely followed the tradition of Tang dynasty in depicting the misty sea surrounding the immortal mountains.

The scenery on the walls of the Jade Hall which full of mist clouds and mysterious land is closely related to Taoism tradition. When Yan Su, a painter followed the style of Li Cheng, was invited to paint the screen behind the seat of the emperor, he included elaborated constructed pavilions, mist clouds and mountain landscape painting in his work. The theme of his painting is suggesting the immortal realm which accord with the entire theme of the Jade Hall provides to its viewer the feeling of otherworldliness.

Another painter, Guo Xi made another screen painting for emperor Shenzong, depicting mountains in spring in a harmonized atmosphere. The image also includes immortal elements Mount Tianlao which is one of the realms of the immortals. In his painting, Early Spring, the strong branches of the trees reflects the life force of the living creatures and implying the emperor's benevolent rule. Northern Song landscape painting different from Southern Song painting because of its paradigm shift in representation.

If Southern Song period landscape painting is said to be looking inward, Northern Song painting is reaching outward. Whereas Southern Song painters decided to focus on personal expression. The painting, A Thousand Miles of Rivers and Mountains is horizontally displayed and there are four mountain ranges arranged from left to right. Similar to another early Southern Song painter, Zhou Boju, both artists glorified their patrons by presenting the gigantic empire images in blue and green landscape painting.

The only difference is that in Zhou's painting, there are five mountain ranges that arranges from right to left. The scenes in the Sothern Song paintings are about north landscape that echos the memory of their lost north territory. However, ironically, some scholars suggested that Wang Ximeng's A Thousand Miles of Rivers and Mountains depicts the scenes of the south not the north. Apart from the contemporary Confucian tradition of insisting on human cultivation and learning to be more educated and build up social framework, Taoist persist on going back to human's origin, which is to be ignorance.

Taoists believe that if one discard wise, the robbery will stop. If people abandon expensive jewelry, thieves will not exist. From Han Dynasty, the practice of Taoism was associated with alchemical and medicine made. In order to better pursuit Taoism belief, Taoist need to go on pilgrim into specific mountains to connect themselves with the spirits and immortals that lived in those mountains. In the third and fourth century, the practice of escaping society and going back to nature mediating in the countryside is further enhanced by a group called Seven Sages of the Bamboo Grove who would like to escape from the civil unrest.

The wise men fleet the world and wonder in the countryside and enjoy the tranquil landscape and forgot to return. The Taoism ideology of forgetfulness, self-cultivation, harmonizing with nature world, and purifying soul by entering the isolated mountains to mediate and seek medicine herbs create the scene of landscape painting. During Han Dynasty, the mountains appeared in the design of the artworks shows the prevalence role of mountain in Han society.

The emperor would climb on to the mountain to sacrifice and religion practice because mountains are thought to have connection between earth and heaven and can link human with spirits and immortals. Hence, landscape painting is used as an object for Taoism practice which provide visualize form for religious ritual. During Six Dynasty period, the landscape painting experienced a stylistic change which myth and poem depiction were introduced into the painting. Furthermore, in Buddhism practice, the mountain also has an important role in religious practice.

From iconographical point of view, a Buddha's image is essence in helping a believer to practice meditation. For instance, Buddha's reflection image, or shadow, is assimilated the image of a mountain, Lushan. This assimilation is also recorded in a poem by poet from Six Dynasty period who pointed out that the beauty and nominosity of the mountain can elevate the spiritual connection between human being and the spirits.

Thus, the landscape painting come into display Buddha's image in people's everyday ritual practice. Moreover, spiritual elevation can be achieved by contemplating in front of landscape painting which depict the same mountain and path those old sages have been to. The painting contains both the spiritual force ling and the truth li of Buddha and also the objects that no longer physically presence.

Hui-Yuan's famous image is closely relation with its landscape scene indicating the trend of transformation from Buddha image to landscape painting as a religious practice. In Chinese society, there is a long-time appreciation of natural beauty. The early themes of poems, artworks are associated with agriculture and everyday life associates with fields, animals. On the other hand, later Chinese painting pursuits majesty and grand.

Thus, mountain scenery become the most popular subject to paint because it's high which represent human eminence. Also, mountain is stable and permanent suggests the eminent of the imperial power.

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Furthermore, mountain is difficult to climb showing the difficulties human will face through their lives. Landscape painting evolved under the influence of Taoist who fled from civil turbulence and prosecution of the government and went back to the wilderness. However, the development of Taoism was hindered by Han dynasty. During Han dynasty, the empire expanded and enlarged its political and economic influence.

Hence, the Taoism's anti-social belief was disfavored by the imperial government. Han rulers only favored portrait painting which enabled their image to be perpetuate and their civilians to see and to memorize their great leaders or generals. Landscape at that time only focus on the trees for literary or talismanic value. The usage of landscape painting as ornament is suspects to be borrowed from other societies outside Han empire during its expansion to the Near East. Landscape and animal scene began to appear on the jars, but the decoration has little to do with connection with the natural world.

Also, there is evidence showing that the emerging of landscape painting is not derived from map-making. During the Three Kingdoms and Six Dynasty, landscape painting began to have connection with literati and the production of poems. Taoism influence on people's appreciation of landscaping deceased and nature worshipping superseded. However, Taoist still used landscape painting in their meditation just as Confucius uses portrait painting in their ritual practice. Ku Kai Chih's admonitions During this time period, the landscape painting is more coherence with variation trees, rocks and branches.

Moreover, the painting is more elaborated and organized. The evolution in landscape painting during Six Dynasty is that artists harmonized sprit with the nature. Wu Tao-tzu Buddhism might also contribute in affecting changes in landscape painting. The artists began to show space and depth in their works where they showed mountain mass, distanced hills and clouds. The emptiness of the space is helping the believers meditating to enter the space of emptiness and nothingness. The most important development in landscape painting is that people came to recognize the infinity variation of the nature world, so they tended to make each tree individualized.

Every landscape painting is restricted by storytelling and is dependent on artists memory. Female characters are almost excluded from traditional Chinese painting under the influence of Confucianism. Under the three-bond theory, women are depicted as housewives who need to obey to their husbands and fathers in literature.

Chinese painting

Similarly, in the portrait paintings, female characters are also depicted as exemplary women to elevate the rule of males. A hand roll Exemplary Women by Ku Kai Zhi, a six Dynasty artist, depicted woman characters who may be a wife, a daughter or a widow. During the Tang dynasty , artists slowly began to appreciate the beauty of a woman's body shinu. Artist Zhang Xuan produced painting named palace women listening to music that captured women's elegance and pretty faces.

However, women were still being depicted as submissive and ideal within male system. During the Song dynasty , as the love poem emerged, the images associated with those love stories were made as attractive as possible to meet the taste of the male viewers. Making a distinction between map and art is difficult because there are cartographic elements in both paintings. Early Chinese map making considered earth surface as flat, so artists would not take projection into consideration. Moreover, map makers did not have the idea of map scale. Chinese people from Song dynasty called paintings, maps and other pictorial images as tu, so it's impossible to distinguish the types of each painting by name.

Artists who paint landscape as an artwork focus mainly on the natural beauty rather on the accuracy and realistic representation of the object. Map on the other hand should be depicted in a precise manner which more focus on the distance and important geographic features. The Changjiang Wan Li Tu, although the date and the authorship are not clear, the painting is believed to be made in Song dynasty by examining the place names recorded on the painting.

Only based on the name of this painting, it is hard to distinguish whether this painting is painted as a landscape painting or as a map. The Shu Chuan Shenggai was once thought as the product done by North Song artist Li Gonglin, however, later evidence disapproved this thought and proposed the date should be changed to the end of South Song and artist remains unknown.

Both those paintings, aiming to enhance viewers appreciation on the beauty and majesty of landscape painting, focusing on the light condition and conveying certain attitude, are characterized as masterpiece of art rather than map. Shanshui in Chinese tradition is given rich meaning, for example mountain represents Yang and river indicates Yin. According to Yin Yang theory, Yin embodies Yang and Yang involved in Yin, thus, mountain and river is inseparable and is treated as a whole in a painting.

From Wikipedia, the free encyclopedia. Artistic tradition. Main article: Six principles of Chinese painting. Further information: Tang dynasty painting.

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China Daily. Archived from the original on September 29, Retrieved August 9, An essay in Chinese Animal Lore". The Hague, Retrieved October 31, Brooklyn Rail. Retrieved March 7, The Art Bulletin.