www.767666.com



晚婚这问题
单身的人到一定的年纪
很多週边的朋友就会开始狂问怎麽还不结婚
我回答就是没人要阿
朋友就在骂我屁话连篇
↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
m88betMarch 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。

处女&巨蟹&双鱼-爱情保护很豪迈
她们爱情保护很豪迈,若有人对她们的另一半怎样她们会从小女人变得很强悍。

牡羊&射手&双子-说话俐落很豪迈
天堂地狱都来了
连阎罗王的恶相都这麽想漫画中的死神阿.... Sample Text 一个蔚蓝的天空

Sample Text 一双耐穿的布鞋

Sample Text 资料来源与版权所有: udn旅游休閒
 

台南/林百货开放 来看台南最老电梯
 

【www.767666.com/记者修瑞莹/台南报导】
 
     
台南市定古蹟林百货周日将开放, 请 回 忆 一 下 你 在 小 时 候 ,s 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。

感谢这次所有参与「看冰原之心留影评」活动的会员们,非常谢谢你们,已于7月5日上午以电脑乱数程序,抽出三名幸运得主,以下将公告幸运

常常潜水在这裡看理财的文章
自己因为存款不多,所以就是很保守地在理财

但我妈却完全相反
我从去年年中开始就一直听她在讲股票
我真的很怕她听三姑六婆乱讲
把毕生的积蓄一下子惨赔就完了
如果在这边有看到好 推荐一个好康的优惠抽奖活动

只要按讚 每天每样都可以抽一次

按中间前往抽奖的按钮

点玩讚之后

下方有拉霸机就可以进行抽奖

活动网址: prize/

主办单位:GOSHOW智慧生活联盟

许多台南人记忆中的「五层楼仔」—市定古蹟林百货,经过3年修复终于完工,本周日开放民众参观,让大家重温当年风华,除了能够看到保留的建筑与工法,还能看到大战时留下的弹孔。 最进监视卡的画面会不断的跳动, 或是忽然不动了, &
这是2007年4月21~22日的行脚
面对不一定最难受
孤单不一定不快乐
得到不一定能长久
失去不一定不再有
转身不一定最软弱

别急著说别无选择
别以为世上只有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。

题目:如果今天你在「玩人在江湖飘,谁能不挨刀」的酒拳,你第一把会出几刀呢?  
1.一刀或三刀          ,





















  (0)乱七八糟的引文简称序



  很烦,我说真的。
< 分享健康烤肉的秘诀!
( A ) 美 术 : 你 有 点 神 经 质 ,

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