flowers bloom. There are miracles in life

Editor's Note: Indus flowers, let us understand this truth: the spring and the winter, flowers bloom. There are miracles in life, there are scenic, but it needs to explore and find. Otherwise, life will be one confused. Indus flowers, is the touch of the most beautiful autumn scenery. Lasting bonds with the Indus, whether in word or in ancient roadside scenic, believe that dreams would stay in this beautiful time. Appreciation, say hello to the author! read poetry in the ancient Indus.
not seen from small to large plane trees, until I was seen to enter the university, then the fall, bald in front of the light sticks Ah,moncler homme, I can not believe this is the Phoenix to habitat of the Indus. Dash of spring, green previews. Good side of the school's playground thick trees plane trees, and not accompanied by rain, and only in the silence in the stands alone. Treetops outside the bird trail, but I do not know that pigeons, eagles, or the wind figure.
winter has passed, not caught in this Bureau Bureau caught the sky, not the drizzly whistling wind, nor the Durian snow. My eyes are no longer vast, replaced by summer flowers Cuiye, Splendor bees fly, and warm under the warm sun.
life is a long way, we are often too naive young, too rash and missed a lot, quite a few detours. Wait until we ending up covered with wounds, pain and suffering in the know how strong the Chinese slowly, to understand life.
went to the so-called Forget the loneliness of a person outside the school day, forget during the ups and downs. I often chew the failure of a person, they have failed time and again in the getting up, it feels like we are that immature thoughts and love, sorrow and grief but pain. Too much experience so I know: life need to turn, but life is a full and busy. So I learned to make their busy,moncler pas cher, busy learned to enjoy the quiet solitude of a person after. When the drizzle of the day or Yuemingxingxi night, a man in the playground side, standing in the Chinese parasol tree, let the mind with their own dialogue. What is wanted, what you can do not want to, on the way standing, walking pace on the way nudge,doudoune moncler, a hint of emotion wells up. Phoenix Bird legend is dead, after a bath of fire and rebirth, Wood instead of non-Indus Phoenix habitat, probably not because I want to show their nobility and vulgarity, but because it has gone through years and years Indus and can not cut it from the complex.
marshes, the passage of time. Legend is still a legend, the myth remains a myth, and the spread of the human world only a yearning, a kind of totem, a spirit nothing.
off the branches but not looking forward to an empty shadow, shadows still, even if the parasol can be played into the Treasure of Ancient China many good piano, all to the Indus for the material, but also to learn Fengming vivid piano master, but in the end only a good sustenance.
Fengqiwu Tong is an expectation of people, a hope, an aspiration. Indus innate feeling of Phoenix, go beyond the Millennium, free of dust. And people's desire for Fengqiwu Tong, too, go beyond the Millennium, since ancient times ... ...
the ashes of the situation has emerged in my mind, the Indus and Phoenix's own complex history of a certain moment Suddenly germination. No, perhaps the world in a few breath before sowing, at this time open to a sudden escapes. My dream Phoenix from the outside world off the source of the Indus, where Mizusawa clear, flowers everywhere, the Indus around ......
In this season, I do so as compensation: I have seen many beautiful petals parasol tree from falling down the campus, in the light impervious Lieyang also folded under the shade of huge leaves, flowers everywhere, flying ... ...
this dream flowers, so I understand: how to respect life,abercrombie and fitch paris, how, spring and the winter,Christian Louboutin, flowers bloom. There are miracles in life, there are scenic, but it needs to explore and find. Otherwise, life will be one confused. Life itself is great, and it is beautiful, but we have to go looking, carefully serious to find. My heart of hearts you have a persistent those who have moved and touched by the heart to try to perceive the taste of life in life.
Indus flowers, I am here with the Indus lasting bonds with the dream of lasting bonds, edge to eventually destined to loose, but I believe that memory will never change, will always stay in this beautiful time.相关的主题文章：


Editor's note

欧美澳轮番轰炸 中国出口遭遇贸易保护战火

I will spend wonderful pen


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."