colorful art of the iconic msg panda as a cat

part I in my series of classic asian condiments! in celebration of all the umami goodness of msg!

#furutadrop #asianartist #kawaiiart #msg #catart

BlackPink’s Jennie fanart. I really hope I can make artist and writers friends on here.

#smallartist #procreate #fanart #blackpink #Jennie #artist #asian #asianartist #digitalart #digitalartist #wlw #wlwartist #art #drawing #artistofbluesky

Painted in 1979, this work is often discussed as a turning point in Chinese artist Jin Shangyi’s (靳尚谊) portrait practice when he moved from straightforward studies toward a more fully composed, self-directed image with an intentional atmosphere. Rather than depicting performance, Jin treats musicianship as character where restraint, training, and inner focus become the subject. A pared-down setting and withheld spectacle (no dramatic gesture, no bright color) shift attention to dignity and presence showing how a person carries a life of practice in the body. A poised Chinese woman sits with her face turned slightly as if listening inward. She wears a high-collared, solemn black dress like velvet, with cool blue-violet notes catching the light along the folds. Her hands are carefully modeled holding a violin bow horizontally, not in motion, as though the moment is just before (or just after) sound. The background is quiet and spare with warm gray shifting toward brown, so the her calm presence becomes the whole event. A brown violin sits on a ledge next to an elbow atop a muted, gray-green covering which anchors the lower edge, adding a restrained contrast to the dark clothing. There is no stage, no audience, and no visible violin. It’s only the musician’s stillness, her disciplined posture, and the tactile precision of face and hands. The overall mood is hushed and contained, inviting us to notice small transitions like soft highlights across her cheek and knuckles, the controlled edges around the bow, and the way a limited palette turns “black” into a spectrum of temperature and depth. Seen in the context of China’s renewed artistic openness in the late 1970s, the painting’s clarity and composure can feel like a reclamation of oil painting’s quiet powers like observation, nuance, and psychological intimacy. The “sound” here is almost visual, suggested by the attentive tilt of the head and the careful hands, so that we complete the music in our own mind.

“小提琴手 (The Violinist)” by 靳尚谊 / Jin Shangyi (Chinese) - Oil on canvas / 1979 - Taikang Art Museum (Beijing, China) #WomenInArt #art #artText #artwork #JinShangyi #靳尚谊 #Jin #北京泰康美术馆 #TaikangArtMuseum #PortraitofaWoman #ChineseArt #ChineseArtist #Musician #Violin #BlueskyArt #AsianArt #AsianArtist

A young woman is shown in crisp profile facing left, her gaze directed into open space as if caught mid-thought. Her skin is rendered with soft, powdery shading rather than sharp contour, giving her face a calm, porcelain-like stillness. Long, straight black hair falls in a continuous curtain down her back, held near the nape by a small, bright white comb. One hand is lifted, fingers gently curved under the chin, while the other arm folds across the body, creating a quiet, self-contained pose. She wears a deep red outer garment over a pale inner layer;l while a narrow band of yellow peeks at the seam, adding a warm note against the cool, muted ground. Behind her, the background dissolves into mossy greens and blurred shrub forms, with the silk’s fine texture subtly catching the pigments and softening edges into haze. Painting on silk was an important medium in Vietnamese artist Lê Phổ’s practice. This work balances delicacy with structure for a silhouette that is clean and graphic, yet an atmosphere stays velvety and intimate. The sitter is not identified, and the portrait’s power comes from that restraint: rather than telling us who she is, it dwells on how she feels—composed, private, and fully present in her own interior world. The white comb is both an everyday object and an emblem . It’s a small tool of care that becomes a luminous anchor for memory, ritual, and self-fashioning. Lê Phổ’s life bridged Hanoi and Paris, and after formative study at the École des Beaux-Arts de l’Indochine and later time in France, he developed a signature style that fused Vietnamese materials with European pictorial traditions. In that hybrid space, this profile becomes more than a likeness. It is a meditation on quiet dignity and how a simple gesture, a comb, and a wash of color can hold an entire mood.

“Le peigne blanc (The White Comb)” by Lê Phổ (Le Pho) (Vietnamese) - Ink and color on silk / c. early 1940s - National Gallery Singapore #WomenInArt #LePho #LêPhổ #Pho #NationalGallerySingapore #arte #VietnameseArt #AsianArt #art #artText #BlueskyArt #VietnameseArtist #AsianArtist #PortraitofaWoman

🎨🖌ME BY ARTISTS🖌🎨 "A HORNY GUY". DIGITAL DRAWING by #asianartist #indonesiaartist #digitaleroticartist #digitalartist #eroticartist @happinessart.bsky.social
Video by ANDREW THOMAS

✨ 🥝 ✨ 🍅 ✨ 🍑 ✨
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#keychain #art #seattleartist #asianartist #asianart

Commentary on this work places it in Chinese artist Shi Lu’s (石魯) early-1950s realism, considering it as a transitional study made before his public reputation narrowed toward traditional Chinese guohua (國畫) painting and before his rural heroines became more stylized. That threshold moment gives the image its power as it offers dignity without propaganda, letting sunlit and wind-flushed cheeks, practical clothing, and a pause of quiet thought stand for the complex reality of rural life in China at that time. A young rural unidentified Chinese woman sits in three-quarter profile, turned to the right, her gaze lowered as if thinking. Her skin is light-to-medium with a weather-flushed, ruddy blush across her cheeks and a touch of pink at the lips. Her dark hair is gathered back and tied with a white bow as a few wisps soften her forehead and ear. Fine ink lines sketch her rounded cheek, small nose, and heavy eye while transparent color washes model the face with tenderness rather than drama. She wears a red cotton jacket, the sleeves roomy at the elbows, and a soft green scarf looped at the neck. Her forearms fold across her lap; only partly defined, as if Lu paused before finishing every detail. The background is left largely blank, so she floats in open space and our attention stays on posture, fabric, and expression. A few darker strokes suggest creases at the shoulder and along the sleeve, and the diluted wash at the lower body fades into the paper as if the figure is emerging from memory. The red jacket’s warmth, set against the cool green scarf, creates a simple, harmonious palette that feels immediately even at a distance. Although titled a “country girl,” she is not treated as a generic type. The unguarded three-quarter profile and close attention to facial structure recall Western portrait habits, while the blank background and calligraphic line nod to the traditions of Chinese ink painting.

“村姑圖 (Country Girl)” by Shi Lu 石魯 (Chinese) - Ink and color on paper / c. early 1950s - China Perspectives (Hong Kong) #WomenInArt #ShiLu #石魯 #Lu #ChinaPerspectives #CEFC #1950s #InkPainting #RuralLife #ArtOfTheDay #art #artText #artwork #BlueskyArt #AsianArt #AsianArtist #ChineseArt #ChineseArtist

A young Asian woman sits in three-quarter view, her body turned slightly left while her face tilts back toward us. Cool, green light washes over her skin, so highlights along her cheekbones, collarbones, and long neck glow softly against shadowed contours. She has short, dark hair parted loosely at the center, with wisps falling toward her forehead. Her dark eyes have a steady, introspective gaze. Her mouth is relaxed, neither smiling nor frowning, giving the portrait a quiet, between-moments feeling ... like a pause after rehearsal. She wears a sleeveless, bright blue dress with a low squared neckline and a vertical row of small buttons. The fabric creases and pools across her lap in heavy folds. One arm extends downward, the hand resting near her knee with long, tapered fingers while the other forearm crosses her waist and settles lightly along her thigh, suggesting both fatigue and control. Behind her, a patchwork of deep green, blue-green, and muted tan rectangles form a grid like and its textured brushwork contrasting with the smooth modeling of her face. Painted in 1988, the work brings the hush of a studio portrait into the world of performance as the dancer is not shown mid-leap, but in stillness, where discipline and tenderness can coexist. The body’s curves are set against a hard-edged grid, as if choreography were being tested against architecture. Chinese artist Zhang Shichun (张世椿), born Yangzhou, studied at the Central Academy of Fine Arts and later taught in its mural department. CAFA’s account of their life notes that the 1957 Anti-Rightist movement forced him away from the academy for years. He later wrote that, before this canvas was made, “troubles… receded.” With that history in mind, her steady gaze hints at resilience like quiet self-possession held inside a structured world. Donated to the academy in 2007 (with other works from his family), “Dancer” is both an intimate portrait and a testament to endurance.

"舞蹈演员 (Dancer)" by 张世椿 / Zhang Shichun (Chinese) - Oil on wood panel / 1988 - CAFA Art Museum (Beijing, China) #WomenInArt #ZhangShichun #张世椿 #CAFAMuseum #中央美术学院美术馆 #央美美术馆 #Dancer #art #artText #artwork #BlueskyArt #OilPainting #ChineseArt #ChineseArtist #AsianArtist #AsianArt #PortraitofaWoman

Painted as a direct, front-facing self-portrait, a young Chinese woman with straight, dark hair cut short looks slightly past us, her expression calm and unsmiling. Her skin appears light to medium in tone, modeled with soft planes rather than sharp outlines. She wears a pale yellow, collared blouse or coat that catches cool light at the shoulder and neckline. Behind her, a muted gray-beige background stays nearly empty, so her face and garment hold the composition. Brushwork is restrained and matte, with subtle shifts of pink, olive, and lavender shaping the cheeks and lips. The cropped framing of her head and upper torso feels intimate, like a private study held close. Chinese artist Liu Ziming lost her hearing as a child and later simply used the name Ziming (meaning “self-sounding”), turning identity into a kind of quiet manifesto. Born in Kunming, Liu Ziming’s name (刘自鸣 / 劉自鳴) is and the meaning of Ziming is a poignant echo of her early childhood hearing loss and her commitment to painting as a voice. After training in Beijing and studying in Paris (Académie de la Grande Chaumière and the École des Beaux-Arts), she returned to China in the mid-1950s. This 1961 self-portrait can be interpreted as a blending of Paris technique, Chinese modern life, and a woman artist insisting on her own gaze. CAFA is the Central Academy of Fine Arts (中央美术学院), and this work’s presence at the CAFA Art Museum (中央美术学院美术馆) places her within the academy’s larger story of modern Chinese art. CAFA curators note that this self-portrait hung in her living room through out her life, suggesting it was not only a public depiction of herself, but a daily companion … and likely proof that, as a saying in her biographies puts it, “when one door closes, another opens” … here, through paint.

自画像 (Self-Portrait) by 刘自鸣 / Liu Ziming (Chinese) - Oil on canvas / 1961 - CAFA Art Museum (Beijing, China) #WomenInArt #WomensArt #WomanArtist #WomenArtists #LiuZiming #刘自鸣 #Liu #CAFAArtMuseum #中央美术学院美术馆 #art #artText #BlueskyArt #AsianArtist #ChineseArtist #ChineseArt #SelfPortrait #DeafArtist

In “Portrait,” Yayoi Kusama (草間彌生) turns the traditional self-portrait into a cosmic emblem. Instead of modeling flesh and light, she uses her lifelong language of “infinity nets” and dots which are motifs that grew from her childhood hallucinations and became her way of both expressing and managing overwhelming sensations. She depicts herself as a stylized bust-length figure set against a vibrating field of yellow and black. She has a rigid bob of hair shaped almost like a helmet, rendered as a flat yellow form covered in neat grids of tiny black dots. Her face is like an oval mask of the same yellow, its “skin” entirely replaced by dots of many sizes, from pinpoints to large, inky circles. Dark almond eyes, heavy brows, and black lips anchor the otherwise pattern-saturated face as it looks straight out toward us. A narrow yellow neck, also dotted, rises from a semicircular collar and broad dress that cascade into scalloped bands, lace-like edges, and beaded rows. Behind her, branching nets and radiating cone forms create a halo that seems to pulse and spiral, merging body and background into a single, immersive field of pattern. The yellow and black palette echoes her famous pumpkins and room installations, while the repeating cones recall soft, organic forms she once covered furniture and clothing with. Her direct gaze suggests a fixed identity, yet the body dissolves into decoration, enacting Kusama’s idea of “self-obliteration,” where the self melts into the surrounding universe. Shown in a gallery focused on self-portraits, this work situates the artist as both subject and environment as a woman who has spent decades transforming private visions into shared, exuberant worlds, inviting us to step inside the very patterns that define her life and art.

“Portrait” by 草間彌生 / Yayoi Kusama (Japanese) - Acrylic on canvas / 2015 - “Self-Portrait” exhibition, Guggenheim Museum Bilbao (Spain) #WomenInArt #art #artText #BlueskyArt #YayoiKusama #草間彌生 #Kusama #WomensArt #WomanArtist #WomenArtists #GuggenheimBilbao #SelfPortrait #JapaneseArtist #AsianArtist

hand sculpted ceramic pins with a japanese motif and look including cats, trees, daruma, mt fuji and more

brand spankin new ceramic pins, earrings and hair clips will be available starting this weekend at deck the hall-bany and the troy victorian stroll!

#artist #furutadrop #ceramicart #clayartist #asianartist #kawaiilife

Painted in Shanghai, China around 1946, this self-portrait came after years of upheaval for Georgette Chen (张荔英), born Chang Li Ying in Zhejiang in 1906 and trained in Paris and New York. She had already exhibited at the Salon d’Automne and lived between China, Europe, and the United States, but war, occupation, and the death of her husband, diplomat Eugene Chen, left deep marks on her life. Here she chooses neither grief nor glamour with tight framing, a subdued sepia palette, and economical brushwork presenting a working artist who knows her craft and her worth. The East Asian artist is seen close-up from the neck up, turning slightly to our left while fixing us with a steady, sideways gaze. Her oval face fills almost the entire small canvas and her light olive skin modeled with blocky, blended strokes and a gentle flush on the cheeks. Dark, almond-shaped eyes sit beneath faint brows, one catching more light than the other. Her lips, painted a cool rose pink, are closed in a calm, determined line. Her black hair is swept back and gathered into a coil near her ear. She wears a dark, high-collared blouse that hints at a cheongsam, its edge just visible at the neck. The background is a soft, mottled field of browns and greys, without props or studio details, keeping all attention on her poised, focused presence. Her level gaze feels both introspective and guarded, as if she is measuring the world that has tested her and deciding how to go on. A few years later, she would move to Malaya (Malaysia) and then Singapore, becoming a key figure in the Nanyang style and teaching generations at the Nanyang Academy of Fine Arts. Now in the National Gallery Singapore, this self-portrait often anchors retrospectives of her work, standing as a concise statement of her resilience, cosmopolitan training, and lifelong commitment to painting.

“Self Portrait” by Georgette Chen (张荔英) (Singaporean, China-born) - Oil on canvas / c. 1946 - National Gallery Singapore #WomenInArt #art #artText #GeorgetteChen #张荔英 #AsianArtist #Asian #NationalGallerySingapore #SelfPortrait #BlueskyArt #WomensArt #WomanArtist #WomenArtists #AsianArt #NanyangStyle

🎨🖌ME BY ARTISTS🖌🎨 "MY PRAY". DIGITAL DRAWING by #asianartist #indonesiaartist #digitalartist #digitaleroticartist #eroticartist #digitalillustrator #queerartist @happinessart.bsky.social
Video by ANDREW THOMAS

#grateful for #artmeditation

#zentanglepatterns #zentanglestepouts
bit.ly/InktoberTang...

Photos of my #zentangle journal of completed grid of #InktoberTangles2025 & my additional pages of documenting step outs.

#zentangleart #Asianartist #queerartist #artsky

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#grateful for #artmeditation

Photos of my zentangle journal of grid of #InktoberTangles2025 update through day 23

#zentanglepatterns and info here
bit.ly/InktoberTang...

#zentangleart #zentanglestepouts #zentangle #Asianartist #queerartist

Congrats, #jungkook!
#goldenmaknae #bts #kpop #maknae #seven #latto #asianartist #spotify #WeeklyTopSongsGlobal #chart #musicchart #golden

Photos of doodle #artjournal page I just finished this morning.

#grateful to start my day with art instead of doomscrolling.

#artforselfcare #queerart #AsianArtist #artsky

Updated photo of an in-progress doodle #artjournal page

#grateful to start my day with art instead of doomscrolling.

#artforselfcare #queerart #AsianArtist #ArtSky

In this self-portrait, Hong Kong artist Ellie Kayu Ng sits on a wooden chair, turned slightly to the side yet facing forward with a steady gaze. Her skin, painted in warm light beige tones, glows softly against the richly detailed setting. She wears a long-sleeved, high-necked dress of vibrant green, covered in dense floral motifs of blue, white, and yellow, with ruched smocking across the bodice that ripples the fabric into rhythmic folds. Her dark hair is brushed back, revealing large earrings that glint at the edges of her face. One arm rests casually along the chair back, the other drops to her lap, hand relaxed. Behind her stretches a striking textile in hot pink, patterned with repeating botanical forms bordered in deep red, cream, and purple. The dialogue between her patterned garment and the tapestry creates an almost optical effect: body, clothing, and backdrop intertwine, yet her expression ensures she remains the subject, not the decoration. When Ng painted "Celebration of Patterns" in 2019, she had just graduated with a BFA in Illustration from the School of Visual Arts in New York. Far from home in Hong Kong, she turned to self-portraiture as a way to explore identity, aspiration, and vulnerability. She often depicts herself in garments she does not own, using fashion as a tool to “try on” alternate selves and examine how clothing shapes social identity. This painting, also circulated under the title "Beautiful Patterns," captures that early stage of experimentation: the lush dress both empowers and threatens to camouflage her, while the pink tapestry frames her in a setting that feels both celebratory and overwhelming. During this period she began gaining recognition, winning a Creative Quarterly award in 2019 and soon after receiving scholarships and residencies that confirmed the Asian artist's promise. Ng’s career has since grown steadily, with grants from the Elizabeth Greenshields Foundation and exhibitions in New York, Hong Kong, and beyond.

"Celebration of Patterns" aka “Beautiful Patterns” by Ellie Kayu Ng (Hong Kong) – Oil on canvas / 2019 – SEEFOOD ROOM (Hong Kong) #WomenInArt #WomensArt #WomenArtists #art #artText #artwork #EllieKayuNg #BlueskyArt #SelfPortrait #WomanArtist #PortraitofaWoman #SEEFOODROOM #HongKongArt #AsianArtist

Finished this page in #642tinythingstodraw prompts book, #pendrawings of a birthmark shaped like a heart, a dollup of whipped cream and a BB. Pen for scale.

#grateful for #artforselfcare

#queerartist #asianartist #pendrawing

Ranma Saotome in both boy and girl form from Ranma 1/2

#fanart #ranma1/2 #ranmasaotome #art #digitalart #animeart #mangaart #ibispaint #asianartist #chineseartist #digitalartist #animeartist #mangaartist #montrealartist #canadianartist

🎨🖌ME BY ARTISTS🖌🎨 "FACE". DIGITAL DRAWING by HIROKATSU #asianartist #japaneseartist #artistfromjapan #nipponartist #digitalartist ##digitaleroticartist ##eroticartist
Video by ANDREW THOMAS

A girl only needs her Kashmiri chai, jalebi and more sweets 💐

#illustration #digitalart #asianart #procreate #clipstudiopaint #southasia #soutasiaart #kashmir #nepal #bhutan #maldives #srilanka #pakistan #india #jammukashmir #asianartist #mixedasian #drawing

Kpop Demon Hunters doodle dump

#fanartfriday #kpopdemonhunters #rumi #zoey #mira #jinu #art #digitalart #animeart #mangaart #ibispaint #clipstudiopaint #asianartist #chineseartist #digitalartist #animeartist #mangaartist #montrealartist #canadianartist

Reference drawing found on Pinterest

#originalart #referencedrawing #art #digitalart #animeart #mangaart #ibispaint #asianartist #chineseartist #animeartist #mangaartist #digitalartist #montrealartist #canadianartist

Another Cardcaptor Sakura doodle, but in Blue Jester outfit

#fanart #cardcaptorsakura #sakurakinomoto #art #digitalart#animeart#mangaart #clipstudiopaint #asianartist #chineseartist #digitalartist #animeartist #mangaartist #montrealartist #canadianartist

Cardcaptor Sakura doodle dump

#fanartfriday #sakurakinomoto #cardcaptorsakura #art #digitalart #animeart #mangaart #clipstudiopaint #ibispaint #asianartist #chineseartist #digitalartist #animeartist #mangaartist #montrealartist #canadianartist

Mai Sakurajima from Rascal Does Not Dream Of Bunny Girl Senpai

#fanart #maisakurajima #rascaldoesnotdreamofbunnygirlsenpai #art #animeart #mangaart #arinatanemurastyle #digitalart #clipstudiopaint #asianartist #chineseartist #animeartist #mangaartist #digitalartist #montrealartist #canadianartist

Since my art style has changed and decided to redraw Madoka Kaname again. There’s more fanart or original art I might need to redraw in the future.

#fanartfriday #madokakaname #puellamagimadokamagica #arinatanemuraartstyle #art #animeart #mangaart #digitalart #clipstudiopaint #asianartist

#fanartfriday #luminegenshinimpact #lunasailormoon #fullmoonwosagashite #art #animeart #mangaart #digitalart #clipstudiopaint #ibispaint #asianartist #chineseartist #animeartist #mangaartist #montrealartist #canadianartist