in the comfort of the bath under the shower head

Editor's note: a small victory by wisdom, victory by Germany. Unexpected, but it also makes sense. One night,moncler, in the comfort of the bath under the shower head, when I put the tap is closed, how can the water die off also. Held the water, rushing Wow Zhixie down. I repeatedly get a long time, not only did not make things a little bit, but more water get bigger. No way, I had told her: students. Money is so expensive, it is so poor thing, the boss tomorrow to have to find that smell!
next day, I took three times five to two taps to take down, carrying a look of anger would tap out. Catch up before his wife, grabbed the tap: dollars, also more than a year,polo ralph lauren pas cher, and now the thing is this, not worthwhile to talk to people competing. When I bought three bags of how the commitment to quality. , hit my weakness. Yes, the hand is not an invoice. Rattus chicken every family, who recognized it. I have a soft down, not to hate their own invoice custody good.
I regret to say to them: anger disappeared, let me take the faucet.
I walked as he thought, This is something I have to try it,moncler pas cher, the saying goes, good things a three warm winter. Only good with others that there may be a windfall. Mind made up, I went straight to the shop. Female shop owner to see me carrying the one thing, a sense of professionalism of the smile showing a trace of doubt: ware to buy more than 3000 dollars, with more than a year, everything else just fine, that is, only the tap, a little bit wrong. bag, his mouth could not say: I want to praise them in nice service attitude, the last direct sellers to handle my male boss came to moderate before me, I hurried up to shake hands with him, again in front of him first,abercrombie and fitch france, then repeated. He also told his wife saw the same: think: the sinister heart of a gentleman's belly, almost to the Po field.
Soon, he taps open, and wondering for a while,moncler homme, the inside of a thing off, put a. Restored, gave me said:
he was very humble and said: they're all afraid, because the invoice to buy things lost, afraid you deny it, call me old and confused, the wrong door. to take thought, invoices things, you have to take the question to ask, just like I do. No wonder your business bigger and bigger, the original home of the integrity you have a heart. will not forget. 相关的主题文章：


Lonely fleeting , eroded the vicissitudes of youth

also known as poon

无声曲


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."