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Albert Van de Put categorizes the decorative motifs into ten categories: large mock-Arabic character, small mock-Arabic character, spur-band and cross-hatching, flower and leaf on dotted ground, large vine-leaf and small flower (two sizes), foliage, bryony leaf and small flower, smaller rounded vine-leaf, and diapering of dots and stalks ...
Jan van Eyck, The Arnolfini Portrait, 1434, National Gallery, London Rogier van der Weyden, The Descent from the Cross, c. 1435, Museo del Prado, Madrid. Early Netherlandish painting is the body of work by artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period, once known as the Flemish Primitives. [1]
Silk pile can be used to highlight special elements of the design in Turkmen rugs, but more expensive carpets from Kashan, Qum, Nain, and Isfahan in Persia, and Istanbul and Hereke in Turkey, have all-silk piles. Silk pile carpets are often exceptionally fine, with a short pile and an elaborate design.
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In Northern Europe, silk was an imported and very expensive luxury. [8] The well-off could afford woven brocades from Italy or even further afield. Fashionable Italian silks of this period featured repeating patterns of roundels and animals, deriving from Ottoman silk-weaving centres in Bursa, and ultimately from Yuan Dynasty China via the Silk ...
The painting depicts an annual imperial ceremony of silk production, held in spring. It shows three groups of Tang dynasty court ladies at work. Viewing from left, one figure sitting on the ground is preparing a thread and the other is sewing while sitting on a stool. The right group of four ladies are pounding the silk with wooden poles.