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christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Ideas宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
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The handsome youth lassoing the feisty colt in this painting is Rustam, the <em>Shahnama</em>'s most popular hero. A favorite episode for artists, this event marks a turning point in the fortunes of Iran and offers a wonderful pictorial opportunity. <br><br>It occurs in a time of trouble for Iran—the throne is empty and a foreign army has invaded the land. The country needs a mighty warrior to fight for her, and the young Rustam is ready for the challenge—once he finds a horse that can bear his enormous weight! <br><br>The herds are gathered for Rustam's inspection: a piebald bay colt catches his eye. For three years no one has been able to capture the colt, known as "Rustam's Rakhsh." Rustam asks what price the herdsman wants for him. The reply: "If you are a true Rustam—a true 'deliverer'—mount him and make the land of Iran aright. The cost of Rakhsh is the soil of Iran and the deliverance of the world!"
Afghanistan, Herat, Timurid period (1370–1501)
opaque watercolor, ink, gold and silver on paper
Gift of Mr. and Mrs. John D. MacDonald
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
This is a set of royal ceremonial robe and accessories worn by a high-ranking court official for attending special state ceremonies. The set consists of an inner coat, an outer coat, a skirt, a back apron, a crown, a pair of jade tassels, a tablet, and a belt.
Korea, Joseon dynasty (1392–1910)
Blue silk, gauze weave and plain weave; jade and beads (2 sizes)
Overall: 48.3 x 16.5 cm (19 x 6 1/2 in.)
General Income Fund
The modern notion of childhood as a time of innocence and simplicity emerged during the second half of the eighteenth century. This understanding of adolescence led to numerous depictions of children as personifications of the four seasons. Here autumn is portrayed as a young girl playfully jostling her overskirt as she balances a basket of fruit against her hip. The grapes, plums, and apples filling her basket allude to a plentiful fall harvest.
England, Bristol
hard-paste porcelain
Overall: 28.4 x 16.2 x 13.7 cm (11 3/16 x 6 3/8 x 5 3/8 in.)
Did you know...
Allegorical figures most often decorated a table during the dessert course, providing amusing subjects for conversation.
Bequest of Mary Warden Harkness
In this version of the nude Aphrodite, the goddess draws her garment around her. Her pose and the demure gesture of her hand closely follow the famous statue of the Aphrodite of Cnidus by Praxiteles.
13 3/8 x 5 7/16 x 3 1/8 in. (34 x 13.9 x 8 cm)
mount: 4 1/8 x 4 13/16 x 4 13/16 in. (10.5 x 12.3 x 12.2 cm)
medium: marble with traces of red paint
style: Hellenistic
Walters Art Museum, 1931, by bequest.
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A richly decorated burse (purse) to hold the monarch's Great Seal of the Realm has a traditional role in the opening of parliament. The safekeeping of the seal was the responsibility of the Keeper of the Great Seal, an office later incorporated into the role of Lord Chancellor. Because the Great Seal was attached to all major documents of state, it was the ultimate symbol of royal authority. The use of a special burse to hold the seal can be traced back to the end of the 13th century. By the end of the 16th century, the burse had evolved into the highly decorated, professional work of embroidery seen in this object. It includes the lion and unicorn surrounding the royal crest and is made from crimson velvet. Burses were replaced annually; it being a "perk" of office that the Lord Chancellor and Keeper of the Great Seal was allowed to keep the fragments of the old seal and accompanying burse. Portraits of Lord Chancellors, from the Tudor period onward, depict them with their burse. Cleveland’s collection includes one such portrait by American artist Gilbert Stuart (1755–1828) of Irish Lord Chancellor John FitzGibbon, 1st Earl of Clare (1748–1802) who was Lord Chancellor from 1789 to 1802. Baron FitzGibbon’s portrait (1919.910) is on view in gallery 204.
England, 18th century
Red silk velvet, silk embroidery, goldwork, pearls, black beads, sequins, pendant tassels
Overall: 78 x 50 x 5 cm (30 11/16 x 19 11/16 x 1 15/16 in.)
Gift of Mr. and Mrs. J. H. Wade
STEAMS RECAPS HIS BATTLE VS E NESS AT URL’s DEAD ON ARRIVAL EVENT “I 3 – 0 E NESS” battledomination.com/steams-recaps-his-battle-vs-e-ness-a...
The scene depicts two sets of battling beasts. The first is a strangely posed bull-man, wrestling with a fantastic lion-like creature; the second is another strangely posed bull-man, wrestling with a composite horned caprid/bull creature. There is one register of cuneiform.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Akkadian
H: 1 1/8 x Diam: 5/8 in. (2.9 x 1.5 cm)
medium: brown and white stone
culture: Akkadian
Walters Art Museum, 1941, by purchase.
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund