Relevant bibliographies by topics / Persian Embroidery

Contents

  1. Journal articles
  2. Book chapters

Academic literature on the topic 'Persian Embroidery'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Persian Embroidery.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Persian Embroidery"

1

Mamarajabov, Gayrat Abdulkhakimovich, and Fazliddin Jovlievich Izzatullaev. "HISTORICAL ANALYSIS OF THE ART OF EMBROIDERY IN THE UZBEK NATIONAL CRAFT." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 06 (June 28, 2021): 53–57. http://dx.doi.org/10.37547/history-crjh-02-06-12.

Full text
Abstract:
The art of embroidery, embodied in the world famous masters of the Uzbek people and the national fabrics they create, with its brilliance, variety of colors, Islamic conditions has found its place in the world national art. Although our national embroidery has evolved over the centuries and is distinguished by beauty, diversity and regional differences, in turn, they complement each other. The word kashta comes from the Persian-Tajik language and means "kashida", which means to pull, sew. Embroidery is an important branch of the applied arts of the Surkhandarya oasis. Among the embroidery items of the population of the oasis are suzana, zardevor, borposh, sandalposh, jainamaz, lolabolish, belars (belt), kettle, bag for salt, bag for spoons, glass bag, brick, towels designed to cover beds.
APA, Harvard, Vancouver, ISO, and other styles
2

SHARMA, MANJALI, and URMILA RAO. "Indo-western garments with banni embroidery having persian motifs." ASIAN JOURNAL OF HOME SCIENCE 9, no. 2 (December 15, 2014): 514–18. http://dx.doi.org/10.15740/has/ajhs/9.2/514-518.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"A Research of Embroidery Industry in Medieval Bengal (13th -17th Century)." International Journal of Innovative Technology and Exploring Engineering 8, no. 6S4 (July 26, 2019): 998–1000. http://dx.doi.org/10.35940/ijitee.f1205.0486s419.

Full text
Abstract:
The article essays at bringing together the knowledge of embroidery productions in medieval Bengal as derived from various sources such as local, Persian and travellers account. An attempt has been made to identify embroidery productions and its demands in internal and external markets as well as impact on economic life of the people of Bengal. About the embroidery industry during the period under study still exists a gap requiring an inquisitive research which will reveal the exact or near to exact scenario with respect to these aspects of non-agrarian economy so, this study is an attempt to answer such questions, mainly on the evidences provided by foreign traveller’s records, Persian sources, and other contemporary’ records.
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Persian Embroidery"

1

Johnson, George. "Explanatory Writing." In A Field Guide for Science Writers. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195174991.003.0026.

Full text
Abstract:
I remember with some precision when I began believing that there is nothing so complex that a reasonably intelligent person cannot comprehend it. It was a summer day, when I was 15 or 16, and my best friend, Ron Light, and I decided that we wanted to understand how a guitar amplifier works. We both played in a mediocre I96os-era garage band. While Ron went on to become a fairly accomplished guitarist, I was slowly learning that any talent I had didn't lie within the realm of music. Already the aspiring little scientist, I was able to learn enough of the logic of basic harmony theory to execute the mindlessly simple algorithms called bass riffs, and if pressed I could even fire off a bass solo, the dread of concertgoers everywhere. But my approach to the performance was purely intellectual. I didn't have rhythm, or maybe soul. Poring over the symbols on the circuit diagram of Ron's Fender Deluxe Reverb amplifier seemed infinitely more interesting than trying to read music. I wanted to know what that impressively convoluted blueprint really meant, how electricity flowing through the labyrinth of wires and components could cause the tiny vibration of a guitar string to be multiplied so many times that it rocked the walls of the living room, inciting the neighbors to call the police. This was still the era of the vacuum tube, before those glowing glass envelopes were replaced by coldly efficient transistors and microchips. Electronics was pretty simple to understand. I had already learned some basics from The Boys' Second Book of Radio and Electronics and the guide for the Boy Scout electricity merit badge (the colorful embroidered patch was decorated with a human fist clutching zigzag lightning bolts). In a typical circuit, there were resistors that, true to their calling, resisted electricity, pinching the flow of electrons. There were capacitors, also aptly named, that stored electrical charges. There were tightly wound coils of copper wire called inductors that would hold energy in the form of electromagnetic fields. Finally, there were the vacuum tubes themselves, mysterious pockets of illuminated nothingness inside of which the actual amplification took place.
APA, Harvard, Vancouver, ISO, and other styles
2

"the novel, to the embroidered message in Ethiopian hieroglyphs which Persinna exposed with her daughter and which remained unread until Kalasiris tracked her down in Delphi and deciph­ ered it: Above all, be sure to find among the treasures that I laid beside you a certain ring. Keep it by you always. It was a gift that your father gave me during our courtship, engraved all around with the royal crest and set with a pantar be jewel that endows it with holy, mystic powers. (4.8.7) These holy, mystic powers are unspecified.9 Nevertheless, the mere mention of them would lead a competent reader to surmise that the plot would exploit them sooner or later, and an exceptionally alert reader might beat the author to the connection in Book 8. It is not difficult to find other sections within the narrative of the Aithiopika which are constructed as riddles, a vital piece of information being kept back and then released as an answer. Two more examples can be mentioned briefly, both from the ninth book, whose military subject matter could easily lead to the false assumption that its narrative technique is simple. Oroondates is besieged by the Ethiopians in Syene. He parleys with them, and secures their permission to send two envoys to his troops at Elephantine, ostensibly to negotiate their surrender at the same time as his. His real motives are not divulged, nor are they when he makes an apparently impossible break-out and stealthily enters Elephantine by night (9.7ff.). The riddle set is: what is his plan?, and, as is by now familiar, the reader’s ignorance is produced by the exploitation of partial in-text viewpoints. In this case all Oroondates’ actions are described as seen by the Ethiopians with­ out authorial explanation. Some additional clues are given later in the narrative, but the full answer is withheld until the moment when the Persian army from Elephantine suddenly turns up with Oroondates at its head (9.13), at which point the omniscient nar­ rator intervenes to fill in the gaps he had left in his own narrative. There ensues a battle, in which the Persians have a seemingly decisive weapon, their armoured cavalry. A lengthy description stresses the totality of the protection of both rider and horse and the awesome power of their arms (9.15). Against them Hydaspes stations troops of the Blemmyes and Seres, two subject nations, with special instructions which are not communicated to the." In Greek Literature in the Roman Period and in Late Antiquity, 325. Routledge, 2014. http://dx.doi.org/10.4324/9780203616895-40.

Full text
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography