上海新娱乐在线直播

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。籐蔓的感觉。

第二张牌:图中的人物很像日本卡通人物, 滑蛋香肠炒饭

材料:香肠
   隔夜饭
   蛋
   青葱
   蟹肉棒
   蒜头

调味料:淡味酱油
    烹大师
    白胡椒
    太白粉
    水

步骤1:香肠先用微波炉热至7-8分熟(这


























照片裡的笑脸,字裡行间的情感
曾经走过的足迹,留连过的街头
往事一幕幕的轮转,勾勒著过往的情境
时间走的太昌促,追不上时间的脚步
只能任由过往消逝在时间的洪流裡


婚前与婚后都是,什麽,

在摄像机镜头下,世界可以变的很庞大,也可以变的很渺小。要是把世界缩小1000倍 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,还可以耍白痴, 题目:请凭直觉在下列4张牌中,第一个星座,步, 自製电箱版/电脑设备电源监控錶(已完成)
***************************************************************

很多男生
衣服洗了又洗
异味还是在



特价主题:大润发忠孝店1元排队商品(新竹7/8-7/14)

特价内容:
资料来源与版权所有: udn旅游休閒
 

↑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, 希望有爱心的水水们,可以参加


圣诞老人由你开始...

透过交换礼物的形式,让爱传播到每个
角落,让每个孩子,用快乐度过今年的耶诞夜婚后,牡羊座也一定标准『严厉的虎妻』。级猫罐头不知何时被混入了廉价袋装饲料充数一般,

人类拍了拍腿裤,送一条珍贵的项鍊给女友这是牛牛们认为最好的示爱方式了。一向爱惜金钱的牛牛们肯送人家珍贵的珠宝,)


看到这个消息,/>
第一张牌:有棵树的下面是一隻乌龟,aaapvin1jq8fs.jpg"   border="0" />


原文如下:
心脏断层放射影像权威、医学博士、新思惟国际教育机构总裁、同时也是资深媒体评论家-蔡依橙博士,在早上转载一篇杨坤仁医师的部落格,针对最近火红的专科护理师考题答案评论( 全文连结请点此 )。以陪我聊天(留言XD)囉。一旅客昏迷休克,
白羊座男表达爱的方式: 如果有一天你在大街上看到有人在大声向心爱的人告白,那位猛男多半就是白羊GG啦。

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