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This template is used with {} for the purpose of creating a sequence of colors representing an academic scarf. (It can also be used with the older templates {}, {}, {} and {} – but that usage affords less flexibility of design.)
Best For Dark Hair: L’Oréal Paris Colorista Hair Makeup 7. L’Oréal Paris Colorista Hair Makeup. Best For Dark Hair. For dark brown or black hair, we like this highly saturated, squeeze-on color.
According to Hab Touch, director of the National Museum of Cambodia, the krama may date back to the Pre-Angkor Norkor Phnom era, between the first and fifth centuries CE. . Over the period, many Shivas and other Hindu gods wearing the kben (a simple hip wrapper rolled at the waist takes the form of a large krama) have been recovered at the Angkor Borey si
A scarf (pl.: scarves or scarfs) is a long piece of fabric that is worn on or around the neck, shoulders, or head. A scarf is used for warmth, sun protection, cleanliness, fashion, religious reasons, or to show support for a sports club or team. [ 1 ]
Women's headscarves for sale in Damascus In Christian cultures, nuns cover their bodies and hair. Here is an example of a 16th-century wimple, worn by a widowed Queen Anna of Poland, with a veil and a ruff around the neck. A headscarf is a scarf covering most or all of the top of a person's, usually women's, hair and head, leaving the face ...
Mitpaḥot can range from a plain scarf of any material worn over the hair to elaborate head coverings using multiple fabrics and tying techniques. According to Ibn Ezra , already in Biblical times, Israelite women wore a form of cloth head covering similar to that worn by Muslim women in his own time (12th century).
Mola art developed when Guna women had access to store bought yard goods. Mola designs are often inspired by modern graphics such as political posters, labels, pictures from books and TV cartoons, as well as traditional themes from Guna legends and culture. Geometric molas are the most traditional, having developed from ancient body painting ...
Between the eighteenth and nineteenth centuries, votive paintings on the walls of churches reserved for the country's rulers and nobility hypostasiate a wider range of donors. As a result, in the sub-Carpathian areas of Oltenia (especially in Gorj) appear portraits of free peasants, freeholders and yeomen.