people lamented that the scene was gentle

Editor's Note: love movies, you can feel the different life; writing critic,abercrombie & fitch, you can share wonderful people. Love film, love life. Look forward to your follow-up wonderful, say hello to the author! Recently,Christian Louboutin, movies have become our family the best of the weekend. Watched several films, have taken advantage of not enough time to thoroughly digest the next carding a good recent movie. Publicity is not a deep impression on more than the film itself, blend with the wisdom of the most favorite taste or
the Movie plot, while also ups and downs, but the warmth of the episode the story feel at home. Zhou Yu's horse at home mother to a baby, and Missy soft-spoken dialogue with her mother to the horses, people lamented that the scene was gentle; Zhou Yu and Zhuge Liang also travel with the temperament of communication, melody,abercrombie, rhyme long,chaussure louboutin pas cher, designed to not only tune very good, first mountain stream, and then armored cavalry, song sounds very modern style, like jazz, rock, film Zhou Yu and Zhuge Liang intoxicated expression, are quite enjoyable on audio. What a pity I do not know music, but the kind of feeling behind the music, the kind of hero cherish the feelings of the hero,Christian Louboutin pas cher, the kind of fight to the death of Zhou Yu and Cao Cao's conviction, I moved to the same mess.
film role, the original version of the wise must think Takeshi Kaneshiro Pu Cunxin version has no deep meaning, but watching the film director Wu intrinsic heritage gives him cover up his talent has the appearance of the handsome, with his Chukouchengzhang The tone of literary talent and great laugh Sun Quan's appearance of bright spots, the appearance and expression of all kind of cold most of the audience close to the eyes of Sun Quan, timid heart, there is no strong-minded, indecisive image portrayed in place. Zhou Yu is the headquarters of the film coach, the film is most strongly demonstrated dwell Zhou Yu's resourcefulness and only slightly, such as fighting piano, such as An Fujun heart, for example, breaking force serving Liu Bei, Cao's confidence, such as Sun Quan Tiger allowed to pull up their minds. As Cao Cao, Liu Bei, Guan Yu, Zhang Fei, Zhao Yun these big dogs of the original novel, the characters do all the groundwork to raise Zhou Yu. The most surprising is that a stone block Zhao Yun Zhou Yu for processing, so that Zhou Yu is the image of perfection.
In short, both those at risk in the future become a popular humorous spoken lines, or that of a connection in a scenic, beautiful picture, sound shocking, especially Bagua Zhen, back to the light array and the two armies confront each scene shock when the battle of wits, can not but admire Wu, director of career in Hollywood for many years an unparalleled style of big-budget big-big.
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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."