they just beat crying with his face . Why bother

faster than a roller coaster and social development but also rapid ,polo ralph lauren discount, non-stop human greed Peng also followed up . Year of supremacy in the worship of money , love seems to be a rich gimmicks , as they show off their tools. The men pushed the responsibility with money ,chaussure louboutin pas cher, women are covered with rouge shame . Continued subordination of true love ,doudoune moncler, ridiculous acts just for twisted mind find some stimulation. As long as you can boast in front of others , even if they envy or ridicule.
life really can be out of balance , or retaliate in other ways it does not respect its people. Swept away when the primary three deposits,moncler pas cher, the murder of his boss as a lover , when those greedy people with a tired heart back to the home they once fed , they came to realize that where there is real warmth. When they looked at the back of the family away ,doudoune moncler, they just beat crying with his face . Why bother , in fact, no one forced you.


certainly like to come to a vigorous young man in love , so all eyes will gather around to himself. Seems to be generally admired celebrity , he is the brightest galaxy in which thirst. Young publicity and vanity is never gluey , carries the dreams of young people how calm water of life will endure . Even those who looked indifferent , it seems that precocious aging and the people are yearning heart of a vigorous love. How young is a wonderful thing , but we have much time to the young it?
do not think any of you life can be manipulated , you do not respect it, it will pay you . Do it for granted their own greed , excessive pursuit of material wealth and status you in the end only make your heart penniless. Nothing exciting is true, people cherish the present .


sometimes thought, what is the most meaningful love. Is a vigorous , well known , or is indifferent to Xiangruyimo it.
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U.S. Eastern Time

their sharp

and they asked me if I also wanted to nobility it


Having worked overseas nearly 30 years, Chinese-born painter Jia Lu has made unique contributions in helping Western audiences understand more about the East through her canvases.
She was recently short-listed in the “Ten Most-focused Chinese in the World" by none other than the Global Times. The reason? “Her paintings fuse Chinese and Western elements, showing a modern China with beautiful colors," according to the panel.
“I have a deep sense that my mission to help the rest of the world understand China is not only an artistic goal but a personal responsibility," Lu says, when asked how she felt. “This award reminds me of the importance of that obligation."
Her father, Lu Enyi, was a famous painter who taught her to paint when she was very young. Like many painters of the time, she learned Chinese ink painting first, and was taught by master painter Fan Zeng.
But like many artists who traveled abroad in the 1980s, Lu felt lost in the collision of cultures, and turned to different ways of appreciating art.
When she left China for Canada in 1983, she quickly discovered that, for her new friends, without an understanding of Chinese culture and history, her art was “simply too alien to understand."
“In Chinese painting, we value the traditions passed from one generation to the next; for Westerners, true art is about originality and individual expression," Lu told the Global Times. “Ink painting explores the expressiveness of black ink and the bamboo brush; but to a Westerner, who has never held a brush before and is used to the color and richness of oil painting, my art seemed dull and lifeless."
Although her paintings sold well in the overseas Chinese community, to reach a larger audience, communicating essential concepts of traditional Asian culture to a Western audience was key.
Her solution? Borrow the techniques and expressive power of oil painting, with its illusionistic perspective and realism, and substitute Asian content. The method is known as “Jiechuan Chuhai", or “Crossing the sea in a borrowed boat."
“We have a unique, complex and rich culture. But we share [that] among ourselves, using a difficult written and spoken language, raising a high wall that excludes the rest of the world." Lu says. “By borrowing Western art history to communicate Eastern ideas, I have been able to tear down a small section of that wall."
Having grown up in a Confucian society that emphasized personal sacrifice, selflessness and hard work, Lu discovered her Western friends appreciated these values much more than their wealth and luxury.
Her painting was infused with Buddhism, an Eastern spirituality cherished by many Westerners.
Having first visited Dunhuang in 1980, spending several weeks copying its Buddhist art – some of the rarest early examples of Chinese figurative art – directly from the cave walls, Lu studied figure painting.
But it was not until she worked in Japan in the early 1990s that she began to explore their significance, finding their ideas represented what was most enduring and special about Chinese culture: compassion, mindfulness, a deep respect for learning and wisdom and a belief in the perfectibility of the human state.
Lu began to show her works in China: at the Shanghai International Art Fair, Art Beijing and CIGE expos, and found how “vibrant the Chinese art market had become in the so-many-years I’d been away, and how open it was to new ideas."
“I am both humbled and inspired that my work has been recognized in this way by the Global Times. It is an honor to be included among the other outstanding artists whom I have admired for so long," says Lu.
“But in the end, I think it is not important if I live or work in China or in the West, The important thing is to continue to paint for a global audience, to improve my own art as far as I am able, and to strive to be a better person."