梦想岛娱乐

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。有人称豆浆为「植物牛奶」。

大家好,我来到梦想岛娱乐少说也有一个月了

看了一段时间以后决定也浮出来水面...

小妹我的 670 系列出新款了, 我想知道现在智慧型电视使用上真的有比较便利吗?有什麽功能呢?
有需要接网络线吗??
另外我有看到LG的智慧型电视,不知道好不好耶~
有人有买过吗分享一下经验吧!! 最近跟老闆一起做一些研究~
突然觉得有些品牌大家会觉得好 真的是有他的道理~
除了本身产品品质好以外,训练有素又贴心的服务也是很重要的一点~
像餐饮业的话 莫过于王品集团了~
服务人员都笑容满面又亲切~
很乐意为客人服务 (之前筷子掉在地上~她马上衝来帮我捡咧!!)
另外像是最近去百货公司的时候 发现OSIborder="0" />
↑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。



↑三月银盐週记
March 4 2012
好像都需要安排在宜家家居照相一样,更多的新配色,给你带来不一样的质感。

<腹泻、子宫肌瘤的健康问题喔!

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1. 忌喝超量
一次喝豆浆过多容易引起蛋白质消化不良,出现腹胀、腹泻等不适症状,长期大量饮用还有可能诱发子宫肌瘤的健康问题。

魔术示范表演(一)
在基本魔术区那边可以看到很多基本手法阿
也有一些小魔术教学
也有很多花式洗牌
但是..........
怎麽没有人贴"花式出牌"阿
我个人非常喜欢花式洗牌出牌
我想说怎没有人分享呢
不然也可以交流一下

↑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,是全面启动的感 觉来著。
8/25 周日跟朋友约聚餐经过微风广场

似乎在办一个活动,现场有比人还高的超大型贩卖机

主持人利用问答的方式送出一盒盒的麻糬
昨晚看完台湾节目「型男大主厨」名厨阿基师煮萝卜焖牛腩后,烹饪欲大发,今午也“照板 长时间没有拔出过的螺丝钉,可利用熨斗使螺丝钉仔因热而膨胀,待它冷却收缩时就可容易用螺丝起子拔除了。若螺丝钉生鏽了,可用布沾碳酸饮料贴在上面。就可使它滑润松弛,要拔除就轻松了。
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豆浆是一种老幼皆宜、价廉质优的液态营养品,
赶快来围观,

看完了19.20集
最令我激动的是书书开杀
杀杀一堆自以为是的愚蠢和尚
希望北海高人不要太早到
多杀一点那些呆和尚 店名:真粥道
住址:嘉义市圆福街148号(兴华中学校门口斜对面的巷子裡)
介绍:爱吃广东粥的人一定要尝试看看
你们喝完铝箔包饮料之后会把他压扁嘛?    还是会把它吹气之后再"引爆"!?

我国中的时候都会引爆燃后觉得很爽
可是现在就觉得那时候好无聊,都直接压扁然后放在桌

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