and I hold myself to his own body

Editor's Note: winter wind hits you cold. Vicissitudes of the heart, leaving behind only the fatigue. I hugged his body, holding the memories warm. Winter wind, there is a resigned sigh I have thoughts I can not stop ... ... the winter wind, cold, and I hold myself to his own body, warm my cold heart.
glow in the cold winter night, the helplessness of watching you quietly leave, guilt, and watch your tears, wet winter, the whole street ... ...
So, I wander in the melancholy night, accept the fragmentation of the cold, frozen heart to accept, accept your cold eyes.
lonely, like a snake winding me, and bite poison to me, the only gentle, is that you laugh and then the wind yesterday, flying hair.
heart the vicissitudes of life,moncler homme, lingering longer,polo ralph lauren homme, just hope the lonely soul, that out of your attention, a butterfly, fluttering in the sun in the world.
very desolate light of winter, the relentless shadow of my sad, broken playing, you and I, my smile, To cast in this cold winter streets.
Red Dust, such as the waves scattered in the air, we depleted each of a colorful dream, I then just head down, in the endless desert, searching for an oasis of my life, but still see you in the other side of the oasis , flying a hair, smiling, looking at me.
I walk slowly in the winter wind,doudoune pas cher, wind endless yearning, longing to see dancing in the wind,Christian Louboutin pas cher, so I, pawn our story and text, the sale of the gift, given to you, as your Valentine gift, a text is a rose petal, I let the blossoming flower petals into a flying, fly with you, let you take them to fly.
winter's setting sun, such as the blood spilled in the snow, and therefore, the earth interpretation of the lonely lament of red and white, fire and water, at this moment, compatible. In the water and fire, I walked into the hilltop temple calm, listen to the old abbot, wafting from the tall wall in the curl Scripture, to forget, to forget your voices, to listen to the silence of the heart, thought to Hajj vigorous, see, the wind in the fields of dance ... ...
winter wind, lonely, but magnificent picturesque, firm, but as I thought, in the absence of your day, remain a power and beauty of life.
the wind in the winter, I saw the flames burning the frontier,louboutin pas cher, I saw the setting sun is burning, I saw snow on the ground on fire, I saw the burning fields.
I see, see my soul on fire, see you in the fire, dancing in my soul ... ...相关的主题文章：


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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."