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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.
Auspicious symbols and motifs continue to be used in present-day China in industries, such as home textiles and clothing; they are also used in modern design packaging and interior design. [5] Some of these Chinese auspicious ornaments were also adopted by European countries during the era of Chinoiserie, where they became decorative patterns ...
Silver was another common materials in the making of Chinese ornaments and ritual items since ancient times; it also holds an irreplaceable place in Chinese culture and plays a significant role in being a carrier of Chinese traditional culture and in preserving ancient Chinese cultural heritage.
Buyao (simplified Chinese: 步摇; traditional Chinese: 步搖; pinyin: Bùyáo; lit. 'step-shake') is a type of Chinese women's hair ornament. [1] It is a type of Chinese hairpin which was oftentimes decorated with carved designs and jewelries that dangles when the wearer walks, hence the name, which literally means "shake as you go".
When the Twelve ornaments were used in different amounts, it could denote different social ranks; for example, in 59 AD during the Eastern Han dynasty, [6] it was specified that the 12 ornaments concerning the sun, the moon and the star had to be used for the emperors while 9 ornaments concerning mountains and dragons should be used by the 3 ...
For example, the Hall of Supreme Harmony features the most roof ornaments of the palaces within the Forbidden City, and therefore is the most important of the three. In addition to the Hall of Supreme Harmony, wenshou are featured in smaller numbers on the Hall of Central Harmony and the Hall of Preserving Harmony at the Forbidden City.
Chinese flask decorated with a dragon, clouds and some waves, an example of Jingdezhen porcelain In a 1941 essay, [ 1 ] the architectural historian Sir John Summerson called it "surface modulation". The earliest decoration and ornament often survives from prehistoric cultures in simple markings on pottery, where decoration in other materials ...
Chinese character Qi (气), Spring and Autumn period The clouds physical characteristics (being wispy and vaporous in nature) were associated with the Taoist concept of qi (气; 氣), especially yuanqi, [3]: 133 and the cosmological forces at work; [1] [note 4] i.e. the yuanqi was the origins of the Heavens and Earth, and all things were created from the interaction between the yin and yang.