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09-04-2011, 03:47 PM
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tempting the clothes, the heart tightened. Re clever artist can not describe the young man to do melancholy eyes.
Iraqis with that gentle heart to measure his stubbornness. Almost vanish, because of She reluctantly shook his head to him, suddenly, she was awaken to the truth: that she was always looking for his shadow, as if the faint moonlight, the Qing Hui Caesar do, the stars are still flashing ... nostalgia ...
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moonlit night in the water, she quietly kissed the faint fragrance of orchids title page ... ... then the stone heart sank already forget it exists.
in this wandering life, she is moored to the heart is a song ... ... that song was written to use irrigation water, day and night.
flowers bloom even in the season, will also add a heavy weight color! Dazzling, sink, sweet flower ... ...相关的主题文章：
七十七国集团主席：南南合作是对南北合作的补充 (http://forums.zrssmzk.com/forum.php?mod=viewthread&tid=2270&pid=10512&page=1&extra=page%3D1#pid10512)
遗忘，从头开始 (http://zmd.kaikuozhe.cn/read.php?tid=24861&page=e&#a)
美打响限制油市投机第一枪 (http://bbs.188c.cn/read-htm-tid-46-fpage-4-page-13.html)
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."
walk in the open fields, the flowers bloom, have been the stars Yanmai. Meteor shower filled the screen from time to time: that the figure is already waiting next to blur, light turned into a lonely,moncler (http://www.doudounemonclerspascher.com/), for a time with the famous meteor shower. Captures a petal, gently rub the flowers of the water to overflow the eyes of children, sucking it's sweet. It seems the only way children will have a heart gap flow.
enjoy brandish the sad moonlight, holding Iraqis clothes, walked into the beautiful house. That opened the notebook lock, the flow of text, not without hook move the hearts of Iraqis.
a beautiful encounter,doudoune moncler (http://www.doudounemonclerspascher.com/), it would stay in the dream, you can always bypass the origin of time,Christian Louboutin pas cher (http://www.chaussurerlouboutinpascher.com/), so that two simple heart, inexplicable familiar.
that blue and red ink in parallel, intertwining number of joy,abercrombie (http://www.abercrombieandfitcheparis.com/), anger, sadness and joy of the day. How to care any Xianqiansushou is always the man named in a burst of pride. Depression-like tears, pride instead of pathetic.
In the years that had elapsed, Pianpianshaonian holding flowers, applause for the teacher. That seems to be uninhibited past life remember this moment of foreshadowing.
tempting the clothes, the heart tightened. Re clever artist can not describe the young man to do melancholy eyes.
Iraqis with that gentle heart to measure his stubbornness. Almost vanish, because of She reluctantly shook his head to him, suddenly, she was awaken to the truth: that she was always looking for his shadow, as if the faint moonlight, the Qing Hui Caesar do, the stars are still flashing ... nostalgia ...
raised in the hearts of Iraqis had a star, then the brightness as much as Venus: the uncertain life can not be replaced empty heart,abercrombie and fitch france (http://www.abercrombieandfitcheparis.com/), empty of life can not let go busy, not busy saving souls imagined.
moonlit night in the water, she quietly kissed the faint fragrance of orchids title page ... ... then the stone heart sank already forget it exists.
in this wandering life, she is moored to the heart is a song ... ... that song was written to use irrigation water, day and night.
flowers bloom even in the season, will also add a heavy weight color! Dazzling, sink, sweet flower ... ...相关的主题文章：
七十七国集团主席：南南合作是对南北合作的补充 (http://forums.zrssmzk.com/forum.php?mod=viewthread&tid=2270&pid=10512&page=1&extra=page%3D1#pid10512)
遗忘，从头开始 (http://zmd.kaikuozhe.cn/read.php?tid=24861&page=e&#a)
美打响限制油市投机第一枪 (http://bbs.188c.cn/read-htm-tid-46-fpage-4-page-13.html)
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."