Editor's Note: unforgettable love, but it is ultimately separated the yin and yang. A poignant and touching love story. One year's festival, the rain macs underground for nearly two weeks, I decided to go to Hangzhou, the old friend for a grave.
dark days is a slight breeze, like open a network, network pedestrians have to live under the rain, to cool people Sese, Su Zhao shoulder, Koh was back. If in peacetime, in this view,
doudoune moncler, I would still leaning out of windows look, the case before the white paper covered with several sheets, think of what or painting or writing. Today, however, I came to this southern Baba Amidst land.
want to come, and I want repeat business, a child had been there, on a bench at West Lake, picked up half a love letter memo. I think the language so sad that only the hand of a woman from the bar. I hid down, has been, no one did not know before. At that age children, have a few words what the anonymous letterhead, is really a treasure.
only a few lines scribbled on a letterhead of the word:
to the distant landscape, rolling hills,
doudoune pas cher, lush green leaves with the children ... I love you in the city, so this year, so you might accidentally run into you.
Wen Ya ,
moncler femme, suddenly woke up one day and found no future, and that the pair now what to do? strokes on the wooden chair your name again, I will be very happy, as if this was something we had together, but you have not to know the ... ...
cemetery, I am a little busy slowly offerings, paper money and the like, the side had an umbrella. Somehow, almost slipped wrestle, next to a man help me one time, this will not so embarrassed.
he is one, is a tombstone with being a young woman, pale face, a slight smile. Mountains, not many people, surrounded by very few people even walk around, see I am also a man who, knowing nod. I just helped him strike up a conversation to find the words: I do not know what to say really good. I guess that woman was buried around his girlfriend. And then not have to speak again, I turned to go, when early man had no impact. At the foot of the station, we are faced with, at a time around noon, the car almost no one less. I will talk with him up to realize that the woman is his monument a friend, died a few years ago I discovered, I gradually began to inquire about the grave buried here.
the family had arranged her life, including marriage. In order not to feel her suffering the same in a city, I came here until her death many years later, I learned that she was buried in this hill ... br> man made no then go on, quiet in his sorrow. I think he did about the person to declare these minds, so will I meet by chance such a person to tell.
think this world is really such a crazy man Maid,
doudoune moncler, what is the comfort a man handed him a handkerchief or a pat on his shoulder it? I chose the latter, he may also wish to say goodbye in the same. Something that is not an interesting walk through the rain, awaiting to go,
abercrombie and fitch, a pedestrian walking, front man came and said: against the wishes of her parents want to wait here for you, but do not know where you are ... ... believed to have fallen into his eyes.相关的主题文章：
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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."
I am a little busy slowly offerings
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