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Lina W

@linawiren.bsky.social

Mainly flower and nature photography 🌸📷 Other occurring topics include birds, biodiversity, history, palaces and art. Oh and save the planet!💚

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Journal of Art in Society@artinsociety.bsky.social · 2mo ago

Jan Davidsz de Heem, Still Life with Flowers in a Glass Vase ~ if you look very closely, it’s not really “still”, as it’s actually crawling with ants, caterpillars, bugs, flies and a snail. And, BTW, admire the reflection of latticed window in glass vase (detail at R)

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VenetiaJane’s Garden@venetiajane.bsky.social · 2mo ago

On 20th November 1986, the rose was declared the national flower of the United States. So today, a bouquet of roses from an English garden, sent with warmest wishes to all our friends across the pond for a very happy 4th of July. Have a wonderful Independence Day!

A collage of nine roses arranged in a three-by-three grid. The blooms range from soft blush pink and creamy white to peach, coral and deep magenta, with a cluster of small pink roses amongst the larger, many-petalled flowers.
Ashmolean Museum, Oxford@ashmoleanmuseum.bsky.social · 2mo ago

  If you could choose any flower or plant to represent your life, what would you chose?  These prints are drawn from Kate Friend’s ‘As Chosen By...’ series, which features portraits of plants and flowers selected by public figures.

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The Kimono Gallery@roger1952.bsky.social · 2mo ago

Tigers in a Bamboo Grove (detail), mid‑1630s. Kano Tan’yū, Japanese, 1602–1674. Ink, color, and gold leaf on paper, set of four‑panel sliding doors, each door 72 13/16 × 55 ½ inches. Nanzen-ji Temple, Sakyō-ku, Japan. Important Cultural Property.

A vertical photograph captures a magnificent single-panel detail from the mid-1630s sliding door painting Tigers in a Bamboo Grove by the celebrated Edo-period master Kanō Tan’yū, preserved at the Nanzen-ji Temple in Kyoto. The composition is anchored by its practical domestic function, clearly indicated by the ornate, dark metal indented door pull (hikite) positioned on the right edge of the panel. The artwork seamlessly blends monumental scale with delicate decorative refinement, setting a powerful feline protagonist against an expansive, luminous void. The center of the frame is dominated by a dynamically bounding tiger captured in mid-air as it leaps gracefully from right to left. Because tigers were not native to Japan, Tan’yū relied on imported Chinese paintings and dried pelts, resulting in a creature that wonderfully balances ferocious power with an endearing, almost domestic feline charm. The artist utilizes masterfully controlled ink lines to define the creature's musculature and the rhythmic, undulating pattern of its dark stripes, while the face features an expressive, open-mouthed snarl that reveals small white teeth. The tiger's long, banded tail whips dynamically upward behind it, slashing into the upper register of the canvas to accentuate the kinetic energy of its stride. The physical setting is established in the lower third of the panel through an arrangement of classical auspicious motifs. A heavily stylized, curling rock formation rendered with thick, calligraphic ink outlines sits at the base, its hollowed-out interior revealing a tiny glimpse of greenery. Sprouting from behind this rockery are sharp, deep-green bamboo leaves and delicate, low-lying bushes laden with small, round red blossoms that offer a vibrant organic contrast to the beast above. The entire scene is bathed in a warm, shimmering glow from the background, which is composed entirely of square sheets of gold leaf applied in a distinct, visible grid.