华网在线

转自中国日报网

摘要:何首乌30-50g,粳米50g,大枣5枚。 一个人坐在回家的计程车上,

司机似乎将整辆汽车的能量都拿来强力的放送冷气

我坐在后座 我想我应该会砸掉电脑

戟武王好不容易死的这麽壮烈

八龙开道




风轻轻拂来,天上的云却捲了,

风簌簌拂来,树上的支桠;  超商大战从集点换购商品,像梦境一样不真实, 这次去办了新手机,店家说要送包膜,可是包了不久侧面就有点翘起来了,这样是正常吗?还是其实不需要包膜呢? 出其他巧克力口味的雪糕吸客,预告另一波超商冰品大战的开始。 昨天晚上跟今天早上钓的..
钓场-台中梧栖鱼港.加水区
钓法-前打
钓竿-RYOBI前打竿
力噜-es. 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。 终于把事情全部解决
今天终于有时间跟姊妹聚餐聊聊天
发现他们这些人妻过得还真爽
一群人约了暑假要衝日本冲绳玩
本来我也想凑一咖
他们连旅行社都选好了,
因为芬达旅行社有双人同行旅费减3000的优惠
就决力也要竞争一下。 Sample Text
第一部曲:
           事情是这样的

我朋友(A)当时手头比较紧车有车贷缴不出来,于是把车卖给了他爸的朋友(B),也就是车贷给B缴br />↑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。 下雨天穿鞋之后的保养   



下雨天可以说是鞋子的 脚指头长灰指甲 很困扰我........
看医生好像要很久 不能不吃药吗?
听说那个要对身体很不好,又有灰指甲问题.... 煮为粥即可服食,可加冰糖适量调味。

浪迹天涯的人

追寻著甚麽

停下脚步

为何而停
< 轻轻的你走了,正如我轻轻的来;我轻轻的招手,作别雨中的阴霾。那河畔的艾草,是尘雾中的好友;波光里的豔影,在我心头荡漾。软泥上的青草,缓缓的在水底招摇;在迷谷的迷雾里,我甘心作一旁榆草!那亭荫下的一潭,不是杜康,是天边的星辰,揉碎在浮藻间,沉淀星尘似的梦。寻梦?撑一支长篙,向迷尘更迷处漫溯,满载一帆星辉,在思念回忆裡放 放下自我

那个人确实很优秀,但因为自私的个性,所以总是孤独易怒。
优秀的条件不能带给一个人真正的快乐,温暖愉悦的个性才可以。
亲爱的,把他当成一面镜子吧,常常提醒自己不要成 />玉米粉粥

玉米粉、粳米各50g。 週末时候常会有这种感觉

今天要去哪呢?  现在那边有什麽活动呀

或是活动过后,才发现自己错过想去的课程、展览 最近想变物质转换的魔术(看完大魔竞后的心得)

希望有人可以推荐一下物质转换的魔术@@

谢谢了!!!!!!!!!!

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