poetic rich

Editor's Note: poetic rich, refined! Like a dream life, and this dream but contains bitter and happy! Life is a dream,abercrombie and fitch paris, turned around and make into a bustling air. Tumultuous years,
several times wanes, sighing fleeting. Between the fingertips smile, but all are reminding us of scenes yesterday.

have a dream, in the stop-go days, gradually drifting away speechless,
leaving only memories of a once, mind the deepest waves, becoming cooler season in warm and cold years gradually.

the day yesterday,Christian Louboutin, my heart disorder who are a flash into the past, when I look back at,
no early traces of the old things, leaving behind feelings of regret. Long Red, who is who ever?

how many times Looking back past lives, but in exchange for life's final pass,
glance, passed away, if fleeting, who remember the first amazing? We are just passing through, heaven and earth together, and finally only song off the strings injury Leila.

gone up, and never lost. Remembrance is a cruel,
sometimes in vain is a relief. One thing is to remember the simplicity of: love, absolutely sincere love.

be remembered or forgotten,abercrombie & fitch, is a happy thing.
I am willing to be forgotten, at least, he no longer hates me. Who says there, tough love, hate the cut. If the final

love hate it, how to forget? So, in the end is to forget or to read?
people forget all the time and read between the running, turning and storage of the vicissitudes of the beautiful, few people can see through? Few people can do?

always thought, put down all the struggle, it will not tear, it can no longer wandering,
can towards the sea, waiting for spring, but then it turns out, wishing to forget the side forget it.

gently on it soon greetings to peel off all the deliberately strong,
camouflage that instant smile vanished, the name that has been in my heart, stung by memories, blurred eyes.

the original, there are many things, has not been forgotten, only to be dusty memory,
on the heart of the deepest corners of their own do not remember, but do not let people touch,
only occasionally the dream, but still extra heartache, pain he could not breathe.

getting cold heart, warm spring breeze had not blown over, Summer was not melting,polo ralph lauren,
experienced akishimo, covered in winter snows, will have wrapped themselves more tightly.

long way, all Jieru fireworks fall, life and death of reincarnation,
charming Whose roots? A thousand years of waiting, a thousand years of waiting.
can we finally just passing through life, interspersed with Acacia color, but not each other tomorrow.

wear, but the Red, survey does not break the love, the world's few lingering,
finally arrived, but still bitter that few forget the soup, with the end of time who ask that the oath?

Zither thoughts Unspoken sad

fills my hand dance culture fleeting Tanwan


rolled thin residual term
fine description chapter faintly dusty Lo Qin brick
a touch of color letterhead paper
Do you pick up the classic falling


brilliant full-order Kuse
Moss has fed into a pool of
Homeward Bound
Court,ralph lauren pas cher, where the word chant

Changzhangduanduan sentence
portrait of my interpretation of hard dance to Wind and Smoke cleared

star on the visual language of night

the heavy strand of thought into the cup
the misty and lonely souls
such as onion skin edge

sparse watch
In million flowers
dream Splendour have any rhyme voiceless Millennium
scattered in the wind相关的主题文章：


瑟利夫：宽恕的力量

经济企稳态势明确 刺激计划尚不言退

I can not share your beauty


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."