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🌆 @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

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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

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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

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🌻 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

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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

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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

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💃🏻 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

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🎉 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

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#treasures #rarefinds #coolstuff #asianart #artwork #design #pottery #satsuma #style #sunday #auction
#japan #asian #art #homedecor #decor #collector #sunday

ebay.us/m/QCBW8i

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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

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🌸 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

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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

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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.

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

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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.

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

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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

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Zhou Shenghua, "The Winter Journey," woodcut, 1998; Art Institute of Chicago. #winter #China #asianart #woodcut #printmaking #art #arte #museum #artgallery

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👏 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

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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

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Preview
Suki Seokyeong Kang: Our Spring | 12 March - 25 April 2026 Tina Kim Gallery is honored to present a solo exhibition of the late Korean artist Suki Seokyeong Kang (1977–2025), Our Spring, on view from March 12 through April 25, 2026. Coinciding with the…

🪅 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

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Hashimoto Kansetsu, "Dogs From Europe: Borzoi Russian Wolfhound," one of a pair of panels, 1941; Adachi Museum of Art. #dogs #borzoi #japaneseart #japanesepainting #asianart #japan #animals #art #arte #museum #artgallery

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🌷Plan your AWNY itinerary with this highlighted selection of Asian art museum exhibits on view across NYC and the surrounding region. Many feature opening receptions & special programs—find more in our Calendar of Events!

➡️ asiaweekny.com/asia-week-ma...

#asianartexhibit #museums #asianart

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🎭 Opening March 12 at @china.institute! ✨ Discover Mei Lanfang, the legendary Peking opera master, at 'The Dancing Goddess: Mei Lanfang in America.' Explore costumes, sets, props, paintings, rare photos, & archival treasures.

➡️ chinainstitute.org/gallery-exhi...

#MeiLanfang #PekingOpera #asianart

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💫 Don't miss two stunning solo exhibits at @alisanfineartsnyc: Cui Fei: Vermicular Calligraphy & Chiang Yomei: Moon on the Water. Step out of the cold and immerse yourself in the poetic beauty of these works before the exhibitions close this Sat!

➡️ asiaweekny.com/dont-miss-th...

#inkart #asianart

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Wu Guanzhong (1919-2010), "A Night Feast over a Thousand Years (Festivity)," collotype on paper, 1997; Yan Gallery. #chineseart #china #modernart #printmaking #collotype #art #arte #asianart #abstractfigurative #figurative #museum #artgallery

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From the Sotheby’s catalogue note:: “Similar to Cezanne’s self-portrait which is deliberately composed to leave little room for the negative space in the backdrop, the artist’s countenance dominates the picture plane. The hyperbolic scale of the face renders the image intriguing and intense; the experience of viewing the work mimics that of intently looking in a mirror or drawing very intimate contact with another individual. The prim Chinese collar concealing her neck and her neatly pinned, elegantly arranged hair place further focus on her memorable visage, adding to her mystique…  Given the youthful glow resonating from Chen’s appearance, this work was conceivably executed in the early 1930s, while the artist was residing in France and experimenting with portraiture. Bearing a reserved expression on her slightly tilted face, Chen is imbued with a sense of feminine vulnerability. Yet, her intense eyes tellingly penetrate the viewer’s consciousness in an arresting and artful symphony. She is mindful of one’s presence, but remains deliberately aloof and silent. The observer is urged to empathize with her timidity, but simultaneously feels confronted by her knowing scrutiny. Painted by a woman prevalent within the context of the male-dominated art circles of 20th century Asia, the self-portrait skillfully captures the contradictory elements of Chen’s character: she is sensitive yet detached, sincere yet private, shy yet determined.”

From the Sotheby’s catalogue note:: “Similar to Cezanne’s self-portrait which is deliberately composed to leave little room for the negative space in the backdrop, the artist’s countenance dominates the picture plane. The hyperbolic scale of the face renders the image intriguing and intense; the experience of viewing the work mimics that of intently looking in a mirror or drawing very intimate contact with another individual. The prim Chinese collar concealing her neck and her neatly pinned, elegantly arranged hair place further focus on her memorable visage, adding to her mystique… Given the youthful glow resonating from Chen’s appearance, this work was conceivably executed in the early 1930s, while the artist was residing in France and experimenting with portraiture. Bearing a reserved expression on her slightly tilted face, Chen is imbued with a sense of feminine vulnerability. Yet, her intense eyes tellingly penetrate the viewer’s consciousness in an arresting and artful symphony. She is mindful of one’s presence, but remains deliberately aloof and silent. The observer is urged to empathize with her timidity, but simultaneously feels confronted by her knowing scrutiny. Painted by a woman prevalent within the context of the male-dominated art circles of 20th century Asia, the self-portrait skillfully captures the contradictory elements of Chen’s character: she is sensitive yet detached, sincere yet private, shy yet determined.”

By Georgette Chen (born Chang Li Ying, 1906-1993), Self-Portrait, oil on wood, 35 by 27 cm (13 3/4 by 10 1/2 inches), photo: Sotheby’s Hong Kong, 04 April 2015. #arthistory #womanartist #womenartists #asianart #painting #oilpainting #WomensHistoryMonth

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Dark mode Water, Earth, Fire and Air. siriuxart.etsy.com/listing/1553418755

#darkmode #oriental #asianart #wallpaperset

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Painted around 1770 by a yet identified artist, this image is often linked to kathak, a North Indian dance tradition associated with courtly settings, where storytelling, music, and expressive gesture are woven into intricate turns and footwork. The painting compresses that complexity into one unforgettable instant: two bodies counterbalancing each other, trust made visible through clasped hands and mirrored posture. A near-empty background intensifies the choreography so nothing competes with their partnership while a circular cartouche seems like a stage spotlighting feminine virtuosity.

Two young women dance as a matched pair inside an oval frame, suspended in mid-step above a small patch of green ground. Their hands meet twice: linked overhead and again at chest level to create a continuous loop of touch that anchors the motion. Both figures tilt forward at the waist, foreheads nearly aligned, eyes narrowed in concentration as if listening for the same rhythm. Their skin is a warm brown and features are finely drawn with dark, almond-shaped eyes and arched brows. Each dancer wears a translucent veil and flowing textiles that flare outward like wings including long scarves that stream behind them, edged with pale dots, while layered garments ripple at the hips and ankles. One wears mustard-yellow leggings while the other wears deep red. Bangles, earrings, and anklets adds bright points along wrists and feet. Below, a narrow band suggests a lotus pond, and small blossoms decorate the corners, keeping the focus on synchronized movement and shared presence.

Whether read as performance or private joy, the work celebrates how dance can be both art and relationship involving timing, attention, and delight held together by touch, gaze, and breath.

Painted around 1770 by a yet identified artist, this image is often linked to kathak, a North Indian dance tradition associated with courtly settings, where storytelling, music, and expressive gesture are woven into intricate turns and footwork. The painting compresses that complexity into one unforgettable instant: two bodies counterbalancing each other, trust made visible through clasped hands and mirrored posture. A near-empty background intensifies the choreography so nothing competes with their partnership while a circular cartouche seems like a stage spotlighting feminine virtuosity. Two young women dance as a matched pair inside an oval frame, suspended in mid-step above a small patch of green ground. Their hands meet twice: linked overhead and again at chest level to create a continuous loop of touch that anchors the motion. Both figures tilt forward at the waist, foreheads nearly aligned, eyes narrowed in concentration as if listening for the same rhythm. Their skin is a warm brown and features are finely drawn with dark, almond-shaped eyes and arched brows. Each dancer wears a translucent veil and flowing textiles that flare outward like wings including long scarves that stream behind them, edged with pale dots, while layered garments ripple at the hips and ankles. One wears mustard-yellow leggings while the other wears deep red. Bangles, earrings, and anklets adds bright points along wrists and feet. Below, a narrow band suggests a lotus pond, and small blossoms decorate the corners, keeping the focus on synchronized movement and shared presence. Whether read as performance or private joy, the work celebrates how dance can be both art and relationship involving timing, attention, and delight held together by touch, gaze, and breath.

“Two women dancing” by Unknown artist (Indian) - Opaque watercolors on paper / c. 1770 - Asian Art Museum (San Francisco, California) #WomenInArt #AsianArtMuseum #IndianArt #SouthAsianArt #artText #art #BlueskyArt #watercolor #1770s #AsianArt #dancing #RajasthaniArt #BundiPainting #Kathak #DanceArt

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Thank you to Soul Poetry, Prose & Arts Magazine for choosing my art piece entitled “Fire Breathers” in Volume 1, Issue 5, Winter

soulpoetry7.com/soul-poetry-...
#litmag #artwork #art #acrylics #love #creativity #asianart #museum

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Cheong Soo Pieng (Singapore, 1917-1983), "Durian Seller," oil on canvas, 1981; photo: Christie's. #singapore #modernart #asianart #art #arte #paintings #oilpainting #durian #peintures #museum #artgallery

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ADOPT AUCTION
✦SB: $10 | MI: $1 AB: 75$
Ends 72h after last bid
✦ $15+ → 2 bonus rendered artworks
✦ $25+ → 4 bonus rendered artworks
AI-assisted, manually refined (anatomy, details, design).
Comment below to bid ♡ #adopt #adoptables #aiart #openadopt #fantasyart #art #asianart #asia #gachaart

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