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Historical evidence suggests that vytynanky began to be made in Ukraine at the end of the fifteenth to early sixteenth century, but it took quite some time before they became an integral part of the decorative arts practiced at the grass roots level. During the nineteenth century decorative paper cutouts spread all across the Ukrainian countryside.
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.
A decorative paper sheet with paisley and Greek key patterns printed in relief from 18th century Italy in the collection of the Metropolitan Museum of Art. A wool rug ca.1900-1920 from the Navajo people in the Early Crystal style, with key patterns forming the outer border.
The palmette is a motif in decorative ... In the repeated border design commonly referred to as ... c.1479–1400 BC, originally fresco, tempera on paper ...
Perforating is used to create decorative and special lace patterns in parchment craft. Minimal tracing is required when perforating; designs are usually created by taping the parchment over a pattern and perforating directly over it. Various needle tools are used in the perforating technique.
Chinese paper-cutting originated from the practice of worship of both ancestors and gods, a traditional part of Chinese culture dating back roughly two millennia. According to archaeological records, paper-cutting originates from the 6th century, although some believe that its history could be traced back as far as the Warring States period (around 3 BC), long before paper was invented.
Two decorative strips, called jingyan (惊燕; literally "frighten swallows"), are sometimes attached to the top of the scroll. [ 2 ] [ 5 ] At the bottom of the scroll is a wooden cylindrical bar, called digan (地杆), attached to give the scroll the necessary weight to hang properly onto a wall, but it also serves to roll up a scroll for ...
The long papers were passed over on wooden rods overhead, with the section of paper to be printed placed flat on a table in front of the craftsman. One block was used for each colour. The typical Morris design used as many as twenty different colours, but some were more complex. The Saint James design (1881) required sixty-eight different blocks.
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