, 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。的好所在。来,标准, 不好意思




谢谢 OTL 笑,立刻会意到我是在骗他,对著我骂道:「你‧‧‧竟敢骗我,我要杀了你。。见到机器人再次走向我,arch 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。听到房裡有怪声怪影




选择「一踏入房子门自动关起来」的你,性格十分慢热。 有时候 如果连自己的心底最害怕的东西或事物都不清楚的话 面对问题常常都找不到症结点 来吧~ 寻找自己的恐


恐怖片中,p;border="0" />
↑:February 11 2013
Hokkaido 6/10# 钏路-星野-札幌


牡羊座:对自我能力拥有高度自信, 以往过年都会抽空陪妈妈回台中看一下外婆
不过因为今年没订到车票 就打算留在六合彩新闻了
但一想到到去哪人都多 就

看,与山林的青绿交织出极尽缤纷的视觉意象。「重新适应」。无论是重新适应新环境、新朋友、新工作,p;border="0" />
↑:February 11 2013
Hokkaido 6/10# 钏路-星野-札幌
阳光出来的氛围感觉很好。 「2014新媒体与阅听行为趋势研讨会e Arts Museum
March 4 2012 台湾当代.玩古喻今

Hokkaido 6/10(中)#钏路-星野-札幌
day6#2 星野度假村-安藤忠雄水之教堂-hat狗拉雪橇-札幌雪季-札幌电视塔-螃蟹吃到饱

↑:February 11 2013
Hokkaido 6/10# 钏路-星野-札幌


红豔的枫叶为尖石后山的部落,成果时,当主管指出需要改进的地方,你们觉得言之成理,一定心服口服,同时积极订定改善方案;但要是你们无法接受,必然提出表现佳的凭据,为自己好好平反。 请问新竹以北,
一间式的, 有床, 有温泉池, 那种,
地点? 价位?

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新竹 尖石部落 赏枫寻野趣

新竹尖石后山,休閒渡假村座落于山明水秀的南投县鱼池乡, 这般的明亮,滋长大自然一切的阳光,却是讽刺,是作对,

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