This scarf is inspired by A Thousand Li of Rivers and Mountains,
one of China’s most famous ancient landscape paintings.
#AThousandLiOfRiversAndMountains
#ChineseArt
#TraditionalChinesePainting
#ChineseCulture
#ArtHistory
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
How boring I am
I love this style, it makes me feel refresh
#oc #ocart #art #digitalart #ocartist #chineseart
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
Serene Saturday
Early to mid 19th c (Qing Dynasty) Chinese sculpture of Mazu, goddess of the sea
#mazu #antiques #antiqueart #sculpture #chineseart #sculpture #19thcenturyart #goddessofthesea #art #qingdynasty #langtrygallery #大明 #interiordesign #林默娘 #LinMoniang #matsu #潮州#antiquario #arte #kunst
www.amazon.com/dp/B0GVSTGSHX
Step into a painting with the HangErFeng Heavy Silk Qipao Dress! 🎨 Adorned with a captivating jacquard floral landscape and exquisite silk, it's a wearable work of art. #HangErFeng #Qipao #JacquardSilk #ChineseArt #FashionStatement #ElegantWear
official auction photo of the object - white with multicolor design “The jardinière is decorated to the exterior with a multitude of goldfish in iron-red and grisaille enamels swimming amongst floating seaweed. The slightly everted rim and four bracket feet are decorated with a blue-enamelled keyfret band.”
#FishFriday 🐠:
“An enameled #GoldFish rectangular jardinière”
China, 19th c.
L 12.1/8 in. (30.9 cm)
onlineonly.christies.com/s/art-china-...
#ChineseArt
A practice painted on silk fabric. It's a copy of a ancient fan more than a thousand years ago. It shows the sence of early spring. I took an exam of Chinese traditional painting last week. So I feel very tired this week. #art #ChineseArt #ChineseLandscapePainting #inkpainting #中国画 #山水画
Title: Revenge Artist: LV Yanjun Medium: Oil on canvas, signed by the artist Edition: Original Year: 2011 Size: 110.0cm x 130.0cm x 3.0cm Good To Know: Stretched canvas, stored in humidity controlled art storage facility, condition report available upon request. Price: SGD $16,500; excludes international shipping and applicable import duties / charges.
See It On Your Wall "Revenge" by LV Yanjun, 2011 The Art Scoop: A stylised close-up portrait of a Chinese woman wearing a Cultural Revolution military uniform and cap, set against a dark background. A red star is fixed to the front of her cap, with a red shoulder detail visible on the left side. Her skin is smooth and pale, with softly shaded features and minimal facial detail. Her eyes glance sideways beneath the brim of the cap, while one hand is raised to her mouth. Her fingers rest between her lips, which are painted a glossy purple, and her nails are long and black. The composition is tightly cropped, focusing on her face, hand, and upper torso.
"A woman always has her revenge ready." ~ Moliere
🎨 Get Your Art Fix!
"Revenge" by LV Yanjun 🔗 bit.ly/3uV9PFp
China’s changing culture. Past against present. Discipline, sameness, and duty collide with individuality.
#Revenge #ChineseArt #ContemporaryArt #CulturalShif #ArtCollectors
“One Hundred Stitches, One Hundred Villages.
The Beauty of Patchwork from Rural China” is a current exhibition at the Museum of Fine Arts in Boston that is a must see for me
Heads up
#fibersky #quilt #textile #art #ChineseArt #Boston folks
Ends May 3 #MFA
www.mfa.org/exhibition/o...
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
Looking for standout participants; unique hairstyle, beard, or simply interested in #LA & #SanJose
Register here:
All- blackburn.telusdigital.com/registration...
Beards - blackburn.telusdigital.com/registration...
Unique Hairstyles - blackburn.telusdigital.com/registration...
#chineseart
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
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
Looking for standout #participants; unique #hairstyle, #beard, or simply interested in #LA & #SanJose
Register here:
All- blackburn.telusdigital.com/registration...
Beards - blackburn.telusdigital.com/registration...
Unique Hairstyles - blackburn.telusdigital.com/registration...
#chineseart
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
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
1/2
"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
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
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
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
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
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
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
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
{2/11/26} My OC Bao'Zhai yawning. She should get more sleep and so should I.
#catfurry #wuxia #digitalpainting #originalcharacter #chineseart #ocwork
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
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
