love in a dream

Editor's note: sincere! How Xianchou a dash. A little screen, Manchu fly,moncler, when the deep network edge.
- from the title

night is near. At this point, the star away from falling sky had children. That glitter passionate and enchanting eyes, every human being on the teaser for a nice ring to many of the blessings I wish ... ...
so meditate in the quiet night in, open the ownership of my heart, raw desire, the pursuit of persistent (because I no longer have ownership of, my computer is my only sustenance) side seat screen,polo ralph lauren pas cher, there is always a warm feeling like a stream infiltration as my heart. Tender care that the language from the end of the line to park to Mimi. In this way, I was surrounded by an emotional, stitch around. I have a pouring endless rolls of poetry. And the attendant emotions and my heart like a film camera, one climax after another and rolling waves; the end, the end of the dream into a final singing of the real and beautiful.
come, my tears had unwittingly won out of the box. You can not imagine I hit every word of thanks to and how are tears of excitement in my heart to pass to you. You that witty and humorous language like Wanlv breeze blow to my heart stretches out endlessly thoughts, then even if we have thousands of customs,polo ralph lauren homme, naturally flowing Wanlv love, the slightest concentration Love: Light asked me, love in a dream, who can avoid them my deepest dream. I am in a seductive pose climbing on, looking forward to see you, unattainable face. I hope you in a dream, I did get a like a butterfly Pianfei fly. When you enter my dreams, I will truly touch you bring to my Sweetie, let me get you a stray heart between the illusory dream of. In this perfect state, I hope, and together with your wings to fly dance. Even if life is only one-way dance, I love you do have to return. I truly hope my verse you can dip the green light, so that your life is always full of beautiful as spring-like warmth. Let your dreams in the breeze like March and April in the rain, in passion May and June in the perfect, Liu Xia in the July and August in the re-color, deeply rooted in my heart knot soil, and Tasui
of life. I really want to hold up an umbrella passionate, full of expectations of distraction and reverie,ralph lauren pas cher, to carrying your Sweetie rain whisper, sections and flowing. I have a room full of stacked reflect infatuation, an attachment to a different kind of crazy. I bribe you with tenderness, clean up the mess I am lonely. Let the dream come true, even more so endless and long aftertaste.

more profound words so true to linger around in my, my tenderness Dangqi elegance. Edge in this network among the thousands of miles, so today I was to defeat. If you were reincarnated, if the Red afterlife, if ... I really want to ride thousands of miles by the End of the World Sweet Home.
I want my reverie Yunfei, Manjuan Baizhang dream of passion, deeply moved after she begins to wake up Rouchang; forever lingering immersed in the situation of scarce Magnificence. The Legend of Yang Qi to me the most beautiful sailing,abercrombie and fitch, dedicated a poem of one drift boat. See Yilianyoumeng, pink Willow. Pick spring Huasuo Si, hid my deepest, most honey, the most flexible, most concentrated among the fruits in autumn.
fly Manchu, I trap net margin; wake up? How awake?
2005 年 4 月相关的主题文章：


as before

人民日报：实现全年经济增长目标十分紧迫

美国经济需要再刺激？


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."