so that cold winter retreat

Core Tip: walk through the space of time,moncler pas cher, the mind opens the baptism of life. Those former times, the voice of the soul passing tribute to reproduce. Silent, listening: There, do not rise. you talk, or do not follow me; my hand is in your hands,doudoune, give up do not give up. come to my arms, or to ... time walking in space, opening the mind to life baptism.
those former times, the dead soul of a tribute in sound reproduction.
silent, listening to:
You read, or do not read me; love to be there, not to go. Do you love or do not love me; love to be there, do not rise. You talk, or do not follow me; my hand is in your hands, give up do not give up. Come to my arms, or let me live in your heart. Moran, love, quiet, happy ... ... flame it?
want to search for a clear Ning, want to have a carefree, like the depths of the soul of a warm fire surging. Thus, the differentiation of words heart infection,abercrombie, of Annotation for the soul of a corner of the world chapter tangled, entangled in a life's heart ... ...

a】 【Yi Jian
close my eyes and be able to see the darkness of the cleanest ; and I, Weibi clearly seen when the dawn of a trace of caught in between.
embrace of the soul, so that cold winter retreat, let alone open-minded,louboutin, so that the tentacles of the soul flash. old house, there is no longer decadence of the shell, but the flame of the soul!

】 【Yi Jian
can not leave you second thoughts care, the road is full of the test,polo ralph lauren, the pulse close to the heart. At some point, reading your into the world as if the text of the Holy Land: film swept the world at a time, you use the in the end! Cheng pulls gloom too much to do with emotion, set finish, relax, and make a choice; not want to stay not, ask not, seek a future dream life obtained Fu fill gaps in broken speech.
who fiddle with piano yo and tears her cheeks language. see to understand, wounding is always the deepest love, saying: or lost to the secular. you want peace can only find a corner in mind, believe it, the Pure Land one day to find one that will shine out bright sparks.
deceived if the reality of the dream, not depression Do not sorrow; please give us a share of that dream is true, will one day be full of bright spring flowers, fruit laden with rich autumn.

six】 【Yi Jian
not deliberately cover, no soul, disguise, in my heart that will find a piece of Qing Ji Mi. disillusioned not the case right outside?
quietly flowing water, the water ice is asleep, do not know when it will wake up . but, we have traversed the road, whether lost in the icy water fall asleep?

】 【Yi Jian seven new trees
Ah, life's unique aesthetic, prickly rose blossoms the moment of release read out the value of life and the strange.
asleep with the water into snow white wash those dirty corners, exactly like the cold warmth of the fire corner, in the depths of our souls that memorable carved Impression: The Little Match Girl.
soul of the text, the voice of soul, the soul in the fire, so to those who got into such a wanton eye-catching ... ...

flame Wu Yi 2011 年 1 月 13 日 23:21
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can not forget. Became the shadow of a lifetime. -

in the spoiling of my 18 years

I woke up already


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."