🌟Visit @scholten_japanese_art at @ifpda this weekend at the Park Avenue Armory!
Returning to this iconic setting, they’re showcasing a stunning selection of Japanese woodblock prints, including masterpieces by Ito Shinsui!
➡️ asiaweekny.com/visit-scholt...
#scholten_japanese_art #ifpda #asianart
🌷@alisanfineartsnyc @seizan_ny @taimoderngallery present a dynamic cross-section of contemporary Asian art next weekend at the Dallas Art Fair!
Distinct visions, diverse mediums, and powerful perspectives coming together in one place!
➡️ asiaweekny.com/upcoming-gal...
#dallasartfair #asianart
I have been driving past this surfing #mural in #Sheboygan for ages and just twigged that it is an homage to legendary Japanese artist #Hokusai’s “Great Wave off Kanagawa”!! #woodblock #print #Japan #art #greatwave #ukiyo-e #Kanagawa #Edo #Japanese #AsianArt #water #tidalwave
Luong Xuan Nhi (Vietnam, 1914-2006), "A Reading Girl," oil on canvas, 1940; Fukuoka Asian Art Museum. #vietnam #art #arte #portrait #modernart #asianart #paintings #peintures #kunst #oilpainting #museum #artgallery
Utagawa Hiroshige, "Japanese Tit on Camellia Branch," woodblock print, c.1840-49. #birds #flowers #art #japaneseart #asianart #japaneseprint #woodblockprint #japanesewoodblockprint #nature #botanicalart #museum #artgallery
Boi Tran (Vietnam, b.1957), "Lady with Plumeria," oil on canvas, 2019; photo: Lua La Gallery. #vietnam #asianart #art #arte #paintings #peintures #modernart #contemporaryart #oilpainting #museum #artgallery
Two Asian women share a cool, quiet interior arranged around a long dark wooden table. On the left, a woman sits sideways on a chair, her posture upright but relaxed, one bare foot slipping free below a black floral skirt. She wears a white high-collared blouse with wide blue trim and holds an open fan across her lap, while one hand rises near her mouth in a small, thoughtful gesture. Across from her, another woman sits on a low stool with her back turned from us. Her dark hair is gathered up, and one arm lifts as she studies herself in a small hand mirror. The mirror offers the only view of her face, a reflection rather than a direct portrait. Between them rests a tea service on a red runner, and farther down the table a tall blue-and-white vase holds pale blossoms. The room is spare and hushed, built from gray-blue walls, dark furniture, and carefully placed objects. The two women are close together, yet their attention seems inward, suspended between companionship and solitude. That tension gives the painting its staying power. Tea often suggests conversation, welcome, and shared ritual, but Chinese artist Wang Xiaojin (王笑今) turns the scene into something quieter and more psychological. The woman at left presents herself outwardly, fan in hand, while the woman at right is only knowable through reflection. The result is a painting about looking as much as about tea including the gap between outer grace and inner life. The porcelain vase, blossoms, table setting, and dress evoke a refined Chinese domestic world, yet the stylized figures and controlled composition feel distinctly modern. Wang, born in 1968 in Manzhouli, Inner Mongolia, studied in Shandong and later worked in Beijing. His paintings blend Eastern and Western visual languages, and that synthesis is visible here. He does not simply recreate tradition. He stages it, using elegant women, ritual objects, and reflective surfaces to explore performance, beauty, restraint, and emotional distance.
“Chinese Tea” by 王笑今 / Wang Xiaojin (Chinese) - Oil on canvas / 2002 - Museum of Art (Online) #WomenInArt #WangXiaojin #王笑今 #MuseumOfArt #ChineseArt #art #artText #BlueskyArt #ChineseArtist #ChineseContemporaryArt #AsianArtist #AsianArt #TeaCulture #ChineseTea #arte #WomenInPainting #2000sArt
Senaka Senanayake (Sri Lanka, b.1951), "Butterflies," oil on canvas, 2015; photo: Grosvenor Gallery. #srilanka #asianart #southeastasianart #butterflies #flowers #abstractart #contemporaryart #modernart #botanicalart #paintings #oilpainting #museum #artgallery
Thai artist Jiab Prachakul is a compelling figurative painter because she makes quiet moments feel cinematic without turning them into melodrama. Born in Nakhon Phanom, Thailand, trained first in film, and self-taught as a painter, she often builds paintings from memory, photographs, friendship, and the emotional weather of diasporic life. This scene grew from time spent in Sauzon, Belle-Île-en-Mer, and its mood is about the charged space between people who know each other well. In bright coastal daylight, two women crouch on a pale quay beside still blue water. The woman at left turns away from us, her short dark bob and clear glasses outlined against the sky. She wears a loose white top and white trousers with dark socks and heavy black boots, her posture compact and inward. At right, a second woman in a sheer black top and dark cropped trousers crouches on the balls of her feet, also in sturdy black boots. Her blunt fringe and lightened hair ends catch the sun. Hoop earrings and sharply modeled cheekbones add to her alert, stylish presence. Between them, her hands extend forward and folding over one another. To their left are two wine glasses. A small boat drifts at left, while a lighthouse sits at the end of a long breakwater. Gold sparks of reflected sunlight skip across the water as the women’s shadows stretch behind them. The title promises easy intimacy, but the painting gives something subtler: companionship with room for privacy, glamour edged with thoughtfulness, and closeness that does not erase individuality. Prachakul’s attention to clothing, pose, and gesture makes identity feel lived rather than symbolic. The lighthouse and harbor suggest navigation, pause, and emotional bearings. This work also expands who inhabits contemporary painting with elegance, sensitivity, and psychological depth. It is not just a picture of two stylish women by the sea. It is a study in how relationships can be tender, self-possessed, and slightly mysterious all at once.
“Girlfriends” by Jiab Prachakul (Thai) - Acrylic on linen / 2022 - North Carolina Museum of Art (Raleigh, North Carolina) #WomenInArt #JiabPrachakul #Prachakul #NCMA #NorthCarolinaMuseumofArt #art #artText #arte #ThaiArt #ThaiArtist #AsianArt #WomensArt #WomanArtist #WomenArtists #WomenPaintingWomen
In M+’s collection record, the English title is given as “I Graze Horse for My Motherland,” a literal rendering whose slightly stiff phrasing reflects the original Chinese slogan-like cadence. Painted in 1973, during the Cultural Revolution in China, this work turns horse-tending into a heroic national image. Chinese artist Guang Tingbo (廣廷渤) presents women as capable workers and defenders by blending pastoral labor, military readiness, and patriotic duty into one seamless scene. Three idealized, almost joyful young Asian women ride and manage a small group of horses across an open grassland under a bright sky. At left, one woman in a vivid red coat sits on a white horse. Beside her, a rider in dark green military uniform raises a hand to her brow as if eagerly scanning the distance. At right, a third woman, also dressed in olive military garb, turns her horse forward with a rifle slung across her back. Brown, black, and white horses move diagonally through the foreground and middle distance, creating a sense of speed and coordinated motion. The ground is lush with green grass dotted with flowers plus water, low buildings, and pale blue hills in the distance. Mao-era art often promoted women as full participants in socialist construction, but always within a collective political script. Here, confidence, beauty, and strength are all directed toward service of the nation. The galloping horses symbolize vigor, discipline, and forward momentum while the vast landscape suggests abundance and ideological clarity rather than hardship. The woman in red provides warmth and visual optimism, while the military gear reminds us that even scenes of rural life were shaped by revolutionary expectations. Guang, born in 1938 in Liaoning and associated with the generation trained in post-1949 socialist realism, paints freedom defined by collective purpose. The painting’s power lies in a tension between radiant openness and carefully managed political meaning.
“我為祖國放駿馬” (I Herd Fine Horses for the Motherland) by 廣廷渤 / Guang Tingbo (Chinese) - Oil on canvas / 1973 - M+ Museum (Hong Kong) #WomenInArt #GuangTingbo #廣廷渤 #MPlusMuseum #M+Museum #artText #art #arte #ChineseArt #ChineseArtist #PoliticalArt #HorseArt #AsianArt #BlueskyArt #PropogandaArt #1970sArt
🥂 Nine incredible days. One unforgettable week. ✨
The 17th edition of Asia Week New York has come to a close—welcoming visitors from around the globe and earning widespread attention and various press coverage. Explore all the highlights and reviews!
➡️ asiaweekny.com/press-covera...
#asianart
🌆 @space_776 and @taimoderngallery head to EXPO Chicago, April 9–12!
Discover standout works and dynamic presentations that reflect each gallery’s distinctive vision. Don’t miss the chance to experience their booths in person.
Learn more today!
➡️ asiaweekny.com/space-776-ta...
#asianart
Lord Sesha rears his heads at Wat Phra Kaew. He's the cosmic serpent of Buddhism.
🐉
#bangkok #bkk #thailand #gothaibefree #thailandinsider #watphrakaew #travel #gaytravel #gaytraveler #gaytraveling #iglta #lgbttravel #lgbtqtravel #vacation #worldtravel #solotravfel #art #asianart #buddhism
Lee Mei-shu (Taiwan, 1902-1983), "In the Greenhouse," oil painting, nd; National Taiwan Museum of Art. #taiwan #asianart #art #modernart #paintings #peintures #arte #oilpainting #figurative #museum #artgallery
🌻 Asia Week New York may be over, but the discovery continues ✨ Many captivating exhibits are still on view across the city—offering more chances to experience extraordinary Asian art. Take the time to explore, revisit favorites, & uncover something new!
➡️ asiaweekny.com/ongoing-asia...
#asianart
Phansakdi Chakkaphak (Thailand, b.1949), "Lagerstroemia Loudonii," watercolor on paper; Shirley Sherwood Collection; photo: Pha Tad Ke Botanical Garden. #thailand #southeastasia #asianart #flowers #botanicalart #botanicalillustration #art #arte #watercolor #museum #artgallery
Senaka Senanayake (Sri Lanka, b.1951), "White Lotus," oil on canvas, 2014; Grosvenor Gallery. #lotus #flowers #srilanka #asianart #art #arte #modernart #paintings #oilpainting #peintures #museum #artgallery
💃🏻 Asia Week is in full swing with just four days to go!
Explore 18 AWNY galleries, catch live auctions, and join captivating events all day. Don’t miss your chance to experience extraordinary Asian art—on view through Friday!
➡️ asiaweekny.com/day-6-dont-m...
#AWNY2026 #AWNY #AsianArt
🎉 Asia Week New York kicks off a new week of incredible Asian art discoveries! Live auctions begin today, alongside lectures, book launches, previews, & curator-led tours. Explore our member galleries & catch every moment of this week’s dynamic events!
➡️ asiaweekny.com/day-5-more-s...
#asianart
#treasures #rarefinds #coolstuff #asianart #artwork #design #pottery #satsuma #style #sunday #auction
#japan #asian #art #homedecor #decor #collector #sunday
ebay.us/m/QCBW8i
ebay.us/m/QCBW8i
They don’t make them quite like this any more. Incredible artwork design on this item
#trending #trends #art #craft #sunday #shop #homerecor #oldiebutgoodie #unique #asianart
🌸 Day 4 of our Open House Weekend is here—don’t miss it!
Visit 18 member galleries across the city, with engaging talks, special auction previews, and online presentations and sales. Discover more exceptional range of Asian art and rare works today!
➡️ asiaweekny.com/day-4-asia-w...
#asianart
If people don’t understand how huge #Iran is and how difficult #terrain is, #AsianArt Museum screened a documentary called “Mother of Snow Cranes” about a Finnish woman who lived in Iran for 50 years as a naturalist.
She lived in place called Babolsar on Caspian Sea. That black line is 4-5 hr drive
A sketch of six South Asian characters celebrating Eid al-Fitr. From top left to bottom right: an older Kashmiri woman named Hajar points at a Quran while a Gujarati Siddi man named Akbar looks on in interest. A Gujarati Siddi woman named Hridya nervously at her opponent, a Kashmiri person named Ura, while watching them make their next move in a game of Carrom. Siyona, a Gujarati woman, grins gleefully at her friend Nylah who is doing her henna. Hridya, Siyona, and Nylah are wearing saris while Ura and Akbar are wearing kurtas. Hajar is wearing a pheran.
happy #eidulfitr I wanted to draw some of my desi ocs happy in some alternate universe where things go right 🫶
#eidmubarak #ramadan #pocartist #art #ocart #sketch #asianart
Painted in 1966, this work reflects Liu Kang’s mature synthesis of Western modernism and Southeast Asian subject matter, a hallmark of the Nanyang style he helped define. Having trained in Shanghai and Paris, Liu adapted Post-Impressionist color and structure to local environments, focusing on everyday life rather than monumental themes. A horizontal scene unfolds as a dense, immersive flower market where a group of Southeast Asian women, with medium to light-brown skin tones, move quietly among thick clusters of tropical plants and cut blossoms. Their bodies are elongated and softly contoured, outlined in dark, fluid lines. Most wear simplified dresses in muted blues, greens, and warm pinks, with hair tied back or falling long over their shoulders. Several tilt their head downward, eyes cast toward the flowers they hold or examine, creating a shared mood of calm focus. In the foreground, large leaves and white, yellow, coral, and deep red blooms rise to chest height, partially obscuring hands and torsos. At right, a woman in a vivid orange dress bends forward, gently gathering small yellow flowers, while a central figure in pink stands upright, anchoring the composition. Background figures dissolve into cool blue-green haze, their features softened, as if seen through humidity or memory. This market is more than a place of commerce. It is a shared social space shaped by care, labor, and quiet attention. The women are not individualized portraits but part of a collective rhythm, visually interwoven with the plants they handle. This blending of human and botanical forms suggests interdependence with cultivation as both economic and emotional practice. The softened edges and dreamlike palette evoke memory rather than strict observation, inviting us to feel the stillness, closeness, and sensory richness of color and scent. Liu elevates an ordinary scene into something lyrical and contemplative, where beauty emerges through everyday gestures and communal presence.
“花市 (At the Flower Market)” by 刘抗 / Liu Kang (Chinese-born Singaporean) - Oil on canvas / 1966 - National Gallery Singapore #WomenInArt #LiuKang #刘抗 #Kang #NationalGallerySingapore #NanyangStyle #artText #art #arte #asianart #blueskyart #paintingofwomen #SingaporeanArt #SingaporeArt #ChineseArtist
Yamaguchi Hoshun (Japan, 1893-1971), "Sunny Moments in the Rainy Season," painting, nd; Yamatani Museum of Art. #flowers #flowerpainting #spring #japaneseart #japanesepainting #japan #asianart #paintings #museum #artgallery
Zhou Shenghua, "The Winter Journey," woodcut, 1998; Art Institute of Chicago. #winter #China #asianart #woodcut #printmaking #art #arte #museum #artgallery
👏 Get ready for Asia Week New York 2026! 🎨
Explore an extraordinary collection of Asian art from our member auction houses:
@bonhams1793
@christiesinc
@doylenewyork
@freemansauction
@heritageauctions
@sothebys
➡️ asiaweekny.com/asia-week-ne...
#asianartauctions #asianart #asiaweekny
The Hilton Anatole in Dallas has a huge collection of Asian art, ancient and modern.
⭐
#visitdallas #asianart #art #arte #dallas #travel #gaytravel #gaytraveler #gaytraveling #iglta #lgbttravel #lgbtqtravel #vacation #solotravel #hotel #traveltips #worldtavel #museummonday #museum
🪅 Don't miss 'Our Space' at @tinakimgallery, commemorating a year since Kang’s passing. This solo exhibit features major works from the last decade of her life, including influential series pieces.
RSVP today!
➡️ tinakimgallery.com/exhibitions/...
#TinaKimGallery #SukiSeokyeongKang #asianart
