even with two people like each other

The vast sea , you and her acquaintance, friend , this is the edge . Whether it is love, friendship, of doing so . When a sincere feeling in front of us , we are always all kinds of excuses or avoided talking about , do not cherish . Have to wait until the last lost treasure , so why do / / / some people because of the face, even with two people like each other , have to keep a distance in front of others , afraid of being three to four up / / / Last always Inadvertently and love pass you by. Before we can appreciate , why it / / / Some people obviously like each other their own , have to pretend to care. That some plausible , then hide themselves in each other up in front of the other side thought he was hard to get along with , or refuse him. The time when the love go away , this treasure to think of it , why does / / / Therefore , since like him , she would tell him that her heart would tell each other their thoughts,doudoune moncler, feelings ,chaussure louboutin, do not deliberately to cover up From the other to show a relaxed, authentic self. This love will not farther away from their own . Some people , the other in their side does not know how to cherish it. Each other's concern , is considered to be preachy ; for their love, feel a burden , was interfering with their own , even feel hate each other . But the other side away from you when you really only feel like that has been rooted in his heart fat, you have become an indispensable part of life . However, the love has gone away , there are ways to save you / / / person is really a contradiction of emotional animals , when they own , do not good to cherish,ralph lauren pas cher, hold ,moncler homme, until after the treasure lost , sorry. So, if your side so one of his or her ,doudoune pas cher, remember , hope margin , do not wait until after the treasure lost .

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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."