According to reporter

It is understood that the present financial office in Shanghai, nearly 80 people, according to the 2002 will use the full quota.


nearly seven years after the establishment of the Shanghai Office of Finance is ushering in a new location. The reporter learned from relevant sources, the Shanghai Financial Office entities

staff will be expansion



functions
reporter learned that, after expansion in the sector, the Shanghai Financial Office staffing is not big adjustment. Last week, former deputy party secretary of Shanghai's financial market financial Wu, Shanghai Development and Reform Commission deputy director of financial transfers concurrently Price Bureau, present, except for the post of deputy party secretary of finance has yet to be determined,doudoune moncler pas cher, the new financial office leadership is basically the original consistent.

financial office in Shanghai called the Shanghai Financial Services Office of the whole, was established in September 10, 2002, that time the construction of Shanghai to its positioning as an international financial center in Shanghai to set the service organization. Prior to the responsibilities of the main financial office in Shanghai,franklin marshall, eight, can be summarized expressed as: financial management,doudoune moncler, coordination, service and promotion.
According to reporter,
and How do the major financial and counties more effectively to strengthen, cooperation between the various commissioned,franklin marshall france, including the use of financial resources to increase support for the industrial economy.
addition to these three duties, other duties in the original basis of a fine-tuning. While other functions such as long-term development of the city's financial industry development plan, the city to do the audit of listed companies,polo ralph lauren homme, with financial and other regulatory authorities regulate financial order is not changed significantly.
compared with the previous duties and responsibilities, the The so-called
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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."