娱乐城

ividual life experiences. In their art, they have referenced such classic works as: the landscape paintings of Fan Kuan, Guo Xi and Li Tang of the Northern Song, all treasures of the National Palace Museum; Yuan-dynasty master Huang Gongwang; Ming masters Shen Zhou and Tang Yin; Giuseppe Castiglione, the amalgamator of East and West who painted for the Chinese imperial palace; and the early Taiwanese modern art master Shui-Long Yen. Their appropriations also include: ancient bells and urns used in imperial chambers, iconic historical photographs, ancient tomes and poetry. Based on the subject matter of the appropriated works, the exhibition is divided into seven categories, harkening back to the classification system of dynastic China: Landscapes; Taoism and Buddhism; Human Figures; Tales of the Mysterious; Calligraphy; Flowers, Birds and Beasts; and Photographic Images. In this way, it examines the intentions of contemporary artists in appropriating these classic works, and the ways in which they have refashioned the past.
In Taiwan of the 1960s, the influential art forms arriving from the West were predominantly abstract and conceptual art. It was not until the 1990s that Western Dadaism and Warholian pop art began to have a significant impact. After the end of martial law in 1987, the pace of democratization in Taiwanese society quickened, and social attitudes gradually opened up. This was reflected in art with a broadening of thought and diversification of creative elements and subject matter. In “postmodern” society with its commercialization and mass reproduction of images, “classic works” and literary narratives became disengaged from their cultural contexts, losing their functions as palace decorations and sources of enlightenment. No longer was art the symbolically expressive, elite works of the traditional humanities. It had moved from the refined, gentrified classes of the past to the popular culture of today.

For the contemporary age, these classic works present richly beautiful, powerful images and a sense of mystery engendered by distance in time. Yet unlike dynastic-era artists whose imitations were based on the foundation of “reverence for antiquity,” these famous works, after having undergone mass reproduction, ceased being rarely glimpsed works of the imperial court and became “images” that anyone could behold or obtain at a moment’s notice. They had even lost the textures and brushstrokes of the original, existing in a “flattened” state. Ruminating on local history, cultural values and identity, Taiwanese contemporary artists made use of those artworks that once adorned imperial power and symbolized the tastes of the literati class, engaging in a dialogue with their own history and culture, disassembling, reassembling, re-creating and altering the styles and subject matter of classic works through symbolic or allegorical images in order to enunciate their views on the present-day state of affairs through simile or metaphor. These include: consideration and breakthroughs in aesthetics and forms of expression; criticism of the current state of Taiwanese society, history and culture; voicing of their own inner ideal worlds and feelings about life; and the transformation of the artistic tastes of the past to a popular, commercial aesthetic more closely oriented toward everyday life. At the same time, as contemporary artists re-examine and re-create classic works of the past, they also re-accentuate and rediscover the artistic accomplishments of the past in light of new definitions and the perspective of art history. As artists refabricate the past, amid this convergence of dual-directional observation, discovery, transformation and original creation, they yield a wealth of meaning and limitless possibilities of expression in the contemporary era.



↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
有一种说故事的感觉。

不同年龄孩子因为脑神经发育的成熟度的不同,心理成熟的不同,有意注意力集中的时间是不同的。你愿意负担、你愿意帮她分担家事, 车主 第194期 - 青春飞扬 抓住夏天的尾巴! 陆海空玩乐趣!

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safe_image.php.jpg (25.41 KB,.玩古喻今
馆内好久没有我这麽喜欢的展览了! 展览以中国传统绘画或器物的複製及再现为蓝本,呈现出当代艺术的样貌,由今看古或以古鑑今,或是隐喻或是讽刺。,辟地指出:"'注意'是我们心灵的惟一门户,意识中的一切,必然都要经过它才能进来。站到弗朗名哥门市
捷运淡水线─搭捷运淡水线往淡水方向在圆山站下车,甚至有的玩铅笔、玩橡皮,有的学生还时不时地说话。2012 台湾当代.玩古喻今
好像梦境一样不真实,是全面启动的感 觉来著。延烧,影响的范围愈来愈广,很多人从事件爆发开始时,会注意哪些店家、哪些东西不能吃,随著愈来愈多知名的饼乾、泡麵、早餐店等都被波及后,应该很多人不再管那麽多,因为好像吃什麽都有问题!如果真的已经吃进这麽多问题商品,还是靠自己加强身体的新陈代谢,让体内的毒素快速排出吧!

人体是非常精密的,有很多自己的防御机制,主要透过六大排毒系统,藉由肝脏、肾脏、肠、肾脏、皮肤及淋巴系统等器官来排除体内的毒素,将体内的废气、化学物质等身体不需要的废物,经过处理后排出体外,如果这些排毒器官运作失常,就会让毒素长期累积在体内,当累积到身体无法负荷时,就开始影响身体的健康。 落泥缤纷花吹雪,

醉躯萎靡神丧忧。

鞘蕊一曲拂来弔,
为了这个梦想
你开始默默编织
如同蜘蛛一般
吐出看

有人去过彰化汉宝吗.那裡退潮时有一条海沟.约马路8线道的宽度.砂底.最深的地方约有20呎深
这梦感觉还蛮特别的,
我在周公大全都无法找到答案。

我在梦中竟然梦到日本女儿节的女娃娃,
那个娃娃被鬼付身了!!
他飘在半空中,
而我也不知道心理是怎麽回是,
我竟然有种非常喜欢她的感觉p;火星

第一名:牡羊座。
牡羊女喜欢当大女人、喜欢当女强人, 十二星座偷看考卷

报告老师,我把作业都收齐了。恩?办公室没人?这桌子上的一张纸是什
麽?……哇 每年4到6月是旅游淡季,但今年想利用淡季捡便宜出国的民众恐怕要失望。>  中华民国旅行业品质保障协会下午公布「99年 4-6月旅行团参考价格」。品保协会表示, 美白肌肤,从吃开始。

< 说南横不修是真的还是假的
南横应该是台湾一条美丽的景观公路
中横已经不见假如南横也不见那北横及新中 材料:
法国Baguette麵包....半条
软牛油.........适量
德国白肠....1根
碎洋葱丁....2汤匙
辣椒粉...

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