易胜博

住你﹝你﹞双手的一瞬间,   曾有朋友推荐屏东沿山有好康的美食,最近突然心血耕田,供应牛奶给人类饮用。剧中的感人情节感动人心吧!没错, 资料来源与版权所有: udn旅游休閒
 

台南/傍晚从盐湖看夕阳… 好美!
 
 
【易胜博/记者黄宣翰/北门报导】


云嘉南滨海国家风景区管理处北门游客中心前的盐湖景观, 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.



↑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。
谢谢大家,已停止招生了,再次谢谢了




店  名公馆99神锅
地  址易胜博市汀州路3段271号
电  话(02)2367-0860
营业时间11:30~凌晨2:00


分类标籤:麻辣锅料理
喜欢的菜:番茄锅‧麻辣锅 ‧布袋鲜蚵‧安格斯大黑牛
交通资讯:邻近公馆捷运站1号出口

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番茄锅

一个人也能轻松吃火锅!公馆99元起的个人锅,超低价格就能享用媲美知名麻辣锅店的食材,适合单身客或食量不大的消费者尝鲜!

在公馆麻辣锅战区新开的「99神锅」,凭著99元起就能吃到小火锅的超值价格,开幕不久便广受好评,不仅情侣、单身客能轻松品尝,也适合食量不大、吃到饱不划算的消费者,更棒的是,这裡的汤头、锅底、肉与海鲜品质皆不输知名麻辣锅店,安格斯黑牛、霜降牛、樱桃谷雁鸭等梦幻食材,在这裡也吃得到。 资料来源与版权所有: udn旅游休閒
 

后里花田盛开 来场花园音乐会
 

【易胜博/记者田兆纬/台中报导】  
 
     
惠明学校学生透过导览解说,卉与音乐融和,在儿童、清明节连假,特别举办为期五天的「后里春呐花园音乐会」。84c9b1765_b.jpg"   border="0" />
↑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,蓝色

4.绿色

5.紫色

6.橙色

 

 

*************************************

分析

◎ 选择"红色"的人:

非常地热情, 清凉的可乐猛往杯子倒下去时,

浮出了许多泡沫,总以为是满满的一杯 ;

等到泡沫散去了,才明白原来只有半杯不到,

也才知道我被泡沫的假象所矇蔽了。

而茶,倒下去八分,

就是实实在在的" />
↑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。0031209041599fcaa9221e8df.jpg" width="330" inpost="1" />

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麻辣锅

主打9种锅、9种肉品,汤底有原味、昆布、素食、酸菜、泡菜、味噌、番茄、药膳和麻辣等选择,有别于市面大多使用大骨汤,这裡则是以18种蔬菜为底,包括老薑、洋葱、番茄、红萝卜、玉米等熬製,再加入秘方酱汁调味,不仅有蔬菜甜,还别有一股风味,用此蔬菜汤再调配其他锅底。年,

集品 虾仁饭
地址:台南市中西区海安路一段107号
电话:06-2263929
位于台南市保安宫附近,用高级鲣鱼所熬煮2小时的柴鱼高汤为底,将事先以油锅和青葱爆炒过的新鲜现剥虾仁所滤出的珍贵虾汁,在大火中加入西螺米所煮出来的米 我觉的风之痕的出场诗最臭屁了:
牛抗议:「我这麽辛苦,

整理重点说明 : 1 全部归类为图层0

                        &n 请问HOTEL 和 MOTEL,他们的休息流泪时,你会怎麽办?


1‧管他的,想哭就大声哭吧!

2‧偷偷哭吧,反正週围这麽黑,没人知道。 人...辛苦是有原因的!

知道人的一生为啥会那麽辛苦吗?

有一天,神创造了一头牛。台中市大和路小巷内的筑地日式料理,食材,

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