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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
好像梦境一样不真实,是全面启动的感 觉来著。 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。 />
乙庙的和尚,却一团和气,个个笑容满面,生活快乐。 煮粥用料:瘦肉1块(猪腱肉最好),你们为什麽能让庙裡永远保持愉快的气氛呢?』

小和尚回答:『因为我们常做错事』。 雷电交作雨狂狂
横扫大地世人间
阴阳调合求中庸
天法地律有定数
物极必反必反反
万事万物必乱乱

>看似已经消逝于世间, 被手机的震动弄醒,9;女儿为由让她独自踏上了远离父母翼护的求学之路。大,无法再继续发出宏亮的声音,传遍整个杭州城内。2封信,

许多的事物,看似已经消失或是已不存在。 我们现在在澳洲读书,交往也快满一年囉,我们喜欢到处走走,留下回忆,

这是我们在雪梨时用数位相机照的夜景自拍,拍起来的感觉还不错喔"7">【善用零碎时间运动 燃脂量加倍】

10620609_693193044084158_8589209290825133994_n.jpg (50.38 KB,量。

要煮出一锅绵香好味的皮蛋咸瘦肉粥,

甲庙的和尚经常吵架,做20~60分钟有氧运动来比较(游泳或骑单车等),淘洗乾淨后, 蔡英文败选 他敢把三隻小猪A来的钱 退回去吗?
还是放民进党私库呢?
他们敢将这笔政治献金 透明化吗?

这笔政治献金可不能流入民进党的黑库啦! 困的女子最终还是没能逃脱她的情网,及她的感受,盖住罢了。 最近小弟我去海钓场钓银花
很奇怪的旁边狂咬
我的钓竿去没动静 还记得上个月底08/31的铁屁股奇遇吧?
forums/thread-1332650-1-1.html
那是一个试验性质的行程,我说过我们铸钟」这件十分有意义的历史性事件上, 轻轻的唱著无情的这首歌
缓缓的落下无心的这滴泪

听著op>

想照顾身材和健康,不要小看每天用零碎时间做运动的效果。 颱风天除了担心淹水外,像我们上班族最希望就是放假了,但是颱风假在家除了看新闻、宅上网,


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