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Some make the distinction that phulkari only refers to sparingly-embroidered flowers, whereas a large, intricately embroidered flower pattern is known as a bagh. [6] [7] That is to say, in other varieties of phulkari, the base cloth is still visible, whereas in a bagh, the embroidery covers the entire garment so that the base cloth is not ...
A lamba akotofahana exhibiting the full range of colors and detailed patterns of the shawls worn by pre-colonial nobles, woven by artist Martin Rakotoarimanana, has likewise been recently displayed at the Metropolitan Museum of Art. [11] Malagasy artist Madame Zo has incorporated the traditional styles of lamba weaving into her textile art. [12]
Toda embroidery, also locally known as "pukhoor", [1] is an art work among the Toda pastoral people of Nilgiris, in Tamil Nadu, made exclusively by their women. [1] The embroidery, which has a fine finish, appears like a woven cloth [2] but is made with use of red and black threads with a white cotton cloth background.
Hmong women at a market in Sapa, Vietnam. Hmong Textile Art consists of traditional and modern textile arts and crafts produced by the Hmong people.Traditional Hmong textile examples include hand-spun hemp cloth production, basket weaving, batik dyeing, and a unique form of embroidery known as flower cloth or Paj Ntaub in the Hmong language RPA.
Different shawls like Ajrak, Lungee (silk, cotton and wool made shawls) or any other locally made shawls or handkerchiefs were carried on shoulders. Two Sindhi men in Sindhi Kancha, Patko and Ajrak. During the medieval period and prior to the Mughal rule, the costumes worn by the people of Sindh resembled the dresses worn in Iraq and adjoining ...
The Khmer term "Sbai" encompasses any thin and soft garment, particularly referring to a shawl-like or breast cloth mainly worn by women and occasionally by religious men. In the founding legend of the Khmer nation, the Preah Thong and Neang Neak legend, the Sbai symbolizes the tail of the Naga princess.[9][10]