Asian art on velvet

Inside the creamy-peach sandstone building, completed in and full of unspoiled art deco architectural ornaments, boundaries between countries and millennia have been swept aside. Xiaojin Wu, the curator of Japanese and Korean art, and Ping Foong, the curator of Chinese art, are giving me a preview in early January. They explain how for the first redisplay of the permanent collection they have winnowed down choices from 8, objects, and how they hope to stir up compassion and wonder by organising the galleries not by region, but around themes such as spiritual quests, luxury cravings, and immigrant dislocations. Handscroll from the Lotus Sutra late 12 century , Japan. Seattle Asian Art Museum They have devoted one vitrine to pages of gilt prayers on indigo-dyed backgrounds, inscribed in medieval times by North African Muslims and Japanese Buddhists. Colourful fanged masks from Japan, Korea, Nepal, and Indonesia are hung in a row beside Flower Ball by Takashi Murakami, a canvas disc more than eight feet in diameter and covered in grinning daisies.
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Winners Of 2019 Asia Artist Awards

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Artworks search results in 'Oriental and Asian Art' category | MasterArt

Check out our Spotify playlist inspired by Woven Luxuries Silk velvets have been preeminent luxury textiles in many parts of the Islamic world and Europe, especially from the 15th century onwards. They were often used for clothing and furnishings, such as as carpets, spreads, bolsters, hangings, and exchanged as diplomatic gifts. The 11 textiles in this exhibition are selections from a private New York collection, providing a glimpse into the richness and diversity of Iranian, Indian and Turkish silk velvets. Spanning three distinct cultural areas with their own design sensibilities and tastes, this group of textiles showcases different techniques of velvet production and suggests their varied uses. Of special note are the two complete 17th-century carpets from India and Iran, each measuring nearly 6 by 4 feet and retaining not only their design elements but also their vibrant colors. These, along with nine other substantially sized textile fragments, show the cultural exchange between the Mughal, Safavid and Ottoman empires—linked by shifting ties of political, religious and economic rivalry.
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Velvet painting

He realized that the silk painting of ancient China had a unique and transparent appearance. These qualities of silk painting and the Vietnamese expertise in creating them could help Vietnamese artists differentiate their national art of Vietnam from the popular European oil paintings. By using the everyday life scene and charming transparency colors, Nguyen Phan Chanh successfully proved that silk painting could become one of the appropriate art forms of Vietnam.
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