Silent Iris

The greatness of little things- Bhagavad Gita

[Silent Iris @dimsumla]

To Rumi,
You will always be my light of love
In this realm or another,
In this form or another.

[The Public Domain Review @PublicDomainRev]

Chromolithographic plates from Owen Jones’ Examples of Chinese Ornament (1867) which reproduces ornamentation from painted vases, incense burners, lacquer boxes, and many more objects in the @V_and_A. More here: https://t.co/q3h5N2MqDH

[Native Red Cloud🪶Maȟpíya Lúta~Hińhan Wakangli⚡️🦉 @Native3rd]

“From nowhere we came; into nowhere we go. What is life? It is the flash of a firefly in the night. It is the breath of a buffalo in the wintertime. It is the little shadow which runs across the grass and loses itself in the sunset.”

~ Crowfoot, Blackfoot Chief, 1890

[#WOMENSART @womensart1]

Georgia O'Keeffe carrying her canvas in the desert, c.1920
(via FB) #WomensArt

[Archaeology & Art @archaeologyart]

Postcard, c. 1910

[Oğuz Pancar @opancaro]

Palaya Qiatsuq, Dancing Owl, 2007

[Art Encyclopedia @artenpedia]

Italian Girl with Flowers, 1886 Joaquin Sorolla y Bastida

[Van Gogh Museum @vangoghmuseum]

When Vincent moved to Paris, a lot changed. ✨ He became inspired by the Impressionists, using lighter colours & quick brushstrokes. And he swapped farmers for cafés, flowers and city streets. 🤳

We’re highlighting four works from his Paris years:
1 ‘Vase with Gladioli and Chinese Asters’, 1886 © Van Gogh Museum
2 ‘Café Table with Absinthe’, 1887 © Van Gogh Museum
3 ‘Self-Portrait with Pipe and Straw Hat’, 1887 © Van Gogh Museum
4 ‘Boulevard de Clichy’, 1887 © Van Gogh Museum

[Henri Martin @HenriMartinArt]

Young Woman Veiled in White in a Forest #artbots #martin

[Archaeology & Art @archaeologyart]

Cupid Presenting a Rose to a Butterfly (L'Amour). Artist: Antoine-Denis Chaudet (completed by Pierre Cartellier). Date: Model exhibited 1802; Marble completed 1817. Material: Marble; Height 77 cm. Collection: Musée du Louvre, Paris.

[Basho Society @BashoSociety]

to be natural
and true is the
highest rebellion

[Van Gogh Museum @vangoghmuseum]

Let’s take a dip into Van Gogh’s brushstrokes 🎨
Ever noticed how thickly he painted ‘Landscape at Twilight’ (1890)? 🌅 Van Gogh captured the all-encompassing character of nature – not only its beauty and vitality, but also the unease and loneliness of those empty, desolate landscapes.

What do you see in Van Gogh’s brushstrokes?

[Van Gogh Museum @vangoghmuseum]

The healing power of painting 💛 Vincent did not portray himself as a sick, broken man for the sake of effect or to arouse pity. He was convinced that painting would help him heal.
‘I retain all good hope’, he wrote to his brother Theo.

🖼️ ‘Self-Portrait’, 1889 © Nasjonalmuseet

[Henri Martin @HenriMartinArt]

Harmonie #artbots #martin

[Archaeology & Art @archaeologyart]

The Throne Room at the heart of the Bronze Age palace of Knossos, considered the oldest throne room in Europe. Crete, 15th century BC

[DaVinci @BiancoDavinci]

An Italian sculptor held a personal exhibition of ice blocks entitled:
"Life is short, enjoy it before it melts..."

[Archaeology & Art @archaeologyart]

Mary Oliver, photographed by her partner Molly Malone Cook. “Helping the traveler, 1965”

[@_rt* @literatura_rte]

Fumi Yanagimoto "

[𝕰𝖑𝖊𝖒𝖒𝖎𝖗𝖊 @elemmiressoul]

˚˖𓍢ִ໋🦢˚..

[Archaeology & Art @archaeologyart]

In Chinese iconography, this figure is deeply connected to the Moon. Contrary to the Western concept of the "Man in the Moon," the ancient Chinese viewed the shadows and craters on the lunar surface as the silhouette of a giant frog. This belief stems from the story of the Goddess Chang’e, who stole the elixir of immortality and fled to the moon. According to legend, as punishment for this theft, the goddess lost her elegant form and transformed into a warty "Moon Toad," doomed to live on the moon forever.

Pay attention to the mouth of the work—it’s wide and upturned. This carries a distinct meaning. In Chinese, the word shih, which means "eclipse," shares the same root as the verb "to eat." People believed that lunar eclipses weren’t scientific phenomena, but rather the moment this celestial frog was trying to swallow the moon. During an eclipse, villagers would scare the monster by banging on tin cans, shouting, and screaming to force it to "spit the moon back out."

Finally, I’d like to talk about the piece’s construction. In contrast to the pristine whiteness of porcelain, this stoneware work perfectly captures nature’s irregular texture. The craftsman skillfully shaped the clay to mimic the frog’s moist, rough skin, applying a special glaze known as "transmutation." The transitions between the blue, gray, and earth tones are the result of uncontrolled chemistry caused by temperature fluctuations inside the kiln. This glassy layer—which thins to a milky blue over the raised bumps on its back and deepens to navy in the folds—gives the work a wet, lifelike appearance, as if it had just emerged from a muddy pond.

You can access the work from this link: https://t.co/26TWRJp9CB