求一篇英语文章,主要是外国人评价中国的,要求2000字，非常感谢

急求一篇 外国人对中国人看法 的英语作文！！！~

In the past decade, China has greater influence over the world than ever before. More and more foreigners pay attention to Chinese people.
I have several foreign friends. According to them and their friends, they assume Chinese people have certain characteristics. Firstly, Chinese people are smart. We can product many well known brands and are good at imitating. Secondly, although Chinese food is delicious, most Chinese seem to be fond of spicy food especially. Also, Chinese people are rich enough to afford many expensive products.
As a matter of fact, most foreigners are fantastic by Chinese people for both their modesty and arrogance. Wish we can do better to impress positively in the global stage.

第一次写这个题目的作文，不知道你的水平，大概给你翻译下：过去十年中国给世界的影响比以往都大，越来越多外国人关注中国人。
我有几个外国朋友，根据他们和他们的朋友，他们认为中国人有几个特点：第一，很聪明，能制造世界品牌善于模仿；第二，美食很多，但喜欢吃辣的；第三，很富有，买得起好多奢侈品。
事实上，许多老外很着迷于中国人的既谦虚又骄傲的性格。希望我们做的更好在全球舞台上留下积极印象。
不认识的单词对照翻译基本就明白了。英语作文除了套句型，就是写提纲。

next and the joy of the game of livin

In no other cultural tradition has nature played a more important role in the arts than in that of China. Since China's earliest dynastic period, real and imagined creatures of the earth—serpents, bovines, cicadas, and dragons—were endowed with special attributes, as revealed by their depiction on ritual bronze vessels. In the Chinese imagination, mountains were also imbued since ancient times with sacred power as manifestations of nature's vital energy (qi). They not only attracted the rain clouds that watered the farmer's crops, they also concealed medicinal herbs, magical fruits, and alchemical minerals that held the promise of longevity. Mountains pierced by caves and grottoes were viewed as gateways to other realms—"cave heavens" (dongtian) leading to Daoist paradises where aging is arrested and inhabitants live in harmony.

The natural world has long been conceived in Chinese thought as a self-generating, complex arrangement of elements that are continuously changing and interacting.
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From the early centuries of the Common Era, men wandered in the mountains not only in quest of immortality but to purify the spirit and find renewal. Daoist and Buddhist holy men gravitated to sacred mountains to build meditation huts and establish temples. They were followed by pilgrims, travelers, and sightseers: poets who celebrated nature's beauty, city dwellers who built country estates to escape the dust and pestilence of crowded urban centers, and, during periods of political turmoil, officials and courtiers who retreated to the mountains as places of refuge.

Early Chinese philosophical and historical texts contain sophisticated conceptions of the nature of the cosmos. These ideas predate the formal development of the native belief systems of Daoism and Confucianism, and, as part of the foundation of Chinese culture, they were incorporated into the fundamental tenets of these two philosophies. Similarly, these ideas strongly influenced Buddhism when it arrived in China around the first century A.D. Therefore, the ideas about nature described below, as well as their manifestation in Chinese gardens, are consistent with all three belief systems.

The natural world has long been conceived in Chinese thought as a self-generating, complex arrangement of elements that are continuously changing and interacting. Uniting these disparate elements is the Dao, or the Way. Dao is the dominant principle by which all things exist, but it is not understood as a causal or governing force. Chinese philosophy tends to focus on the relationships between the various elements in nature rather than on what makes or controls them. According to Daoist beliefs, man is a crucial component of the natural world and is advised to follow the flow of nature's rhythms. Daoism also teaches that people should maintain a close relationship with nature for optimal moral and physical health.

Within this structure, each part of the universe is made up of complementary aspects known as yin and yang. Yin, which can be described as passive, dark, secretive, negative, weak, feminine, and cool, and yang, which is active, bright, revealed, positive, masculine, and hot, constantly interact and shift from one extreme to the other, giving rise to the rhythm of nature and unending change.

As early as the Han dynasty, mountains figured prominently in the arts. Han incense burners typically resemble mountain peaks, with perforations concealed amid the clefts to emit incense, like grottoes disgorging magical vapors. Han mirrors are often decorated with either a diagram of the cosmos featuring a large central boss that recalls Mount Kunlun, the mythical abode of the Queen Mother of the West and the axis of the cosmos, or an image of the Queen Mother of the West enthroned on a mountain. While they never lost their cosmic symbolism or association with paradises inhabited by numinous beings, mountains gradually became a more familiar part of the scenery in depictions of hunting parks, ritual processions, temples, palaces, and gardens. By the late Tang dynasty, landscape painting had evolved into an independent genre that embodied the universal longing of cultivated men to escape their quotidian world to commune with nature. The prominence of landscape imagery in Chinese art has continued for more than a millennium and still inspires contemporary artists.

Department of Asian Art, The Metropolitan Museum of Art

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求一篇英语文章,主要是外国人评价中国的,要求2000字，非常感谢视频