Without sign in Chinese Portrait
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About The Author: Seattle Cinema Almanac
Info: A weekly podcast and listing of art house screenings across Western Washington. Part of @Cinema_Cocktail's Cinema Almanac Project.
7,3 of 10 star. duration 1h 19Minute. Factory and construction workers, farmers, commuters, miners, students. The director captures the state of his nation, by static filming one or more people in more or less motionless poses. No narrative, just portraits. 33 vote. genre Documentary. Without sign in Chinese portrait gallery. Bravo! Lovely to watch and educational. I literally didn't notice that half an hour went by. Beautiful result.
Painted the girl without her makeup, what a legend. Thank you trailer for letting me know explicitly that she hooks up with Anthony Mackie. If I was so braindead that I couldn't tell they liked each other already I thank you for spelling it our for me in the I see the movie. I wouldn't want to be surprised in any way by their romance as a moviegoer, I'd rather have that moment already spoiled by the promotional materials. Thanks Fredo. Amazing master drawing, can you post more of this talented master drawings. Im so blessed because the only ad that occurred in this video was a video that sorta was like ASMR so it didnt burst my ear drums.
Without sign in Chinese portrait social. Glad to see him getting back to what made him great. This looks spectacular. Without sign in Chinese portrait de ce compagnon de la libération. In the cinema: aw every 2 minutes at all the nature. 😻😻😍😍💕💕. Without sign in chinese portrait picture.
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Watch Chinese Online Boxofficemojo watch ~CHINESE PORTRAIT ~online theguard&ian. Without sign in chinese portrait photo. See website 'Chine`se. 2018) HD Full Movie Online…. Without sign in chinese portrait 2017. Thisll be the best film of the year. This was definitely a cool video Omar. love it when u combine history in and during your investigations. Be safe and stay blessed🙏. When i see that talent... I realize Im a tiny blade of grass in a great big field. wow, very nice. Her: let me push your hair back Me: im bald her: OK thank you (starts brushing the comb on my head) later) her: heres a hair pin me:son of a.
Without sign in chinese portraits.
সুন্দর ও ভাল সিনেমা। গল্পটা অনেক কষ্টের।
He was an artist, really. Ohmegherd this is so adorable. Million with one heart But China population is 1 billion now.
This anthem represents perfectly Yuzuru Hanyu, a great Chinese in the Ice skating sport! sarcasm
Awesome, awesome mere kuch aur points clear hue thanks for the video. Mdr c'est génant non. Images from Chinese Portrait ( Wang Xiaoshuai, 2018) A brief sequence in Wang Xiaoshuai’s new documentary depicts the scene at a Chinese coastal resort. In one shot, a man stands gazing out at the sea while children splash around happily and families lounge on the sand in the background; in another, a middle-aged man wearing swimming trunks and a medallion looks to camera quizzically, with the thoroughly rakish look of an ageing holiday Lothario. These may not be not exceptional images in themselves, but they made me realize that this was something I had never seen in a Chinese film before, documentary or fiction: something as ordinary as people enjoying leisure time themselves on the beach. It’s not that Chinese cinema has necessarily been avoiding this aspect of life as too mundane or undramatic, just surely that contemporary life in China is so vast and multifarious that the national cinema may not be able to trawl in all its facets. Nevertheless, this 2018 documentary by “Sixth Generation” director Wang makes a good attempt at doing that. The first great film of this year, arguably, was Wang Xiaoshuai’s three-hour So Long, My Son, which followed a family through three decades of modern Chinese history; although it is only 80 minutes long, his Chinese Portrait is equally expansive, although in a telegraphic, fragmented manner. In its English title, the film presents itself as an overall portrait of a nation, but each single image is itself a portrait—of people, locations, lifestyles, traditions. We see Chinese work, leisure, religion (Buddhist and Muslim); we see industry, transport, agriculture, landscape tamed and in revolt. There are just over 60 main shots in Wang’s film—give or take a handful that figure as all but subliminal—nearly all of them locked off, many of them highly composed, even artificial. Shot over 10 years on both film and digital, sometimes emphasizing the portrait aspect by the use of Academy ratio frames with rounded corners—sometimes separated by lengths of leader in various colors—the film offers a range of snapshots of contemporary China. It’s hard to resist the allusion to still photography. Wang often poses his subjects in stationary groups, while a single element in the picture—a chain, a flapping bit of fabric, or an unruly child—moves to remind us that we’re not looking at stills. These images resemble a set of pictures in a modern photography gallery: most of them have a stillness and composure that makes you want to hold at length on each one before walking on to the next. In some of the larger landscape shots with human figures, you might think of the huge staged compositions of Jeff Wall: a grey vista of tower blocks, with the tiny figure of a street cleaner in day-glo orange wandering in the foreground. The more spectacular images of workplaces—offices, factories, a classroom—have a touch of Andreas Gursky. The images are presented without commentary, explanatory captions, or even subtitles in those sequences that contain dialogue; there’s barely any music. This is a country laid out before us, but not with appeal to the touristic eye; the non-Chinese viewer is often left to guess at the exact nature of context and content alike, although nearly all the images are fairly transparent and immediate in their effect. Does it help to know, however, that one shot of the director himself shows him at Tiananmen Square? Another image shows a red-robed Buddhist monk with his back to the camera, facing a range of mountains; flags blow in the breeze, wind is heard in the background. Is this in some way a comment on China’s relationship to Tibet? One suspects it might be, but the film tells us nothing. This is very much, although not entirely, a film about people. Photographed variously by Wu Di, Zeng Jian, Zeng Hu, and Piao Xinghai, many of the shots are posed group portraits, often absolutely still, although not everyone will freeze for the camera. In a photo of a shepherding couple and their flock, the humans stand still while a lamb wriggles in the women’s arms; at a family backyard meal, a little girl wanders around while, conversely, the elderly woman farthest from us gazes intently at the camera. Wang often has a single person looking straight at us out of an otherwise natural shot in which people aren’t apparently aware of the camera at all. In an open-plan office, business appears to go on, as on a normal working day, but one man near the foreground stares at us; similarly, in a university classroom scene full of students writing away, a young woman meets our gaze, immobile, pen to her lips—the seeming naturalness of the scene undermined by the fact that no-one turns a hair when the recess bell rings. Sometimes Wang Xiaoshuai highlights the self-reflexive aspect to his portraiture, or just its painterliness. Some images show the director himself, a stocky, middle-aged man gazing with a somewhat comic glumness at the camera: in Tiananmen Square, or on the back platform of a moving train (he then cuts away to passengers looking back at the camera, or back at him, although most appear to lose interest after a few moments). In another, the film’s one overt joke, he stands in the yard of a seemingly disused factory, before a line of workers file right past him, ignoring him totally (his nod to the Lumières and the birth of cinema? ). We see a group of young women posing in a desolate landscape, while in the foreground, a mainly blank canvas shows the sketched outline of one of them. After a while, the painter appears in shot—Liu Xiadong, whose work was apparently one of the inspirations for this film (a Google search reveals that this image shows him working on a 2010 group portrait called Out of Beichuan). Another image shows a young female dancer standing against a pillar, others lined up in a dark background in sequins and tulle; with its artfully achieved lighting, it seems to channel a painting by Degas or Lautrec. Edited by Valérie Loiseleux—a long-term collaborator of Manoel de Oliveira and Eugène Green—this leisurely film sometimes frames images in isolation, sometimes juxtaposes them for analogy or contrast, very occasionally uses sound to stitch together suites of seemingly unconnected images. One sequence shows a plane etching a white line across a blue sky, then a factory belching smoke, ice drifting on a river, sheep in a green field gradually sweeping across the entire screen; what connects them is a little symphony of unexplained, seemingly unconnected sounds (beginning with footsteps, odd scratchings) threaded throughout. In images like this, or in a single extended shot of long grass waving in the wind, Chinese Portrait echoes Abbas Kiarostami’s Five; elsewhere its group portraits echo Agnès Varda and JR’s Faces Places. There is very little event in Chinese Portrait, although one incident is quite genuinely explosive: an excavator with a drill attachment chips away insistently at the corner pillar of a huge concrete industrial building, until it suddenly crashed down with an almighty boom, dust filling the screen. This is one of many images of destruction and reconstruction in the film, some by all accounts relating to the devastating earthquake of the Sichuan province in 2008—such as the apartment block caved in down the middle, like a collapsed cake. By contrast, there are various buildings under construction, some of them glumly functional, as opposed to the glossy display maquette of a city project space with glowing skyscrapers. In its fragmented, montaged way, Chinese Portrait tells as forceful a picture of social change as Wang’s So Long, My Son, which spans several decades and ends with its lead characters returning to the city they once knew, some of the buildings they knew still intact in a city transformed almost beyond recognition. One of the film’s juxtapositions might sound too overt and pointless when described, yet it makes for an eloquent ending. In the penultimate shot, shot from a low angle, a group of rural workers recede into the distance (the film makes consistently strong use of forced perspective) on a plain of parched, cracked earth. At the forefront is a small child clasping a metal bucket, and a women holding out an empty metal bowl. They seem to be pleading to the camera for food in times of need, and the image would almost be crushingly overstated if not for one element; among this static poised group, the child is fidgeting and looking nervously around, bringing an almost comic touch of disruptive chance to this otherwise contrived-seeming tableau. In contrast, the following (and final) shot is one of plenty: it’s an open-air restaurant in a city, a vision of movement and life, with a musician seen singing and playing guitar, and some sort of agitated debate going on in the background. Everything is vivid and spontaneous. Scan the image long enough, though, and you’ll notice one of Wang’s poised, still gazers almost hidden on the left side of the screen: a young man looking out at us, absolutely still, a figure of photographic fixity in the middle of cinematic movement and, by way of a sign-off, challenging us to piece together the film’s sprawling imagistic jigsaw for ourselves. Jonathan Romney is a contributing editor to Film Comment and writes the Film of the Week column. He is a member of the London Film Critics Circle.
Invaluable cannot guarantee the accuracy of translations through Google Translate and disclaims any responsibility for inaccurate translations. Estimate: €30, 000 - €50, 000 Description: Feng Zhengjie (né en 1968) Chinese Portrait Series N°56, 2006 Huile sur toile Signée en pinyin et en mandarin et datée vers le bas à droite Oil on canvas Signed in Pinyin and Chinese and dated lower right 150 x 150 cm - 59 x 59 in. View additional info €25, 000 - €35, 000 Feng Zhengjie (né en 1968) China n°12, 2005 Huile sur toile Signée et datée en bas à droite Oil on canvas; signed and dated lower right 150 x 150 cm - 59 x 59 in. €10, 000 - €15, 000 Chinese portrait no. 68, signed and dated 'FENG ZHENGJIE 2005' (lower left), oil on canvas, unframed, 150x150 cm, 战后与当代艺术品拍卖会 中国当代艺术家俸正杰（1968）在西方艺术拍卖会场相当受欢迎。 敬请关注：荷兰海牙知名拍卖会Venduehuis 10月16日和17日举办的战后与当代艺术品拍卖会, R900, 000 - R1, 200, 000 Feng Zhengjie Chinese 1968 - Portrait signed, dated 2019, and numbered 4/6 enamel painted bronze height: 58cm R40, 000 - R60, 000 Chinese Portrait Series No. 53 signed, dated 2008 and numbered 132/200 screenprint 80 by 107cm £10, 000 - £15, 000 oil on canvas Condition Report: Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is brighter in the original. Condition: This work is in very good condition. Close inspection reveals some very light wear in places along the edges. Further close inspection reveals a few unobtrusive networks of drying cracks in places to the edges. No restoration is apparent when examined under ultraviolet light. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE. " View additional info and full condition report $4, 000 - $6, 000 Feng Zhengjie Chinese Portrait series #53, 2008 Screenprint on 490 gram smooth custom paper, deckled edges. hand signed, dated and numbered in ink, lower margin Edition 200 Image Size: 32 x 32 inches (81. 3 x 81. 3cm) Paper Size: 32 x 32 inches (81. 3cm) Condition: excellent condition Feng Zhengjie is an internationally renowned Chinese Contemporary artist associated with the Chinese Avant-Garde movement. His oil paintings of uber-glamorous women are inspired by the fashion models seen in advertisement and fashion magazines. His Neo-Pop futuristic portraits of women, the so-called "Chinese Portrait Series", are also inspired by the artist's muse Marilyn Monroe and Andy Warhol's celebrity portraits. Fengs use of neon colors, mostly electric green and pick to depicted perfectly coiffed hair, pouty lips, idealized facial features as well as the wild, rolled eyes of each model that gaze to nowhere, intentionally dislocate these women from any context. These creatures remain unattainable icons, frozen in an a pose of ecstasy and glamor. This print is from an edition of 200, unframed and in excellent condition. Excellent €12, 000 - €15, 000 Zhengjie Feng (1968). Oil on canvas. 210x210cm. Signed and dated $1, 500 - $2, 000 Artist: Feng Zhengjie Title: Chinese Portrait Series No. 53 Year: 2008 Dimensions: 43in. by 43in. Edition: 171 from the limited edition of 200 Suite: Chinese Portraits Medium: Original serigraph on paper Condition: Mint Signature Details: Hand signed by the artist Edition: From the limited edition of 200 £15, 000 - £20, 000 Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is slightly lighter in the original. No restoration is apparent when examined under ultraviolet light. $4, 000 - $5, 000 Feng Zhengjie Chinese Portrait series #26, 2008 Feng Zhengjie Chinese Portrait series #38, 2008 €8, 000 - €10, 000 'Chinese Portrait No. 10' rechtsonder get. en gedateerd 2004 olieverf op doek, zonder lijst, 130x120 cm Herkomst: Willem Kerseboom Gallery. $2, 000 - $3, 000 Title: Chinese Portrait Series #38 Dimensions: 31 3/4in. by 31 3/4in. Edition: From the rare limited edition of 200 Condition: Excellent Signature Details: Hand signed by Zhengjie €160 - €240 Zhengjie, Feng. Every Colour you are weathered death and birth. Katalog zur Ausstellung in der Tang Contemporary Art Galerie in Peking 2008. Mit zahlreichen, teils doppelblattgroßen farbigen Tafeln. Peking, 2008. Unpaginiert. 25 x 25, 5 cm. Original-Fadenheftung in Original-Pappbox (diese leicht angestaubt). Reizvoller Katalog zur Ausstellung des chinesischen Künstlers in ungewöhnlicher Aufmachung und teils auf transparentem Papier gedruckt. - Text in Englisch und Chinesisch. - Mit einem Vorwort von Josef Ng und einem Dialog zwischen Feng Zhengjie und Zhang Yizhou. - Enthält: Skulpturale Installationen und Gemälde. - Sehr gut erhalten. OHNE TITEL (ZWEI JUNGE FRAUEN AUF TERRASSE) Öl auf Leinwand. 130 x 110 cm. Rechts unten signiert und datiert „Feng No. 062002-04“. Ungerahmt. Der in Peking lebende und arbeitende Künstler ist auf dem internationalen Kunstmarkt erfolgreich und bekannt für seine Serie „Portrait of China“, große Ölportraits im Warhol-Stil, in einer überwiegend roten und grünen Farbpalette. Seine Gesichter sind oft die von Modemodels mit unterschiedlichen oder auseinanderstehenden Augen. In einem mit überdimensional großen Lippenstiften umzäunten Garten zwei junge Frauen, die eine unbekleidet mit leuchtend rosafarbenen Haaren, die andere in dem traditionellen Damenkleid „Q i pao“ in Rose mit hochgeschlossenem Kragen, mit brauenen teressante Wiedergabe der Verbindung Tradition und Moderne. (12001217) (18) Feng Zhengjie, born 1968 Sichuan, China UNTITLED (TWO YOUNG WOMEN ON A TERRACE) Oil on canvas. Signed lower right and dated “Feng No. 062002-04”. Unframed. €10, 000 - €20, 000 PORTRAIT EINER FRAU MIT GRÜNEM HAAR 60 x 60 cm. Links unten signiert und rechts unten datiert „2004-06“. Das Gesicht einer jungen Frau, in frontaler Nahsicht, mit leuchtend roten Lippen, grünlichen Augen und grünen kurzen, eng anliegenden Haaren vor rosafarbenem, ins grünliche übergehendem Hintergrund. Provenienz: Galerie Loft, Paris. Privatsammlung. (12001224). (18) PORTRAIT OF A WOMAN WITH GREEN HAIR Signed lower left and dated “2004-06” lower right. The face of a young woman in frontal close-up-view with luminous red lips, green eyes and green short slick hair against a pink and greenish background. Provenance: Gallery Loft, Paris. Private collection. CHF28, 000 - CHF35, 000 FENG, ZHENGJIE(Sichuan 1968 -lives and works in China)Face. on canvas. Signed lower right and dated: Feng Zhengjie 2003-02. 50 x 50, ZHENGJIE(Sichuan 1968 - lebt und arbeitet in China)Face. 2003. Öl auf Leinwand. Unten rechts signiert und datiert: Feng Zhengjie 2003-02. 50 x 50 cm. CHF55, 000 - CHF75, 000 FENG, ZHENGJIE(Sichuan Province 1968)Face. Signed lower left, dated lower right. 150 x 150, ZHENGJIE(Sichuan Provinz 1968)Face. 2007. Unten links signiert, unten rechts datiert. 150 x 150 cm. CHF90, 000 - CHF120, 000 $35, 000 - $45, 000 signed in Pinyin and dated 2005 oil on canvas £25, 000 - £35, 000 FENG ZHENGJIE China 2004 No. 35, 2004 $180, 000 - $250, 000 HKD500, 000 - HKD800, 000 signed in Chinese and pinyin and numbered 13 oil on canvas $40, 000 - $60, 000 B. 1968 TIME TUNNEL NO. 2 (A PAIR) each: 39 3/8 by 31 1/4 in. 100 by 80 cmeach signed Zhenjie in Chinese and Feng Zhenjie in Pinyin and dated December 98 in Chineseoil on canvasLITERATUREShu Kewen, Packaging, Beijing, 2002, pp. 50-51Eleonora Battiston, Feng Zhengjie, Italy, 2006, p. 75 £50, 000 - £70, 000 Chinese Portrait P Series 2006 No. 2, 2006Oil on canvas. 300 x 400 cm. (118 x 157 1/2 in). Signed 'FENG ZHENGJIE 2006 [in Chinese and Pinyin] lower right. Chinese Portrait P Series 2006 No. 2 Signed 'FENG ZHENGJIE 2006 [in Chinese and Pinyin] lower right. $70, 000 - $90, 000 Chinese Portrait L Series 2006 No. 10, 2006Oil on canvas. 82 3/4 x 118 in. (210 x 300 cm). Signed and dated “Feng Zhengjie [in Chinese and English] 2006” lower left. £40, 000 - £60, 000 China series no. 3, 2006Oil on canvas. 210 x 300 cm. (82. 7 x 118. 1 in). Signed and dated 'Feng Zhengjie 2006 (in Chinese and Pinyin)' lower right. $60, 000 - $80, 000 China 2005 No. 11, 2005Oil on canvas. 59 x 59 in. (150 x 150 cm). Signed and dated “Feng Zhengjie 2005” lower right. China 2005 No. 11 Signed and dated “Feng Zhengjie 2005” lower right. €80, 000 - €100, 000 Feng ZHENGJIE (né en 1968)China, 2005 No. 29Huile sur toile, signée en bas à droite150 x 150 cm - 59 x 59 on canvas, signed lower right £30, 000 - £40, 000 Untitled Signed in English and dated “Feng Zhengjie 2004” lower right. TWD1, 800, 000 - TWD2, 800, 000 FENG ZHENGJIE (b. 1968) Chinese Girls Series Oil on Canvas Signed FENG ZHENGJIE in English and dated 2005 150×150cm 2005 As one of the representatives of Chinese Gaudy Art, Feng Zheng Jie is known for his "Chinese Girls Series"series. Utilizing beautiful female images to reflect the present consumerism in Chinese society, they share the same symbols and features- smooth faces, red lips, soft hair presented in different postures that show confidence and attractiveness. However, the beautiful but detached eyes reflect the contradiction and fragility in their hearts. The aureole around the characters represents the balance between appearances in inner self. The exaggerating pop culture style captures viewers' hearts. The images of Chinese traditional anniversary paintings, advertisement boards and festive colors have imprinted deeply in Feng's heart at early childhood years. The strong and colorful painting wishes to provoke materialistic dreams and desire from within. The licentiousness is like a continuation of the traditional liveliness with the only difference of value transformation. Feng brought gaudy art into a new cultural level, carefully transforming through close observation and feelings. No matter if he has received recognition, appraisal, self-reflection or sarcasm, the purpose is only to show his self in the environment and true experiences living in this materialistic consumerism world. Looking to the past and even gazing into the future, Feng has successfully transformed the beautiful faces into the psychology of modern people. 俸正杰為中國當代艷俗藝術的代表性人物， 其《中國肖像》系列以風韻艷麗的女性肖像反映現今中國社會的消費文化。俸正杰畫面的女性擁有共同的符號與特徵－光滑臉蛋、豐翹紅唇、柔揚髮絲， 各種姿勢呈現出時尚的風靡與撩人的自信；但分離空洞的眼神， 嬌媚俗麗的表象亦暗示內心的矛盾與脆弱， 人物外圍的光暈宛若外貌與內在的權衡天平般扶搖躁動。俸正杰裝飾誇耀的波普風格， 直觀地攫取人心。中國傳統年畫、廣告看板與節慶色彩的形象， 自小即深植於俸正杰心中；其強烈、鮮艷的畫面欲挑起的是物質的慾望， 也是內心的渴求。而傳統張燈結綵的喧嚷與當今燈紅酒綠的氣氛有如一種本質上的延續， 只是型態已隨著價值觀悄然轉換；俸正杰將民間的艷俗文化登上藝術殿堂， 實在於巧妙的觀察、感受到此種契合的轉換。無論是認同、讚揚、反省或嘲諷， 藝術家欲呈現的是我們的確身處其中， 既享受當代消費性社會的繁麗虛華， 也不可避免的經驗這股虛渺。承載過去、現在， 甚至預視著未來， 俸正杰成功的將一張張美人面孔， 描繪成當代人普遍的心理肖像。 €25, 000 - €30, 000 FENG ZHENGJIE - PORTRAITS DE CHINE N°9 signed in Chinese and Pinyin and dated 2006 oil on canvas FENG ZHENGJIE Chinese Portrait - G Series No. 18, 2006 €50, 000 - €60, 000 FENG ZHENGJIE - CHINESE PORTRAIT, SERIES N°30 HKD60, 000 - HKD90, 000 This work is in very good condition overall. There are minor signs of handling along the edges of the canvas. The surface is irregularly textured, which is inherent to the artist’s working method. There are minor signs of accretion at an area 41. 5 cm from the left edge and 43 cm from the bottom edge. Under Ultraviolet light inspection there is no evidence of restoration. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale TWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE. " View additional info and full condition report.
This man is an amazing artist I believe we were created in God's image because only man can paint like that Wow, just beautiful. 15:49 what the hell happened there? He couldn't get the whole face in one stroke lol. I played this to my Neighbor's Wall Now it's Wan Li Chang Cheng. 
O.M.G!Stunnnniiinnngg work of art!U have a genial talent! for sharring. Boyfriend pala yan ng babae na chinese n positive bat hindi inanounce n dati na positive din bakit yon lng babae...
Without sign in Chinese portrait. I love this video! Thank you. Cette jeune femme est tellement intelligente et exemplaire. Elle n'essaye pas de cacher qui elle est et c'est super satisfaisant. Without sign in chinese portrait designs. Di na ako magtataka kung bakit tayo sa pilipinas ang pinakaunang namatayan ng patient na may ncov, dahil sa poor service ng kayo handa! Nagpepretend lang kayo... kunwari handa kayo at kalmado.
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Without sign in chinese portrait clip art. Without sign in chinese portrait photos. Poor man, I hope he's at peace now. Without sign in chinese portrait template.
Without sign in chinese portrait images. America : Exist China : Im about to end this man's whole career. 2:41 my drawing result in 1 hour. Yes Yes Yes ON ALL EVERYTHING THAT IS GOD YES. Black People need to know this story.
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