wholesale sterling works jewelry Chinese traditional pattern names; Ji Fa Huan traditional pattern -dragon pattern in the ancient pattern decoration of China, dragon has a very important position. It inherits the philosophical thoughts and national consciousness of the Chinese nation for thousands of years. The dragon pattern is not ordinary decoration, but a product with special spiritual connotation. Dragon is a symbol of the Chinese nation. It is an ideal animal. The ancients believed that it was the highest auspicious auspiciousness, so it was called one of the worship. The origin of the dragon was very early, and the dragon pattern of slave society was used for decoration as early as the slave society. Over time, the development of history, the content of the dragon pattern is continuously enriched, and various forms of dragon patterns appear. There are dragon patterns in the past dynasties of China, and their shapes and expressions are different, and they have the atmosphere of their respective times. The simple and immature prehistoric style dragon pattern appears as an auspicious decorative significance in ancient times when the Neolithic era alternates. The dragon map of this period is relatively primitive and clumsy. It mainly appeared on the shape and decorative patterns of bronze and jade at that time. Its appearance characteristics are relatively simple and abstract. During the Neolithic period, the shape of the dragon was complicated. The decoration was scheduled to overlook, and the two effects were used to create a dual effect of the two parties. The late Yin Shang was the extremely prosperous period of dragon pattern decoration at this time. The color of the dragon pattern is deepened, and the body's posture becomes complex. The "retrospective" dragon pattern is widely circulated at this time. The double -headed dragon pattern that appeared at this time. The relaxed and romantic Spring and Autumn Period style dragon pattern as the decorative pattern of regular utensils has lost the characteristics of the past shape, and the solemn device type has a dynamic and rhythmic sense of rhythm. Dragon pattern abstraction and specificization of dragon lines gradually differentiated. The theme of the dragon pattern is clear, the lines are smooth, and the dragon pattern has transformed from the decorative art of serving God to the artistic work that serves people. The auspicious meaning of the dragon is strengthened and the use is increased. This is a dragon pattern into a beast -shaped shape of the limbs, and the image is more realistic, and the foundation of the dragon -shaped formation of the later generations is established. Most of the dragon patterns on the utensils are described as a snake body, and the image is full of tension. The Warring States Dragon Yadong Wang Chenglong Feitian's magnificent Qin and Han Dragon Dragon and Han Dynasty, the decorative paintings were booming, deep and strong, and magnificent. The connotation of dragon and the major changes in monetization techniques have begun to disappear. The Han Dynasty Dragon became the transition of the theme of Tianzi. At this time, there are mostly portrait stones, portrait bricks, gravery murals and Han Dynasty tiles. Most of the dragon patterns are flying, and the charm is vivid, and the dragon has become part of the fairy world. Dragon pattern is used in the theme of "attracting the soul". In the Han Dynasty, the portrait of the Han Dynasty brick portrait was graceful and luxurious in the Tang Dynasty dragon pattern of the Tang Dynasty. The shaping of the dragon shape is more plump and vibrant. Dragon patterns have become more and more symbols of ruling class imperial power, thus bringing a rich and prominent atmosphere. At this time, the dragon pattern is more common on the bronze mirror. The Tang Dynasty's thoughts were open, and the culture of various places continued to communicate. The combination of dragon pattern and cloud pattern becomes a major feature at this time. The Tang Dynasty Shuanglong Merglin Bronze Mirror of the Tang Dynasty Single Dragon Meridity Copper Mirror Elegant Song Dynasty Dragon Dragon Dragon Image became a symbol of rule. A large number of dragon patterns appear on the royal porcelain. The most obvious sign of Royal Porcelain is the dragon pattern. The back of the Yunlong pattern is used in a large number of plates. On the bowl of bowls, the typical things of the seawater dragon pattern are combined with the dragon pattern to monetize the dragon in the seawater. During this period of densely, the dragon pattern in the Ming and Qing dynasties had a mature and perfect mood during this period. The dragon is hovering with versatile, with a plump body, and one leg is together at the end of the end, generally three claws. Dragon pattern, as a sign of the rule of the imperial power, has a full rich and prominent atmosphere. During this period, the dragon patterns were mostly dragon patterns, wearing flower dragons, cloud dragon patterns, water dragon pattern grass dragon text, etc. In the Qing Dynasty, the dragon pattern Jiofu Ming embroidered the golden dragon flower pattern python was originally refers to the big snake, and the note in "Eria" said: "The python, the biggest of the snake, hence the king snake." The python is second only to the dragon. The shape is almost the same as the dragon. The difference between the two is on the claws (toes), and the python only uses four claws. "Wanli Ye was edited" said: "The python clothes are the clothes of Xianglong, and the robe of the Supreme Supreme Robe, but reduced one -claw ear." In terms of the statement, the court of people has always taken the python pattern as the highest level, and the word "衮 的" can only be used to call the emperor's dragon robe (that is, the dragon robe). If there are five -claw dragon patterns in the robes of foreign kings or tribal leaders (king) or prince, only "python dragons", not "衮 dragon", differently displayed respect for humility. The Ming Dynasty python pattern flying fish evolved from the Capricorn in ancient Indian mythology. Its head is like dragons, two feet, four -claws, double wings, fishtails, a pair of abdominal fins. The python is the same, four -footed, four claws, wingless, and only retaining the tail of the tail. Flying fish clothing is the official service of civil servants, second only to python clothes. The Ming Dynasty Feiyu Bu Zongzi Bullon was originally refers to the fighting and cattle in the twenty -eighth bed. Later, it also became the Swiss beast of Xianglong (Zhou Qi "Name" Test ":" Bull fights like dragons. "). Four claws, fishtails, binae on the head bent down like horn. Compared with python clothes and flying fish clothes, the level of bullfighting clothes is slightly lower. In the Ming Dynasty, the bullfighting pattern was generally deer, unicorn, and the whole body had scales, and the tail was elegant. It changes with the same times, earlier like an deer -gymphonic body, like a horse body, and the beast is approximately dragon. In the Ming and Qing Dynasties, Kirin used as more decorative patterns, and some heads and tails gradually became dragon -shaped hoofs. Qingcai embroidered military officer's traditional pattern -Babao Hua Baohua started in the Ming Dynasty. In the Ming Dynasty, there was a "eight treasure flowers" brocade. According to the characteristics of the treasure -phase flower pattern, the lotus was used as the main body, and the "eight treasures" pattern embedded with Buddhism on the flowers -treasure pot, treasure umbrella, lotus, Pisces, and snail snails , Tian Gai, Falun and Eight Ji, also known as "Eight Auspicious". It is composed of eight treasures and flowers. Therefore, the name is "Eight Treasure Flowers". The meaning of auspicious and auspicious patterns refers to a decorative pattern with a certain auspicious meaning with the tortuous methods such as implicit and homophonic. Its start can go back to Shang and Zhou dynasties. The auspicious pattern starts in the Shang and Zhou dynasties, developed in the Tang and Song dynasties, and it was prosperous in the Ming and Qing dynasties. In the Ming and Qing dynasties, it was almost necessary to be intentional, and it would be auspicious.它们所要表达的只有四个含意：“富、贵、寿、喜”：贵是权力、功名的象征；富是财产富有的表示，包括丰收；寿可保平安，有延年之意；喜， It is related to marriage, friendship, multi -son and grandson. As an important part of traditional Chinese culture, auspicious patterns have become one of the signs of cognitive national spirit and national purpose. The themes of the silk auspicious patterns of the Ming and Qing Dynasties are very wide. Flowers and plants, hummingbirds, birds, birds and beasts, all of them. It looks ordinary, and there is no shortage of interest and affection. There are generally three constituent methods: one is expressed in patterns, and the other is represented by homophonic, and the third is to explain in text. Traditional auspicious patterns are immediately shared jade fun in peace
jewelry 925 silver wholesale Valley patterns, vortex lines, tadpoles: symbolize the awakening of all things in spring, vibrant scenes and people's hope of bumper agricultural harvest.
The first appeared in the jade wares of the Spring and Autumn Period, and developed into a comma character in the Warring States Period, like a tadpole with tails, so it is commonly known as tadpole patterns. Valley patterns are like germinations of grains, and are the products of the development of farming civilization. It is related to the food that humans live. It symbolizes the awakening of all things, the vibrant scene and people's hope for the harvest of the agricultural harvest. "Zhou Li · Daorui" has the saying "Zi Zhigu Wall, Male Polygan". The valley patterns on the jade articles were rare after the Han Dynasty. The Song Dynasty and the Qing Dynasty were only produced, but it was not as good as the Warring States Period and the Han Dynasty. The valley patterns are often referred to as vortex and lying silkworm patterns. In fact, the three are indeed not much different. Generally speaking, people often turn the hemisphere or grains with bud lines to become "vortex", and the grains with rough and round germination lines are called "lying silkworm patterns". Tattoos.
wholesale natural semi precious bead chips for jewelry making The origin of Chinese traditional Wenxiang, the origin of his pattern, and she was burning Tao Yong in ancient times.
wholesale sterling works jewelry Chinese traditional pattern names; Ji Fa Huan traditional pattern -dragon pattern in the ancient pattern decoration of China, dragon has a very important position. It inherits the philosophical thoughts and national consciousness of the Chinese nation for thousands of years. The dragon pattern is not ordinary decoration, but a product with special spiritual connotation. Dragon is a symbol of the Chinese nation. It is an ideal animal. The ancients believed that it was the highest auspicious auspiciousness, so it was called one of the worship. The origin of the dragon was very early, and the dragon pattern of slave society was used for decoration as early as the slave society. Over time, the development of history, the content of the dragon pattern is continuously enriched, and various forms of dragon patterns appear. There are dragon patterns in the past dynasties of China, and their shapes and expressions are different, and they have the atmosphere of their respective times. The simple and immature prehistoric style dragon pattern appears as an auspicious decorative significance in ancient times when the Neolithic era alternates. The dragon map of this period is relatively primitive and clumsy. It mainly appeared on the shape and decorative patterns of bronze and jade at that time. Its appearance characteristics are relatively simple and abstract. During the Neolithic period, the shape of the dragon was complicated. The decoration was scheduled to overlook, and the two effects were used to create a dual effect of the two parties. The late Yin Shang was the extremely prosperous period of dragon pattern decoration at this time. The color of the dragon pattern is deepened, and the body's posture becomes complex. The "retrospective" dragon pattern is widely circulated at this time. The double -headed dragon pattern that appeared at this time. The relaxed and romantic Spring and Autumn Period style dragon pattern as the decorative pattern of regular utensils has lost the characteristics of the past shape, and the solemn device type has a dynamic and rhythmic sense of rhythm. Dragon pattern abstraction and specificization of dragon lines gradually differentiated. The theme of the dragon pattern is clear, the lines are smooth, and the dragon pattern has transformed from the decorative art of serving God to the artistic work that serves people. The auspicious meaning of the dragon is strengthened and the use is increased. This is a dragon pattern into a beast -shaped shape of the limbs, and the image is more realistic, and the foundation of the dragon -shaped formation of the later generations is established. Most of the dragon patterns on the utensils are described as a snake body, and the image is full of tension. The Warring States Dragon Yadong Wang Chenglong Feitian's magnificent Qin and Han Dragon Dragon and Han Dynasty, the decorative paintings were booming, deep and strong, and magnificent. The connotation of dragon and the major changes in monetization techniques have begun to disappear. The Han Dynasty Dragon became the transition of the theme of Tianzi. At this time, there are mostly portrait stones, portrait bricks, gravery murals and Han Dynasty tiles. Most of the dragon patterns are flying, and the charm is vivid, and the dragon has become part of the fairy world. Dragon pattern is used in the theme of "attracting the soul". In the Han Dynasty, the portrait of the Han Dynasty brick portrait was graceful and luxurious in the Tang Dynasty dragon pattern of the Tang Dynasty. The shaping of the dragon shape is more plump and vibrant. Dragon patterns have become more and more symbols of ruling class imperial power, thus bringing a rich and prominent atmosphere. At this time, the dragon pattern is more common on the bronze mirror. The Tang Dynasty's thoughts were open, and the culture of various places continued to communicate. The combination of dragon pattern and cloud pattern becomes a major feature at this time. The Tang Dynasty Shuanglong Merglin Bronze Mirror of the Tang Dynasty Single Dragon Meridity Copper Mirror Elegant Song Dynasty Dragon Dragon Dragon Image became a symbol of rule. A large number of dragon patterns appear on the royal porcelain. The most obvious sign of Royal Porcelain is the dragon pattern. The back of the Yunlong pattern is used in a large number of plates. On the bowl of bowls, the typical things of the seawater dragon pattern are combined with the dragon pattern to monetize the dragon in the seawater. During this period of densely, the dragon pattern in the Ming and Qing dynasties had a mature and perfect mood during this period. The dragon is hovering with versatile, with a plump body, and one leg is together at the end of the end, generally three claws. Dragon pattern, as a sign of the rule of the imperial power, has a full rich and prominent atmosphere. During this period, the dragon patterns were mostly dragon patterns, wearing flower dragons, cloud dragon patterns, water dragon pattern grass dragon text, etc. In the Qing Dynasty, the dragon pattern Jiofu Ming embroidered the golden dragon flower pattern python was originally refers to the big snake, and the note in "Eria" said: "The python, the biggest of the snake, hence the king snake." The python is second only to the dragon. The shape is almost the same as the dragon. The difference between the two is on the claws (toes), and the python only uses four claws. "Wanli Ye was edited" said: "The python clothes are the clothes of Xianglong, and the robe of the Supreme Supreme Robe, but reduced one -claw ear." In terms of the statement, the court of people has always taken the python pattern as the highest level, and the word "衮 的" can only be used to call the emperor's dragon robe (that is, the dragon robe). If there are five -claw dragon patterns in the robes of foreign kings or tribal leaders (king) or prince, only "python dragons", not "衮 dragon", differently displayed respect for humility. The Ming Dynasty python pattern flying fish evolved from the Capricorn in ancient Indian mythology. Its head is like dragons, two feet, four -claws, double wings, fishtails, a pair of abdominal fins. The python is the same, four -footed, four claws, wingless, and only retaining the tail of the tail. Flying fish clothing is the official service of civil servants, second only to python clothes. The Ming Dynasty Feiyu Bu Zongzi Bullon was originally refers to the fighting and cattle in the twenty -eighth bed. Later, it also became the Swiss beast of Xianglong (Zhou Qi "Name" Test ":" Bull fights like dragons. "). Four claws, fishtails, binae on the head bent down like horn. Compared with python clothes and flying fish clothes, the level of bullfighting clothes is slightly lower. In the Ming Dynasty, the bullfighting pattern was generally deer, unicorn, and the whole body had scales, and the tail was elegant. It changes with the same times, earlier like an deer -gymphonic body, like a horse body, and the beast is approximately dragon. In the Ming and Qing Dynasties, Kirin used as more decorative patterns, and some heads and tails gradually became dragon -shaped hoofs. Qingcai embroidered military officer's traditional pattern -Babao Hua Baohua started in the Ming Dynasty. In the Ming Dynasty, there was a "eight treasure flowers" brocade. According to the characteristics of the treasure -phase flower pattern, the lotus was used as the main body, and the "eight treasures" pattern embedded with Buddhism on the flowers -treasure pot, treasure umbrella, lotus, Pisces, and snail snails , Tian Gai, Falun and Eight Ji, also known as "Eight Auspicious". It is composed of eight treasures and flowers. Therefore, the name is "Eight Treasure Flowers". The meaning of auspicious and auspicious patterns refers to a decorative pattern with a certain auspicious meaning with the tortuous methods such as implicit and homophonic. Its start can go back to Shang and Zhou dynasties. The auspicious pattern starts in the Shang and Zhou dynasties, developed in the Tang and Song dynasties, and it was prosperous in the Ming and Qing dynasties. In the Ming and Qing dynasties, it was almost necessary to be intentional, and it would be auspicious.它们所要表达的只有四个含意：“富、贵、寿、喜”：贵是权力、功名的象征；富是财产富有的表示，包括丰收；寿可保平安，有延年之意；喜， It is related to marriage, friendship, multi -son and grandson. As an important part of traditional Chinese culture, auspicious patterns have become one of the signs of cognitive national spirit and national purpose. The themes of the silk auspicious patterns of the Ming and Qing Dynasties are very wide. Flowers and plants, hummingbirds, birds, birds and beasts, all of them. It looks ordinary, and there is no shortage of interest and affection. There are generally three constituent methods: one is expressed in patterns, and the other is represented by homophonic, and the third is to explain in text. Traditional auspicious patterns are immediately shared jade fun in peace
jewelry 925 silver wholesale Valley patterns, vortex lines, tadpoles: symbolize the awakening of all things in spring, vibrant scenes and people's hope of bumper agricultural harvest.
The first appeared in the jade wares of the Spring and Autumn Period, and developed into a comma character in the Warring States Period, like a tadpole with tails, so it is commonly known as tadpole patterns. Valley patterns are like germinations of grains, and are the products of the development of farming civilization. It is related to the food that humans live. It symbolizes the awakening of all things, the vibrant scene and people's hope for the harvest of the agricultural harvest. "Zhou Li · Daorui" has the saying "Zi Zhigu Wall, Male Polygan". The valley patterns on the jade articles were rare after the Han Dynasty. The Song Dynasty and the Qing Dynasty were only produced, but it was not as good as the Warring States Period and the Han Dynasty. The valley patterns are often referred to as vortex and lying silkworm patterns. In fact, the three are indeed not much different. Generally speaking, people often turn the hemisphere or grains with bud lines to become "vortex", and the grains with rough and round germination lines are called "lying silkworm patterns". Tattoos.
wholesale natural semi precious bead chips for jewelry making The origin of Chinese traditional Wenxiang, the origin of his pattern, and she was burning Tao Yong in ancient times.