關於 saw seen分別 ，我們在網路上蒐集到這些相關的討論、資訊與評價

The Creation : The Earth is a Witness --- Genesis (創世記) 1 - 2 : 3

創造--來自地球的見證 --- The Author of The Genesis --- Moses (摩西)

Watch "The Creation: The Earth is a Witness," a day-by-day account of the biblical creation week, beginning with darkness before God created light and ending with Moses, the author of the Genesis account of creation, and his son, worshiping God on the seventh-day Sabbath.
「創造--來自地球的見證」，是一部有關上帝創造的影片。在此影片中，創世記的作者摩西向他兒子講述，上帝如何用六天的時間創造萬物，並在第七日安息，定為聖日。

Seventh-day Adventist filmmaker Henry Stober spent four years filming the movie around the world.
此影片由基督復臨安息日會製片人 Henry Stober 歷經四年時間，在世界各地取景拍攝製作。

影片拍攝優美，背景音樂震撼，使觀眾身歷其境地感受到上帝創造的偉大，以及祂對人深切的愛。

Hebrews (希伯來書) 11 : 1
Now faith is the substance of things hoped for, the evidence of things not seen.
信就是所望之事的實底，是未見之事的確據。

Hebrews (希伯來書) 11 : 3
Through faith we understand that the worlds were framed by the word of God, so that things which are seen were not made of things which do appear.
我們因著信，就知道諸世界是藉神話造成的；這樣，所看見的，並不是從顯然之物造出來的。

John (約翰福音) 1 : 1
In the beginning was the Word, and the Word was with God, and the Word was God.
太初有道，道與神同在，道就是神。

John (約翰福音) 1 : 2
The same was in the beginning with God.
這道太初與神同在。

John (約翰福音) 1 : 3
All things were made by him; and without him was not any thing made that was made.
萬物是藉著他造的；凡被造的，沒有一樣不是藉著他造的。

Genesis (創世記) 1 : 1 - 26
1) In the beginning God created the heaven and the earth.
起初，神創造天地。

2) And the earth was without form, and void; and darkness upon the face of the deep. And the Spirit of God moved upon the face of the waters.
地是空虛混沌，淵面黑暗；神的靈運行在水面上。

3) And God said, Let there be light: and there was light.
神說：「要有光」，就有了光。

4) And God saw the light, that good: and God divided the light from the darkness.
神看光是好的，就把光暗分開了。

5) And God called the light Day, and the darkness he called Night. And the evening and the morning were the first day.
神稱光為「晝」，稱暗為「夜」。有晚上，有早晨，這是頭一日。

6) And God said, Let there be a firmament in the midst of the waters, and let it divide the waters from the waters.
神說：「諸水之間要有空氣，將水分為上下。」

7) And God made the firmament, and divided the waters which under the firmament from the waters which above the firmament: and it was so.
神就造出空氣，將空氣以下的水、空氣以上的水分開了。事就這樣成了。

😎 And God called the firmament Heaven. And the evening and the morning were the second day.
神稱空氣為「天」。有晚上，有早晨，是第二日。

9) And God said, Let the waters under the heaven be gathered together unto one place, and let the dry appear: and it was so.
神說：「天下的水要聚在一處，使旱地露出來。」事就這樣成了。

10) And God called the dry Earth; and the gathering together of the waters called he Seas: and God saw that good.
神稱旱地為「地」，稱水的聚處為「海」。神看著是好的。

11) And God said, Let the earth bring forth grass, the herb yielding seed, the fruit tree yielding fruit after his kind, whose seed in itself, upon the earth: and it was so.
神說：「地要發生青草和結種子的菜蔬，並結果子的樹木，各從其類，果子都包著核。」事就這樣成了。

12) And the earth brought forth grass, herb yielding seed after his kind, and the tree yielding fruit, whose seed # was in itself, after his kind: and God saw that good.
於是地發生了青草和結種子的菜蔬，各從其類；並結果子的樹木，各從其類；果子都包著核。神看著是好的。

13) And the evening and the morning were the third day.
有晚上，有早晨，是第三日。

14) And God said, Let there be lights in the firmament of the heaven to divide the day from the night; and let them be for signs, and for seasons, and for days, and years:
神說：「天上要有光體，可以分晝夜，作記號，定節令、日子、年歲，

15) And let them be for lights in the firmament of the heaven to give light upon the earth: and it was so.
並要發光在天空，普照在地上。」事就這樣成了。

16) And God made two great lights; the greater light to rule the day, and the lesser light to rule the night: the stars also.
於是神造了兩個大光，大的管晝，小的管夜，又造眾星，

17) And God set them in the firmament of the heaven to give light upon the earth,
就把這些光擺列在天空，普照在地上，

18) And to rule over the day and over the night, and to divide the light from the darkness: and God saw that good.
管理晝夜，分別明暗。神看著是好的。

19) And the evening and the morning were the fourth day.
有晚上，有早晨，是第四日。

20) And God said, Let the waters bring forth abundantly the moving creature that hath life, and fowl may fly above the earth in the open firmament of heaven.
神說：「水要多多滋生有生命的物；要有雀鳥飛在地面以上，天空之中。」

21) And God created great whales, and every living creature that moveth, which the waters brought forth abundantly, after their kind, and every winged fowl after his kind: and God saw that good.
神就造出大魚和水中所滋生各樣有生命的動物，各從其類；又造出各樣飛鳥，各從其類。神看著是好的。

22) And God blessed them, saying, Be fruitful, and multiply, and fill the waters in the seas, and let fowl multiply in the earth.
神就賜福給這一切，說：「滋生繁多，充滿海中的水；雀鳥也要多生在地上。」

23) And the evening and the morning were the fifth day.
有晚上，有早晨，是第五日。

24) And God said, Let the earth bring forth the living creature after his kind, cattle, and creeping thing, and beast of the earth after his kind: and it was so.
神說：「地要生出活物來，各從其類；牲畜、昆蟲、野獸，各從其類。」事就這樣成了。

25) And God made the beast of the earth after his kind, and cattle after their kind, and every thing that creepeth upon the earth after his kind: and God saw that good.
於是神造出野獸，各從其類；牲畜，各從其類；地上一切昆蟲，各從其類。神看著是好的。

26) And God said, Let us make man in our image, after our likeness:
神說：「我們要照著我們的形像、按著我們的樣式造人，

Genesis (創世記) 2 : 7
And the LORD God formed man the dust of the ground, and breathed into his nostrils the breath of life; and man became a living soul.
耶和華 神用地上的塵土造人，將生氣吹在他鼻孔裡，他就成了有靈的活人，

Genesis (創世記) 1 : 26 - 31
26) And let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth.
使他們管理海裡的魚、空中的鳥、地上的牲畜，和全地，並地上所爬的一切昆蟲。」

27) So God created man in his image, in the image of God created he him; male and female created he them.
神就照著自己的形像造人，乃是照著他的形像造男造女。

28) And God blessed them, and God said unto them, Be fruitful, and multiply, and replenish the earth, and subdue it: and have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moveth upon the earth.
神就賜福給他們，又對他們說：「要生養眾多，遍滿地面，治理這地，也要管理海裡的魚、空中的鳥，和地上各樣行動的活物。」

29) And God said, Behold, I have given you every herb bearing seed, which upon the face of all the earth, and every tree, in the which the fruit of a tree yielding seed; to you it shall be for meat.
神說：「看哪，我將遍地上一切結種子的菜蔬和一切樹上所結有核的果子全賜給你們作食物。

30) And to every beast of the earth, and to every fowl of the air, and to every thing that creepeth upon the earth, wherein life, every green herb for meat: and it was so.
至於地上的走獸和空中的飛鳥，並各樣爬在地上有生命的物，我將青草賜給他們作食物。」事就這樣成了。

31) And God saw every thing that he had made, and, behold, very good. And the evening and the morning were the sixth day.
神看著一切所造的都甚好。有晚上，有早晨，是第六日。

Genesis (創世記) 2 : 1 - 3
1) Thus the heavens and the earth were finished, and all the host of them.
天地萬物都造齊了。

2) And on the seventh day God ended his work which he had made; and he rested on the seventh day from all his work which he had made.
到第七日，神造物的工已經完畢，就在第七日歇了他一切的工，安息了。

3) And God blessed the seventh day, and sanctified it: because that in it he had rested from all his work which God created and made.
神賜福給第七日，定為聖日；因為在這日，神歇了他一切創造的工，就安息了。

Exodus (出埃及記) 20 : 8 - 11
😎 Remember the sabbath day, to keep it holy.
「當記念安息日，守為聖日。

9) Six days shalt thou labour, and do all thy work:
六日要勞碌做你一切的工，

10) But the seventh day the sabbath of the LORD thy God: thou shalt not do any work, thou, nor thy son, nor thy daughter, thy manservant, nor thy maidservant, nor thy cattle, nor thy stranger that within thy gates:
但第七日是向耶和華你神當守的安息日。這一日你和你的兒女、僕婢、牲畜，並你城裡寄居的客旅，無論何工都不可做；

11) For six days the LORD made heaven and earth, the sea, and all that in them , and rested the seventh day: wherefore the LORD blessed the sabbath day, and hallowed it.
因為六日之內，耶和華造天、地、海，和其中的萬物，第七日便安息，所以耶和華賜福與安息日，定為聖日。

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【玳瑚師父玄悟語】 天公玉皇大天尊 Heavenly Jade Emperor

在我心中，天公玉皇大天尊猶如一尊古佛。無奈世人沒有研究至深，對佛與道起了很大的分別心。

我在馬來西亞出差時，看到很多家庭供奉天公，但在新加坡甚少。 現代人不明白天公的尊貴和慈悲，觀念越來越沒落，別説一個神位，就連一個小小的香爐都沒有。 祖先修的福報若不夠，後代要興旺，難也。

供奉神明要懂得怎樣地供奉，不懂就要去問懂得人。 不要教導錯，以誀傳誀，亂亂地供，拜的不如法， 導致家裏不平安。 要虔誠地供，不要一昧地求橫財。 你福份累積夠了，財不請都會自到。

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In my heart, I regard the Heavenly Jade Emperor akin to the ancient Buddha. Sadly, very few people bother to delve deep into the necessary research and hence, the deep discrimination between Buddhism & Tao.

When I was at Malaysia for work, I saw many families having altars of worship for the Jade Emperor, something hardly seen in Singapore. Many people of this modern age fail to understand the esteemed greatness and compassion of the Jade Emperor. With the rapid decline in religious values, we rarely see households having an altar of worship, much less a simple incense urn. If the ancestors fail to accumulate sufficient merits, prosperity will be hard to come by for the descendants.

Understand the do's & don'ts when you wish to set up an altar of worship. Seek help from someone who knows, if you don't. Do not listen to hearsay and pass on the wrong advice. Improper worship will create disharmony and problems in the household. Worship with a pious heart and refrain from constant praying for lottery luck. Once your merits are sufficient, wealth will find its own way to you.

謝楚餘的油畫世界 謝楚餘，你不一定知道這個名字，但你絕對見過他的畫作!他的作品知名度遠遠大於他本人，他 被人們稱為“盜版與美女簇擁的畫家”，他的大多數油畫作品都會在面世後被人無數次地以臨摹、翻印的方式盜版。油畫作品《陶》完成於1997年，這是謝楚餘最為成功的作品之一，但此畫在全世界有不下1000萬次的被盜版記錄，據說它在倫敦舉行的拍賣會上，第一次標價就被定為80萬英鎊;他在1 9 9 8年創作的《沐風》，居然出現在中央電視台熱播的電視劇《金粉世家》中的白秀珠小姐臥室的牆上，該劇是根據民國時期張恨水同名小說改編的。在近期的油畫創作中，他使用當今西方最新的材料無味稀釋油、丙烯塑形膏和裂油等，並吸收了中國傳統水墨潑撒法，讓水和油在衝撞中形成偶然的、生動的朦朧效果，奇妙地融合在一起，相信此技法將是對世界美術的一種新的奉獻。一直以來，畫家謝楚餘甚少在媒體上公開露面。在他看來，畫作就如同他的另一張臉，大家熟悉他的畫就已經足夠了。 在國內，只要你稍加留意，從格調高雅的西餐廳牆上裝點的油畫複製品，到地攤小販出售的一元梳妝鏡的背面，都會頻繁地出現一個半裸少女楚楚動人地抱著一隻陶罐的靚麗身影，她那黑柔的秀發，嬌美的面容，如脂的皮膚，唯美的身材被定格在風起雲湧的天地間，性感而不失純真，令人倍感賞心悅目，這就是謝楚餘早年的作品《陶》。《陶》(抱陶少女)是謝楚餘1997年初完成的一幅油畫，它一經問世便以一種中西合璧的美打動世人，在海內外引起了不小的轟動。正由於此，它也成為中國油畫史上被翻版盜印最多的一幅油畫，不少於1000萬次的盜版數實在令人不可思議!從莫斯科到巴黎，從非洲到美洲，《陶》被不同的材質表現著，從皮革到石頭，從蠟染到銅像⋯⋯同時它也被無限地使用在各種商業途徑中，不同的只是少女手中的陶罐有時被替換成酒罐、電器、易拉罐，甚至有時被替換上西瓜。面對這樣的情形，謝楚餘隻能報以“無可奈何的寬容”。他說：“盜版作品往往由於色彩失真，層次欠佳，致使其中人物失去藝術生命，那真是可悲又可嘆!” 　　曾有人將謝楚餘的《陶》與法國新古典主義畫派最傑出的代表安格爾的《泉》作比較：安格爾筆下少女自然“洋氣”，而謝楚餘卻勝在“秀氣”。現在《陶》這幅原作已被香港人收藏，他幾次想回購，收藏者都不願意，這一直成了謝楚餘的心病。 　　讓男人心動，讓女人心醉 　　謝楚餘畫的最大特點就在於將中國題材與人物用西方古 典繪畫手法表達出來，顯得既典雅高貴又為大眾喜聞樂見。中國美協副主席林墉是這樣評價謝楚餘的：“他耿耿於完美，孜孜於完整。有時，甚至不惜把自己對美的憧憬也都一一帶上畫面。這種傾向使他的畫面顯得十分飽和，十分充實，也自然更充滿視覺上的愉悅。楚餘的畫是一種圓潤的華麗所組成的，雖沒有撕心裂腑的震撼，但更散發著溫暖的輻射。他的細膩就在流暢中顯現。” 　　謝楚餘的家坐落在廣州美術學院一處幽靜的老式樓房裡，家中最多的裝飾品就是主人的原作。筆者發現，畫家的創作大都與女性有關，他那筆下絕妙風韻的女性毫無半點做作之處，並特別富有肢體語言的東方韻致，讓人們感受到畫家那種與生俱來的唯美情懷。謝楚餘說，女子神秘的氣息是最讓人難以捉摸的，而神秘的東西也最讓人著迷，讓人可望不可即。還在青少年時代，他在一本雜誌上看到好萊塢女王葛麗泰•嘉寶的劇照，就讓他深為震撼：“她艷若桃李，又冷若冰霜，她那深不可測的眸子，閃爍著夢一般的美!她那拒人千里之外的冰冷與高傲，美到了極致。我想一個人的審美不是一朝一夕形成的，我早期的作品就很大程度上受到這種氣息的感染。”謝楚餘說。據說楚餘每年都會邀請10個模特作畫，至今起碼有上百位美女的形像被糅合進入他的畫中。他告訴筆者：“每一幅作品中都有一個原型，我是在這個基礎上根據畫面的需要進行提煉、誇張、概括的。《陶》的創作就緣於三個模特，一個青島人，一個汕頭人，一個混血兒。”在謝楚餘的作品中，女性的美已經超出了塵世所見，幾近完美無暇，令人嘆為觀止。有人說他的作品讓男人心動，也讓女人心醉。1989年，26歲的謝楚餘成功地舉辦了人生第一次個人畫展，1999年福建美術出版社將謝楚餘的主要作品編印為《相約花季》的挂歷，在全國創下了一個至今無人能及的銷售紀錄，月銷售65萬本!第二年有13個出版社登門約稿，給出的稿酬一個比一個高，破了當年單頁挂歷稿酬的中國之最。 　　2002年他出版了人生的第一本畫冊《中國當代實力派油畫精品叢書——謝楚餘》天津楊柳青畫社第一版就印刷了10000冊，此後這本畫冊再版6次，依然供不應求。中國著名的文學刊物《作品》從2001年至今，一直使用他的作品為封面，除此以外北京的《文化月刊》、浙江的《文化交流》、東北的《新蕾》等6家期刊每年向他約稿，各種畫冊和書籍封面使用他的作品的就更數不勝數了。2003年謝楚餘與美國一著名畫廊簽約，每年提供6幅油畫，這些油 畫已成為各國收藏家追逐的藏品。 才情飛揚卻又嚴謹落筆 　　謝楚餘筆下的女子多為現代女性，背景為室外自然風景，女子神態平靜、空靈，纖塵不染。很多人評價謝楚餘的畫“唯美、典雅、高貴、細緻”。有人說漫步在謝楚餘的油畫世界，滿目芳華，飄逝的風雲，流逝的水，萋萋芳草，絕代佳人，彷彿是昨宵玲瓏的夢，是人類對美永恆的追溯。在謝楚餘的作品中，處處才情飛揚處處嚴格有序地被規範著，他那多年的探索和實踐，形成了精緻而嚴謹、典雅而洗練的繪畫風格。 談到與之齊名的陳逸飛，他說：“我們都追求盡善盡美，追求極致，對自己近乎苛刻，是很累，但累中帶有快樂與幸福，所不同的是我不相信自己無所不能，覺得一輩子能做好一件事，在某一個點上、某一個題材、某一種技法上發揮到極致，就非常偉大了。別人說我運氣好，但我知道，身為潮汕人，在自己的個性中，那種源自父母的執著耕耘、刻苦耐勞、堅忍不拔的個性是自己人生成功的一大法寶。”謝楚餘上高中期間，曾師從當時汕頭最著名的油畫家曾松齡老師，“我每週把自己的作品送到他那裡，請他指導。他的每一次點評我都作了大量的筆記並用心去修改，比如：色彩太髒，明度對比不夠，整體感不強等等。我下一次再送作業時，以前的毛病我一定會全改掉。我絕對不會也不允許自己在同一問題上犯同樣的錯誤”。 　　外人有所不知的是，對於背景這一人們不注意的地方，謝楚餘花的功夫並不比主體人物少。他說，“藝術家只有時刻懷著不滿足的心理，才能有永不停步的動力，才能向人類呈現最精最美的作品。我絕不允許自己的作品有自己能看到的、感受到的缺陷與不足。2003年創作的《清流》背景，就讓我痛苦思索了4 年，至今已四易其景，直到2007年的5月底才真正定稿”。在畫室裡，筆者看到他以前畫冊上的《清流》與如今畫布上的《清流》畫面：前者背景是瑣碎的枝葉;後者經過大刀闊斧的修改，節奏感增強了，有橫空而出遒勁的枝幹、有蜿蜒的樹杈，清流中的岩石也清晰可數。隨即他又不無擔心地說：“在行家的眼裡，定稿後的作品與從前發表在畫冊上的作品有所不同，會讓人誤解我在同一題材上創作了兩幅成品，這有違我一直以來堅持的創作信念：從不創作兩幅相同的作品。我認為藝術品就應該是獨一無二的，不該去複制。雖然藝術品有其顯見的商品屬性，但藝術家的創作與工廠的批量生產的'行畫'是截然不同的。與其臨摹同一作品，不如創作全新的作品。” 　　在謝楚餘的作品裡，一個個美麗動人的形像已不再是一個孤立的美女符號。他所要表達的是存活於歷史時空的大美。通過對中外服裝、髮飾、道具的巧妙增刪、提煉、重組，使形象成為一種能穿梭於古今的具有時代氣息的生命體，每每給人以驚豔之奇。 　　外間一直傳說畫家的《南國少女》這幅畫就是以她妻子原型而作。筆者有幸觀看了畫家妻子的日常照片，正如傳說的一樣，活脫脫一個從古典詩詞中走出來的美人。如今，有賢妻嬌女的謝楚餘對生活沒有太多的奢望，“我童年的夢想已經實現，至今還成為大學教授，那已經是一種額外的收穫。我的人生與藝術已密不可分，在藝術上追求盡善盡美，源自人類不竭的探索精神。我從不懷疑自己，總相信自己一年會比一年好，對此，我有足夠的理由自信。”鏈接：謝楚餘，19 62年出生於廣東汕頭市，現為廣州美術學院油畫系副教授，碩士研究生導師，廣東美術創作院畫家。 　　1988年以全優成績畢業於廣州美術學院油畫系，1988 - 2000年就讀中央美術學院油畫系同等學歷研究生班，曾參加法國專家依維爾古典油畫技法材料研究班和西方當代藝術新材料研習班。1993年和2001年分別赴美國、法國進行學術交流和專業考察。1989年起先後在美國、新加坡和中國台灣舉辦7次個人畫展。代表作有《南國少女》《陶》《仙踪》《旅人》《木板上的拳套》等，作品曾參加“ 第八屆全國美展優秀作品展”，“中國油畫精英邀請展”、“中國油畫藝術展”等，並多次獲獎，已出版4部個人油畫專集，影響深遠。 　　Master's World of Oil Paintings 　　By Chen Shuiyou 　　Editor's Note: the Cultural Dialogue is honored to have been utilizing Xie Chuyu's oil paintings for our magazine's cover for the second consecutive year.Many readers wonder how a master can paint women in such an admirable way. Chen Shuiyou in Guangzhou has filed this report about theartist and here is what he finds. Youmay not have heard ofXie Chuyu, but you must have seen one of his paintings somewhere. The popularity of Xie's artworks outreaches the popularity of his name. 　　His sensational success "Porcelain", a representative artwork created in 1997 thatmade the fame of Xie, drove some collectors crazy. The starting auction price for the painting at a London auction house was a hefty amount of 800,000 pounds. "Bathed inWind", an oil painting Xie created in 1998, found its anachronistic way onto a wall of the bedroom of Miss White Pearl in a 2003 CCTV blockbuster teleplay, an adaptation of a novel entitled "A Family of Gold and Rouge" serialized from 1927 to 1932 by Zhang Henshui (1895-1967). 　　"Porcelain" depicts a young woman in a style that integrates the west and the east elements. Some critics remark thatXie's "Porcelain" reminds one of amasterpiece by Jean Auguste Dominique Ingres (1780-1867), a French Neoclassic artist, pointing out that Xie's artwork emphasizes the peerless female elegance. Nowthe original piece is in the collection of a Hong Kong collector. Xie has offered on several occasions to buy it back in vain. 　　The painting is so beautiful that other artists cannot resist the sheer temptation to translate it onto such media as stone, leather, bronze, etc. The people most enthusiastic about it are probably the copycats who have counterfeitedmore than 10million copies of the painting. Some commercial artists have vied each other to replace the porcelain jar held by the heartthrob with anything their clients wished to sell: a beer can, an electric appliance, or even awatermelon. 　　Xie cannot help but sigh heavily at the mania. The only thing the tolerant artist regrets deeply about the pirated copies is the color distortion which, according to Xie, tragically destroys the original beauty of the artwork. 　　The most salient feature of Xie's oil paintings is the quintessential Chinese theme perfectly depicted in a western classical style. This special treatment makes his masterpieces both noble and popular. A perfectionist, Xie relentlessly pursues beauty in its perfect form. His paintings radiate elegance, warmth , fluency and fullness. They are notmeant to create an overwhelming impression. They are meant to touch one's heart tenderly. 　　Xie Chuyu now lives in an old-styled many-storied building on the campus of Guangzhou Academy of Fine Arts. The apartment is richly decorated with Xie's own artworks. Almost all his paintings deal with female beauty. The young women look wonderful and natural, the way they pose in the painting emits and defines an oriental mysticism, and the artist's esthete passion is simply irresistible and overwhelming. 　　Xie's sensitivity for femalebeautymay haveprobably been kindled in his teenage years. One day, he saw a photograph of Greta Garbo. The photographmade himspeechless.Years later, he can still feel the irresistible power of the woman's beauty. He admits that his own aesthetic view does not result froma sudden inspiration. His early works were considerably influenced by the beauty he saw in the photograph. He recalls, "The Hollywood star looksmore than beautiful. Yet she is aloof and cool, basking in a dreamlike splendor. Her aloofness and gorgeous beauty testify to the very essence of beauty." 　　Xie Chuyu works with ten models a year. So far, he has cooperated with more than 100 models. Each of his paintings depicts onemodel as an archetype. Then he summarizes, polishes, and sublimates. He worked with three models in creating "Porcelain" . The women in Xie's works are more than mortals. They are almost perfect. Some people remark that the women in his artworks not only touch aman's heart but also move a woman's heart. No wonder that Xie's wife was a model who worked for him once upon a time. Xie's first solo exhibition took place in 1989 when he was 26. His "Porcelain" in 1997 caught the attention of publishers across the country. In 1999, a publishing house in Fujian Province put out a wall calendar using Xie's paintings as the principal attraction. That year, the best-seller wall calendar created a national sales record of 650,000 copies, which stands unbeaten even today. In the following year, 13 wall calendar publishers came to Xie and offered handsome royalties for his paintings. 　　In 2002, Xie published his first individual album. Since the first edition of 10,000 copies, the album has been reprinted six times. "Opuses", a high-profile national literary periodical, has been using Xie's works for its cover since 2001. Six other periodicals across the country, including Cultural Dialogue, also use Xie's works for their covers. In compliance with a deal signed in 2003, Xie provides a US gallery with six oil paintings per year. These paintings are huge attractions to art collectors. 　　The women under Xie's brush are modern females set in an outdoor background of gorgeous beauty. They look tranquil, pure and unworldly. Some critics describe Xie's style with such adjectives as esthetic, elegant, noble and meticulous. They agree that the world he creates in his paintings is a dream, reflecting humanity's everlasting yearning for beauty. 　　 Xie Chuyu has defined his overwhelming talent in a refined style. As the result of diligent explorations over years, he now spares no efforts to perfect all the details in his creations.Many people focus on the exquisite women in Xie's paintings, but Xie himself devotes at least an equal amount of creative energy to the background. A stickler for details, he takes pains to create the impeccable. He neverallows defects to contaminate his creations. It took Xie four years to perfect the background of his 2003 "Limpid Stream". 　　Translated by David) 文章出處 : 博寶藝術網數據中心http://news.artxun.com/xiechuyu-1607-8030013.shtml