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Bluesky · Hashtag

#asianart

42

posts · 30d

12

users

1

posts / day

3.5

posts / user

-36% vs last week

#asianart is an active hashtag on Bluesky. In the last 30 days, 12 people shared 42 posts with it — around 1 a day. Activity is down 36% versus the previous week, peaking on Jul 24 with 5 posts.

#asianart posts per day (last 30 days)

Related tags

Tags most often used together with #asianart.

#art 22 #museum 15 #artgallery 15 #arte 15 #japaneseart 10 #modernart 8 #flowers 8 #summer 8 #paintings 6 #fineart 5 #photography 5 #ChineseArt 5

Posts with #asianart

The Zen of True Art

@thezenoftrueart.bsky.social

Phan Thi Hoa (Vietnam, b.1983), "Family Reunion Festival," lacquer on wood, 2022; photo: Lua La Gallery. #art #arte #vietnam #southeastasia #asianart #stilllife #modernart #contemporaryart #lacquerpainting #paintings #peintures #museum #musee #museo #artgallery

2 18 130

The Zen of True Art

@thezenoftrueart.bsky.social

about 8 hours ago

Ren Yi, "Paradise Flycatchers and Wisteria," ink and color on paper, c.1840-95; Art Institute of Chicago. #art #arte #asianart #chineseart #scrollpainting #birds #botanicalart #botanicalpainting #summer #wisteria #inkpainting #museum #artgallery

0 5 31

The Zen of True Art

@thezenoftrueart.bsky.social

Masuyama Sessai, "Cockatoo and Blackbird on Flowering Bough," (detail), ink and colors on silk, 1791; The British Museum. #art #arte #japaneseart #birds #flowers #summer #cockatoo #scrollpainting #asianart #paintings #museum #artgallery

0 7 29

The Zen of True Art

@thezenoftrueart.bsky.social

Takahashi Hiroaki (Shotei), "Cherry Blossoms on the Sumida River in Rain," woodblock print, c.1924-27. #art #arte #japaneseart #japaneseprint #japanesewoodblockprint #printmaking #woodblockprint #cherryblossoms #asianart #museum #artgallery

0 26 169

The Zen of True Art

@thezenoftrueart.bsky.social

Do Khai (Vietnam, b.1969), "White Crane Among Lotuses III," lacquer on wood, nd; photo: Nguyen Art Gallery. #art #arte #vietnam #paintings #peintures #modernart #southeastasia #asianart #birds #lotus #botanicalpainting #lacquerpainting #botanicalart #museum #musee #artgallery

0 11 68

The Zen of True Art

@thezenoftrueart.bsky.social

Kawase Hasui, "Spring Evening at Kintai Bridge," woodblock print, 1947. #hasui #kawasehasui #art #arte #japaneseart #japaneseprint #woodblockprint #japanesewoodblockprint #printmaking #asianart #spring #landscape #museum #artgallery

0 22 131

The Zen of True Art

@thezenoftrueart.bsky.social

Yiang Xiaomei, "Refreshing Lotus Rising From Water," (loose translation), contemporary painting, nd; photo: Wan Fung Gallery. #art #arte #china #chineseart #asianart #flowers #lotus #contemporaryart #modernart #flowerart #botanicalpainting #museum #artgallery

0 4 35

Michael

@mdstamper.bsky.social

about 1 year ago

Ritratto di Fu Ku Ko (Portrait of Fu Ku Ko) by Romualdo Locatelli (Italian) - Oil on canvas / c. 1938 #WomenInArt #art #oilpainting #ArtText #portraitofawoman #artwork #womensart #RomualdoLocatelli #Locatelli #italianartist #portraitofalady #happy #performer #asianart #RomualdoFedericoLocatelli

Italian artist Romualdo Battista Federico Locatelli, a commissioned painter for both the Vatican and the Royal House of Italy, was perhaps most renowned for his stunningly diverse and wide array of portraits. Working primarily for the nobility and others in high society, the artist traveled to lands as far away as Africa and Southeast Asia to paint for wealthy patrons, and it was on these journeys that he developed his penchant for the genre. Locatelli sought the challenge of capturing on canvas a person's character and he mastered this through skillfull depiction of nuanced body language and abstract presence.

“Ritratto di Fu Ku Ko” traces its roots back to Locatelli's 1938 visit to Java, where the artist was invited as the guest of honor by Mr Ching Chang Fu for the launch of the Tyitialenka, a merchant ship he owned. Fu, an affluent shipbuilder, requested that Locatelli paint his wife, Fu Ku Ko.

The resulting portrait is a stunning example of Locatelli's pioneering pairing of Western painting technique and Eastern pictoral symbolism. Here, Mrs Fu's distinctly Asian heritage stands out from her delicate physicality and gesture. The viewer can feel her soft smile, and the contrasting mineral tones exude warmth and tradition. With her dark hair is up in large side buds, she sits cross legged wearing a traditional sky blue silk outfit and gorgeous royal blue jacket with white trim. A gold Buddha statue behind her and the pipa, a traditional Chinese lute, she joyfully plays, only add to the cultural overtones.

Yet it is flair that makes this painting stand out. The light brushstroke and its pearly texture emanate Impressionism, and transforms the surface of the canvas into a silky texture. It is precisely this use of Western techniques that adds to the Eastern soul that is the hallmark of Locatelli's legacy. Beauty inspired all of Locatelli's paintings and portraits became important because the artist successfully suggests the spirit of the sitter.

1 4 98

The Zen of True Art

@thezenoftrueart.bsky.social

about 1 month ago

Lin Hukui (b.1945), "Monkey," hanging scroll, 2007; photo: Christie's. #art #arte #chineseart #chinesepainting #asianart #scrollpainting #monkey #animalart #paintings #botanicalpainting #botanicalart #museum #artgallery

0 8 76

Michael

@mdstamper.bsky.social

“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

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.

0 8 73

Michael

@mdstamper.bsky.social

“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

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.

1 6 71

The Zen of True Art

@thezenoftrueart.bsky.social

Utagawa Hiroshige, "Plum Garden, Kamata," woodblock print, 1857. #art #arte #japaneseart #japaneseprint #asianart #woodblockprint #woodcut #japan #japanesewoodblockprint #summer #printmaking #museum #artgallery

0 6 62

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