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Bamboo 竹

@bamboobabey.bsky.social

yokai/ 妖怪 enthusiast 👹👺| 24 | MDNI | ANTI AI 🚫 | MRI technologist | | COMMS OPEN! | Twitch: https://m.twitch.tv/bamboo_babey ArtFight: https://artfight.net/~bamboo_babey

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💚💜Nancy Dearest💜💚@nancydearest.bsky.social · last wk.

Timelapse of this Tomo attack Fun fact, my reference was the gorgeous Cassie from TrueRef, and I had to play around cutting up multiple images to give them extra arms for the pose 😆 I also experimented overlaying actual bug photos for the textures on the wings, eyes, and outfit!

Bamboo 竹@bamboobabey.bsky.social · 2w ago

This is Nugget! これは ヌゲトー! M best friend since kindergarten was being abused by her spouse. This caused her to flee that house with her three cats. Due to her living situation, she wasn’t able to keep her cats. So I adopted Nugget and the other two found loving homes! #CatsofBlueSky #cats #cat

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The Kimono Gallery@roger1952.bsky.social · last mo.

This woodblock print is a celebrated masterpiece from the innovative mid-19th-century series "The Fifty-Three Stations of the Tōkaidō" (Tōkaidō gojūsan tsugi no uchi) designed by the legendary ukiyo-e titan Utagawa Kunisada (1786–1865).

A vertical ukiyo-e color woodblock print designed by the legendary master Utagawa Kunisada (1786–1865) features a powerful theatrical portrait combined with a narrative landscape. The composition stands as a magnificent representation of Kunisada’s innovative mid-19th-century series The Fifty-Three Stations of the Tōkaidō, which brilliantly marries the popular genre of kabuki actor portraits (yakusha-e) with scenic travel landscapes. The foreground is dominated by a dramatic, half-length portrait of a kabuki actor performing a fierce, intense expression. His face is painted with striking kumadori makeup—bold red lines tracing the brow and eyes to denote powerful anger or heroism, contrasted by blue shadow around the chin. His jet-black hair is styled in an extraordinary, exaggerated kuruma-buki (wheel-spoke) fashion, with thick curls projecting outward like claws around his face beneath a large, rounded topknot. The actor's costume is a masterclass in complex, multi-layered textile design. He wears a heavy outer robe decorated with swirling purple and white patterns over large, vibrant orange-gold peony blossoms. Beneath this, a second garment features an intricate geometric tortoise-shell lattice (bisha-mon kikkō) in yellow and black, enclosing stylized blue floral medallions. He wears decorative yellow-and-orange protective hand guards over his fists, which are brought together in a tense, dynamic theatrical gesture. The background shifts beyond a soft border of purple-tinted clouds into a lively depiction of a Tōkaidō station. In the upper left, travelers rest near a traditional thatched-roof teahouse or inn, while figures outside contend with a pack horse along the path. Plumes of white smoke or mist drift vertically into a deep blue evening sky. In the upper right corner, a highly decorative red rectangular cartouche is framed by a border of white and blue chrysanthemums and topped with a golden butterfly, identifying the station and the character.
The Kimono Gallery@roger1952.bsky.social · 2mo ago

A Kakiemon Tile Edo period (late 17th century) , Japan Decorated in iron-red, green, yellow, blue and black enamels with Oryu [dragon with wings] in a red-lined circular panel, four corners with botan-karakusa motifs, the reverse with five supports

The composition masterfully arranges a legendary beast within a geometric enclosure, utilizing a brilliant, harmonious color palette to create an exquisite balance between dynamic movement and formal decorative structure. The absolute focal marvel of the tile is the central depiction of an Ōryū—a magnificent, high-ranking dragon distinguished by its fish-like wings and tail—rendered mid-flight as it dives dynamically from the upper left toward the lower right. The mythical creature is enclosed within a crisp, perfect circular panel outlined by a bold border of iron-red enamel, creating a vast field of clean, negative white space that forces the main subject to step forward with supreme clarity. The dragon's sinuous body is meticulously decorated with overlapping scales outlined in black and filled with a vivid turquoise-blue enamel, while its spiky, fan-like wings and wide tail fin are accented with bands of alternating blue and pale yellow. Its expressive, snarling head features prominent horns, a curled whiskers, and a wide-open jaw lined with iron-red, capturing a sense of mythic power with remarkably playful precision. The four corners outside the central medallion are occupied by an intricate, symmetrical arrangement of botan-karakusa (peony and scrolling vine) motifs, a classic design element in East Asian ceramic history. The scrolling vines are executed in a delicate shade of green and blue enamel, twisting elegantly to frame multi-petaled peony blossoms rendered in a rich, warm iron-red. The background of these corner zones is filled with a soft, pale greenish-yellow wash, providing a subtle tonal separation that anchors the crisp white central medallion. Although not visible from the front, the reverse side of the tile is cast with five structural supports, a technical detail essential to its firing process and architectural utility.
The Kimono Gallery@roger1952.bsky.social · 2mo ago

Famous Heroes of the Kabuki Stage Played by Frogs by Utagawa Kuniyoshi (1798-1861), a woodcut illustration of personified frogs in costume acting out scenes from Kabuki plays. Original from Library of Congress. Digitally enhanced by rawpixel. Text by rawpixel

This whimsical ukiyo-e woodblock print, titled Famous Heroes of the Kabuki Stage Played by Frogs, is a brilliant masterpiece of satirical illustration (giga) by the legendary Edo-period master Utagawa Kuniyoshi (1798–1861). The multi-figure composition captures a lively assortment of personified frogs dynamically posed across a brilliant blue background, acting out dramatic, easily recognizable scenes and stock poses (mie) from popular Kabuki plays. Kuniyoshi’s celebrated genius for humor, caricature, and subverting strict government censorship guidelines shines through in this piece, transforming the highly dramatic world of the Edo theater into an endearing, amphibian spectacle. The composition is densely populated by more than a dozen anthropomorphic frogs arranged in theatrical groupings, each meticulously detailed with distinct skin patterns, expressive faces, and elaborate stage costumes. Across the surface, small vertical yellow cartouches contain calligraphic text identifying the specific Kabuki characters and roles being lampooned. The frogs seamlessly mimic human actors: some are draped in heavy, wide-shouldered samurai robes (kamishimo) with tucked-in sashes and unsheathed swords, while others grapple in high-energy stage combat or dynamic wrestling poses, their round white bellies and webbed limbs adding an irreplaceable comedic layer to the rigid formality of the theater. A pale-green spotted frog lunges with open arms in a dramatic pose, while a large, fiercely expressions-filled blue frog dominates the upper right, raising a long staff or weapon above its head. In the center left, a green frog stands with its webbed hands clasped tightly in a classic dramatic gesture, paired with a crouching warrior frog below it clad in a crisp, blue-and-white checked pattern over-garment, brandishing a raised sword. On the middle right, two frogs are locked in an intense, physical struggle, capturing the tense physical choreography of a theatrical climax.
XingWu🐉ChineseFolklore@xingwu.bsky.social · 2mo ago

In Chinese #folklore, the Gui Mian (鬼面), Ghost Face, begins as a warning on the wall. By day, it appears as a snarling demonic face, about a foot wide, shifting in color and size as if alive. It does nothing at first, only waits. But when night falls and attention drifts, 1/2

鹹陽縣尉李泮，有甥勇而頑，常對客自言，不懼神鬼，言甚誇誕。忽所居南墻，有面出焉，赤色。大尺餘。趺鼻眑目。鋒牙利口，殊可憎惡。甥大怒。拳驅之。應手而滅。俄又見於西壁，其色白。又見東壁，其色青，狀皆如前，拳擊亦滅。後黑面見於北墻，貌益恐人，其大則倍。甥滋怒，擊數拳不去，拔刀刺之，乃中。面乃去墻來掩，甥手推之。不能去，黑面遂合於甥面，色如漆，甥仆地死。及殯殮，其色終不改。~《紀聞》