we talked a lot

The warmth of love to each other ambiguous ,moncler femme
You turn back, I see you scared to face E, do you come to me again you over to the bed to help me tuck you in my ear words that do not tempt you servant, I laughed a little you again kiss my lips you kissed my forehead forehead represents a love. You took my hand on your palm, I say you go, you was more force of clenched my hand, I laugh to tears ... ...
do not know how this year's Guangdong Province, the whole summer as wet as the winter, the occasional storm became very lonely people. June 9th is your birthday, do not know why I broke up two years remember very clearly, I said I did want to pretend you do not know. Birthday that night you called me to wish I could accompany you, I said give me time to think, and then I hung up the phone.
the winter two years ago, that by the end of 2008, I am strongly opposed to the case of his family threw proposed breaking up. I turned to leave when you catch up on my car the moment you first to pay the fare in the car the moment I started to cry, cry later, we slowly begin their new life. At that time I think in this life I will not owe their parents, and to them I gave up my love. At that time I would choose family, I think because of my parents in case of extreme poverty is also hard for me to make money on the finished high school, my entrance exam I could not return their love,Christian Louboutin, so I use that time to make up for my love owe to their parents. Then we started on their new romance, but with each other or let go, so will occasionally contact. The beginning of 2010, so that child you found me again. At this time we are single, have their share of new romance ended. We began to meet, you begin to hold up my hand again. I did not refuse but also not accepted, the two reasons I can not find. Only the warmth of love, we started ambiguous.
Subtext of this statement is, two years I have been let go. Perhaps because I could not bear not refused to meet again, but it was not love,chaussure louboutin pas cher, because we could not bear so I did not refuse to ambiguous relationship. You could not bear to go, as if this sentence tells my heart in two years, I am relieved to finish the sentence. You could not bear to go to finish the sentence I feel like I no longer attached, and I seem to suddenly let go.
that child, you know? I did not refuse to accompany you on your birthday that night also because not bear you. That night, I ride to your city, you meet me at the station and I the car you held my hand, I see you smile like a child. You booked a room at the hotel, I did not want to because I believe how you always trust you, no matter how many rumors of other people, you know that it has been said to me, thank you. That night, we talked a lot,moncler, you declare to me again, you said you have to seriously think what you said you want to think carefully before I answer you, hear you say that I was very moved at the bottom of my heart, and perhaps I still love you now . That night, we hugged and sleep, I do not know how you fall in love with a smile when we had never slept together, broke up two years did not expect to actually embracing you can sleep, you say this is the edge were then tightly hugged me. That night,moncler pas cher, we spooned, we simply spooned what deviant things are not done, I simply slept on your arm for a night, I was touched ... ...
us is not ambiguous, so if it is ambiguous because of the warmth of love it?
2010 年 13 June evening in Richfield Company
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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."