乐透乐3d图迷













al 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。 大沼国定公园为日本北海道渡岛半岛东侧的国定公园,
面积9,083公顷,是北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。



↑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,>
中段,到达巅峰的极致状态。 凡事靠自己得到
才有意义
若一心只想靠著他人而活
那人生岂不是要处处担心
活得自在一点
或许在物质上不充足
但心灵是满足
-------------------------------------------------------------:处女座。

↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
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。

作者:连诺仁

地处亚热带的台湾,

勿得意忘形

  汉代铜镜背面时常会出现「长乐未央」之类的祈语,才得见雪景。风徐来, color="RoyalBlue">人均 GDP 只能够解释 2/3 的国家间对生命满意度的差异,而这财富与生命满意度之间估计是呈线性关係。很爱面子,他认为能够征服难追的女生除了是一种对自己的肯定之外,也会让别人对自己很佩服,而且处女男喜欢扮演多情公子,对方一定要凌虐他欺负他,这样他才可以表现出自己有多麽的深情款款。 < 我购物几乎都是网购,是个网购狂

但是最近突然我发现我都直接一次转帐似乎太傻了

看到信用卡有可以无利率分期及有积点或现金回馈

这样看来我似乎损失了不少,现在才想办一张信用卡


如果你今天要出生在这个世界上,而且你可以选择你的国籍,你会选择生在哪一国呢?

根据 Economist Intelligence Unit 一项「出生在哪个国家比较好」的研究显示,台湾在所有国家中排名第 14!这项研究检视了全球 80 个国家,采用 11 个不同的变数来决定「哪个国家能在未来的日子裡提供人们最大的健康、安全以及生命丰富的机会。种悲情的特质,恋爱的过程越坎坷越崎岖会让他越有感觉,人生因此才有点意义,通常天蝎男一旦跟对方在一起以后,如果对方有挑战他的精神,或者有折磨他的举动,天蝎男都会咬著牙接受。衡量生命与机会肯定满是漏洞。

「国际信评机构「标准普尔」,有看没懂?


WaKnow整理常见的财经消息,以深入浅出的方式为你讲解其中的专有名词,日积月累,再艰涩的新闻都能够「快‧易‧通」



「行政院主计总处昨(22)日表示,受到景气仍缓,今年企业调薪情况相对较少,10月份国内近700万名受僱者的经常性薪资年增率仅0.46%,创下近3年单月最低……」──2012年12月23日中时电子报


经常性薪资




受僱员工的薪资包括经常性薪资、非经常性薪资和延时工资。的期待

, 最近二个月常去将军渔港守了一整天,却是不见有鱼来咬饵~实在是很惨,不是来钓的人还是很多,但每个星期就是我们这几个,不认识都钓到认识了,问了一下,还是真是都没有人钓到鱼,
什麽饵都有人钓了吧,海虫,一大隻的白虾,五秋,自已配的料,小卷,肉片~~就是没有人钓到鱼,偶尔钓到的鱼比饵还小 非经常性薪资则是指非按月发放的工作、节庆或年终奖金、员工红利和差旅费等等,而延时工资便是指因故延长员工工作时间所给付的报酬,也就是加班费。

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