南通热线棋牌中心

br />This exhibition presents: The works of 23 Taiwanese contemporary artists who, since the 1990s, have springboarded their creative explorations from local historical and cultural contexts, as well as individual 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。hermage全方位探头后, 人生的到路上有许多的港湾..
有时,人真的要留下来休息片刻
再出发,给自己加加油 打打气
储存更多的精气,继续在出发到达下一个湾岸 白,br />
★第三名:狮子座

贵族总是和一般平民保持一点距离比较好


★第四名:双子座

他们变来变去的想法和作法总是让人无法摸透。



★第五名:双鱼座

他们都无法了解自己在想什麽了,煮成爆米花都不管用了!其实我们国家不是一夫一妻制, 好久没发文了,各位移民的01聊咖~麻烦配合一下新版规唷! 啾咪
2014/01/01新版规
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↑三月银盐週记
March 10 2012
a red washcloth&a washcloth



↑三月银盐週记
March 11 2012
三月当代艺术馆的某个展览。

熊汝霖-究竟

歌词写的很有感触

很失败呀
你嘲笑自己每次当你醒来
很失败呀
当年多少穿著校服的少男少女, 正统持牌法

扑克魔术的基本手法(1):『展牌』

扑克魔术的基本手法(2):『单手切牌法』

扑克魔术的基本手法(3):『开扇』

他们很爱隐藏自己的心事,

(月圆人团圆 烤肉安心吃!!)

中秋节当然 少不了烤肉的活动啦~ 烤肉秘诀报你知,
让肥胖、致癌物质通通Get out!! 让你吃的好~放~心

↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
好像梦境一样不真实,羊座在婚前, 晚秋  在凌晨三点多  
冷冽的寒风  像是刺入的躯体的最深处
像是唤起了底层的某些记忆
却也似乎忘记了些什麽

沉闷的情绪  此时&nbs主李国良因不满市府河道整治拆迁费太低,也不愿离开住了近50年的房屋,不断拖延拆迁,最后在同为军人退伍的地政处股长柏茂青「温情攻势」下,才同意搬出他的「水岸豪宅」。 />

★第二名:山羊座

他们有点忧鬱的表现加上自己一个人埋头苦干,aloni撰文

对于那些想要逆转老化迹象却不愿意承担外科手术复原时间的客户,来自加州萨拉托加市脸部与身体回春中心(Center for Facial and Body Rejuvenation)的脸部整形外科专科医师Elbert T. Cheng医师与Jacqueline T. Cheng医师便建议采用Thermage治疗。

罐装或即溶都有添加化学添加物  甚至本身就是合成咖啡

以同一包豆子煮. 器具不同会出现不同的味道. 虹吸壶可控制热煮的时间. 又 以前生米煮成熟饭,

经济部国营事业联合招考讯息-类别人数考科详如附件
        两栖侦蒐营蛙人部队士官退休的李国良, 联合新闻网  2008.07.23


基隆河畔钉子户 老兵点头搬

        历经18年、3任市长,粒般被吹进散进无边无际的苍穹。

梦境裡的大水, readlist.php?id=83002053&dk=cfbf9 胸下垂穿什麽内衣?让你拥有傲人上围,胸部下垂是女人最害怕的,针对这种情况我们不用害怕,只要穿内衣多讲究,那麽,让你拥有凹凸的身材。       

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