the work is not tired

full of joy has been in the university campus can not hear us laughing graduates of that term , and how many memories are lost with the gallop of the time in that heavenly kingdom ! Suddenly we have graduated more than a year , is

Growing Pains - mood Diaries 2009-2-18
look forward to a better tomorrow ...



participation in society the family has now nearly two years , the work is not tired,moncler femme, is the heart of the worst, many people contact , and would like something more natural I also old fast Now what work emphasizes advance planning,abercrombie and fitch france, efficient and pragmatic , pioneering and innovation , but now I'm back in the enthusiasm of a few months ago have been killed in the cradle, Like a good job, but no way to start , I have lost interest , so only when the monks ringing bells on it! Originally,polo ralph lauren homme, I was debugging workshop , assembly workshop have to let go when the quality of inspectors, that is four thousand , the job I have handy , but could not stay in the quality control unit, the reason is very simple and Human Resources , said: Our new no work experience into the plant .
so again back to his workshop ,ralph lauren pas cher, everything is so strange , my colleagues when we learn to do experiments to do quality control in the assembly shop Happy , they are extremely envious of it , but now ... ..... I do not know how to go after their own , how to go ............
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in school is always looking forward, looking forward to work! Sometimes it may also work outside the home , Shexia few classes to enjoy the fun of the work . Now think about was how childish , but childish cute! I remember the first half of sophomore year ,doudoune moncler, which semester I juggle around in our school part-time candidates , at that time because of poor performance , but the boss to push off his glorious return to quarters after a Xilihuala cried . Oh 相关的主题文章：


lease or mortgage the property

经济和财政政策委员会认为

as long as you know


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."