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Artist Description: A height ref pic for the major players in my Easter Bunny Universe. Queen Nila seems huge by comparison, but as you can see, she's just five and a half feet tall. She is, however, the tallest Easter Bunny in existence and the most busty! Magna is the second largest bunny, also the second most busty, while Bonny and Sweetie round out all of bunnies who would be considered "tall" in their world. Bonny's also fairly wide hipped, Not just for this chart, but in general compared to the average Easter Bunny. She's the most bottom heavy for her size group, which includes all the bunnies in this chart, but the Queen.

 Dolk and Kardia are average height for Easter Bunnies. Both Dolk and Magna are Knights, so they both have more muscle mass than the other bunnies.

Christopher has a lithe swimmer's type physique, while Casey and even more so with Kharm, both have pretty effeminate frames.

monkeyxflash easter easter_bunny human lagomorph leporid mammal rabbit anthro big_breasts breasts buckteeth dark_body dark_skin female group herm holidays intersex male size_reference teeth thick_thighs hi_res model_sheet rating:s

6447436

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"Divine Dragon and Abundant Rain" scroll attributed to Chen Rong
Ink on silk

Chen Rong, a native of Fujian province, excelled at painting dragons, using splashed ink to create clouds and sprayed water for the effect of mist, creating a variety of imaginative and evocative forms. It is said that after getting drunk, he would take off his cap and moisten it in ink to create a composition, finishing it with his brush. He either painted dragons as a whole or only in part, suggesting them as hidden in mist, rain and clouds. Intended or not, the effect was equally marvelous. He was famed for paintings of dragons during the Baoyou era (1253-1258) of Emperor Lizong.

chen_rong mythology dragon eastern_dragon mythological_creature mythological_scalie scalie 2_horns ambiguous_feral ambiguous_gender barbel_(anatomy) cheek_spikes cjk_character claws cloud detailed_background duo facial_spikes fangs feral finger_claws flesh_whiskers flying fog horn outside scales serpentine size_difference sky skyscape solo_focus spikes spikes_(anatomy) teeth 13th_century absurd_res ancient_art better_version_at_source hi_res huge_filesize irreplaceable_bvas painting_(artwork) traditional_media_(artwork) traditional_painting_(artwork) rating:s

6447371

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Walking in the Mountains after Snow
Ink on silk

The signature for “Ma Yuan” appears in the lower right corner below the tree trunk. The painting depicts an old man huddled against the cold on a winter’s day as he makes his way in the mountains with two donkeys, the one in front carrying charcoal and the other one firewood. Both seem proceed with difficulty due to their load and the cold. The depiction of the tree and textured landscape forms were mostly done with a blunt brush, while the texturing is in “axe-cut” strokes. The lines for the figure and donkeys, however, reveal slightly “trembling” brushwork. Overall, the handling of the forms is superb, while the succinct lines and accurate ink washes depict the donkeys with precision, even clearly distinguishing the younger and older of the two. The theme here probably deals with a charcoal seller. The difficult job of collecting firewood and making charcoal in the mountains has led to the dusty appearance of the figure and his ragged clothes. Carrying a wild pheasant he has caught to support his meager income, he makes his way in the freezing cold on a snowy path. Despite the hardships of common folk throughout the year, it is also a scene of plenty as well.

ma_yuan asinus avian bird donkey equid equine galliform human mammal phasianid pheasant ambiguous_feral ambiguous_gender biped bleak_ambiance clothed clothed_human clothed_male clothing detailed_background feral group halter headgear headwear holding_object hooves long_ears male male_human mane outside plant quadruped rock side_view tail text tree trio_focus unguligrade walking 13th_century ancient_art chinese_text hi_res painting_(artwork) traditional_media_(artwork) traditional_painting_(artwork) rating:s

6447370

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Paired Egrets on a Snowy Bank
Ink on silk

A large cliff on a snowy day rises with a plum tree winding its way into the scene from the left. By the reeds and bamboo on a wintry shoal are four white egrets at rest. Three of them are crouched behind the rocks, with only the head of one visible as the other two look up. One opens its beak as if to call out, as if objecting to the magpie on the branch above that has entered the scene. There is also another egret standing by the shore, staring into the flowing water below. The white egrets were all outlined with fine brushstrokes and light ink, the reed leaves and ripple patterns done in ink tones that are slightly darker. The rock outlines, “axe-cut” strokes, and plum tree trunk and branches were all done in thick, jet-black strokes, the tips of the plum tree branches revealing the use of “trembling” brushwork. In the balance between solid and void in this painting, the white egrets are in light ink, the white of the snow left blank, and the white petals of the plum blossoms dotted with white pigment. They express “An interest in a waterside mountain scene, the ultimate purity of desolate winter.

ma_yuan avian bird corvid heron magpie_(corvid) oscine passerine pelecaniform ambiguous_feral ambiguous_gender avian_feet beak biped bipedal_feral branch cliff creek detailed_background feathered_wings feathers feral group looking_up on_branch outside plant rock standing tail tail_feathers tree water water_ripple wings 13th_century absurd_res ancient_art hi_res painting_(artwork) traditional_media_(artwork) traditional_painting_(artwork) rating:s

6447246

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Gibbons and Wasps by Yan Hui
Ink on silk

In this painting is an old tree by a rocky embankment with two gibbons. One holds onto the trunk as the other hangs from a branch. Below are 14 wasps, which the gibbons shown an interest in. The one hanging from the branch appears about to descend for a closer look. The mature brushwork conveys the spirit of the scene. In Chinese, "wasps and gibbons (feng hou 峰猴)" is a homonym for the auspicious blessing of "enfeoffment (feng-hou 封侯)." In fact, the themes of many ancient paintings are visual puns based on auspicious homonyms.

yan_hui ambient_arthropod ambient_insect ape gibbon haplorhine mammal primate 5_fingers 5_toes ambiguous_feral ambiguous_gender branch duo feet feral fingers fur leaf looking_down on_branch plant prehensile_feet rock simple_background standing tail toes tree 14th_century absurd_res ancient_art hi_res painting_(artwork) traditional_media_(artwork) traditional_painting_(artwork) rating:s

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