often when I am close to your heart

Editor's Note: This text,abercrombie & fitch, this state of mind, gaunt and moving, sad and moving,abercrombie, is Heartsongs or dream, is not important. Importantly,doudoune moncler, a drunk tonight, a love, read a. Authors describe situations fascinating, sincere and moving. Through the ages: wine every known to have been Qianbeishao, there were intoxicating liquor is not drunk from the words that have alcohol to burn more worry worry worry. Tonight, never touched alcohol, I just like to drink a good wine, just for you to drink! Just for you drunk!
long life, always awake tired, drunk if you really want to know the alcohol concentration, then let me at this time to drink a toast to yesterday's love-hate Melancholy wine, just as you drunk again, whether it be is fragrant mellow or sad and helpless, I just want you to drink ... ...
dear if I was drunk, you will want me? I will think of the sentimental, not the intruder intends to wet your dream it? You will remember those days for me to write poetry, I like butterflies in your poetry as immersed in the shuttle it?
you say you've been reading my heart, I know,doudoune pas cher! However, often when I am close to your heart, and panic to escape, for fear the hearts of passionate commitment no less than a lot of depression, just behind the drop in Acacia your tears,moncler homme, you see how much love my heart with the weight of the whole dissolve into the ink, I will never finish the
tonight, Delicate thin clouds. Acacia is the most concentrated, the moon, the flowers, wine and drank the cup reflected your smile, lovingly gazing at me silently for thousands of years, as I have Millennium Millennium lonely waiting just for you life's met, only willing to look at me you love to the depths of the beautiful dance, love to the pain when you listen to me talk singing.
dear if I was drunk, you will want me? I think the smile will have you feeling it too bright? Would think if I was drunk follow the then you said:
dear if I was drunk, you will want me? I will think of you write poetry, you winter with my Red Man Winter with it? Listen to my heart for the solo: name is the longest string of notes / how many times / no longer listen to sad music / But you is not the day / I walked into the sad world / all thoughts of any flying just for you / always locked after heart / I found the text you are still walking / never with the passage of time / you left me smile / Delicate was clear and quiet night / more clear / more the dream / a a wet Dear If I was drunk, you will want me? Think of that I will think of I would think, I would think, Look, or glass in your smile, Mingxinkegu warm. I just want to if I was drunk again when the cotton so that the text bound in a league of your name: side rings 'fly around you' melody / touched the wings of thoughts / what I do not want persistent / I just want to fly / fly to where the children who miss / whisper to fly all the way in experience / drop even if there have been scars / even if there have been broken wings of pain / I have no regrets / I just want to fly / fly around the children's thoughts / feelings of the dream of gentle / dawn of love confused night相关的主题文章：


fragile to take on these

with the edge of the beautiful

用金子做成的儿子


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."