Asian Paints Painting Quotes

Magnus? Magnus Bane?” “That would be me.” The man blocking the doorway was as tall and thin as a rail, his hair a crown of dense back spikes. Clary guessed from the curse of his sleepy eyes and the gold tone of his evenly tanned skin that he was part Asian. He wore jeans and a black shirt covered with dozens of metal buckles. His eyes were crusted with a raccoon mask of charcoal glitter, his lips painted a dark shade of blue. He raked a ring-laden hand through his spiked hair and regarded them thoughtfully. “Children of the Nephilim,” he said. “Well, well. I don’t recall inviting you. I must have been drunk.

These [Asian] paintings I could get into and they made me wonder who I was. By contrast, Western painters tried to tell me who they were.

I love this landscape," the literary man began while they were walking through an irregular forest of pillars. "The only things here are /things/. The paint of meaning is peeled off. The things here have refused to be of any assistance at all to men.

Magnus? Magnus Bane?” “That would be me.” The young man blocking the doorway was as tall and thin as a rail, his hair a crown of dense black spikes. He was Asian, with an elegantly high-cheekboned, handsome face, broad-shouldered despite his slim frame. He was certainly dressed for a party, in tight jeans and a black shirt covered with dozens of metal buckles. His eyes were crusted with a raccoon mask of charcoal glitter, his lips painted a dark shade of blue.

Almost everyone in Chinatown looks more like me than any of the kids at my high school ever did. It feels like a dream. I’ve never been around so many Asian people before. I’ve always felt out of place, but I’ve never realized quite how much until this exact moment, when I feel completely in place. They have eyes like mine and hair like mine and legs like mine. When they smile their skin creases the way mine does, and their hair mostly falls flat and straight the way mine does. They’re like me. It feels so comfortable and good I could almost cry. And they’re so beautiful. Like, Rei beautiful. They know how to do their hair and makeup and dress themselves because they’ve probably been taught by parents who understand they shouldn’t just copy whatever the white celebrities and models are doing. Because they have different faces and body types and colors. It’s like painting—you don’t just use any color you feel like; you pick the color that fits the subject the best. I can’t believe it’s taken me so long to learn the lesson I’ve needed since childhood. I don’t have to be white to be beautiful, just like I don’t have to be Asian to be beautiful. Because beauty doesn’t come in one mold. It doesn’t make it okay that people are jerks about race. But it does make me feel like I’m not alone. It makes me feel like less of a weirdo. It makes me feel like Mom was wrong. When I look around at the people in Chinatown, I don’t feel like I’m desperate for their acceptance. I feel at ease. I think I know why Shoji accepted our Japanese side a long time ago. I think he realized there was another world out there—a world Mom wasn’t a part of. I think he knew that, somehow, finding our heritage was like finding a safe place from her.

The portraits were intended to parade their fellows like specimens in a zoo. Yet at the same time most show the castizos, mestizos, and mulattos dressed sumptuously, moving happily about their daily business, tall and robustly healthy each and every one. Looking at the smooth, smiling faces now, one would never know that on the streets of the cities where they were painted these people were scorned for their very diversity. One would also never know that the casta paintings were not diverse enough—not a single one portrayed New Spain’s Asian population, by far the biggest outside Asia. SHOOK-UP

Even he knew he had more in common with Asian Henry Young, with Malcolm, with Willem, or even with Jude, than he had with them. Just look at him: at Court Square he disembarked and walked the three blocks to the former bottle factory where he now shared studio space with three other people. Did real Haitians have studio space? Would it even occur to real Haitians to leave their large rent-free apartment, where they could have theoretically carved out their own corner to paint and doodle, only to get on a subway and travel half an hour (think how much work could be accomplished in those thirty minutes!) to a sunny dirty space? No, of course not. To conceive of such a luxury, you needed an American mind.

dinner guests. Lorena Lim and Carol Tai shook Rachel’s hand, while Daisy Foo embraced Nick. (It did not escape Rachel that Daisy was the first person who had hugged him all night.) “Aiyah, Nicky, why have you been hiding your beautiful girlfriend for so long?” Daisy said, greeting Rachel with an effusive hug as well. Before Rachel could respond, she felt someone grabbing her arm. She looked down at the bing-cherry-size ruby ring and long red manicured claws before looking up in shock at a woman with teal-green eye shadow and rouge painted heavier than a drag queen’s. “Rachel, I’m Nadine,” the woman said. “I’ve heard so much about you from my daughter.” “Really? Who’s your daughter?” Rachel asked politely. Just then, she

They were all there for the food, the drink, and the ambience, even as everyone devoured plates as disparate as Korean bibimbap and French vichyssoise. "I'm going over there." Ana pointed to a midnight-blue food truck that was known for having the best bao, steamed Vietnamese buns, in Denver. Which, given the popularity of the southeast Asian cuisine in the city lately, was more of an accomplishment than it might have seemed. "What about you?" Rachel asked Melody. "I'm having what you're having. You never steer me wrong." "Then A Parisian in Denver is the way to go. Come on. I want to say hello to Lilia." They found their way to the end of the line in front of a food truck painted in red, blue, and white, and Rachel craned her neck to feet a better look at the chalkboard that proclaimed the day's specials. There was French street food like crepes and merguez sausages alongside trendy favorites like duck confit pommes frites.

It was 1996, and the word “appropriation” never occurred to either of them. They were drawn to these references because they loved them, and they found them inspiring. They weren’t trying to steal from another culture, though that is probably what they did. Consider Mazer in a 2017 interview with Kotaku, celebrating the twentieth-anniversary Nintendo Switch port of the original Ichigo: kotaku: It is said that the original Ichigo is one of the most graphically beautiful low-budget games ever made, but its critics also accuse it of appropriation. How do you respond to that? mazer: I do not respond to that. kotaku: Okay…But would you make the same game if you were making it now? mazer: No, because I am a different person than I was then. kotaku: In terms of its obvious Japanese references, I mean. Ichigo looks like a character Yoshitomo Nara could have painted. The world design looks like Hokusai, except for the Undead level, which looks like Murakami. The soundtrack sounds like Toshiro Mayuzumi… mazer: I won’t apologize for the game Sadie and I made. [Long pause.] We had many references—Dickens, Shakespeare, Homer, the Bible, Philip Glass, Chuck Close, Escher. [Another long pause.] And what is the alternative to appropriation? kotaku: I don’t know. mazer: The alternative to appropriation is a world in which artists only reference their own cultures. kotaku: That’s an oversimplification of the issue. mazer: The alternative to appropriation is a world where white European people make art about white European people, with only white European references in it. Swap African or Asian or Latin or whatever culture you want for European. A world where everyone is blind and deaf to any culture or experience that is not their own. I hate that world, don’t you? I’m terrified of that world, and I don’t want to live in that world, and as a mixed-race person, I literally don’t exist in it. My dad, who I barely knew, was Jewish. My mom was an American-born Korean. I was raised by Korean immigrant grandparents in Koreatown, Los Angeles. And as any mixed-race person will tell you—to be half of two things is to be whole of nothing. And, by the way, I don’t own or have a particularly rich understanding of the references of Jewishness or Koreanness because I happen to be those things. But if Ichigo had been fucking Korean, it wouldn’t be a problem for you, I guess?

It may be cheap, but it should also be sturdy. What must be avoided at all costs is dishonest, distorted and ornate work. What must be sought is the natural, direct, simple, sturdy and safe. Confining beauty to visual appreciation and excluding the beauty of practical objects has proven to be a grave error on the part of modern man. A true appreciation of beauty cannot be fostered by ignoring practical handicrafts. After all, there is no greater opportunity for appreciating beauty than through its use in our daily lives, no greater opportunity for coming into direct contact with the beautiful. It was the tea masters who first recognized this fact. Their profound aesthetic insight came as a result of their experience with utilitarian objects. If life and beauty are treated as belonging to different realms, our aesthetic sensibilities will gradually wither and decline. It is said that someone living in proximity to a flowering garden grows insensitive to its fragrance. Likewise, when one becomes too familiar with a sight, one loses the ability to truly see it. Habit robs us of the power to perceive anew, much less the power to be moved. Thus it has taken us all these years, all these ages, to detect the beauty in common objects. The world of utility and the world of beauty are not separate realms. Users and the used have exchanged a vow: the more an object is used the more beautiful it will become and the more the user uses an object, the more the object will be used. When machines are in control, the beauty they produce is cold and shallow. It is the human hand that creates subtlety and warmth. Weakness cannot withstand the rigors of daily use. The true meaning of the tea ceremony is being forgotten. The beauty of the way of tea should be the beauty of the ordinary, the beauty of honest poverty. Equating the expensive with the beautiful cannot be a point of pride. Under the snow's reflected light creeping into the houses, beneath the dim lamplight, various types of manual work are taken up. This is how time is forgotten; this is how work absorbs the hours and days. yet there is work to do, work to be done with the hands. Once this work begins, the clock no longer measures the passage of time. The history of kogin is the history of utility being transformed into beauty. Through their own efforts, these people made their daily lives more beautiful. This is the true calling, the mission, of handicrafts. We are drawn by that beauty and we have much to learn from it. As rich as it is, America is perhaps unrivalled for its vulgar lack of propriety and decorum, which may account for its having the world's highest crime rate. The art of empty space seen in the Nanga school of monochrome painting and the abstract, free-flowing art of calligraphy have already begun to exert considerable influence on the West. Asian art represents a latent treasure trove of immense and wide-reaching value for the future and that is precisely because it presents a sharp contrast to Western art. No other country has pursued the art of imperfection as eagerly as Japan. Just as Western art and architecture owe much to the sponsorship of the House of Medici during the Reformation, tea and Noh owe much to the protection of the shogun Ashikaga Yoshimasa ( 1436-1490 ). The most brilliant era of Japanese culture, the Higashiyama period ( 1443-1490 ). Literally, sabi commonly means "loneliness" but as a Buddhist term it originally referred to the cessation of attachment. The beauty of tea is the beauty of sabi. It might also be called the beauty of poverty or in our day it might be simply be called the beauty of simplicity. The tea masters familiar with this beauty were called sukisha-ki meaning "lacking". The sukisha were masters of enjoying what was lacking.

Past the bouncers outside and the girls smoking long, skinny cigarettes, past the tinted glass doors and the jade stone Novikov has put in near the entrance for good luck. Inside, Novikov opens up so anyone can see everyone in almost every corner at any moment, the same theatrical seating as in his Moscow places. But the London Novikov is so much bigger. There are three floors. One floor is “Asian,” all black walls and plates. Another floor is “Italian,” with off-white tiled floors and trees and classic paintings. Downstairs is the bar-cum-club, in the style of a library in an English country house, with wooden bookshelves and rows of hardcover books. It’s a Moscow Novikov restaurant cubed: a series of quotes, of references wrapped in a tinted window void, shorn of their original memories and meanings (but so much colder and more distant than the accessible, colorful pastiche of somewhere like Las Vegas). This had always been the style and mood in the “elite,” “VIP” places in Moscow, all along the Rublevka and in the Garden Ring, where the just-made rich exist in a great void where they can buy anything, but nothing means anything because all the old orders of meaning are gone. Here objects become unconnected to any binding force. Old Masters and English boarding schools and Fabergé eggs all floating, suspended in a culture of zero gravity.

What J. S. Bach gained from his Lutheranism to inform his music, what Jonathan Edwards took from the Reformed tradition to orient his philosophy, what A. H. Francke learned from German Pietism to inspire the University of Halle’s research into Sanskrit and Asian literatures, what Jacob van Ruisdael gained from his seventeenth-century Dutch Calvinism to shape his painting, what Thomas Chalmers took from Scottish Presbyterianism to inspire his books on astronomy and political economy, what Abraham Kuyper gained from pietistic Dutch Calvinism to back his educational, political, and communications labors of the late nineteenth century, what T. S. Eliot took from high-church Anglicanism as a basis for his cultural criticism, what Evelyn Waugh found for his novels in twentieth-century Catholicism, what Luci Shaw, Shirley Nelson, Harold Fickett, and Evangeline Paterson found to encourage creative writing from other forms of Christianity after they left dispensationalism behind — precious few fundamentalists or their evangelical successors have ever found in the theological insights of twentieth-century dispensationalism, Holiness, or Pentecostalism. As

Asians are still a small minority—14.5 million (including about one million identified as part Asian) or 4.7 percent of the population—but their impact is vastly disproportionate to their numbers. Forty-four percent of Asian-American adults have a college degree or higher, as opposed to 24 percent of the general population. Asian men have median earnings 10 percent higher than non Asian men, and that of Asian women is 15 percent higher than non-Asian women. Forty-five percent of Asians are employed in professional or management jobs as opposed to 34 percent for the country as a whole, and the figure is no less than 60 percent for Asian Indians. The Information Technology Association of America estimates that in the high-tech workforce Asians are represented at three times their proportion of the population. Asians are more likely than the American average to own homes rather than be renters. These successes are especially remarkable because no fewer than 69 percent of Asians are foreign-born, and immigrant groups have traditionally taken several generations to reach their full economic potential. Asians are vastly overrepresented at the best American universities. Although less than 5 percent of the population they account for the following percentages of the students at these universities: Harvard: 17 percent, Yale: 13 percent, Princeton: 12 percent, Columbia: 14 percent, Stanford: 25 percent. In California, the state with the largest number of Asians, they made up 14 percent of the 2005 high school graduating class but 42 percent of the freshmen on the campuses of the University of California system. At Berkeley, the most selective of all the campuses, the 2005 freshman class was an astonishing 48 percent Asian. Asians are also the least likely of any racial or ethnic group to commit crimes. In every category, whether violent crime, white-collar crime, alcohol, or sex offenses, they are arrested at about one-quarter to one-third the rate of whites, who are the next most law-abiding group. It would be a mistake, however, to paint all Asians with the same brush, as different nationalities can have distinctive profiles. For example, 40 percent of the manicurists in the United States are of Vietnamese origin and half the motel rooms in the country are owned by Asian Indians. Chinese (24 percent of all Asians) and Indians (16 percent), are extremely successful, as are Japanese and Koreans. Filipinos (18 percent) are somewhat less so, while the Hmong face considerable difficulties. Hmong earn 30 percent less than the national average, and 60 percent drop out of high school. In the Seattle public schools, 80 percent of Japanese-American students passed Washington state’s standardized math test for 10th-graders—the highest pass rate for any ethnic group. The group with the lowest pass rate—14 percent—was another “Asian/Pacific Islanders” category: Samoans. On the whole, Asians have a well-deserved reputation for high achievement.

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... the difficulty was in training the eye to see the whole world of usual forms -- patterns of brick, painted plaster, carved and carpentered wood -- not as "buildings" and "streets" but as an infinite series of free and arbitrary choices. There was no place in such a scheme for orders, styles, sophistication, taste. ("The Asian Shore")

It's never too early to start lecture kids about race and racism. The following pointers will assist you in getting the conversation started. Sara D. Lee, MSW, LCSW, shares her tips for talking about race with our youngsters. Inspect her website Pacific Burnout Therapy or on Facebook. Conversations about race are always happening around us. Always. Of media, and each person participates in the least times. A bit like during a painting, where the filled and blank spaces close to doing the whole work, both what's said and what's left unsaid matter. For instance, I adore Mr. Rodgers. Still, the absence of 1 or more celebrated paternal figures of color in children's media is an example of racism shaping the children's conversation on race. An Asian-American, Latinx, Native-American, or African-American father figure could have filled that role if it didn't require a singular blend of access and privilege that our society exclusively extends to the White race.

The various units of Philippine guerrillas, their tactics, military resources, and vigor to survive and end the Japanese maltreatment of the Philippine people paint the Pacific Theater from 1941-1945 as desperate, dark, and bloody for Asian communities throughout East and Southeast Asia

I ask my next question tentatively. “Do you think one of the reasons that these kids’ trauma is overlooked…is because they’re Asian American?” What I’m really saying: Are we being overlooked because of the incorrect stereotype painting us as the model minority? The AP students? The well-behaved kids with swimming pools and those fancy laptops? “Absolutely,” she says, and I can hear her nodding on the phone. “Not every Asian kid is high-performing. Of course.

Since great businesses remain great for an eternity, everyone knows about them. Investors bid their prices up, and rightly so. The ten-year average price/earnings (PE) multiples of some of the leading consumer businesses in India are astronomical. For example, Asian Paints, 56; Colgate India, 43; Dabur, 44; Hindustan Unilever, 51; and Page Industries, 65. As price-sensitive investors, we should not buy these businesses since their valuations would almost always be too high for us. And we don’t. From the list provided two paragraphs earlier, the only companies we have been able to buy since 2007 are Page, Havells, and TTK Prestige. Our window of opportunity for buying these three was only two to three months over almost fifteen years—a punctuation event that lasted just 1 to 2 percent of this period. There are very few great businesses, and they are almost always unbuyable.

Since great businesses remain great for an eternity, everyone knows about them. Investors bid their prices up, and rightly so. The ten-year average price/earnings (PE) multiples of some of the leading consumer businesses in India are astronomical. For example, Asian Paints, 56; Colgate India, 43; Dabur, 44; Hindustan Unilever, 51; and Page Industries, 65. As price-sensitive investors, we should not buy these businesses since their valuations would almost always be too high for us. And we don’t. From the list provided two paragraphs earlier, the only companies we have been able to buy since 2007 are Page, Havells, and TTK Prestige. Our window of opportunity for buying these three was only two to three months over almost fifteen years—a punctuation event that lasted just 1 to 2 percent of this period. There are very few great businesses, and they are almost always unbuyable. Hence, we buy very rarely, and when we do, we buy a lot.

Great apes, Eurasian magpies, bottlenose dolphins, orcas, ants, and one Asian elephant are the most frequently cited animals to have passed the test. Just think of all the things a woman could do rather than clean. Which is to say, think of all the pastimes that might make her a slut: reading; talking; listening; thinking; masturbating; eating; observing the sky, the ground, other people, or herself; picking a scab; smoking; painting; building something; daydreaming; sleeping; hatching a plan; conspiring; laughing; communing with animals; communing with God; imagining herself a god; imagining a future in which her time is her own.

BTB Art presents the Kaesong Collection: a unique collection of high quality Korean art works. It is acquired in the most isolated country in the world: North Korea. A rich selection of hidden treasures, containing the finest contemporary and modern oil paintings, watercolors and drawings. They are created by Korean artists. Among them are several prize winners at international exhibitions held in Asian countries. They are acclaimed in South Korea, China, Japan, The Philippines and Thailand.

There’s a tunnel between our external skill sets and our deepest longings and passions. People with the highest developed skills always know how to traverse that tunnel. That is, personal integration and wholeness — and consequent accomplishment and fulfillment — are largely about “enlightening” the tool with the best we have in us. The tool could be anything — a voice or body, a musical instrument or paint brush, a trowel or computer. But skill is made up of capability, and that requires practiced familiarity over time with how to inject into the moment our unique talents, virtues and qualities.

The room was small, slightly bigger than his bedroom, but far, far more beautiful. It resembled some of the Asian temples he'd seen in his aunt's coffee-table books. The walls were painted in rich hues of red, green, blue, yellow, and gold. When Alex looked up, he saw a dome-shaped ceiling with a sun, moon and stars made out of pearls and gems. The ground was tiled and shaped into a model of forests, mountains, pastures and rivers-like a mosaic. And across the room was a set of jewel-encrusted thrones where two finely carved statues sat. The life-size carvings were different than those of the army outside the chamber. Theses still wore their original colours, preserved perhaps by the lack of fresh air in the room. Instead of armour, the male figure wore a long, regal robe made of small rectangular-shaped tiles. Alex immediately thought of the chain0mail that knights wore in the Middle Ages, except this was made of jade and not metal. The statue of the beautiful woman also wore clothes or richness and royalty, but hers did not include jade, only gold and precious stones. "They must be the Emperor and Empress," Ryan said.

from Mad for It, a short story in the Asian Erotica anthology: And I didn’t leave California with my pockets full of gold. About 20k in the bank and an old Taylor guitar on my back. I chew on dowry for a week or two, but she doesn’t like delays. I came to Thailand because I can live in a bungalow near the beach, swim every day and eat mango, coconut and banana. Drink red wine. She locks herself in my bedroom and talks on her cellphone for hours. Comes out in a denim mini-skirt and heels and leaves me alone until midnight. I’m licking paint off the walls. She gets distant. Starts the going out thing a few times a week. I try to follow her once, but get lost in the mountains. I’m on a steep, dark incline. No streetlights. Weird sounds from the forest. A cool and ominous wind shakes the trees. I’m the only man on the planet. On the way down, I crash into a guard rail. Call her for help, but she doesn’t answer. I know she’s fucking around. But it feels like a way out. I didn’t come to Thailand to be a wingman.

Asian women are beautiful to behold, like taking in the fine details of human sculptures or fine artwork of beautiful paintings.