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In the scenes, a sea with waves surrounds rocks growing with pine trees. The rocks are colored green, blue, brown, and are highlighted with gold. The waves consist of alternating lines of white and gold. The clouds and embankments are made of gold leaf particles, accented with a silver pigment which has turned to a soft black over time.
When used on dragon robes, lishui could be combined with turbulent waves and a rock in the middle of the clothing. [2] [7] Lishui represents the deep water; the rock represents the sacred mountain (山, shān), which is the representation of the Universe [2] or the Earth. [7] The turbulent waves were buddhist elements. [2]
Waves are disturbances that carry energy as they move. Mechanical waves propagate through a medium – air or water, making it oscillate as they pass by. [68] Wind waves are sea surface waves that create the characteristic chaotic pattern of any large body of water, though their statistical behaviour can be predicted with wind wave models. [69]
The older generations of Gee's Bend quilters are known for one-of-a-kind designs with clashing colors and irregular, wavy lines — visual effects borne of their material constraints.
Image credits: Detroit Photograph Company "There was a two-color process invented around 1913 by Kodak that used two glass plates in contact with each other, one being red-orange and the other ...
Mountains and Sea is a 1952 painting by American abstract expressionist painter Helen Frankenthaler. [2] [3] Painted when Frankenthaler was 23 years old, it was her first professionally exhibited work. [4] Though initially panned by critics, Mountains and Sea later became her most influential and best known canvas. [5] [6]
Incoming wave (red) reflected at the wall produces the outgoing wave (blue), both being overlaid resulting in the clapotis (black). In hydrodynamics, a clapotis (from French for "lapping of water") is a non-breaking standing wave pattern, caused for example, by the reflection of a traveling surface wave train from a near vertical shoreline like a breakwater, seawall or steep cliff.
Comparing with texture found within static images, analyzing dynamic texture is a challenging problem. [2] It is important that the extracted features from dynamic texture combine motion and appearance description, and also be invariance to some transformation such as rotation, translation and illumination.