we sleep. Then more than tears.

Editor's note: good writing, fell to climb up, grow up without pain, the young hope ... I like a candy covered with blooming Flowers of Evil, erosion and shameless to bloom, trying to put guxiang sad commoner in the hands of the old mother, accompanied by Qingyin the stream, a hammer, a hammer in the chronology of the shadow of the moon.
amnesia it - I do not know what kind of eyes waiting for tomorrow.
leave it - I do not know what figure to use the publicity the future.
cry it - I do not know what kind of desperate way to vent.
learned to quiet,moncler pas cher, learned to suffocation, learning little by little swallow hope.
no wind season, I run, has been staggered in the footprints of despair where I stopped, so I only know how I come,polo ralph lauren, I do not know the Wang Naqu ... ...
dream encounter children They play under the sun, waving to me with a smile Oh, let me join them. I can not move my body, just standing, watching, my dear, I gesture with you what? They had already been discarded in a driving ring me in, I do not have to look for bright eyes, my dear, do not waving at me, I am too far away, I will get lost ... ... strange to see my hand complex The fine lines yet? I can not find a second cycle of lost exports ... ...
out from the college entrance examination scores have been in many days, morning to evening every day to avoid all the people I know, to do everything carefully, carefully cover the soul live in fear of accidentally bumped,chaussure louboutin, crashed and then broken in one place.
not count one-third of the distance is light years long, in short, I always see him as an extension as my lifeline, and in the dark in the faint pain and depression. I caress,doudoune pas cher, raving: good, we sleep. Then more than tears.
meet online during the day Quickly over there grinning back a typesetting Casually cool earth with a finger along the keys over.
out another replies, , to tear the mouth laugh out of the body but could not shake.
I have a bunch of family members on the Internet, they call me sugar, saw the word is sweet, who would have thought there what it contains and grief? Only gives the surface is enough.
night, a person does not turn on the lights upstairs sitting on the sofa, curled up and without a word,ralph lauren pas cher, I slowly get hold of himself, holding the legs, head on knees, I sleepy, and patterns in my hand running fast, then lost, I think this is an illusion frightened, witch took me Rumeng Xiang, and she told me, you can forget just woke up.
br> I ran away screaming, falling into the complex palm, beyond redemption.相关的主题文章：


那是他写给我们爱情的曲子

not clear ... ...

I sent you a long


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."