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MichaelBme ☮️🌲🌻

@michaelbme69.bsky.social

Retired bricklayer in Texas Social Democrat Feminist Live and Let Live Love to see art, and nature photography. Unity is priceless. Left twitter 3 days after 2024 U.S. elections. 💙 No starter packs or boosts, please. 🙏

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The Kimono Gallery@roger1952.bsky.social · yesterday

This furisode features a rich teal satin (shusu) ground, serving as the backdrop for an elaborate design drawn from the Noh play Hagoromo (“The Feather Mantle”), a classical drama rooted in celestial mythology.

Central to the composition are three ethereal feathered robes (hagoromo), shown cascading across the garment with graceful, flowing tails that evoke a sense of weightless movement. These robes, believed to grant flight to heavenly maidens, are a defining symbol of the play and are rendered here with exquisite detail using the yuzen resist-dye technique combined with freehand brush painting. The sweeping cords and streaming elements of the robes intermingle with sprays of pale plum blossoms (ume), a seasonal motif signifying renewal, endurance, and good fortune. Close examination reveals the meticulous use of metallic couching to outline the forms, with gold threads couched in red silk stitches, lending brilliance and textural contrast to the painterly motifs. The shading and tonal gradations in the robes and blossoms show the influence of sumi-e ink painting techniques, blending bold contour lines with atmospheric softness. This synthesis of outlined and shaded effects reflects the decorative refinement of late Edo aesthetics, while the lyrical arrangement of flowing curves and clustered blossoms resonates with Rinpa-style compositions known for their dynamic rhythm and celebration of nature. The imagery directly references the plot of Hagoromo, in which a celestial maiden descends to Earth and hangs her feathered robe on a pine tree. When a fisherman discovers the robe, she pleads for its return, explaining that without it she cannot ascend back to the heavens. The robe thus embodies themes of transcendence, impermanence, and harmony between the earthly and divine—concepts deeply embedded in Japanese aesthetics. For a furisode, a garment traditionally worn by young, unmarried women on auspicious occasions, this symbolism was especially resonant: it signified purity, grace, and the promise of an elevated, even transformative future, aligning with the ideals of coming-of-age or bridal celebrations. 1840-1880, Japan
Admirable Women@admirablewomen.bsky.social · yesterday

Microbiologist Elizabeth Hazen (b. #OTD 1885) & chemist Rachel Brown were granted a patent for Nystatin, an anti-fungal med in 1957. In 2016, it was the 217th most prescribed medication in the US w/ >2MM prescriptions. They gave all $13.4MM in royalties to a fund that heavily supported #WomenInSTEM

A black-and-white photograph of microbiologist Elizabeth Hazen (1885–1975) and chemist Rachel Fuller Brown (1898–1980), the pioneering duo who discovered the first safe antifungal antibiotic, nystatin. On the left, Hazen sits attentively in a white lab coat over a dark-colored vest andlight shirt. She is looking directly at Brown. Standing on the right, Brown looks intently at Hazen while gesturing with chemical glassware. She wears a white lab coat over a light blouse, her silver hair styled neatly. The lab table is filled with scientific equipment, including a glass Erlenmeyer flask, a specialized tube setup, and a rack brimming with cotton-plugged test tubes. The mid-century laboratory background features white storage cabinets with glass windows revealing stacked beakers, alongside an outdoor window framing dark foliage. The composition emphasizes their collaboration, casting a focused light on their work to evoke a mood of serious, dedicated discovery and monumental historical significance in STEM.
Jay Troyer@gr8flbluejay.bsky.social · yesterday

Kasamatsu Shirō, Japanese (1898-1991), Hazy Evening on the Shore of Shinobazu Pond, 1932, color woodblock print, image: 36.2 x 25.0 cm, paper: 39.2 x 26.7 cm, LACMA, Los Angeles, California, USA

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Jay Troyer@gr8flbluejay.bsky.social · 2d ago

Kawase Hasui, Japanese (1883-1957), Moon at the Arakawa River (Akabane), from Twenty Views of Tokyo, 1929, ink and color on paper, 38.4 x 26 cm, National Museum of Asian Art, Smithsonian, Washington, DC, USA

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