Due to some time ago there was this dispute of heights between brines, I kinda had to draw my brines along with three of my favorite brines and compare their heights and bOY AM MINE SHORT COMPARED TO THEM
Greaser Girl, June July issue of Nylon Magazine! My favorite shoot yet! Love the amazing looks by Karen Levitt on Gwen, May & Shelly, the three beautiful chinese models. Nails by me assisted by Narina Chan, using Zoya & CND Vinylux. Make up by Theo Kogan, and hair by Rick Gradone, fake tattoos by Ashley at Magic Cobra Tattoo. Photography by Jimmy Fontaine, castes by Beth Garrabrant.
Liu Guo Song (劉國松) The Father of Contemporary Ink Wash, was born in 1932, Bangbu, Anhui Province, China. In 1949, he moved to Taiwan. Graduating in 1956 from the National Taiwan Normal University he established, in that same year the “Fifth Moon Group” with fellow avant-garde artists. From this platform he launched his modern art campaign in Taiwan. His battle cries “Down with the Brush!” & later “Make Painting Unconventional!” were the most radical movements in 20th century Chinese art that profoundly disturbed the powerful conservative art establishment. His call encouraged them to discover new methods of modern expression using traditional materials but not traditional brushwork. It encouraged innovations & a new incarnation of Chinese art.
Freelance art director, illustrator & concept artist Felix Ip was born & raised in Hong Kong. He was the former Creative Director of lmagi Animation Studios. He had been serving as the director & production designer on the studio’s first production, a CGI television series in HK, “Zentrix” & was a creative director for the animated features “TMNT” & “Astroboy”. Currently he is working on a comic & animation adaptation of the martial arts novel, “Blood & Steel” & is directing a new CG animated feature based on “The Monkey King” at Unicorn Studios in Hong Kong.
Buddhist votive stele. Chinese, 550-75 AD (Northern Qi dynasty), made of grey limestone.
Buddhists in China adopted the traditional Chinese practice of using rectangular stone slabs for commemorative purposes. Such stones were erected by donors at sites important to the Buddhist church, particularly temples. This stele includes a narrative scene in its main zone. The story is of the Buddha in a previous incarnation, as a king. In order to test the king’s piety, an ascetic demanded his head. The king acquiesced but, afraid that he would show fear, he tied his hair to a tree to steady himself; this act is depicted on the stele. In most versions of the story, the life of the king is spared, his selflessness proven.
Above the narrative scene is the Buddha of the Future, Maitreya, seated with legs hanging downward; below is the historical Buddha Sakyamuni, who preaches while seated with legs crossed. The other side of the stele shows a debate between Manjusri, the Bodhisattva of Wisdom, and Vimalakirti, a layman. That a layman could debate a bodhisattva appealed to educated Chinese, and this story was thus frequently represented as a means of propagating the faith. (Yale)