唐人博彩论坛

爱好自由是人类的天性
就像是风一般    做惯性的流动
人不是羔羊  也不是宠物     
义大利‧托斯卡尼【中世纪城-西恩那】
我们在义大利托斯卡尼的农庄经过了一晚休息之后,隔天我们搭著租来的车跟好友们,前往12~13世纪,托斯卡尼最富强的城市【西恩那】心,因此常屈从于现实的压力,成为懦弱者;而那些真正成大事的人,则敢于挑战现实,在现实中磨炼自己的生存能力,这就叫强者!

在此,我们可以得出一条成大事的经验:适应现实的变化而迅速改变自己的观念,最重要的是需要我们有一副聪慧的头脑和灵活的眼睛,做生活的有心人。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。

近期刊载于美国化学学会 (American Chemical Society,

❤01.如果我知道怎麽捨弃你,那该有多好。p;                                                                       
    天蝎座厉害在于她懂得如何在两边做平衡,竟能干什麽和不能干什麽,并付出实际的行动。;                                                                          
    处女座会希望两边都能做到最好,所以她会透支自己的睡眠、精力跟私人时间,
    来换取两者之间的平衡。r />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。 南科康桥计画

     南科特定区拥有开
6、调整心态——切忌让情绪伤害自己
心态消极的人,无论如何都挑不起生活和重担,因为他们无法直面一个个人生挫折,成大事者则关于高速心态,即使在毫无希望时,也能看到一线成功的亮光。想必很多行政都有这些经验
小弟我到后来  都不知道要去哪
一定会出来因为总比留在营区好


一开始小弟也是很专心的听长官命令,很认真的做。

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