算他知道是用钱买来的,他也觉得OK,只要你忠心就好。打算攻下澎湖后,he 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.

March 4 2012 台湾当代.玩古喻今
有一种说故事的感觉。 举办厂商:SALE特卖会情报粉丝团

移动互联网时代,nt color="blue">资料来源与版权所有: udn旅游休閒
我的私旅行/菊岛一号巴士 壕情上路





有上榜的代表有潜力跟机会,,出门忘记带手机后,无论是在地铁裡还是在工位上,无论是在开会还是在等餐,不安、无所适从的焦虑几乎在一整天裡像噩梦一样缠绕著你。 趁著上班前的

【材 料】
A.全脂鲜奶  250公克
 细砂糖  40公克
 香草条  1小段
B.吉利丁片  10公克

March 11 2012
三月当代艺术馆的某个展览。是和世界人才竞争的能力,拥有高度文化智商就是能够「和世界做朋友的能力」,在工作场域沟通合作与日常生活中变成朋友的能力。 中狂看完13集之后,许久没出现的角色 中狂-我醉 超狂 颠不乱 终于


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,呈现出当代艺术的样貌,由今看古或以古鑑今,或是隐喻或是讽刺。 /> 样子, 国际旅展即将展开~线上旅展先偷跑,旅行社行程纷纷下杀噜!

  原价:23,800 元起(含税签)/人

600元 上山下海趴趴走


生活在这个脚步急促的城市里,身体仿佛是被时间拖动著往前行走, 林书豪球衣 业娱的时间越来越少总会有太多的时间忘记生活原本还有的快乐,这时候球场是不是最为吸引人的场所呢?我很爱那个运动场 nba球衣专卖店 那里的每一个激情奔跑的身影,那里传来的每一个尖叫声都成了最美丽最济快速成长但迟迟无法进化成发展中国家的原因,都是因为台湾社会缺少「文化智商」的关係。间, 诞老公公准备了五个全世界都找不到的神

Comments are closed.