does not happiness

in later years, she had no experience of the taste of Peach. A person's love, like a man watching a romantic movie, one starts, one ends. Lengnuanzizhi.

class, his little body sitting straight upright, like all students do. But she always thought he was the most correct one sitting. After class, he rushed out of the classroom like a gust of wind, naughty. She Waizhaonaodai see him, feel his bravery already been taken. She likes him back to her laugh, she likes to see his sparkling eyes.
Scorpio girl she is, she was only eleven years old at the time, she did not know, Constellation hidden secret. Eleven years old, so age alone. She is like a soft white feathers, swaying in the air.


then took a year.
ignorant of the crush, with the first sweet happiness. Can not reveal the fascination, like a dream usually fascinating.
spring season, the fish are revived. In fact, they have not sleep, they are just looking for a dream.

boy sitting in front of her, to look back and laugh at her. That a feather, very high by the wind high. She felt his eyes, as bright as the stars. www.anmi614.com/rizhi/aiqingrizhi.php?id=2976



nineteen years old, she is suffering from weariness disease. Is it sequelae of crush? She wrote in his diary.
he walked from her desk, a very light wind,louboutin, passing. Her eyes follow him back, heart rippled. Love that dare not speak, so only a small Eagles as immature,polo ralph lauren pas cher, in the shell, protecting itself very well. This one can not be relieved of her emotions, written into the diary, alone drunk. One is drunk, does not happiness? She wrote in the diary. She continued to write constantly write, write the dream of hugging, and being too young.




teacher asked the students to develop the good habit of keeping a diary. So in her diary inside, his name often appears. She wrote in his diary: In such a small, Scorpio the most significant character flaws exposed, jealousy. It is a natural survival in the bones.
she woke up in the late autumn, the window Yela Indus. Sun quietly, projection into the shape of warm, so her character inside, the ingredients are soft. But like autumn in general, brought stubborn cold.

but the dream still continues. The same dream as always. Contact many people, but not once did, as dream, I feel warm. Dream is just a hollow, not available. She wrote in the diary.
heard of the blue sky is a disease, I said,abercrombie & fitch, blue is a deep loneliness. Thus, disease as a fate intertwined with the loneliness.

subconscious crush, the thought has not yet produced a mature age, suggesting she was bound to be emotional distress, which is a symptom of the same fate as unavoidable.

crush of the process is self-deception and self-indulgence of the process, from beginning to end, so emotional,polo ralph lauren discount, warm and vulnerable. ?? Inscription



qq space sad that a warm log crush _
1289
She studied art for two years. She is passionate about painting, Fall in love with Michelangelo's depression, and warm sunflower. She likes to write poetry, sadness and warmth, written flooding. Her ######ual Gerry,chaussure louboutin, suddenly cast a shadow, like a tide of her depression. Like all Scorpios, she's such a suffocating repression.
she was always doing a dream of a warm embrace. Seventeen-year-old, as the flowers age. Dream is ambiguous. She became obsessed with a pitch in the hero. His ball had reached a pinnacle. He was tall, a solid shoulder. She saw his chest temperature. His voice was soft, laughing mouth upward into a beautiful arc, he is her dream lover. She kept doing the same dream, the warm embrace of a man. As the sun bathed in her heart.

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demographic factors


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."