and to a loss for words.

tongue-tied men is a very easy animal you can say this is because they really ghosts can also be said that this is because they are generous to women. In short, they can easily tongue-tied ------- Photo is not so much the women are eloquent, as that man is too easy to tongue-tied. And a tongue-tied men, women can do whatever they want out.
So as a woman, be sure to take advantage of this. Of course they also want women to take advantage of this. This is their steps to the women, but also to their own level.
above is to say from a strategic point of view. From a tactical point of view
said, the men talk too much logic,abercrombie & fitch, so you are speaking about logic, but the. Must be anti-logic, you have a counter-logic, he ignorant, and to a loss for words.
argument against logic is nice, it means causing trouble. Must be deliberately provocative. Vexatious is very human, very good, very constructive approach, not the face of love we do not have this trick. For example, a friend gave her husband wrote prior to divorce: I have not even argue there is no qualification. Any willful, vexatious, the premise is lost. Right is really pretty.
between men and women, upon the facts and truth to break up not far away. Once,polo ralph lauren discount, I went to friend's house to play, during which the couple talk about the pros and cons of life, each other's right or wrong, terms of rational analysis of the deep, so I think the two men a little bit wrong. Sure enough,doudoune, less than a year,louboutin pas cher, they broke up.
between enemy that is not clear that the enemy is not clear.
above is a move, another move before the wicked to complain. It is vexatious variants. However, the specific, the column operable, it is a single list.
this tactic is the gist: man is the wrong word.
example, in case he did not know, you wash his clothes, and also to wash his important invoice,abercrombie paris, how do? Very simple, he knows there is always a day to wash clothes, and why the invoices also on the pocket?
example, you may forget to pinch his pinch-shaped, pinch the skin is broken, then you are very angry, because this can be seen that yesterday he actually does not repair your nails smooth.
such as this, the moves is quite simple and very easy to learn.
Finally, and most important move. Is that you must let you cultivate this habit of his. You have to be criticism and self-praise, praise and self-criticism for him to be. Praise yourself a good woman is happy, fulfilled, happy to meet a woman no matter how the critics men, men are not angry. Let man fear is a real woman's pernicious. Therefore, women can not be wronged themselves wronged their own pernicious woman is easy. Also a good self-criticism is a humble man, a man no matter how humble recognition of a woman, so do not forget to make a woman get high.
said tricks, in fact, is no stroke of the master. Shot is brilliant idea, Nu is Jiaochi too. 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."