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The following other wikis use this file: Usage on ca.wiktionary.org concèntric; Usage on de.wikipedia.org Benutzer:Andre Gellert; Benutzer:Kheinisch
A software rendering of a spinning barber pole Barber pole, c. 1938, North Carolina Museum of History Barber shop in Torquay, Devon, England, with red and white pole. A barber's pole is a type of sign used by barbers to signify the place or shop where they perform their craft.
The meander is a fundamental design motif in regions far from a Hellenic orbit: labyrinthine meanders ("thunder" pattern [3]) appear in bands and as infill on Shang bronzes (c. 1600 BC – c. 1045 BC), and many traditional buildings in and around China still bear geometric designs almost identical to meanders.
Traditional Chinese visual design elements: their applicability in contemporary Chinese design (Master of Science in Design thesis). Arizona State University. Welch, Patricia Bjaaland (2012). Chinese art : a guide to motifs and visual imagery. Boston, US: Tuttle Publishing. ISBN 978-1-4629-0689-5. OCLC 893707208.
(white flag, charged with the Olympic rings in blue, yellow, black, green, and red, representing the five continents Europe, Asia, Africa, America, and Oceania) Flag of the People's Republic of China (red flag, charged with yellow canton stars in the top left corner, colors reminiscent of the Flag of the Qing dynasty and the Flag of the ...
Paisley or paisley pattern is an ornamental textile design using the boteh (Persian: بته) or buta, a teardrop-shaped motif with a curved upper end. Of Persian origin, paisley designs became popular in the West in the 18th and 19th centuries, following imports of post- Mughal Empire versions of the design from India, especially in the form of ...
Jazz is a trademarked design that is featured on disposable cups. [1] The design was introduced in 1992, and is considered an icon of 1990s culture. Jazz has also become a meme and has gained a cult following. Fans have applied the design to various objects, including automobiles, shirts, and shoes.
Often Chinese paintings would be produced on a sheet of plain white rice-paper or silk using nothing but black ink and a single brush. These paintings were made to demonstrate the power of a single line, and in them was reflected a skill that valued intentional and calculated strokes over instinctual erratic creation.