Editor's Note: There are efforts will be fruitful, come on! Numerous times to hear the teacher told us to take to learn, study hard, laying a good Strip for the future. Some people do not care how, one ear and out,
moncler homme, we still live the same way their own lives.
until one day ... ...
class teacher could not understand the class over and over due to job, actually angry, said: ,
polo ralph lauren! primary school six years passed like so mixed? not be long before the three years after high school, you get together and see what you have gone?! quietly,
moncler, looked down at the desktop, as if we should see through the desktop. Is, uh, we can go? Third-rate schools do? If we do not work together to it, how much time we wasted? How many of us the ability to be proud of?
teacher went down, apparently to ease some of the tone: No skill, can only be eliminated, since we do not want you to no place, parents and teachers are worried about you Ah! Think about it, is not it? Weekdays, operating more, grumbling will come and go; practice exercises harder, some people simply do not listen; language math class accounted for more, to just one teacher in the eyes ... ...
resentment we always want to with ourselves,
moncler pas cher, we always selfish, we always hate all the blame on the teacher who secretly comes down to how to how parents always say fierce. Simply ignoring their position, ignoring their feelings ... ...
Now, we are all faced with a positive attitude to learning, learning a treat. We will consider their own best beautiful results.
future, we will go, I do not know,
abercrombie & fitch, but I can clearly know that we, the future of their own will be able to reach the sky ... ...相关的主题文章：
韩国消费者信心指数跌至近10年最低水平
in the heart of who designed the chase
刺心的温柔
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."
is not it
Linear Mode
