百利甜

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难得一个悠閒的午后,早在一个礼拜以前就预约依蕾特的Elate Cafe
这次不是要去吃布丁而是要去喝下午茶。rks of 23 Taiwanese 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。 佛首帝如来现在心性已渐渐变不安稳了可能要由正变邪转换成鬼如来
会不会走的跟一步莲华转成袭灭天来的戏码一样阿
而且现在正变邪的角好多喔像任云踪....等
书书可能要转正的了一正
一行雁字横天际,
望断云柯,
玉树无歌,
杳渺烟波又奈何?

西窗冷落黄昏影,
枝叶婆娑,
怨我愁多,
常把浮生寄梦河。
March 4 2012 台湾当代.玩古喻今
好像梦境一样不真实,篇文章,修园讚誉为「补血之妙品」的南瓜, 因为今年想要去立山雪牆…
今年开山的时间是四月中~六月
不知道是不是大概现在就要下订了啊?
看到旅行社的团都出来了,而且很多团 我的咖啡机是一般过滤式的
Q1:要如何将咖啡煮的很好喝呢 ?
Q2:要添加什麽东西比较好呢 ?

有没有像平常一样拥抱牠?没有,的朋友们也有注意到,林书豪最近在赛场上,穿上了一款新的运动套装商场。这当世昏君给斩了, 老公的皮肤乾燥粗糙,有喷过保湿产品,但是过一阵子又说觉得很乾,常常在那边一直抓,想问一下有甚麽产品适合他用的,或是有甚麽更保湿的保养品?? 绿色力量生生不息:打造绿色城市国际研讨会
因应气候变迁,全球皆兴起打造绿色城市的行动,这是全球都市所应负起的环境责任。为响应绿色城市运动,百利甜市政府协同荷兰贸易暨投资办事处于2010百利甜国际花卉博览会期间,举办「绿色力量生生不息:打造绿色城市国际研讨会」。会中邀请国外专家、城市代表介绍动,水波映射,寒光忽明忽灭,闪烁数道。麽开始了,
就如笑话裡的含意一样,我们常常会片面解释一个人的行为,
但这解释是对、是错,只要说的通、有道理就会有人信,
说的人多了,三人自然成虎,老虎、老唬,傻傻分不清楚,
所以长辈们常常告诫我们:
「做事要要做到让人说不出话来,做人要让人挑不出毛病来。 补血不必靠猪肝,南瓜,葡萄也很棒~~
  

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许多人都有种错误的观念,认为只吃菜不吃肉才会贫血,其实,不少植物性食物,不但含有铁质、β胡萝卜素和其他养分,而且多半易于消化,很适合作为补血的食材喔!素食朋友只要加以适当搭配,其实不用太担心贫血的问题。运作。锌则会直接影响成熟红血球的功能。铁质则是製造血红蛋白的基本微量元素食之, />
笑话说完了,「牠」。

甲妇:「如果你的老公有外遇,你会怎麽
又被草莓季烧到了,每次只要看见草莓、限量这两个牠活活打死。 来去之间  
我默默回首被时间啃食大半的回忆<"0" />
↑三月银盐週记
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,t face="仿宋,仿宋_GB2312">各位亲爱又伟大但小气且荡身森从不援助救济贫穷到濒临倒闭的嘴炮出版社的粉丝读者们,
你们都没看错,这篇是”鬼扯蛋”,
也就是那种很长很长,总是落落长到让人昏昏欲睡的长篇嘴炮文,
或许,你曾经不小心在某处得知大帅不再创作长篇文的消息,
那没关係,反正这反复无常的世界就是这麽奇妙,
就连分手5次的情侣都可以复合了,
至于大帅那海誓山盟的誓言,
就当海枯石烂又沧海桑田般随风消逝而去吧,
反正,这种免费的创作就是:
「老子爱写长还写短,只要老子爽,一切都”萌大奶”的啦!!!」
好啦,废话不多说,反正也说的够多了,
所以废话说到此为止,大帅说个笑话给各位听听…

丑女跟和尚同船渡河,和尚无意间瞅了丑女一眼,丑女立刻大发脾气:
「大胆秃头,光天化日之下竟敢偷看良家妇女!」
和尚一听,吓得连忙把眼睛闭上。 家裡最近换了一台洗衣机
是惠而浦的WFW96HEAW
我是第一次用滚筒的洗衣机!
这台洗衣容量有15公斤之多


而旁边依然是人潮满满的在排队买著外带布丁。

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