Lin Fengmian (China, 1900-1991), "Chrysanthemums in a Vase," ink and color on paper, nd; photo: Christie's. #China #chineseart #modernart #art #arte #flowers #stilllife #paintings #peintures #museum #artgallery
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#ChineseArt
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#chineseart
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This painting carries unusual force because Chinese artist Sun Duoci (孙多慈) centers women whose labor is physically demanding, socially necessary, and easy to overlook. Rather than sentimentalizing them, she gives them gravity and presence via bent backs, rough terrain, work-worn clothing, and quiet, alert faces that suggest endurance more than spectacle. Under a wide, clouded sky, several women work in a rocky, barren field, crouching or sitting low to the ground as they break and gather stones. The central figures wear layered dark clothing suited to cold weather including one woman in a white headscarf sitting upright with a grave, steady expression, while another in a muted red head covering turns toward a companion bent over her task in a pale gray jacket. At left, two more women recede into shadow, their forms nearly merging with the earth. A standing worker in blue appears farther back, and tiny figures continue laboring across the open land behind them. Bare trees, rough soil, and a distant building on the horizon create a stark rural setting. The women’s faces are weary but attentive, their bodies close to the ground, their gestures repetitive and practical. The palette of browns, grays, and subdued blues makes the air feel cold, dusty, and heavy with effort. The image fits closely with the realist concerns associated with the artist’s mentor (and rumored lover) Xu Beihong’s circle, where close observation of ordinary life became both an artistic and ethical commitment. The workers are not background types but the moral focus of the picture. Their arrangement forms a community of shared labor, while the subdued light and earth-toned atmosphere turn hardship into something monumental and sober. The title, “Women Workers,” broadens the painting’s meaning slightly beyond its more literal Chinese wording, allowing the scene to stand not only for stone-breaking itself but for women’s labor more generally.
”打石子的女工 (Women Workers)” by 孙多慈 / Sun Duoci (Chinese) - Oil painting / 1937 - Xu Beihong Memorial Museum (Beijing, China) #WomenInArt #WomensArt #WomanArtist #WomenArtists #SunDuoci #孙多慈 #Duoci #XuBeihongMemorialMuseum #ChineseArt #BlueskyArt #徐悲鸿纪念馆 #art #arte #artText #ChineseArtist #1930sArt
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A copy of a fan from Song dynasty. I paint it on a kind of silk fabric. It shows the spring view of Western Lake. #art #ChineseArt #ChineseLandscapePainting #inkpainting #中国画 #山水画
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Looking for standout #participants; unique #hairstyle, #beard, or simply interested in #LA & #SanJose
Register here:
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Beards - blackburn.telusdigital.com/registration...
Unique Hairstyles - blackburn.telusdigital.com/registration...
#chineseart
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A practice last week. It's a kind of Chinese landscape painting with little green. In this picture, I used some mineral pigments. So the mountains show different color from those in the nature. #ChineseArt #ChineseLanscapePainting #art #中国画 #山水画
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In-progress Chinese watercolor painting of a Pink Lady's Slipper plant, with the original sketch shown on the right.
#WIPWednesday
I got some xuan (Chinese rice paper) samples and doing some traditional gongbi paintings. It's been more than 10 years since I've worked on xuan, so it's an adjustment! I'm starting with a Pink Lady's Slipper, a wild orchid species native to MN.
#SciArt #Watercolor #ChineseArt
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"Silent Protector"
Morgantown, West Virginia
A carved guardian standing watch against time and brick. I took this #photo outside Peking House in #Morgantown. Its a Chinese tradional 石狮 Shíshī Stone Lion.
#Photography #ChineseArt #Sculpture #FineArt #UrbanDetails #CulturalArt #Symmetry #WV #China
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Wu Guanzhong, "Spring in Longtan Lake," ink and color on paper, 1991; photo: Christie's. #chineseart #chineseculture #wuguanzhong #spring #landscape #inkpainting #paintings #peintures #art #arte #modernart #abstractart #museum #artgallery
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A practice of trees. I finished this four years ago. It's a copy of Xi Guo, who was a famous painter more than a thousand years ago in Song dynasty. He was also an art theorist #ChineseArt #art #水墨画 #ChineseLandscapePainting #山水画
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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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AI generated "korean art style" as prompt!
I have a hard time seeing the difference between chinese and korean art, I mean, as in art-style, so I will study it more!
#AIArt
#KoreanArt
#ChineseArt
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Two Chinese women float against a warm, golden background, as if suspended in a ceremonial dream. At left, Empress Liu is shown with an ivory-toned, stylized face and her black hair is gathered into a smooth, rounded style and crowned by an oversized pink peony bloom. She wears layered deep red robes with soft green sleeves and her hands tucked in a composed, inward pose. At right, Empress Dou turns slightly toward her, her expression calm and distant. Her hair rises into a tall, dark arrangement topped with a rich burgundy flower as a long pale ribbon trails in the air. She wears a patterned golden top and a darker skirt, adorned with clusters of blossoms that spill into the space between them. Green-blue ribbons loop and curl across the scene like wind-blown silk banners. Below and between the women, a golden phoenix spreads its wing in sweeping arcs of feathered lines, while a white crane glides low at the edge. Both birds are surrounded by scattered petals and dense bouquets of red, pink, yellow, and white flowers. Behind the painting's beauty is a story about power, vulnerability, and historical disappearance. In Chinese artist Xiang Li’s (李湘) telling, Empress Liu and Empress Dou (both connected to Emperor Ruizong) were accused of witchcraft and killed in 693 wither their bodies hidden and never recovered. The violence is echoed by the painting’s sense of weightless drifting. The phoenix (dynastic harmony) and the crane (longevity & transcendence) become more than decorative symbols. They are a wish for restoration, dignity, and endurance beyond the court’s intrigues. The peony (wealth, honor, and feminine prestige) crowns Liu like a fragile mandate. Li frames them not as footnotes, but as central actors: “Each empress I paint carries a story of resilience, wisdom, and strength.” The floral abundance is a memorial insistence that even when names are contested, erased, or buried, their presence can still be made visible, luminous, and impossible to overlook.
"Chinese Empress Liu and Empress Dou, Tang Dynasty" by 李湘 Xiang Li (Chinese) - Watercolor on silk / 2015 - New England Botanic Garden (Boylston, Massachusetts) #WomenInArt #XiangLi #李湘 #NewEnglandBotanicGarden #ChineseArtist #artText #art #BlueskyArt #ChineseArt #WomensArt #WomanArtist #WomenArtists
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Photo of the pig collar on display at museum black with red, white, blue, pink details “Infant mortality was high in pre-modern China, so families dressed their children in clothing with propitious motifs thought to repel evil and attract good fortune. Since a child's head was thought to be a particularly vulnerable area of their body, hats and collars often featured auspicious imagery. An important food source and one of the twelve animals of the zodiac, pigs symbolize prosperity and good luck.”
One more for #NationalPigDay 🐖:
Child’s Collar: #Pig
China, 1st half 20th c.
Silk & cotton embroidery w/ appliqué
Photographed on display at The Textile Museum (DC) in 2023.
#ChineseArt
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Golden Nanmu (Jinsi Nanmu) is an exceptionally rare, historically significant, and expensive wood, once reserved for Chinese royalty, valued for its golden, shimmering "silk" patterns and extreme durability.
@Rainmaker1973 #globalmuseum #wood #ChineseArt #China #furniture
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{2/11/26} My OC Bao'Zhai yawning. She should get more sleep and so should I.
#catfurry #wuxia #digitalpainting #originalcharacter #chineseart #ocwork
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official auction photo 1, front view “Modeled as a standing cat with the head turned slightly to one side and the tail raised and curling upward, the effigy is constructed over a metal core and decorated overall with cloisonne enamel on a deep cobalt blue ground, the surface enriched with stylized floral blossoms, foliate scrolls, and circular motifs rendered in red, pink, green, turquoise, white, and pale aubergine enamels, each compartment carefully delineated by fine gilt-metal wire following the contours of the design; the facial features are simplified yet expressive, with rounded eyes emphasized by concentric wirework, a small projecting muzzle, and upright ears edged with exposed metal, while the body is compact with short legs and a flattened base for stability; areas of surface wear, minor enamel losses, and discoloration are visible along raised wire outlines and extremities, consistent with age and handling; cloisonne animal figures of this type were produced in China during the 20th century as decorative objects, emphasizing ornamental surface patterning and auspicious floral imagery rather than naturalistic modeling.”
official auction photo 2, back view “Modeled as a standing cat with the head turned slightly to one side and the tail raised and curling upward, the effigy is constructed over a metal core and decorated overall with cloisonne enamel on a deep cobalt blue ground, the surface enriched with stylized floral blossoms, foliate scrolls, and circular motifs rendered in red, pink, green, turquoise, white, and pale aubergine enamels, each compartment carefully delineated by fine gilt-metal wire following the contours of the design; the facial features are simplified yet expressive, with rounded eyes emphasized by concentric wirework, a small projecting muzzle, and upright ears edged with exposed metal, while the body is compact with short legs and a flattened base for stability; areas of surface wear, minor enamel losses, and discoloration are visible along raised wire outlines and extremities, consistent with age and handling; cloisonne animal figures of this type were produced in China during the 20th century as decorative objects, emphasizing ornamental surface patterning and auspicious floral imagery rather than naturalistic modeling.”
#Caturday 🐱:
Cloisonne Enamel #Cat Effigy
China, 20th c.
H 5.5 cm (2 3/16 in.), W 4 cm (1 9/16 in.)
www.liveauctioneers.com/item/2253925...
#ChineseArt
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I painted on these cafts during the Spring Festival. I sent some of them to my friends. The remaining ones I will sell them on Taobao. #art #ChineseArt #inkpainting #中国画
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official museum photo of the object on purplish brown background: circular collar for a baby, with a design of an orange and black tiger with the body contorted to ring around the collar, on a purple background with ring of ornamentation, framed by black inner and outer rings
#TextileTuesday / #TigerTuesday 🐯
Baby Collar with #Tiger Circling the Neck
Lao Han (Old Han), Guizhou Province, China, 19th c.
Silk, cotton, plastic buttons
9 1/2 in. x 10 in. (24.13 cm x 25.4 cm)
Mingei International Museum 1998-51-046 collections.mingei.org/objects-1/in...
#ChineseArt
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composite image of the two official auction photos, front and back views “Constructed from a copper alloy body and decorated with cloisonne enamel, the object is formed as a recumbent Pekingese dog with the head raised and the body compactly modeled. Fine metal wire cloisons articulate stylized facial features, including large circular eyes, a short muzzle, and indicated whiskers, as well as dense floral and scrolling motifs across the body. The enamels are applied predominantly in deep cobalt blue, with contrasting opaque accents in white, light blue, green, yellow, red, and black. The tail is curled along the back, integrated into the overall silhouette. The surface shows areas of enamel pooling, minor losses, and abrasion consistent with manufacture and handling.”
Cloisonne Enamel Pekingese #Dog Effigy
China, 20th c.
H 5.8 x W 7 cm (2.25 x 2.75 in.)
“Cloisonne animal effigies were produced in China during the 20th c. as decorative objects, w/ the Pekingese modeled after a breed traditionally associated w/ imperial & domestic settings.”
#ChineseArt #DogsInArt
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Zhang Daqian
Antique Scroll Painting
Windfall Dragon Fine Art
Shop : www.etsy.com/listing/4460...
#chineseart #scrolls #wallhanging #vintageart #antiques #nyc #chicago #atlanta #miami #wallhangings #interiordesign #elegance #vintage #losangeles #seattle #newyork #shopping #art #fineart
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Books 23 & 24 of 2026: The Unrepentant, By Sharmini Aphrodite; Ren Hang, ed. Dian Hanson. #yishreads #malaysianliterature #chineseart
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Feng Zhang, "Sparrow and Wild Rose," ink and color on silk, 1696; Dresden State Art Collections. #china #chineseart #asianart #flowers #roses #birds #inkpainting #zenart #zen #museum #artgallery #paintings #art
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"Year of the Horse" 🐴🎊🌟
#digitalart #art #artistsonbluesky #procreate #animeart #2dartist #2dart #vintage #retro #animeonbluesky #procreateartist #blueskyartist #autisticartist #supportartists #lunarnewyear #chinesenewyear #yearofthehorse #celebration #horselovers #chineseart
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Day 17: Human Polly🐼🇨🇳❤️💛🐉🐲🎋🎍🧧✨
(The Lunar New Year Special!😁🇨🇳❤️💛🐉🐲🎋🎍🧧✨)
#Sprunki #SprunkiOC #SprunkiFanart #Sprunkiincredibox #OC #OCArt #BRArt #Art #DigitalArt #China #Chinese #ChineseArt #LunarNewYear #Panda #Bamboo #Fighter
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Name: Polly (波莉) Age: 29 Gender: Female (She/Her) Species: Panda🐼🎋🎍 (bro i’ll explain facts about her later cause now i’m way too lazy to write the whole thing so i’ll explain it later🥲💢)
🐼🇨🇳NEW (SPRUNKI) OC ALERT!!!🐼🇨🇳
🇨🇳❤️💛🎋✨POLLY!!! (波莉)🐼🇨🇳❤️💛🎋✨
(bro i know it’s the year of the horse but prefer panda instead 😭)
#Sprunki #SprunkiOC #Sprunkiincredibox #OC #OCArt #Chinese #LunarNewYear #Sweet #Panda #Bamboo #BRArt #Art #DigitalArt #Bear #China #Fighter #ChineseArt #Adorable #Cute
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In the late 1990s, Chinese artist Qi Zhilong (祁志龍) was emerging as a key voice in China’s Political Pop art scene, translating propaganda-era iconography into glossy, billboard-scale portraits. His “Chinese Woman/Chinese Girl” series (中國姑娘系列) became instantly recognizable, helping define how 1990s Chinese painting negotiated mass media, memory, and desire. M+ Museum describes the woman as an anonymous “fashion model or actress” in the “new society,” and that anonymity matters. She is less like an individual than a constructed ideal, suspended between collectivist memory and market-era allure. It’s a heroic-scale, head-and-shoulders portrait of a young Chinese woman set against a flat, vivid pink-red background. She faces forward, almost meeting us with a steady, unsmiling gaze. Her skin is light-to-medium in tone under soft, even shading that smooths the planes of her cheeks and forehead. She wears a military-style khaki cap with a short brim pulled low, and her black hair is parted into two long braids that fall straight down on either side of her chest. Each braid is fastened near the end with a small colored tie. Her clothing is a khaki, uniform-like jacket with a structured collar and lapels. At the neckline, a small wedge of bright, pale green fabric shows beneath. Her makeup is noticeably exaggerated with defined brows, cool-toned eyelids, and mauve-purple lipstick to create a deliberate tension between “uniform” styling and glamour. The cap and khaki jacket evoke Mao-era visual codes, but the cosmetic polish and candy-colored backdrop gently short-circuit any single reading as neither pure homage nor simple parody. In that friction, the work becomes a portrait of a moment representing 1990s China negotiating communism, consumerism, and popular culture all at once.
“中國女孩 (Chinese Woman)” by 祁志龍 / Qi Zhilong (Chinese) - Oil on canvas / 1998 - M+ Museum (Hong Kong, China) #WomenInArt #QiZhilong #祁志龍 #Zhilong #MPlus #MPlusMuseum #MPlus博物館 #M+博物館 #PoliticalPop #artText #art #arte #BlueskyArt #chineseArt #propoganda #PropogandaArt #ChineseArtist #PortraitofaWoman
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Ancient Chinese Art of Time and Scent.
The Xiāng Zhuàn incense seal is a satisfying way of blending fragrance and timekeeping.
China's calm way to track hours.
@xmuse_ #globamuseum #incense #Chineseart #timekeeping
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