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AMES: 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,

店名: 蒸宝仔
营业时间:下午至晚间8:00左右< />
她提著大包小包的进门。


↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
March 4 2012 台湾当代.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。2520021.jpg"   border="0" />

这趟旅程虽遥远GPS很难定位,我们还是把五感的灵敏度提到最高点,
沉浸在被群山拥抱的温柔,享受著山间夏季的凉风,让我们的绷紧的心灵在瞬间释放。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。 请问大家在捷运上都在做什麽??如果不能用手机的状况下,只是做个调查,希望大家帮忙,谢谢!

出船时间2009/3           &

「寒溪呢森林人文叡地」,什密!这是什麽所在呢?真令人好奇?
看到格友Po的相片,第一眼就被深深的吸引,这个地方?地图上找不到。
                  卫星模拟图(新唐人)

【大纪元2011年06月22日讯】(大纪元记者戴德蔓、锺元吉祥坊安全官网报导)新唐人亚太台卫星续约案,经过新唐人电视台全球各地支持者不断请马政府给予中新二号卫星频宽的努力,6月22日终于尘埃落定。的土地,ont style="font-size:20px">朱婉琪感谢国、民两党委员们的支持,感谢海内外政治界、法律界、传媒界、以及新唐人的收视户,能够大力向民主法治的台湾政府发声,要求保证新唐人作为独立媒体在台湾的发展。


“伪单身”男人,造成的选举起跑点不公,竟然警告蔡英文在小额募款中,拿小朋友捐的小猪扑满是违法,蔡立即退还,并大做3隻小猪的文章,募来更多的小额捐款。但有一种情况例外,就是已婚的他们打心底并不认可自己已婚的身份。/>走进厨房,准备把刚买的菜冰进冰箱,却发现冰箱裡也是一团乱。 hello 我们是flyingV【许一个隐私如厕计划】的计划者,我们在flyingV发起了一个募款活动. 个人大推排骨饭!! 肉不会乾乾的,而且有入味,也不会太薄,蛮厚的
位置在新竹市湳雅街铁道路口,莱尔富隔壁

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