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Our Handcraft Arts              

    Along with the development of modern art, artworks are not only exhibited in public and private galleries or museums, they also appear in ordinary places and families, bringing elegance and beauty into everyday life. Grass fabric painting , hand silk embroider art , straw patchwork art and leaf carving art are natural art forms which come from the oriental art forms. They all have long history of development, inheriting the essence of Chinese traditional cultures. In the meantime, modern individualized designs give the old art forms a new look. Please enjoy the artworks which bring traditional art and modern art in harmony!

  Original works be supplied, Buddhist/Zen/ painting, Pyrography, Chinese Painting, Ceramics Arts, great works from excellent famous chinese artists, we ensure they are Original works, and show you relative document from artist. Welcome to MYADORNART GALLERY, www.myadornart.com.!

 What is the Silk Embroidery Art?

      Silk embroidery is Chinese traditional handicraft. It is a special painting using silk and chemical fiber as ‘canvas’, silk thread as ‘paint’, and a tiny steel needle as ‘brush’, creating all kinds of images, designs and characters. China has developed a long history of embroidery techniques for 2,000 years. Qing Dynasty (early 17 century – early 20 century) has achieved its peak in Chinese embroidery history. Nowadays, not only color arrangements, but also the varieties and combinations of stitch techniques have been developed at its best level. Silk embroidery paintings take famous paintings as its source, making the finished artwork almost a replica of its original version, and pursuing its own artistic expressiveness for this unique art form. Silk embroidery is becoming more and more appreciated as modern artwork, and used in artistic decorations and furnishings.

What is the Straw Picture Art?              

    Straw painting is traditional Chinese handicraft made from wheat straws. Its uniqueness and characteristics are shown by ingenious application of natural features of wheat straws such as golden color, natural sheen and texture,   taking into account of brightness, shade, thickness and spacing of straws, making appropriate overall arrangement of picture composition. To get a piece of finished artwork, dozens of technical procedures need to be processed by hand, such as engraving, polishing, fulling, dissection, evaporation, torrefaction, ironing, coloring up, cut and paste, inlay, and so on. The artistic techniques used in straw artwork are borrowed from many other art forms such as paper cut, print, pyrograph, paste, painting, etc. All these techniques bring rich expressiveness in straw painting, making it a unique art form with artistic features of primitive, lifelike, and elegant tastes.

   The material used in straw patchwork is eco-friendly, safe and unpolluted. Finished artwork is easily conserved without color fading, distortion, going moldy, and being worm-eaten. Straw painting is gradually getting appreciated and becoming a new pursuit for art collectors. It is also used in decorations in public places and private families. The Great Hall of the People and the Memorial Hall of Asian Olympic Village in Beijing, and the City Hall of Berlin in Germany all have straw patchwork displayed.
What is the Leaf Carving Art?              
   Leaf carving is a newly emerged art craft. A select leaf goes through more than 20 procedures before it becomes a piece of finished artwork. The main steps are leaf selecting, soaking, cleaning, bio-treating, pounding, rubbing, design finalizing, carving, and dozens of other procedures. Techniques used in leaf carving are borrowed from many of other art forms such as print, carving, paper-cut, calligraphy, thus leaf carving has developed its unique artistic style. As no two leave are the same, each piece of leaf carving artwork needs to take its unique shape and veins into consideration in order to harmonize artificial design with the beauty of nature, accordingly, interlaced veins, even natural deformity of a leaf are adopted to create a state of livingness.

    Finished artwork of leaf carving wears natural colors of reddish brown, light brown, and dark brown in sunlight. These colors come from the natural permanent pigment which is formed after molecules of chlorophyll are specially treated in processing. Although the leaf artwork is as thin as a wing of cicada, it is not crisp, but as pliant as a piece of cloth. It is also resistant to acid, alkali and humidity. All these physical characteristics are innovations of art craft which are far better than many traditional painting materials, and make the artwork of leaf carving easy and convenient for collection and preservation.

    The artwork of leaf carving is becoming highlights in modern furnishings for ordinary homes, hotels, and offices as well as a best choice of present for friends, adding an element of fashion and elegance to our lives.

What is the silk scroll painting of calligraphy arts ?   

     China´s silk culture, the history is glorious. As early as Song Dynasty and Song Dynasty, China´s drawing overwhelming majority on take the silk as a raw material. Spreads until now, many great silk picture regards as human common civilization and the wealth to be collected by both home and abroad famous museums and the collectors.

   In the silk to be handed down for restores Chinese calligraphy and painting art, will reappear Chinese ancient times of calligraphy and painting charm, the wisdom of the Chinese nation´s unremitting efforts with the Chinese calligraphy and painting artworks handed down in silk reproduced on the brilliant, the former palace of the cache, into ordinary families, people could have no distance to feel the national treasure of the artistic charm and appreciate her profound and the great cultural connotation.

    Exquisite silk scroll painting of calligraphy art using the frame type of doing, the upper and lower margins of a page uses the high-quality brocade, the design, the color tradition is refined. Scroll to produce exquisite, refined style, excellent taste, the rich implication of the traditional culture, is a perfect combination of art calligraphy painting art and the silk craft, which enjoy great value for collection.


(1)the paintings you can find in the ´Silk Scroll Painting´ are all copy one of great original woks, the original be collected in musuems of domestic and abroad, we have exquisite silk books, such as the theories of Confucius, Mencius, Sun Tzu. as collections.

(2)there are a number of elegant designs paintings to choose from, can also be customized according to the content of the requirements.


 What is the Chinese Leather Carving Arts? 

Leather carving art as the mean carving by hand with a knife and paint on leather, the techniques of the leather carving need looks back to the times of nomadism, it was popular used in Mongolia of china, carving map or simple decorations on sheepskin or cattle skin, up today it be developed to high lever, becoming to be highlights in mordern life as they not only carry forward the charm and value of traditional chinese art, but also adopt the essence from other culrures in the world.

Leather carving art is a hand-crafted art, choose the cattle skin special in north china, finished an artwork there are about twenties procedures need to be done by hand, the main steps are making reticle, carving, striking, painting by hand, polishing, finalizing the design, framing mount, and so on. Leather carving artworks not only maintain the natural characteristics of cattle skin in its particular colors, rough texture and sense of primitive simplicity, Chinese cultural traditions, showing natural character of skin, hand-feeling, third dimension, lively, wild, but elegant, no color flow away forever, this art form also adopts modern elements of designs and colors, showing spirit of contemporary art. It brings the features of ancient elegance and exquisiteness with modern artistic elements in harmony, promoting the value and taste of decoration art.


What is the Pyrograph Arts? 


Pyrograph is a kind of Chinese traditional painting and also one of rare varieties of paintings in the world. Pyrograph is the painting pokered on the wood plank or silk fabric with metal of high temperature by taking advantage of structure, tissue and mechanism of wood and the effect they produce. It is also called poker-picture. After an electric iron is heated to over 200, it is used to poker a picture on a plank by means of special techniques, fully making use of all kinds of rich natural structures, tissue and colors of wood, combining all kinds of human-made mechanisms created by the painter, which result in carbonization to different degrees on the surface of the plank and a natural and colorful picture of combination of light yellow, middle yellow, brown and black, is produced. But everyone know it is very difficult make painting on thin silk fabric, mainly painting mounted as silk scroll, it appear exquisite bring life high taste.

 Pyrograph has a history of over 2000 years in China. The earliest works of pyrography appeared at the end of Western Han Dynasty and flourished in the Eastern Han Dynasty. They were then presented to the Emperors as articles of tribute. And they were senior gifts sent by prominent officials and eminent personages to each other. Up to the present, it is one of the gifts that are presented to international friends by national leaders.

  Works of Chinese pyrography can be stored for a long time without fading colors, this is because colors on the painting are not added on the surface of the plank but those pokered with high temperature by means of electric iron. The colors are the result of carbonization of different degrees when the plank is pokered with high temperature. Therefore, the painting is antique, dignified and elegant. And it is well worth being appreciated and collected. In case there is any dust on the painting, they can be erased with a piece of wet cloth without fading colors, very convenient for cleaning. Being made of multiple-layer plywood, the painting does not distort and is not apt to be damaged. As a result, a Chinese pyrograph is the prime choice as the painting for household decoration hangings.

  A poker-picture is drawn through many processes. First of all, mechanism and effect of wood and high temperature for the painting should be understood. Painting work can’t be started until these mechanisms enter the brain of the painter and a concrete image is formed. The process of painting is a special sensual effect of natural mechanism with human-made mechanism integrating heaven and man, which cannot be substituted by any variety of painting. So Chinese pyrograph is a treasure of the nation.

What is the Tibetan Thangka Painting? 

A Thangka is a painted or embroidered banner which was hung in a monastery or a family altar and carried by lamas in ceremonial processions. In Tibetan the word ´than´ means flat and the suffix ´ka´ stands for painting. The Thangka is thus a kind of painting done on flat surface but which can be rolled up when not required for display. The most common shape of a Thangka is the upright rectangular form. One does also find horizontal oblong banners influenced probably by the format of Chinese horizontal hand scrolls.

On the basis of techniques involved and materials used thangkas can be grouped into several categories. Generally they are divided into two broad categories: those which are painted (called bris-than in Tibetan) and those which are made of silk either by weaving or with embroidery called (gos-than). The painted thangkas are further divided into five categories:

  • Thangkas which have different colors in the background
  • Thangkas which have a gold background
  • Thangkas which have a red background
  • Thangkas painted on a black background
  • Thangkas whose outlines are printed on cotton support and then touched up with colors

Thangkas are painted on cotton canvas with water soluble pigments, both mineral and organic, tempered with a herb and glue solution. The entire process demands great mastery over the drawing and perfect understanding of iconometric principles.

The execution of a Thangka painting can be divided into six steps:


Preparation of the painting surface

Tibetan painters pay great importance to the preparation of the painting surface since Thangka paintings are to be rolled up for storage and then unrolled for display. Any sort of defect due to neglect may cause cracks or make the paint peel off. A piece of cotton cloth of slightly open weave is stitched on to a narrow wooden frame along all its four sides. This lightly framed cotton is then tightly stretched over a larger wooden frame or stretcher with a stout thread by a system of crisscross lacing. After setting up the cloth in the frame it is treated from both the front and back with a thin layer of gesso, which is made up of glue and zinc oxide. The canvas is then burnished on both sides with a stone or conch shell to produce a smooth and lustrous surface.


Before sketching different parts of the composition, eight major lines of orientation are drawn. These include a central perpendicular, two diagonals, a horizontal and four outer borders. Now with charcoal or graphite the rough drawing of the deity in full accordance with the canonical proportions is delineated. Within a given composition, the center stage is invariably occupied by the principal personage, while all acolytes and attendants are greatly reduced in size to further emphasize the majesty and enormity of the central figure.

 Application of Color Color is more than a visual proposition in Sacred Buddhist Painting. The five basic colors white, yellow, red, black and green have different symbolic meanings. Black symbolizes killing and anger, white denotes rest and repose, yellow stands for restraint and nourishment, red is indicative of subjugation while green is the known hue of exorcising practices. The palette of the Thangka painters has been classified into ´seven father colors´ and one ´mother color´. The seven father colors are: deep blue, green, vermilion, minimum orange, maroon, yellow and indigo. The mother color is white which interacts perfectly with all these hues. The lighter shades resulting from the mixture of ´father´ and ´mother´ were referred to as their sons. Written evidence from the eighteenth century identifies fourteen such ´sons´.
For any large project, the master painter first visualizes the final color scheme and indicates them on the sketch with an abbreviated notation system.
While applying the colors the painter proceeds from the distant parts to those parts stationed near him.
Shading and Color Gradations

After laying the initial coats of flat color the painter proceeds to apply thin coats of dyes diluted in water. Shading in Tibetan Thangkas is always done to add effects of volume and dimension to the form be it a human figure, an anthropomorphic image of some deity or clouds, water, flames, rocks, flowers, curtains, seats, etc. Cast shadows and highlights are unknown aspects of the pictorial imagery of the Thangka. Very often the empty green field of the foreground is shown fading gradually into the horizon and such effects are obtained with ´wet shading´, a technique of gradual blending of two adjoining areas of wet paint.


In an essentially linear pictorial expression like the Thangka, the art of outlining plays a significant role. To set off objects from the background or to demarcate subdivisions of a certain form, or to emphasize a swirling mass of flames, painters select the indigo and lac dyes for perfect results.

Finishing Details

At this final stage the facial features are finished and the eyes of the deities are painted. For this ´eye opening´ an elaborate consecration ritual on an auspicious full moon day is fixed and only after the vivification ritual does the painter complete the eyes in swift sure strokes. The whites of the eyes are softened with orange and red at the corner ends, eyelid edges are darkened and then the iris is added according to the required stance of the deity. The two most commonly fashioned varieties of eyes are ´bow eyes´ and grain eyes´ besides a few fearsome looking ones for the wrathful deities.
In order to turn the areas of gold shiny they are burnished gently with an onyx tipped tool after placing a wooden support against the back of the canvas.

Next, the cord fastenings are cut with a knife and the painting is removed from the stretcher. The Thangka is then mounted with Chinese silks. Often the Thangka is provided with a cover of gossamer silk. When the Thangka hangs on an altar the cover is gathered up to the top and acts as a curtain. Two narrow sticks are attached to the top and the bottom so that the Thangka can be easily rolled up for storage or for a journey.

Most Tibetan artists do not sign their works. Every act of creation is considered to be divine with the artist simply serving as a mortal instrument, and so his own identity is inconsequential. Also, attaching one´s name to a work is considered an egotistical act, and it is the duty of the artist, like all pious Buddhists, to destroy the ego.


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