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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.

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

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โม่งรู้ตัวว่าจะโดนเจาะแล้ว เพิ่ม 6 บาทซะเลยนี่แน่ะ
E20 แตะ 37.54 ยังเติมมาแล้ว แค่นี้จิ๊บๆ อ่ะค้าฟ
#Art #ArtSky #ThaiArt #Cartoon #PoliticsThai #BlueskyTH
#ราคาน้ำมัน #น้ำมันแพง #น้ำมันหมด #ขึ้นราคาน้ำมัน #กักตุนน้ำมัน #ไอ้โม่ง #รวยไม่ไหวแล้ว #ดีเซล #เบนซิน

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Hallooooo...Here's come my favorite character...
" Gojo Satoru " from Jujutsu Kaisen
Well...I simp him a lot tho...so I try to draw him🥺😚😘

I hope u guys like it...and if you do , pls follow me on FB Art Page called "NasumiiChan"

#jujutsukaisenfanart
#jujutsukaisen
#digitalartworks🎨
#thaiart

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Hallooooo...Here's come my favorite character...
" Gojo Satoru " from Jujutsu Kaisen
Well...I simp him a lot tho...so I try to draw him🥺😚😘

I hope u guys like it...and if you do , pls follow me on FB Art Page called "NasumiiChan"

#jujutsukaisenfanart
#jujutsukaisen
#digitalartworks🎨
#thaiart

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Chatchai Puipia is one of the most revolutionary figures in Thai contemporary art. It was mind blowing to visit his exhibition in Bangkok art & culture centre. Bold, provocative, fearless with unparalleled imagination & creativity! #Thailand #thaiart #Bangkok #art #portrait #painting #thaiartist

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❤️‍🔥🇹🇭
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#design #art #thaiart
#artdesign #fantasy

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WIP day3 (finished.) #Fantasyart #Art #ArtSky #DigitalArt #OC #OriginalCharacter
#Dragon #ThaiArt #ibis #ibispaint #ตัวละครจีน #ocจีน #drawing #วาดรูป #วาด #rkgk #ชุมชนนักวาด

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WIP✨Day2 I’m so tired about Chinese crown. #Fantasyart #Art #ArtSky
#DigitalArt #OC #OriginalCharacter
#Dragon #ThaiArt #ibis #ibispaint #ตัวละครจีน #ocจีน #drawing #วาดรูป #วาด #rkgk #WIP #wip

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WIP ✨Day1 (please wait for it,and to be continued.) #Fantasyart #Art #ArtSky #DigitalArt #OC #OriginalCharacter
#Dragon #ThaiArt #ibis #ibispaint #ตัวละครจีน #ocจีน #drawing #วาดรูป #วาด #rkgk
If dragon is human.

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My Work for the game sence...👀👌👌
Well...take a long time tho...but still look great🤧🤧

***Do not copy!!!!***

And if u guys love my works u can follow me on Facebook page "Nasumichann" 🫶🫶 <---( For the other contractions u can look ...below my page )

#digitalartworks🎨
#thaiart
#gamesence

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My Work for the game sence...👀👌👌
Only work for two days to finish this...🫠🫠

***Do not copy!!!!***

And if u guys love my works u can follow me on Facebook page "Nasumichann" 🫶🫶 <---( For the other contractions u can look ...below my page )

#digitalartworks🎨
#thaiart
#gamesence

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Geomagnetism and the Orientation of Temples in Thailand > Orientations of temples at Ayutthaya seem to have been determined by magnetic compass

📰 Geomagnetism and the Orientation of Temples in Thailand (A free, 11-page article from 2011)

Tags: #ThailandHistory #BuddhistArchitecture #ThaiArt #Theravada #History #Geology

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In this luminous forest scene, seven celestial bird-maidens known as kinnari dance beneath a veil of emerald light. Each figure wears a tall gilded headdress, jeweled corset, and peacock-feathered wings that shimmer blue to gold as they arc through the air. The central maiden, Manora, tilts her face toward an unseen sound, arms poised mid-gesture while her sisters encircle her in synchronized motion. Their delicate fingers trace the sinuous curves of Nora dance, each wrist bent like a note in music. Beneath them, lotus flowers bloom at the forest’s edge, their petals echoing the dancers’ layered silks. The light glows as if from within their skin, softening the dense foliage into a dreamlike mist of turquoise, violet, and jade. Manora kneels, one wing lowered to the pond signifying her descent from the celestial realm, the instant before discovery. The composition ripples in a counterclockwise rhythm, guiding our eyes through harmony, joy, and the quiet tremor of fate.

Thai artist Chakrapan Posayakrit’s “The Story of Manora” visualizes the opening act of the ancient Thai legend of Manora, the half-bird princess who descends from the Himavanta forest to dance upon earth. Caught by a human hunter and later married to Prince Suthon, she embodies the tension between freedom and devotion, spirit and flesh. Here, Chakrapan captures the moment before loss like the perfection of grace unbroken by sorrow. His colorful palette, a fusion of theatre and serenity, references southern Thailand’s Manora dance-drama where myth becomes movement. The painting stands as both narrative and elegy: a meditation on beauty suspended between two worlds.

“In her flight, lies the longing of the human heart for heaven.”

Recognized as a National Artist in Thailand, Posayakrit is intimately familiar with the myth, currency of dance and ritual, and the visual language of Thai art history and he uses that fluency to create something rich and resonant.

In this luminous forest scene, seven celestial bird-maidens known as kinnari dance beneath a veil of emerald light. Each figure wears a tall gilded headdress, jeweled corset, and peacock-feathered wings that shimmer blue to gold as they arc through the air. The central maiden, Manora, tilts her face toward an unseen sound, arms poised mid-gesture while her sisters encircle her in synchronized motion. Their delicate fingers trace the sinuous curves of Nora dance, each wrist bent like a note in music. Beneath them, lotus flowers bloom at the forest’s edge, their petals echoing the dancers’ layered silks. The light glows as if from within their skin, softening the dense foliage into a dreamlike mist of turquoise, violet, and jade. Manora kneels, one wing lowered to the pond signifying her descent from the celestial realm, the instant before discovery. The composition ripples in a counterclockwise rhythm, guiding our eyes through harmony, joy, and the quiet tremor of fate. Thai artist Chakrapan Posayakrit’s “The Story of Manora” visualizes the opening act of the ancient Thai legend of Manora, the half-bird princess who descends from the Himavanta forest to dance upon earth. Caught by a human hunter and later married to Prince Suthon, she embodies the tension between freedom and devotion, spirit and flesh. Here, Chakrapan captures the moment before loss like the perfection of grace unbroken by sorrow. His colorful palette, a fusion of theatre and serenity, references southern Thailand’s Manora dance-drama where myth becomes movement. The painting stands as both narrative and elegy: a meditation on beauty suspended between two worlds. “In her flight, lies the longing of the human heart for heaven.” Recognized as a National Artist in Thailand, Posayakrit is intimately familiar with the myth, currency of dance and ritual, and the visual language of Thai art history and he uses that fluency to create something rich and resonant.

“The Story of Manora” by Chakrapan Posayakrit / จักรพันธุ์ โปษยกฤต (Thai) – Oil on canvas / 1995 – Museum of Contemporary Art (Bangkok, Thailand) #WomenInArt #MOCABangkok #ThaiArt #ThaiArtist #arte #art #artText #artwork #ChakrapanPosayakrit #จักรพันธุ์โปษยกฤต #BlueskyArt #figurativeArt #neo-traditionalism

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The Hidden Jātaka of Wat Si Chum: A New Perspective on 14th and Early 15th Century Thai Buddhism > The Jataka may have been deliberately hidden to prevent them from being permanently lost in the year 2000 of the Buddhist Era.

📰 A New Perspective on 14th and Early 15th Century Thai Buddhism (A free, 17-page article from 2013)

Tags: #Theravada #ThaiArt

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Material Evidence for Ritual Chant in Early Modern Siam: Leporello Manuscripts as Affordances for Deathbed Rites > deathbed practices in nineteenth-century Siam were structured to flow seamlessly from chanting for the dying to chanting for the dead, a sequence reflected in the physical layout of the manuscripts themselves.

📰 Leporello Manuscripts as Affordances for Deathbed Rites (A ✨NEW✨, free, 41-page article)

Tags: #ThaiArt #Death #TheravadaChanting #Paper #History #Buddhastatue

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บรรยากาศตอนเช้าๆ เมื่อรถไฟวิ่งผ่าน
วัดช้างให้ อ.โคกโพธิ์ จ.ปัตตานี
ศาสนสถานสำคัญของชาวไทยพุทธในพื้นที่ ๓ จังหวัดชายแดนภาคใต้ และถือเป็นวัดสำคัญในความเชื่อเรื่องหลวงปู่ทวดเหยียบน้ำทะเลจืด ชาวไทยพุทธ, มาเลเซีย, สิงคโปร์ ฯลฯ
#ประเทศไทย #Thailand #จังหวัดปัตตานี #PattaniProvince #พุทธสถาน #Buddhism #ศิลปะไทย #Thaiart

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พระพุทธเทวราชปฏิมากร
พระประธานพระอุโบสถวัดเทวราชกุญชรวรวิหาร กทม.
#ประเทศไทย #Thailand #กรุงเทพมหานคร #Bangkok #พระพุทธรูป #Buddhism
#พุทธศิลป์ #Thaiart

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Such interesting detail in the interior #mural #artwork of the #whitetemple #chiangrai
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#mural #wallart #popart #thaiart #contemporaryart #fineart #artnomads #painting #art #red

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#PhaKhaoMa #ThaiCraft #ThaiTextile #CulturalDesign #ThaiIdentity #TraditionalMeetsModern #ThaiArt #FabricOfThailand #PlaidHeritage #ContemporaryThaiDesign

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This image highlights Thai identity through pha khao ma patterns, featuring a fabric-filled map of Thailand, with a matching plate and teapot blending tradition and modern design.
#PhaKhaoMa #ThaiCraft #ThaiTextile #CulturalDesign #ThaiIdentity #TraditionalMeetsModern #ThaiArt #FabricOfThailand

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I had to step away and reconfigure some things.

Some priorities here. Some values there.

I'm not even sure if everything is where it's "supposed" to be or whatever that means.

...but I know I'm ready to advance.

#artsky #lineart #drawing #thaiart #illustrator #artist

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✨ Throwback to a favorite from my archives! ✨

Sharing a piece I created a while back – a charming character in traditional Thai attire, brought to life with watercolors and colored pencils on paper.

#GlangLiArts #ThaiArt #Watercolor #ColoredPencil #ArtOnPaper #CharacterArt #Artist #Sketch #art

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Chamras Kietkong (จำรัส เกียรติก้อง) was a Thai painter, particularly of portraits. He produced many oil paintings of Thai royalty and elites such as His Majesty King Bhumibol Adulyadej, Queen Sirikit, and Sawang Sommungmee. In this 1950 painting, we are introduced to an unidentified student.

The young woman with dark, curly hair sits upright and composed holding a book (or fan) in her lap while wearing a light teal sleeveless blouse with small dots and a dark black skirt. Her expression is somewhat pensive as she looks away from us over her left shoulder.

Chamras depicts her with a painterly realistic style with strong impressionistic elements as the student is rendered in more detail than the indistinct background of warm, earthy tones of browns, yellows, and oranges with hints of furniture, doorways, and an almost ghostly figure of another woman dressed in maroon clothing. 

Chamras was born on November 10, 1916 in the Patil district, Meen Buri of Bangkok. His German father, Gerzen Esgerzen, died when he was young, so he lived with his mother Chai Kietkong. Throughout his youth, the walls of his house were full of his drawings. He started his education at Wat Bharomniwat and then Wat Sommanat School and Wat Amarin. His inspiration and passion for art came from his uncle, Lamyai Kietkong, who encouraged him to study art at Poh Chang Art and Crafts School.

His career path began at the Ministry of Education who assigned him as an Instructor at Bann Somdej Teachers' College. After that, he moved to Sartiwithaya School and then Suansunandha School. During World War II, every school in Thailand was shut down and he spent the war painting with his friends at the Fine Arts Department which he later joined.

Chamras received numerous awards and exhibitions during his lifetime. Italion-Thai sculptor and "father of modern art in Thailand," Silpa Bhirasri once said of him: "It goes without saying that Chamras Kietkong was the best realistic painter we had."

Chamras Kietkong (จำรัส เกียรติก้อง) was a Thai painter, particularly of portraits. He produced many oil paintings of Thai royalty and elites such as His Majesty King Bhumibol Adulyadej, Queen Sirikit, and Sawang Sommungmee. In this 1950 painting, we are introduced to an unidentified student. The young woman with dark, curly hair sits upright and composed holding a book (or fan) in her lap while wearing a light teal sleeveless blouse with small dots and a dark black skirt. Her expression is somewhat pensive as she looks away from us over her left shoulder. Chamras depicts her with a painterly realistic style with strong impressionistic elements as the student is rendered in more detail than the indistinct background of warm, earthy tones of browns, yellows, and oranges with hints of furniture, doorways, and an almost ghostly figure of another woman dressed in maroon clothing. Chamras was born on November 10, 1916 in the Patil district, Meen Buri of Bangkok. His German father, Gerzen Esgerzen, died when he was young, so he lived with his mother Chai Kietkong. Throughout his youth, the walls of his house were full of his drawings. He started his education at Wat Bharomniwat and then Wat Sommanat School and Wat Amarin. His inspiration and passion for art came from his uncle, Lamyai Kietkong, who encouraged him to study art at Poh Chang Art and Crafts School. His career path began at the Ministry of Education who assigned him as an Instructor at Bann Somdej Teachers' College. After that, he moved to Sartiwithaya School and then Suansunandha School. During World War II, every school in Thailand was shut down and he spent the war painting with his friends at the Fine Arts Department which he later joined. Chamras received numerous awards and exhibitions during his lifetime. Italion-Thai sculptor and "father of modern art in Thailand," Silpa Bhirasri once said of him: "It goes without saying that Chamras Kietkong was the best realistic painter we had."

"My Student" by Chamras Kietkong (จำรัส เกียรติก้อง / Thai) - Oil on canvas / 1950 - 129 Art Museum (Nakhon Ratchasima, Thailand) #womeninart #ThaiArtist #art #oilpainting #student #womensart #ThaiArt #portraitofawoman #จำรัสเกียรติก้อง #ChamrasKietkong #129ArtMuseum #ArtText #AsianArtist #fineart #artwork

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Thank you for joining us today at SEA Junction for Dr. Chedha Tingsanchali’s insightful lecture on Thai art for the book discussion of "Art in Thailand." We appreciate your support and hope to see you again soon. 📚🎨 #SEAjunction #ThaiArt

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Not your average class.
No degrees, no gatekeeping.
Just color, clay, chaos, & calm.
DM if you’re wandering through BKK and want to make something real.
#Bangkok #ArtVibes #CreativeNomads #ThaiArt

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Thai artist Chakraphand Posayakrit (จักรพันธุ์ โปษยกฤต) is renowned for his intricate, graceful traditional Thai puppet show ‘Lilit Lateng Phai’—one of the series of The Romance of the Three Kingdom; however, 60 years ago, he showcased a unique talent in the art of portraits granting him awards while making him an inspiration for modern artists in Thailand and Asia. 

Suwanni Sukhontha (สุวรรณี สุคนธา) was the pen name of Suwanni Sukhonthiang (สุวรรณี สุคนธ์เที่ยง), a Thai writer and novelist who, 4 years after this portrait, won the SEATO Literature Award from the Southeast Asia Treaty Organization.

Suwanni's works are well known for their realistic structure. She is noted for using a common, but sarcastic language in her works, contrary to the style popular at that time. The characters she created are usually ordinary people and reflect the downsides of human beings. Suwanni is also renowned for profound understanding of female psyche and her use of "brush stroke" to create rich imagery.

Here we see the slender light brown writer serene and thoughtful with delicate facial features including narrow almond-shaped eyes, a short straight nose, and a gentle curve to her pink lips. Suwanni's hair is dark brown, styled in a slightly loose updo with multi-color bandana. She is wearing a sleeveless, patterned dark olive green and brown with subtle patterns. Suwanni is seated in a wooden booth of a cafe, perhaps a hint of sadness, at a dark brown table with her chin sitting in the palm of her left hand.

In 1967, the portrait won 2nd Prize, "Silver Medal Award in Painting" at Thailand's 17th National Exhibition of Art.

Thai artist Chakraphand Posayakrit (จักรพันธุ์ โปษยกฤต) is renowned for his intricate, graceful traditional Thai puppet show ‘Lilit Lateng Phai’—one of the series of The Romance of the Three Kingdom; however, 60 years ago, he showcased a unique talent in the art of portraits granting him awards while making him an inspiration for modern artists in Thailand and Asia. Suwanni Sukhontha (สุวรรณี สุคนธา) was the pen name of Suwanni Sukhonthiang (สุวรรณี สุคนธ์เที่ยง), a Thai writer and novelist who, 4 years after this portrait, won the SEATO Literature Award from the Southeast Asia Treaty Organization. Suwanni's works are well known for their realistic structure. She is noted for using a common, but sarcastic language in her works, contrary to the style popular at that time. The characters she created are usually ordinary people and reflect the downsides of human beings. Suwanni is also renowned for profound understanding of female psyche and her use of "brush stroke" to create rich imagery. Here we see the slender light brown writer serene and thoughtful with delicate facial features including narrow almond-shaped eyes, a short straight nose, and a gentle curve to her pink lips. Suwanni's hair is dark brown, styled in a slightly loose updo with multi-color bandana. She is wearing a sleeveless, patterned dark olive green and brown with subtle patterns. Suwanni is seated in a wooden booth of a cafe, perhaps a hint of sadness, at a dark brown table with her chin sitting in the palm of her left hand. In 1967, the portrait won 2nd Prize, "Silver Medal Award in Painting" at Thailand's 17th National Exhibition of Art.

Portrait (Suwannee Sukontha) by Chakrabhand Posayakrit (Thai) - Oil on canvas / 1967 - Art Centre Silpakorn University (Bangkok, Thailand) #womeninart #art #oilpainting #ThaiArtist #ChakrabhandPosayakrit #artwork #womensart #portraitofawoman #ThaiArt #fineart #Posayakrit #จักรพันธุ์โปษยกฤต #bskyart

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what i feel

#moca #bangkok #thaiart #artsky #art #sculpture #contemporaryart

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🚫Sold Out

Neko Mata 「猫又」
Material : ceramic

#ceramictoy #arttoy #ceramic #arttoythailand #handcrafted #sculpture #thaicrafted #clay #handbuilt #ceramicstudio #crafted #art #potterystudio #thaidesign #fox #cat #yokai #handmade #artist #Thaiart #craftsmanship #minisculpture

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