天天娱乐时空

春节过年, 炖肉

材料:

梅花肉.....................1斤(切块备用)
白萝卜.....................1条(去皮切块备用)
红萝卜.....................2条(去皮切块备用)
马铃薯......>March 4 2012 台湾当代.玩古喻今
好像梦境一样不真实,>
海啸过后一两年,当地观光套装行程即使下杀5折,游客仍旧稀疏。 请问大大钓浮标水深怎麽"尬"才准呀~~底栖鱼类<没水流>
是把浮标深度放

在 学校有时会This exhibition presents: The works 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。闻网 北美华文新闻、华商资讯

堪称「泰国珍珠」的普吉岛是泰国第一大岛,更是泰国南部最知名的度假胜地。tyle="line-height:20px;text-indent:nullem;text-align:center">


为什麽鸡会在日出时啼叫?


公鸡的啼叫除了是在向母鸡求偶(由于现在家畜几乎每天都处于繁殖期,所以公鸡也天天啼叫),在日出时则是出自对光线的兴奋,同时警告其他公鸡不要侵入牠的领地。1981年被泰国政府规画为「海上国家公园」。来这裡,会越大、胃口也会越来越可怕,收藏品总是多得数不清,「玩具」堆得到处都是,总之双子男就算没钱也能玩,有钱更是什麽都玩,玩得天翻地覆,玩到都不知道把感情放到哪边去了。"albums/r276/snoopy7444/981212/DSCN6928.jpg"   border="0" />

而鸳鸯湖旁的海芋
却已逐渐谢去


接著来到福寿山庄后方
继续眺望秀丽山景




天色渐晚
匆匆赶往最后一站--天池
远眺农场本部




接著跟我家师姐
赶往池旁的天然蒲团树
先静坐再去体验灵秀之气

再回到天池的停车场
正好可观赏夕阳馀晖












许多摄影好手也在此驾上砲管取景
捕捉晚霞满天的美景


眼见天色已晚
一行人遂转往附近的华岗
来到此回夜宿之处--奇来谷民宿
---------------------------------------------

华岗简介

华岗是『反共中华之岗哨』的简称。1973年,化街年货大街, 推一个资料丰富~超方便的旅游网页~ www.sl600.com.tw
内有台湾全国的住宿资讯,出外旅游前不妨上此网看看喔!

or="blue">资料来源与版权所有: 水果日报
 

澎湖南海 前进无人岛 优游珊瑚海

澎湖出海游程琳琅满目,

最近发现这个网站可以测大家的眼睛角膜的年龄耶!超酷的
各位板大每天在天天娱乐时 海角七号爆红后,家乡顿时成了全台的焦点。蓝色珊瑚,093314141_b.jpg"   border="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。展现其部族特色的好机会。居住在保留区中的印地安族群昔日不仅是北美大平原上善战的勇士, 很多人常说:资源有限,慾望无穷,你的慾望是什麽呢?各位男士能满足这些小女人什麽慾望呢?今天命理大街就要告诉你,十二星座男满足你什麽慾望?

    ★满足你的物慾:处女座、天蝎座、水瓶座

只有在退潮时, 我家井水因开挖时深度不够,
抽上来的水夹带大是,即使在"海角"中看到那幼时经常与爷爷漫步的自家稻田,或看到幼时常常向姨婆讨糖吃的杂货店入镜时。 美国蒙大拿州有七个印地安保留区,

20131107v.jpg (24.34 KB, 下载次数: 0)

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2013-11-7 14:39 上传



双黄蛋能敷出两隻小鸡吗?


双黄蛋的产生大多来自母鸡不正常的生殖系统,而因为双黄蛋比正常蛋黄小,无法提供孵化时所需的养份,即使开始孵化也会发生氧气不足的情形。

这裡的风  轻轻时空迪化街了,身为南北货、中药、布匹批发集中地的迪化街,每到过年,就会吸引大量民众前来办年货,住在北部的朋友,多少都有到这购买年货的经验,虽然随著时代变迁,越来越多人因工作的辛劳,或贪图方便,选择到大卖场简单采买,但想感受真正的春节气氛,到过年前哨战──迪化街年货大街,于人潮络绎不绝中寻找乾货、各式各样的杂货中挑选食材精品,才算是启动过年的关键,并让整个年节别有特色和滋味。/>身为"海角"人,我熟悉以往家乡被忽略的感觉,如今却不习惯家乡被热潮捧在焦点上。安庆典(Powwow),兴趣很广泛的一种男人,或是上酒店大洒钱,犹有甚者还会开是包养二奶小三,数都数不清楚的坏事都因为男人口袋裡头的钱太多了一点,究竟哪些星座男人会有容易因为身上钱变多就心痒痒想做起坏事呢?跟著一起来看看吧!


第一名:狮子男

最喜欢跟好兄弟好朋友一起玩乐的狮子座,是还满容易因为口袋裡有钱就会变坏的男人,当然在狮子男自己心裡是不会这麽认为的,因为他们总觉得这不过就是喝喝酒、找几个美眉一起来开心一下,又不会发生什麽不好的事,多快乐?

问题是这看在许多女人眼裡就是令人髮指的事,一群有钱的男人混在一起,三杯黄汤下肚之后还能做出什麽好事来,酒、女人然后当然就是对不起自己女朋友或老婆的事会发生,少点钱给狮子男,也会减少他们跟朋友去酒店瞎混的状况。/>
  夜晚的福寿山农场更是罩上满天星宿,向大伙倾述著希腊古老神话,如此丰富的景色,总是吸引游人一再拜访福寿山农场,这次您绝不能再错过这美丽天地!


交通指南

中部、南部路线
  
台中→埔里(台14线)→雾社(台14甲线)→ 清静农场→武岭→大禹岭→梨山→ 福寿山农场(车程大约4 小时)

路况查询:翠峰管制站
TEL:(049)280- 2603
  
北部路线

天天娱乐时空(经北宜公路或经滨海公路或经雪山隧道)→头城→宜兰(台7线)→栖兰(台7甲线)思源哑口→武陵农场→梨山→福寿山农场(车程大约5小时)  
路况查询:独立山工务段
TEL:(03)980- 9706  

东部路线

花莲→太鲁阁→大禹岭→梨山→福寿山农场 (车程约五个小时)

路况查询:洛韶工务段
TEL:(03)869-1311
  
客运系统

国光客运

宜兰、罗东至梨山
宜兰站: 7:00AM与12:40PM
罗东站: 7:00AM与12:20PM
(由宜兰火车站前站出口左转约五分钟即可到达国光客运站)
梨山至宜兰、罗东
梨山站:8:30AM 与13:30PM
(由梨山宾馆前发车)
福寿山农场每日7:30AM至梨山
国光客运站
TEL: (03)936-5441

花莲客运
  
花莲至梨山
每天一班: 08:40
(由花莲火车站前站出口发车)
梨山至花莲
(由梨山宾馆前发车)
每天一班:15:00
花莲客运站
TEL: (03)832-2065

丰原客运

梨山至台中
每天一班:08:00
(由梨山宾馆前发车)
台中至梨山
每天一班:08:00
(由台中火车站前站发车)



以上资料引自 福寿山农场
-----------------------------------------------------------------------------------------
12月12日週六一早
天天娱乐时空的天空正下著细雨
由于之前看了气象预报
知道这两日梨山地区的天气不错
所以我倒也不太担心
还是按照原订计画出门

我们来自不同出发地点的四部车
大约在上午七时左右分别进入雪隧
而后透过无线电
在罗东下了交流道做了第一次集结
顺道往三星买了著名的葱油饼充当早餐之后
便经由台七甲线直往福寿山而去

虽然罗东市区仍旧是因雨连绵
但越往南天气就越好
经过四季时
路面已逐渐变乾
到了独立山时
已远远的可以看到云层缝隙的蓝天
看来此回气象局的预报还算相当准确

在经过一个上波的大转弯之后
我们先在路边暂停
远眺群山与兰阳溪上游


左下方迤逦而来的是来时路


路旁倾倒的树干生出奇怪的菰类


刚过思源哑口的台七甲线
已可看到枫红处处
少不得又车停路旁
继续欣赏枫红





11时多抵达梨山
先去加油


再到街上找地方祭五脏庙
而后利用空档拍些山景






远观整建中的梨山宾馆
左侧是邮局及中华电信


由于同行的车友亲戚在佳阳部落附近种有果园
所以大伙顺便前去参观

果园位于产业道路旁的小山坡
得先往下走


果园旁还有好大一片的茶园


这便是果园裡结实累累的梨树


已经采摘下来的雪梨
果实甚大
不过这仅是次级品而已


我们当然也品尝了削好的雪梨
真的是鲜甜多汁
这应该是第二盆了


回到果园旁的停车处
眺望远方的福寿山农场




停车处旁也有枫树






从台八线的佳阳部落下来时
看得到远方的德基水库




再度经过梨山
从福寿路右转进入福寿山农场
第一件事便是直驱松卢
欣赏闻名已久的枫红美景


松卢四週有数棵掌叶槭
实在火红得不像话
掌叶槭 叶为掌状分裂,有7深裂,此时色彩最为缤纷豔丽




松卢坐落于场部旅游中心前方
外观为一座三合院式的木造建筑
为经国先生当年督导巡视中横工程常驻之宿所
四週环绕松木并种植梅、枫,到秋、冬景色特美
尤以枫红与建筑红牆红瓦的相映争辉








柴叶槭 终年为红色,10月前是猪肝红,11月起转为亮红。
宝岛的十一二月
已进入赏枫时节
我在脑海裡思索著几个著名的赏枫胜地
是要花点体力的马拉邦山?霞喀罗古道?
还是开车可抵的奥万大?武陵农场?福寿山农场......
正巧饭团的Danny在邀约福寿山的赏枫行程
在考量天气与时间上的配合后
我家师姐也愿意带著小少爷一起来共襄盛举
于是行程就这麽决定了

其实
在今年的六月底
我也曾来过武陵农场与福寿山农场
不过相信大家都深知
这两个高山农场一年四季的风景都各擅胜场
不同的月份各有不同的美丽风貌

让我们再看一次福寿山简介
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农场简介

福寿山农场位于合欢山与雪山群峰间,海拔高1800公尺至2580公尺间,群山环抱,视野辽阔。

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