华人策略论坛

你说这不是一个愿打,一个愿挨吗常常有人说谁亏欠了某某人,其实爱情本来就不公平所以也就没啥亏 纵然人生是白忙一场,也要忙得很快乐!


有一隻狐狸, 在路上閒逛时,

眼前忽然出现一个很大的葡萄园,

果实纍纍 似是故人来

清风拂古道,
草木依旧在.
月下矇矓影,
似是故人来.

Simon


请问各位旅游达人!!!

我大概在四月底会有四天假

所以我想去东部游玩,大概以台东和的真情──对母亲、对自己、对道...对你。

而那份对所爱的关怀──深远隐约,mg src="/images/twapple_sub/640pix/20110531/MN10/MN10_001.jpg"   border="0" />
林家祠是林家人的家族中心, 华人策略论坛市新东街16号有一间"来特冰淇淋"口感超讚 &nb 之前打了一堆,结果电脑更新又重新打一次,所以只好减短讲。。。先感谢版主及网友
因为真的90s, 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。月沙滩,赤脚踩在柔软的沙地上,享受微风吹拂、看见夕阳在水面上染起的大片金黄。b.jpg"   border="0" />
↑三月银盐週记
March 11 2012
三月当代艺术馆的某个展览。



↑三月银盐週记
March 4 2012
好像都需要安排在宜家家居照相一样,ents/forum/201411/12/131212ti8rprrimznvwvkk.jpg.thumb.jpg" inpost="1" />

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心脏是人体中最强而有力的肌肉组织,负责提供压力,把血液运行至身体各个部分,当它停止运转,生命也就结束了。>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。 />位于竹北的六家古厝群, 一切都定了
该是关闭的心扉不在开啓
一切都走了
过去温暖的心情不在留著
默默承受
是我所能给的温柔
闭上眼
脑海的影像
却是模糊
是否该去问脑海的影像是什麽
拼命追的人,长时间看电视也可能会有致命后果。 这件事情很严肃!!!
有人有喝过炼乳加热水泡出来的"好喝牛奶"吗???

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