mansion88

断了线的风筝
是不会再回到手上的
或许不是你不要它
只是你们的缘份到了
而它断了
你们便要分离

不需要感伤
不需要懊悔
更不需要激 以前生米煮成熟饭,

在怎麽说长空是日盲族不败传说又手拿创世,怎会轻易跟小叶打平甚至打输小末,其实道理很简单长空原本拿一刀一剑的高手吗
难道你没听说 哈瞜大家好

我叫柠檬

来自台湾台南

常来mansion88看漫画 哈哈 发个帖赚赚积分








oth



↑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, 男友因为工作压力关係常常菸不离手
很容易嘴乾,有时就算刷过牙还是有点口臭..
查了一下知识+发现抽菸也会让火气变大

上次有和身边的朋友聊到,要降火气可以喝仙草茶…
仙草是去超市买一包丢下去煮滚就好

越来越多消费者意识到化学添加物对身体的危害, 最近这几年

有好多黑心食品都被爆出来

每次看到新闻记者去访问店家就觉得很神奇

每个摊贩或店家都表示

"我们从来没有使用过那品牌的产品"
汽车技工会飞、报纸有味道以及把首相描绘成恶棍的工党(Labour Party)选举海报,这些愚人节笑话都已经刊登在报纸上以飨英国读者。

「每日邮报」(Daily Mail)报导,负责处理汽车紧急抛锚事故的英国汽车协会(AutomobileAssociation ,AA)已为s 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。包装与误导性的字眼使消费者相信产品很天然,实际在产品成分上并没有分别,与消费者所想的「天然」有很大的落差。 你说谢谢我
要我不再体会你的感受
你的脸庞日渐消瘦
彷彿满佈尘埃的沙漠

r />多数人容易被金牛座稳重而朴实的外表所迷惑了,


↑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,爱倾其所有,毫不吝惜,身心投入,这种极致的专注,当然能战胜任何一位情敌,获得全面胜利。

吻的温度
词曲:Hush

连日的迷雾
让空气之间都佈满暧昧模糊

哪一个下午
会有阳光出现把潮溼都驱逐

而我可能 只需要一个
只需要一个

金石为开, 卖红米手机  一隻....12月29日远传拿到的..因为要检查手机所以作拆封动作..
所有配备都在...盒子..充电头..电池一个...我只卖4800元..不接受杀价..
面交..截止时间到1月8日晚上八点止..
面交地点捷运忠孝敦化站..因为出口有一家远传电信..我的机子是在这裡拿 到底 是不是 宫无后???
1.在外打杀的 脸少一条横
2.跟叶小钗说话的 脸的眼睛多一条横

看轰定干戈.他说出来的话.
我大胆推测..叶小钗跟他聊的是 过往事情
眼睛多一条横是 后来
所以这剧情 是2人在聊 宫无后以前的事情

以上推测 是2人为同一人

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