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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.
Pommel pattern Guri (屈輪) / Pommel scroll [21] Geometric Diagonal Diagonal straight lines Lishui: Diagonal wavy lines Semicricles Horizontal semi-circles Woshui Curvilinear Swirl [4] Wavy Wavy Boqu [4] Others Yunleiwen ( 云雷纹)/ Cloud-and-thunder pattern (meander) Yunleiwen: Yunwen (云纹) / Cloud patterns (meander) Yunwen
The cloud collar motif used around the necks of Chinese jars and vases could have been derived from the cloud collar (clothing item) or may have been developed independently from the actual collar as the jars and vases were themselves perceived as a miniature version of the universe. [4]
Clouds, also referred as auspicious clouds (xiangyun 祥云), are the symbols of good fortune and happiness, [18] as well as a good omen of peace and the symbol of heavens. [17] Clouds designs have been used in artworks as early as the Eastern Zhou dynasty. [19] in the ancient times, auspicious clouds were of associated with deities and good ...
The Twelve Ornaments (Chinese: 十二章; pinyin: Shí'èr zhāng) are a group of ancient Chinese symbols and designs that are considered highly auspicious. They were employed in the decoration of textile fabrics in ancient China, which signified authority and power, and were embroidered on vestments of state.
Patterns with cranes are usually also seen with clouds in the background. [1] Cloud patterns are divided into three shapes. The first shape is a cloud being blown in the wind, the second shape is a cloud floating in the sky, and the third is scattered and dotted clouds. These shapes of cloud patterns were different by era.
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In this period, dragon designs were very large at the chest and back and smaller at the shoulders, with cloud and fire patterns all over the robe. One could see that the pattern style was closer to late Míng than early Míng, therefore Lê Dụ Tông's robe patterns were only specific to an era of the Restored Later-Lê, while the Early Later ...