人生就这样在不知不觉的走向更深

编者按：生活着，感悟着，行走着，人生就这样在不知不觉的走向更深！ 　　一个人穿行于世间，偶尔抬头，淡然地看看天空、周遭，就是那么简单。
　　天空很简单，空间也一样，会因为创伤留下疤痕，却不会留下记忆的痕迹。疤痕本身不痛，更没有任何感觉， 一切只因看的人的心有感觉。
　　因为对他人有心无力的牵挂，而选择无奈的沉默。
　　冷的时候，希望温暖的拥抱；哭泣的时候，希望一双擦泪的手和亲切的眼；欢呼的时候，希望满目是微笑；出 去走走的时候，希望有个人陪，就算不说话……
　　拿起手机，却不知该打电话、发短信给谁，一种很茫然的空白感，认识只是一种曾经，甚至“亲人”都是一种 很陌生的感觉。
　　是我渐渐远离了这个世界，还是这个世界渐渐放弃了我,louboutin，结果处，已经看不到最初的缘由。
　　萍水相逢，必然随水而散，擦肩而过怎能成永恒。
　　放弃，如果能彻底，是可以选择的。如果还想重来，就不要放弃，因为放弃的那一刻，有很多东西即使重来都 无法拥有，有时,doudoune pas cher，甚至放弃后，就没有重来。在途中断断续续放弃的人，当静下心回望时，才发觉自己其实仍在起点处，而最初起 点的时间已延伸了很远，那不断反复的自己也已疲惫不堪。
　　身后的岁月，是印在生命中的标本，是静止、无言的，已落满世间的灰尘，一切只因前行的人不断回首而让它 影响了如今的生活。
　　不要对自己太苛刻，否则会很累,moncler homme，因为心不可能对世间的色彩无动于衷，毕竟那是一颗跳动的心，它是这个世间的。净心于世，是一种目标，过程 中常常会充满痛苦。
　　人生难免伤心,Christian Louboutin，难免疲惫，甚至崩溃，但一切都不是放弃的理由。不能以“自由”的名义，放纵自己，心累的时候不是放弃的时 候。
　　天空曾经阴霾过，黑暗过，曾经有过风雨，以后还会经历，但今天，天气真得不错：晴朗的天空，明亮的阳光 ，安静的风，清新的空气，还有一颗宁静、欣快的心。想开的时候，每天都是好天气，一切自有它的 美丽。
　　生命，就是从起点到终点的坚持。
　　生命的承诺：做好该做的,abercrombie paris，做好能做的，做好正在做的，做好答应做的。　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."