杏彩登陆

hibition presents: The works 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。 这是便利贴?还是胶带?看到的第一眼你一定会怀疑一下。但其实这是结合了纸和胶 杜明夷违纪狂欢 罚勤五天
更新日期:2007/01/26 08:09
教育部长杜正胜的独子杜明夷,目前strong>
月经来潮前7∼10天,最让人懊恼的就是脸上痘痘一颗一颗不给面子地猛冒出头,医学界也发现,这种现象和女性体内几种荷尔蒙的平衡改变有关。 携带型dvd+数位电视
10吋大屏幕,可读取dvd,vcd,usb,以及wmv,avi....等电脑影片档
内建电池,充电后随时随地皆可使用
还有数位天线,充电器,车架,车充,耳机,遥控器~~
今年7月购买,用不到5次
当初原价6990

☆原价1600元 六盒荞麦冰淇淋☆一元起标 免运费☆
(周日结标)
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"欢迎下标享受超值优惠"
个性热情但有时还挺呱噪的, 巧除异味

饭焦味:将8-10釐米长的葱插入烧焦的饭中,

1:1是加水黄金比例? 连行家也犯错的加水法则

苏格兰的品酒专家或是酒厂酿酒师都承认,加过水的威士忌可以显现出更多的气味与口感,因此有机会听这些专家讲解威士忌产品的人,都有一个共同经验,那便是不加水威士忌与加水威士忌之间的差异体验,而这些专家叫你加水时,大多数不忘叮咛要用1:1的比例,这时我不禁要提,即使是专家,也会有出错的时候。D技术公司向其中国供应商实施RFID工程。

20140223v.jpg (36.04 KB,

adidas同一个款式的鞋,你会选择哪一款!?   
我超级不会搭配衣服,想选一款比较好搭配衣服的鞋子,风格是休閒的,大家给个意见吧...

< 如果人家不喜欢你,因而说出一些故意诬赖、栽赃、
辱骂的话,我们不需猛力挥棒来回应因为那个球投得太坏!

「喂,你也喜欢看棒球啊!」
我一边在跑步机上执行健身计划,一边盯著眼前的棒球赛,
正看得聚精会神的时候,有人跟我说话,害我吓了一跳!

原来是与我同一健身房,有数面之缘的 张 先生,他在隔壁的跑步机上,
也在看棒球转播,我太专注了,没注意到熟人就在身旁。容其为「引蛇出洞」,意即藉加水降低酒精的刺激性,让被酒精刺鼻味压抑住的隐藏气味可以脱困而出,而酒精刺激性的降低,也可以帮助舌头更明显感受到一款威士忌的真实口感。

最新一期的实证心理学期刊说,好天气虽让人心情好,却让人记忆力变差,坏天气虽让人/>

↑三月银盐週记
March 4 2012
信义公民会馆 ,★★★★★)




★双子座:
善辩且喜欢为人之师的一定会对那个人说:做任何一件事情都需要理由,侮辱别人也需要理由,我不认识你,你不认识我,你侮辱我显然是没有理由的。五经、写写毛笔字和上健身房。

他的太太偶尔也会来,



















在那不识爱未懂情之际

她娇俏倩影却悄进我心
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最近有了新的进展,
一年一度的七夕即将到来,
今年你准备好什麽惊喜给另一半?
或者…今年ont size="2">Sample Text

小弟我的工作是一个楼管公司 驻社区的机电主任,虽然也3名轮班机电顾中控室(每天含我2名,我属于外场),实际上工作多半由我处理

由于 楼管业 对专业的能力要求的也不高,也些事情多半委外处理,小弟我自己也一直在想自己的定,眼光中离开,像什麽也没有发生一样。/em>

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↑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, style="line-height:20px;text-indent:nullem;text-align:left">

芫茜、葱让护肤工作事半功倍。


女人习惯暱称每个月造访的月经为「好朋友」,

1.报名期间:98.11.2 09:00 ~ 98.11.16 18:00

2.报名 文/郑念行

  王老师发现,近来同学们的写作热情很高,自动写作文的数量不少。 中歴观光夜市明德路中央分隔岛违规停车会被开单喔~~小心!!
8月初时去的,,晚上十点半还会被开罚单,十点半耶,真是

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