#hsiang art

[small-bambi]

Harrison Wood Hsiang

[psikonauti]

Chao Chung-hsiang (Chinese,1910-1991)

Cosmic Eye, 1980

Ink and acrylic on paper mounted on canvas

[shihlun]

A One and A Two: Edward Yang Retrospective

Taipei Fine Arts Museum, 2023.

[ciccerone]

[abwwia]

He Xiangning; 何香凝; Ho Hsiang-ning

#bornOnThisDay He Xiangning  (Chinese: 何香凝; Wade–Giles: Ho Hsiang-ning; 27 June 1878, Hong Kong – 1 September 1972, Beijing) was a Chinese revolutionary, feminist, politician, painter, and poet. via Wikipedia #PalianSHOW

[exitwound]

hey! that deer art was stolen and reposted without credit. i reblogged the original post earlier so i still have the link to the original comic if you want to read it (it’s really beautiful) tumblr com /small-bambi/765163331013230592/harrison-wood-hsiang

ohhh thank you for telling me! wow… it is https://www.tumblr.com/small-bambi/765163331013230592/harrison-wood-hsiang

[definitelypreventable]

Wish I knew what to call my favorite art styles so I can find more art like it. I’d never thought about asking what style a piece is until now but now I can’t even if I want to bc I’ll just look like some prompt generating weirdo :(

I deeply want to learn to do stuff like @celestial-fang, unrefle, wlop, Vector Tenoimu, Tayumeru, Lucia Hsiang, KanLiu, @yuumei-art, @pianta, @sillychaotic, @hskachu, and Nenek Hani

Those first two especially I could stare at forever. I think what I like is how they work with color.

I’m also trying to find an artist I want to do a lineart study on or something… I really like Tenoimu for that I think…

[ronnansink-blog]

The Taikiken page shares its super dvd for individual Training and Natural Tuning in free Nature. Discover the Grace and Power of Taikiken: Master Kenichi Sawai’s Legacy in Martial Arts

In the serene embrace of nature, where the rustling leaves whisper secrets of ancient martial prowess, a unique discipline unfolds its graceful yet potent form: Taikiken. As a subdiscipline within the vast universe of martial arts, Taikiken stands out not merely for its techniques but for its philosophical depth and the personal journey it offers practitioners. At the heart of this movement is Master Kenichi Sawai, a luminary whose dedication has immortalized Taikiken in both practice and literature.

Master Kenichi Sawai’s commitment to Taikiken transcends mere instruction; it is a celebration of an intrinsic martial heritage. “I am proud to be part of a martial arts tradition as long as that of Ta-ch’eng-ch’üan,” he proclaimed, echoing the sentiments of historical martial masters. Ta-ch’eng-ch’üan, or Taiji Chuan, with roots in the profound traditions of Da Cheng Quan and Yi Quan, provides a philosophical backbone that Taikiken intricately weaves into its fabric.

Sawai’s journey into Taikiken is deeply influenced by the teachings of Wang Hsiang-ch’i, also known as Wang Xiangzhai. A legendary figure in martial arts, Wang emphasized the essence of ki, the life force energy, stating, “No matter, if you hear ki, explained a thousand times, you will never understand it based on explanations alone. It is something that you must master on your own strength.” This philosophy is the cornerstone of Taikiken, where the mastery of ki is not taught but experienced, forging a personal connection between the practitioner and their inner strength.

In 1976, Kenichi Sawai published “Taikiken: The Essence of Kung-fu,” marking a seminal moment in martial arts literature. As the first Taikiken book available in English, it opened the doors for a global audience to explore the depths of this unique martial discipline. The book delves into the essence of Taikiken, emphasizing that there are no fixed forms. Unlike many martial arts that adhere strictly to predetermined sequences, Taikiken encourages individual expression and adaptation. This flexibility ensures that each practitioner can develop movements that are inherently natural and effective for their unique body dynamics.

The training in Taikiken is built upon the pillars of Zen and Hai, fostering an environment where mental clarity and adaptability are paramount. In the dojo, practitioners are not confined to rigid movements; instead, they are encouraged to perfect their Zen, achieving a state of calm and focus that allows for complete freedom of movement when facing an opponent. This philosophy is pivotal because, in real combat, the ability to move freely and adapt instantly is far more valuable than memorizing static forms.

[manukyan]

The 59th Golden Horse Awards｜Nominations｜最佳改編劇本 from Bito on Vimeo.

The 59th Golden Horse Awards｜Nominations

Designed by Bito

Creative Director｜Keng-Ming Liu Art Director｜Weahao Shao Project Manager｜Wen-Hui Chen Account Manager｜Naiyun Peng

Ideation｜Weahao Shao Styleframe｜Weahao Shao, RouJia Liang, Chin-Ho Kao, Boris Hsieh, Lu-Wen Hou, Joe Yang, Derrick Liu, Binbin Lu 3D Animation｜Weahao Shao, RouJia Liang, Chin-Ho Kao, Boris Hsieh, Henry Chen, Yen Ke 2D Animation｜Johnny Yang, Binbin Lu, Pei-Hsuan Wang, Cheng Li Feng

【Film Production】 Director｜Weahao Shao DOP｜Joe Yang Producer｜Wen-Hui Chen, Wei-Ni Chen Special Effect Makeup Artist｜Elsie Wang Talents｜Hsien Chen Tsai, Chin-Ho Kao, Wei-Ni Chen, Boris Hsieh, Chung Chieh Yang, Liao Ching Wen, Hwang Sih Yu, Hao Che, Eric Hong, Chen Man Li Equipment｜Chung Chieh Yang, Hsiang Hsieh, Chen Ying Shan, Marbo Wu, Tunhsueh Liang Editor｜Weahao Shao, Joe Yang, Yeh Po Hsiu BTS｜RouJia Liang, Chin-Ho Kao

Music｜Luming Lu Sound Design｜Hsiao-Chin Lin, Szu-Yu Lin Production Assistant｜Li-Chin Chang Mixing｜Hsiao-Chin Lin (WinSound Studio) Coordinator｜Elisa, Yi-Hsin Lin

Voiceover｜Morning Tzu-Yi Mo Recording Studio｜V-Sound Music

[psikonauti]

Chao Chung-hsiang (Chinese,1910-1991)

Crane II, 1969

Ink on paper

[praxismatters]

ℍ𝕠𝕨 𝕥𝕠 ℍ𝕠𝕝𝕕 𝕐𝕠𝕦𝕣 𝔹𝕣𝕖𝕒𝕥𝕙 

ℍ𝕠𝕨 𝕥𝕠 ℍ𝕠𝕝𝕕 𝕐𝕠𝕦𝕣 𝔹𝕣𝕖𝕒𝕥𝕙  2024 Asian Art Biennial, Taiwan

The title of the 2024 Asian Art Biennial, How to Hold Your Breath, evokes the act of voluntarily pausing a vital function, creating a state of anticipation. A twist on the saying "don’t hold your breath," a warning not to expect change soon, is inverted here to suggest latent hope.

Playing with and yet eluding the principle of a guidebook, How to Hold Your Breath can be seen as a call to withdraw from the spheres of visibility and systems perpetuating violence, to make space for opacity from which new forms of  agency can emerge. Imagine it as a deep dive before embracing an uncertain and indeterminate future.

November 16, 2024 - March 2, 2025 National Taiwan Museum of Fine Arts, Taichung Curated by Fang Yen-Hsiang, Anne Davidian, Merv Espina, Haeju Kim, Asli Seven

Read full text

On March 27, 2021, Croatian freediver Budimir Šobat breaks the record for the longest voluntary breath hold, at 24 minutes and 37.36 seconds.

In June 1986, amidst a year marked by disasters and dissent—from the bloodless People Power Revolution that ousted the three-decade-long Marcos dictatorship in the Philippines, to the Chernobyl nuclear catastrophe—the song Take My Breath Away tops the charts.

In the early centuries CE, the compiled Yoga Sutras of Patanjali describe the practice of kumbhaka as the gradual cessation of breathing, the discontinuance of inhalation and exhalation. The retention of breath has long been known as one of the oldest and simplest techniques for accessing altered states of mind.

The title of the 2024 Asian Art Biennial, How to Hold Your Breath, evokes the act of voluntarily pausing a vital function, creating a state of anticipation. A twist on the saying "don’t hold your breath," a warning not to expect change soon, is inverted here to suggest latent hope.

Taking a deep breath and holding it anchors us in the present moment. As the world unravels into new sublevels of rock bottom, we continue to migrate and navigate through the din and dust, between place and displacement in this late capitalist fallout. This act of calming the breath and setting the mind prepares for transitioning from one reality to another, in a movement of transformation. It is an interval, to listen to the inaudible and retune with the metabolic rhythms of our bodies and the planet. 

Playing with and yet eluding the principle of a guidebook, How to Hold Your Breath can be seen as a call to withdraw from the spheres of visibility and systems perpetuating violence, to make space for opacity from which new forms of agency can emerge. Imagine it as a deep dive before embracing an uncertain and indeterminate future.

[abwwia]

He Xiangning (Chinese: 何香凝; Wade–Giles: Ho Hsiang-ning; 27 June 1878 – 1 September 1972) was a Chinese revolutionary, feminist, politician, painter, and poet. Together with her husband Liao Zhongkai, she was one of the earliest members of Sun Yat-sen's revolutionary movement Tongmenghui. As Minister for Women's Affairs in Sun's Nationalist government in Guangzhou (Canton), she advocated equal rights for women and organized China's first rally for International Women's Day in 1924. After her husband's assassination in 1925 and Chiang Kai-shek's persecution of the Communists in 1927, she stayed away from party politics for two decades, but actively worked to organize resistance against the Japanese invasion of China. via Wikipedia

A renowned painter of the Lingnan School of Chinese art, He Xiangning was elected the third chairperson of the China Artists Association in July 1960. She particularly enjoyed painting plum blossoms, pine trees, tigers, and lions. A collection of her paintings was published in 1979 in Guangdong. On 18 April 1997, He Xiangning Art Museum was opened in Shenzhen. It was China's first national-level art museum named after an individual artist, and Communist Partygeneral secretaryJiang Zemin wrote the calligraphy for the museum's name. In June 1998, China Post issued a set of three stamps (1998-15T) featuring her paintings.

He Xiangning, Lion, 1914, ink and color on paper, 63 x 49 cm, © He Xiangning

[scarletwitchie2]

not my art

chriskin.tumblr

by Loika

ArtStation Canal Fun with sunlight and kitties. by Ming85

Inspirationally Sane By Art And Music

Waterway by mitsuki (yu hsiang yi)

by Omutatsu

[sinophone-net-art]

Title: Flow 《漫》 Year: 2006 URL: N/A [N/A] Format: Web Interactive Installation and images and texts captured from specific websites Themes: Flow of information. Way of browsing. State of chaos. Perception.

Artist(s): Yu-Chuan Tseng 曾鈺涓, Chia-Hsiang LEE 李家祥 City/Country: Taiwan

More about:

Yu-Chuan Tseng. “Statement” FLOW. Accessed December 3, 2023. https://tyuchuan.com/wp-content/1988-2014/2006flow/page/e_page01.htm.

DigitArts. Flow. National Taiwan Museum of Fine Arts (NTMoFA), 2017. Accessed December 3, 2023. https://www.digiarts.org.tw/DigiArts/DataBasePage/1_88650235471356/En.