For more than one hundred years, tourists and residents alike have flocked to Ye Olde Curiosity Shop, located on Seattle's waterfront. Here a mummy nicknamed Sylvester, a collection of shrunken heads from Ecuador, a two-headed calf, and a mermaid preside over walls and cases crammed with an incredible jumble of souvenirs and trinkets, intermixed with authentic Northwest Coast and Alaskan Eskimo carvings, baskets, blankets, and other artworks. The guestbook records visits by Theodore Roosevelt, Will Rogers, Jack Dempsey, Charlie Chaplin, J. Edgar Hoover, Katherine Hepburn, John Wayne, Sylvester Stallone, and Queen Marie of Rumania, among many others. Ye Olde Curiosity Shop was founded in 1899 by Joseph E. "Daddy" Standley, an Ohio-born curio collector who came to Seattle in the late 1890s during the Yukon gold rush.Although Native American material vied for space with exotica from all corners of the globe, it soon grew to be the mainstay of the shop, which became identified with the whalebones displayed outside and the "piles of old Eskimo relics" within. Also to be found were baskets, moccasins, ivory carving from Alaska, Tlingit spruce root baskets, Haida "jadeite" totem poles, masks, paddles, and other curiosities from the Northwest Coast. Indians from the Olympic Peninsula brought baskets, coming up to the back door of the shop in their canoes. Others, originally from British Columbia but now living on the flats not far from the shop, carved miniature totem poles by the hundreds and full-size poles on commission. Trading companies supplied Indian curios from the Plains, Southwest, and California.An art historian trained in the classic arts of the Northwest Coast, Kate Duncan became interested in the history of the shop when she learned that it had not only been an active participant in Seattle's 1909 Alaska-Yukon-Pacific Exposition but had also been a major source of important Northwest Coast collections in many museums, including, among others, the Royal Ontario Museum, the George G. Heye Collection (now in the Smithsonian's Museum of the American Indian), the Washington State Museum, the Newark Museum, the Portland Art Museum, and the American Museum of Natural History.Granted full access by the present owners - grandson and great-grandson of "Daddy" Standley - to the remarkably complete archives maintained from the time the shop opened, Duncan has provided a fascinating chapter in the history of Seattle, especially in its early years, as well as a significant contribution to the literature on tourist arts and collecting. Kate Duncan, professor of art at Arizona State University, is also the author of "Northern Athapaskan Art: A Beadwork Tradition", and coauthor of "A Special Gift: The Kutchin Beadwork Tradition" and "Out of the North: The Subarctic Collection of the Haffenreffer Museum of Anthropology".
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坦白说,我是一个对知识的碎片化吸收非常挑剔的人。我讨厌那些故作高深的晦涩语言,也不喜欢那种肤浅的、只停留在表面的介绍。然而,这本书的叙事节奏把握得极其精准。它似乎深谙如何用最轻盈的笔触,去触碰那些最深邃的知识内核。我随便翻开其中的一章——关于某种已灭绝的深海生物的介绍——那种描述方式,既有科学的严谨性,又充满了文学的想象力。它不是简单地罗列数据,而是将那个生物的生存环境、它可能的习性,用一种近乎诗歌的方式描绘出来,让你仿佛能闻到那深海的咸湿气息。这种叙事上的张力,使得即便是那些我原本觉得枯燥的历史或自然科学片段,也变得生动活泼起来。我发现自己经常会因为一个精妙的比喻或一个出乎意料的转折而停下来,反复咀嚼那种文字带来的回味无穷的乐趣。这种高水准的文本构建,让我对作者的知识储备和文字功底由衷地感到钦佩。
评分从主题的广度来看,这本书构建了一个令人惊叹的知识网络。它似乎触及了从古老的炼金术到前沿的量子物理,从失传的语言到深海生物学的方方面面。但最令人印象深刻的是,它没有陷入“大杂烩”的陷阱。所有的主题,无论看起来多么不相关,最终似乎都通过某种微妙的哲学线索或历史的巧合联系在一起,形成了一个宏大而自洽的知识宇宙。这需要作者具备极高的跨学科整合能力。我常常在阅读一个看似简单的自然现象介绍时,突然被引导到一段关于人类认知偏差的历史论述,然后又自然地过渡到某种文化符号的演变。这种编织知识的能力,使得阅读过程充满了不断的“啊哈!”时刻。它成功地打破了我原有的知识壁垒,让我开始以一种更加整体和联系性的视角去看待这个世界上的各种现象,这远超出了我最初对一本“好奇事物集锦”的期待。
评分这本书的排版和印刷质量,简直可以拿到博物馆去展览了。我尤其注意到,在处理那些需要大面积图示的章节时,印刷厂使用了不同于正文的纸张和油墨,这使得图像的层次感和色彩的饱和度得到了极大的提升。举个例子,书中描绘古代星象仪的某一页,那些金属的反射光泽和细微的刻度线,清晰到仿佛你可以用指尖去触摸到那些冰冷的黄铜表面。这在很多追求成本效益的出版物中是极其罕见的。更不用说,字体选择和行距的微调,都显示出一种对“阅读舒适度”的极致追求。我花了很长时间来研究那些页边距的处理,它们恰到好处地为眼睛提供了休息的空间,同时也确保了内容不会显得拥挤。这种对物理载体的尊重,让我深刻感受到,出版方和作者是将这本书视为一件艺术品来对待的,而不是仅仅当作信息载体。
评分阅读的体验,对我而言,某种程度上等同于一次精神上的旅行。我通常不会一次性读完一本书,更倾向于让它成为我日常生活中那些碎片化空闲时间的“伴侣”。这本书最让我赞赏的一点,是它的“可中断性”和“重入性”设计得非常巧妙。你不需要带着强烈的目的性去阅读它,随便翻到任何一个角落,都能立刻找到一个可以让你驻足欣赏的点。比如,某天晚上,我只是想放松一下,随手翻到关于中世纪炼金术符号的一页,结果被那些繁复而充满象征意义的图形深深吸引,我竟然花了一个小时去研究那几个简单的几何图形背后所蕴含的宇宙哲学。第二天,我又可能被一段关于某种失落文明的建筑细节所吸引。这种随遇而安的阅读体验,极大地降低了阅读的“压力感”,反而让知识的摄入变成了一种无意识的、愉悦的享受。它成功地将“阅读”从一项任务,转变成了一种生活方式的延伸。
评分这本书的封面设计简直是一场视觉的盛宴,那种复古又带着一丝神秘感的插画风格,一下子就把我的思绪拉回到了孩童时代,仿佛每一个图案都在低语着一个未被讲述的故事。我记得我是在一个阳光明媚的午后,在一家老旧的书店里发现了它,那一刻,我的心跳都漏了一拍。它的装帧厚重而考究,皮革的纹理在指尖下传递出一种难以言喻的质感,让我舍不得放手。我迫不及待地翻开第一页,期望着能立刻沉浸到一个充满奇珍异宝的世界。虽然我还没来得及细读里面的每一个“好奇的事物”,但我光是浏览那些精美的图版和排版布局,就已经感到了一种极大的满足。作者在设计这个“入口”时,显然投入了巨大的心血,它不仅仅是一本书,更像是一个精心准备的邀请函,邀请我去探索那些隐藏在字里行间的光怪陆离。这种对细节的执着,让我对接下来要阅读的内容充满了无限的期待和敬畏。它散发出的那种古老的智慧和现代审美的完美结合,是市面上许多快餐式读物所无法比拟的。
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