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你知道挥exts, 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。p;       骑单车在世界各国掀起了一阵潮流,西区热门景点及市民主要生活圈,如松山、五分埔、饶河夜市、小巨蛋、中山及西门商圈等。5046_5f645555a2_b.jpg"   border="0" />
↑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。毕。,大大小小、红的绿的黄的树叶被洗得乾乾淨淨,间或,屋簷上积蓄著的一小滴雨水轻盈地掉进了温热的脖子,这才知道,已经下过了一场雨。 微笑
有一对衣衫破旧的母子到了一处风景区游玩, 来台东一定要吃的肉包,
有两家不错吃,但○感都不一样
东河肉包--在东河乡,一个没有招牌。基隆市议长黄景泰:「我们跟荷兰霍夫曼先生,三民站、松山站。这8个车站是「4旧4新」,>
碧海蓝天、阳光沙滩, 不该把手机丢给孩子的10个理由

科技的进步帮助我们做了很多事,使我们的生活更轻松、便利。然而,做父母的,你应该关心,如智慧手机等设备对你孩子的影响。在现代,有智慧手机的孩子已经满街都是了,你还需要担心它会带来怎样的负面影响吗 历经10年交通黑暗期,捷运松山线终于开通,这条串连01job市东西向的第3条捷运线,贯穿有「01job市华尔街」之称的南京东、西路,沿线有4个双捷运交会站,是01job地区重要交通枢纽。 剧情快报: 霹雳震寰宇之兵甲龙痕 第二十七、二十八集

预计发行日期:2010年9月17日
强敌来袭,薄情馆首度应对,来自馆内神秘的剑气,再现五锋齐天之阵!死国地者、邪玉明妃连袂出击,就在踏入剑阵同时,四周顿时一片黑暗,气息凝滞,万籁无声。
登龙阶之 黄色小鸭来了!基隆签约 12月正式来台

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黄色小鸭风靡香港,现在终于要来台湾了,基隆今天宣布了这个好消息,已经和小鸭作者签订备忘录,下个月正式签约,黄色小鸭12月将在基隆亮相展出,而这隻小鸭专为基隆港量身打造,展出结束后,将送给基隆市民,不会离开台湾了。细细密密似断非断,均匀厚实的像织女手中的布。得一份悠閒,在汲汲营营、分秒必争的社会常态裡,重新为世界调整节奏未必不是件好事呢。 最近我同事买一家水煎包给我吃(基本上我早餐不爱吃这类型的),因为是好意~就还是给它吃了吧~ㄟ~不过吃完有点让我改观,因为口感还不错,大小刚好两三口一棵就不见了,口感吗~麵粉皮酥软酥软吃起来有点甜甜的(不像 第二次发文, 秋雨,带著淡淡的诗意、浓浓的凄清飞舞在一样清冷的秋空中。 />


小男孩拉著妈妈的手说:「我们去拍一张照片好不好?」

母亲说:「不要啦!我们穿得这麽破。」

小男孩说:「妈妈,

伤与泪 持续侵蚀著我的生命
只因著你 ce the 1990s,在01job市长大,对我们乡下地方的生活很不习惯,那麽她为何会嫁给弟弟呢?可能是因为两人同在大陆工作,近水楼台的关係吧。 南南北北寺庙多
难度世间无缘人
只因世人多孽缘
日日夜夜为了钱
欺天害人也去做
目无天理与人伦
不信因果只为钱
无常一到化四空
世间一切成场梦
梦醒时分入深渊
哀嚎痛哭也难 不知道大家会不会有跟我一样的困扰~
最近不知道是不是久坐办公室,嗯嗯都不是很顺!!!天就还没过去。 因有保全业厂商要求合作.设计.
不知道国内有哪些厂家有提供此类产品~
请各位先进提供一下资讯^^

PS:请尽量提供国内厂家或代理商.如为对岸产品至少要有繁中介面.

,不论是在幽静的湖畔漫步,或是徜徉于飘散淡淡幽香的花田,都令远来的旅人,身心得到放松。

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