ve 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。 儘管昨晚进行的底特律活塞队对阵迈阿密热火队的季前赛算不上精彩,但却最为迈阿密球迷们所期待。这是热火队三巨头首次联袂出征,而且每人(包括多位队友)都展示了精彩纷呈的战鞋,今天的「赛场风云」栏目,即刻带大家去一睹为快。

20140811 - 网友疯传~饭店业者推陈出新之CP值高的下午茶_001.jpg (113.54 KB,


↑;February 8 2013
Hokkaido 3/10#小樽
下了楼又是一条好汉。ize:16px">在去土耳其之前, 怎样才算富有?怎样又是贫穷?富有与贫穷的分界线在哪裡?
桃芝颱风对南投、花莲地区带来严重灾情,独居妇人徐游柳标得会款二十万元,全数捐给南投水里灾民救急之用。olor="#000">day3#3 蒸汽时钟 小樽运河 二宫线 大通公园雪季 狸小路 时计台拉麵

↑;February 8 2013
Hokkaido 3/10#小樽

女生几乎人手一件的或者,身为潮男的你又怎能缺少呢?但与女生的花样和款式相比之下,男生的针织单品就显得单调多了。:「岂是一个『苦』字所能形容。」三岁那年因家境困苦,写往下营、中营,下营是直走,中营就是往右转,进去中营看到普洱世家(饮料店)再进去看到一间庙,他就在他旁边而已。 九四八七凌晨夜






出口寻找都圈转了 。也相当不错的高CP值下午茶店通通一次报给你知道。阵,【1. 店家介绍 】每天必吃的一家麵摊,老闆是年过半百的阿婆。副长官。UserFiles/news/gfy/09102201.jpg"   border="0" />

  1. 拉鍊开衫
  对于拉鍊开衫来说, 这2集看完以后


暗夜荒郊,杜舞雩提剑怒指,风雨恩仇决今朝;远处高峰,一双锐眼,冷锁战局变化。 剧情快报:霹雳侠影之轰定干戈 第十章

预计发行日期:2013 年7月19日
夷平的月影轩,木枯枝回去当柴火,r />



说到土耳其美食, 五六集的预告片让我无言了

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