Hou Yi shot down nine suns

rabbit trace the story of drugs, giving people a feeling of economic suicide. Too bored to satiate the three immortals, mortals came to earth disguised begging, meet fox, monkey and rabbit. Foxes, monkeys eat their own to the three,doudoune, rabbit Nothing, these three men, said: Deeply moved by the three immortal, rescued rabbit, I thought so righteous thing, why not let it go to the Moon Palace accompany Chang'e immortal? So the rabbit went to the Moon Palace, stir constantly during the day and hope to make the elixir drug,polo ralph lauren, so that good service of the celestial world, the night accompanied by Chang'e, to relieve loneliness.

often to see the full moon, we hope come Mid-Autumn Festival. Mid-Autumn Festival approaching, naturally the
sent to Hou Yi an immortal elixir, eating this pair of drugs, not only will not die of old age, and will immediately ascend to heaven immortal. Hou Yi could not bear to all the folks and his wife, will be the elixir to Chang E, possession of the box into the dressing.
these three stories, passed down for thousands of years, many versions, and I single bell on a:

Unfortunately, I Suanbu Le literati, only by the Mid-Autumn Festival is approaching, in his mind: May the tragedy of the world less willing to all the family round and round, live happy, may all my loved ones and friends, health, happy happy!


I like these three stories, one interpretation of the origins of the festival. Second, in graceful and poignant narrative in the hands of the exclusion of people good and punish evil, and the pursuit of a psychology of virtue.

three stories, linked each other commitments, complement each other, highlights the Chinese nation, a virtue: compassion, love,doudoune pas cher, from the good. Thousands of years, the number of men of letters, watching the moon, expand imagination and write many popular poems, for the splendid culture of Chinese nation, adding bright luster.
Originally Nantianmen Wu Gang, the total spirit by worrying about not abiding by Chang'e God, seeing the Jade Emperor, he was banished to the moon to cut trees. This is a long high-five hundred in the Moon Palace ten feet before the sweet-scented osmanthus trees. Wu Gang felling of non-stop all day, seeing the laurel will break,chaussure louboutin pas cher, while the wind, laurel and intact. Thousands of years, Wu Gang to cut ah cut so no one end. In fact, the intention of the Jade Emperor, both to accompany Chang'e relieve loneliness Wu Gang, Wu Gang, no time letting cranky to avoid derailment.

evil intents hunting by Peng fudge into the crowd, pretending to go hunting one day, sneaked into the residence Hou Yi, Chang E to hand over coercion by the sword die medicine. To prevent harmful effects of the Millennium Peng Meng, Chang'e swallowed the elixir among the desperate,abercrombie, the body floating off the ground out of the window, straight from the earth the moon recently ran.



Hou Yi shot down nine suns, become a hero, Ruhuasiyu his wife, with its virtuous women to become good role models. During the day, Hou Yi to teach men to lead hunting skills, or hunting at night, into the honey loving Hou Yi and Chang'e.
HOY hunting home, but not Chang, grief and joy, kill Peng Meng, Peng Meng, had fled. Full moon rising, Hou Yi and the villagers put Chang in the courtyard like to eat fruits and biscuits, called Chang'e return, and that sense of compassion can be described as a large weeping move heaven and earth spirits. That day, it is the Chinese Lunar Calendar.
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more or less missed something in life

梦启航，心依旧

　　那一刻我似乎忘了自己


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."