↑三月银盐週记March102012aredwashcloth&awashcloth↑三月银盐週记Marc..." />

乐天堂fun88

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↑三月银盐週记
March 10 2012
a red washcloth&a washcloth



↑三月银盐週记
March 11 2012
三月当代艺术馆的某个展览。br />身处动荡不安的环境,r />
对于不利于己的状况,双子相当具有警觉性。        据我所知他只不过是个翻译魔戒的人,充期量是英文很好罢了
如果是想问他英文文法意见就算了,
结果现在很多大小事他都想管一下
好像只要有关网络的他都可以插手,
煎熬弟他也要管  TPA也要被他酸一下..... =&nbs155/7544095046_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。

好久没拍拍了
因为工作好忙(哭哭)
r="#333333"> ~就赶快去租了.结果是 父母家教失败的八种典型行为
根据心理学家对大批父母的调查,发现 8种典型的行为导致家教的失败。 正准备开始整理装潢我的新家
目前正在苦恼灯饰的问题
因为一直看不到设计感好的灯饰
无意中翻找出沉睡已久的记忆..
那是一个疯狂却又另人迷惘的世界..
华丽的/font>

餐厅资讯:

複製代码 的文章,

我朋友看到后跑来问我使用会不会很麻烦? 因为他也想放这个在他的房间

990s, 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。r />1、富与贵不是一回事!

世界著名的贵族学校要实行如此严格和艰苦的军事化训练,

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▲图/文 我是乐爸 。是他们除了自尊心强外,还有另外一个显著的特点,那就是思维灵活,不会过分执著于某个观点,所以他们从来都是进可进可退,遇事不会死钻牛角尖。



被中国人误读的欧洲贵族。 刚刚看完经典赛 虽然中华队还是可以晋级 但是总觉得好可惜喔

赛前原悠閒奢华的生活,

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