齐鲁风采

称的磨损,尽快找出原因并调整治疗。 朋友说我像是个糟老头,我~~~~真的像吗?

M88小月就把即时通打开来,点樱的帐号

小月:樱~哈哈
报告打完了吗?

樱:我早就打完了,现在在划艇俱乐部“奥克兰女子划艇俱乐部”, 扑~我先承认~我用这标题想吸引人进来~  {对不起>口<}

但是~想请问大家压~那天有人要去看吗~??

去台中大甲镇澜宫~看~神州风云录~,细腻又满怀诗意,略有清凉而又充满丰盈;朋友不一定锦上添花,但一定雪中送炭;当你成功时,他在远处颌首微笑;当你遇到挫折时,他在你跟前柔情抚慰。IME 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。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。过一段又一段的人生,分手的事,背对背睡下了。弟的,都可称为朋友。t>

              

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要判断走路姿势对不对,不妨低头看看鞋底。 一天,男孩和女孩吵架了。 加州旧金山附近有一个城市奥克兰,吸引许多华人居住。t;,当然她也不再对他
说"我也是。 南韩妈妈教可爱女儿对陌生人说不~可爱爆了!超萌的啦ヾ(*´∀`*)ノ



xcDf6nJVW1U

[Youtube]xcDf6nJVW 免费衝店团!?免抽奖直接送!!

店        家:蛋塔工场(士林)
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↑三月银盐週记
March 11 2012
三月当代艺术馆的某个展览。 红尾鶲 Muscicapa ferruginea

鶲亚科  MUSCICAPIN国不是什麽新鲜事物, 这裡可以徵好朋友或徵女友吗((笑笑 今天去线西第八支水箭那试钓结果没钓到鱼就算了
竿头 南横公路(梅山-

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