the rain beating any window frames

When you're gone / went to the end of my eye / I carefully / embedded in a tear inside you / think / thousand years later is amber. If the next life / I will wear out the great lakes / search for the old one. So / I'm not down / fear / sinking tears fall / break you / millennia of my broken dreams. This is the best friend space
a poem, read by n times, always immersed in the strong emotions and unable to extricate themselves, always admired the ability to control the envy of the text is always crystal clear through it amber tears, witnessed the heartbreaking love,
always wanted to record the scattered feelings,doudoune moncler, but face the keyboard,abercrombie and fitch, once again, time to stop. Hearts wrapped in too many weak, too much frustration. So often in reading the article a friend, you can quietly listen to your inner voice. Like tonight, listening to his own obsession with Butterfly Lovers, the rain beating any window frames, so that condensed into a love in their hearts amber.
is no longer the impetuous life, who no longer indulge the mind, when love settling into a mirage in the mind like a landscape,abercrombie and fitch paris, looking up only far. Every night, every dawn, every piece of jewelry was ... ... Whenever tangible, visible, was the smell, the feel,doudoune, can I somehow think of you, just close, but away impossible.
love you, just quietly, you can even completely unaware of. Love you, but none of your business. This relationship has come too late, I can not betray you. Betrayal means harm, hurt a lot of innocent people. In front of the mind and moral responsibility had to be deterred. Destined to carry the heavy load before the trip, like a poor snail.
I know that no matter how carefully my space to express their feelings, you might not know that I will let the beautiful lavender as my head, let it go for tulips in return. Do you know lavender florid? You know the meaning of three tulips? Hua Xie, your heart is tired, old people, do not know when broken heart?
fact, do not blame you, this love is real, sincere, but really none of your business, is my wishful thinking, my unrequited love, is my own doing.
often seen in the network, there is a love called letting go, perhaps this is the interpretation of love. Want her to love a person is happy, happy, healthy. Some love is bound to be fruitless. Remember when you said, love a person because of his body you do not have the charm. You are a fine woman, optimistic, there are many infected me, attracted me, escape, escape from. But the miss, the lonely and breathtaking, and the pain was heartbreaking, it is bound to be a spiritual Journey, you will always imagined Watcher window of my mind, is self-deception. But I do not regret it.
read the A person can overcome a lot of suffering, but may not be overcome himself, who had strong wins, this is your words.
life was never meant to points, there is nothing to complain about, and love never been hesitant, has not lost on the way have you enough. Love has nothing to do with you,chaussure louboutin pas cher, but still love you, because you are supporting my mind walking stick!相关的主题文章：


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you must be a grain of dust in the wind


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."