1994年春天，在日本艺术市场“五年磨一剑”的曹勇以杰出人才的身份移居美国。
　　对曹勇来讲，从出生地到他艺术思想的摇篮—西藏，最终到达美国的过程是一次漫长而艰辛的旅行，在这个旅途中，他对艺术的倾情奉献以及对人类的悲欢出神入化的诠释都是以其生命作为代价的。或许，曹勇早期的思考是直接由西藏那块神性的土地造就的，历经岁月的磨砺，当他在一次又一次的渐悟的过程中，他终于发现，内心深处有着更加无限辽阔而又深邃的宇宙堂奥……曹勇在这个旅途中日渐成熟，而成熟就意味着不断地刷新使命。高科技都市林立的美国将带给他什么样的绘画题材呢？拥挤的空间是否会排挤掉自由的灵魂？
　　人们常说，纽约对艺术家来讲是“天堂”和“地狱”的中转站，而曹勇将要面对的，就是在这片充满活力、充满机会、充满竞争的未知的海域里，接受世界一流的国际艺术舞台的考验，接受艺术殿堂更高层次的冲击和挑战。
　　一踏上美国的土地，无拘无束、繁荣而活力四射的美国社会生活就给了曹勇全新的感受，他意识到，自己过去驾轻就熟的绘画体裁已无法表达现实的体验和情感，他再度陷入痛苦的思索中。偏偏在这时，从日本带来的几年的积蓄又被股票经纪人输个精光，曹勇不得不重新面对生活的窘境。命运再次将曹勇丢进了“炼狱”。
　　在最艰难的日子里，曹勇将每天的生活费控制在5美元以内，闭门研究画画。他挑着自己的画作去敲一家又一家画廊的大门，一次又一次吃了闭门羹，但曹勇立下誓言，在任何情况下绝不走其他挣钱谋生的捷径，他坚信，总有一天自己能在这世界最大的竞技舞台上打出一片天来。
　　尽管他的西藏画在美国艺术界再次博得掌声，尽管世界著名的克里斯蒂拍卖行拍出他的杰作，但曹勇决定把过去的自己彻底埋葬掉，从严酷的阵痛中产出新型的宁馨儿，而这，意味着一切从零开始。
　　为实现从苍茫雪域到天上街市的转变，在美国的最初3年，曹勇驾着车，从东到西，从南到北，几乎访遍了美国的每一个州，亲历美国人的生活，转换内心的思维方式，经受脱胎换骨的艰难历程，探索新题材，新风格，新技法。他以非凡的毅力没日没夜地画就了200多幅探索和尝试性的作品，每一幅都试图以一种崭新的方式诠释自己。
　　1997年，曹勇迈上了横穿美国的旅程。他驾着一辆破车，带着相依为命的小鸟“秃皮”由纽约一路风尘来到洛杉矶。他说，西部灿烂的阳光可以把他带回西藏。
　　站在圣莫尼卡的海岸，远眺太平洋的浩淼与壮阔，激赏落日的余辉，曼妙的月色，月光下的波光粼粼，海角明灭不定的灯火，曹勇被这远离暴风骤雨的太平、祥和与宁静震服了！他突然发现，世界原来蕴藏着如此灿烂温暖的色彩，自己正站在一片充满了美丽和欢乐的新天地里。此情此景，强烈地唤醒了曹勇记忆深处的西藏映象，他的心恍惚又回到了苍凉的雪域……
　　人生有苦难，有挣扎，但也有盛宴和庆典，艺术家为什么不能多创造些欢乐与芸芸众生分享呢？
　　此时此刻，曹勇心中的又一扇门打开了，从这扇门中，汨汨涌出了全新的“金色海岸系列”、“浪漫花园系列”、“威尼斯系列”、“夏威夷系列”、“巴黎系列”和“地中海系列”。曹勇将古典主义、浪漫主义、写实主义溶为一体，并借鉴印象派的光色效应，将发自灵魂深处的激情，将对生命和生活真挚的爱，一股脑融汇到一幅幅讴歌纯正的人性和大自然的迷人风情的作品中：金色海岸的夏夜狂欢，神秘的威尼斯的回忆，阳光下的鸟语花香，彩虹映照下爱的祝福……曹勇甚至把舞蹈、音乐等多种艺术元素引入创作中，丰富自己的绘画语言，营造出人们最为心仪的艺术境界。他要把他的画变成一个盛大的Party，一个多姿多彩、老少咸宜的Disney。当谈到标志着他艺术生涯重要转折点的作品《圣莫尼卡》时，曹勇说：“直到今天，我仍能清楚地感觉到我把内心的触动倾泄到画布上的那份狂喜的颤栗，当我描绘近二百个人物在夏夜街头的节日中狂欢时，我自己也正在欢庆内心的盛典。”
　　1999年，曹勇创立了自己的出版社，毅然将作品推入了西方绘画市场中发达而成熟的有限印刷品市场。2000年，曹勇重返纽约，以艺术家和发行商的双重身份参加每年春天在这里举行的国际艺术界的盛会—纽约艺术博览会，这是他的企业和作品面对国际艺术市场的初次亮相。几十幅热情洋溢的作品一鸣惊人，人们惊叹画坛黑马的出现，上百家画廊竞相要求做他的代理商。2001年，“曹勇出版社”以骄人的成绩再次现身纽约，这时的曹勇已成为美国家喻户晓的画家。恍若“一夜春风过洋来”，曹勇的画如潮似涌地奔进了美国的千家万户，人们以极大的热情拥抱曹勇的艺术，曹勇出现在哪里，“曹勇迷”就追踪到哪里。每度画展，展厅里总是挤得水泄不通，人们每捧着曹勇的画喜极而泣。这一切被舆论界称为“曹勇现象”。近年来，曹勇的油画作品及有限印刷品，不断成为美国画廊、收藏家和“曹勇迷”们竟相购买的热点，曹勇出版社在美国经济全面不景气的情况下，保持稳健的上扬趋势，跻身于美国艺术市场最受欢迎和最具竞争力的行列。目前其销售网络已扩展到加拿大、日本和欧洲市场。在美国的印刷画二手市场上，曹勇的画始终居于领先地位。
　　曹勇认为，人们之所以爱他的画，是因为彼此都能体会到生活中的美和生命的可爱。 佛罗里达州一位画廊老板对曹勇说：“我从来没有看见买画的人出于对画家如此真挚的感激，他们感受到一种心灵的碰撞，感受到你给予人们的爱和温暖。”加州一位生活并不宽裕的妇人在油画《巴黎的梦》前久久徘徊。她含泪告诉曹勇，她曾和丈夫在画中的咖啡馆度过了最甜蜜最浪漫的时光，两年前丈夫病故了，这幅画使她重温旧梦深感慰藉。她将丈夫的遗物放在花园里卖（yard sale），当她数得所得收入刚好能够买这幅画时惊喜不已，她相信：这是丈夫从天堂送给她的礼物！一位得了癌症的收藏家说：“亲人们在家里每天为我用灯光照着曹勇的画，看着画，我深受感动，感到无限的平静和祥和。”在加州拥有八家画廊的鉴赏家马丁·布朗在接受电视台采访时说：“没有一个画家能像曹勇那样，使画面充满梦幻，充满惊喜，让人们情不自禁地进入他营造的这个地球上美丽的乐园。我认为曹勇是本世纪最伟大的画家。我们所能期待的是：他将美好生活的信息不断传达给美术收藏家们，同时传达给世界上所有爱好和平的人们。”
　　在回顾自己几十年的生命旅程时，曹勇说：“从河南老家到神秘西藏，到日本，到现代化的美国，我不知不觉地经历了一场大融汇：古代的、现代的，东方的、西方的，中国的、日本的、欧洲的、美国的、世界的，以及各种流派的，所有这些孕育着变化的过程都让我感到，一个画家将内心和自然万物的沟通，以及与人们分享的重要性。”
　　曹勇就像一只蜜蜂，从一片花瓣飞到另一片花瓣，捕捉生命中每一天的新鲜与芳香，给看他作品的人带来幸福和舒适。他认为，作为一名画家，活着的意义就是：能给世界留下一眼清泉，留下内在的、真实的、最接近生命本源的泉水。
　　2004年，几经沉浮、漂游海外十几载的赤子曹勇，回到了魂牵梦绕的精神家园，再一次“与西藏干杯”。
　　曹勇说：“在西藏有过摸到了天的感觉，但那是灵性的感悟，像一个东西进入了你的身体。重要的是，我在西藏的荒原和大山间流浪时发现，我忽然能听懂大山的长啸和荒原的喘息，那是一种回归到生命源头的兴奋，是一种融入到浩瀚无垠宇宙的狂喜。”
　　曹勇来自东方，却又已然属于西方。其实，在他的骨子里，原本就没有东西之分。一如他现在的“天上的街市”，一切都追求圆融通透，追求大彻大悟的超然之境……
　　哦——
　　詛嘛呢叭咪哞……
　　In the spring of 1994, after a five-year stay in Japan, Cao Yong, an outstanding artist in the Japanese art world, relocated to the United States.  Cao Yong's move from his birthplace in China, to Tibet, the cradle of his artistic thinking, to Japan, where he achieved recognition and success, and, finally, to the United States, was a long and bitter journey.  Through his journey, he matured, constantly taking on new missions in life. During this time, he devoted his heart and soul to his artwork. His passion was to exhibit his experiences of life on canvas to share with the world.
　　What scenes would Cao Yong be inspired to paint in the United States? A country with a great number of cities, built with sophistication and high technology, What impact would these paintings have on it's people and their souls?
　　Upon his arrival to America, Cao Yong made New York City his home.He was overpowered by a new feeling that needed to be expressed through his art.  To him, American society expressed ideals that reflected liberty, prosperity, and the vitality. He realized that his previous painting language, of which he had a sound command, could no longer express his experiences and feelings in this new world.  Once again, he reached down into his soul's deepest recesses.
　　It is often said by artists that New York City is a transit station between Heaven and Hell. Known as a city filled with life, energy, opportunity, and competition, Cao Yong was exposed to the test. Like the amazing flash of a shooting star, he entered the arena of the world's top international artists, astounding and challenging their world. 
　　Fate once again threw him into a dilemma. Unfortunately, the wealth he had accumulated over the years was squandered by those whom he had trusted to help him with investments.  He was faced with a fresh round of extreme financial hardships and predicaments. During this time, Cao Yong budgeted himself to spending only five dollars a day. He stayed at home and studied painting.  He tried to sell his paintings to many galleries, but because he was unknown as an artist, his paintings did not sell. Despite these obstacles, Cao Yong vowed never to compromise his art to earn a living.  He firmly believed that, one day, he would finally be successful in the Western art world.
　　His Tibet Specific paintings once again received acclaim this time from art circles in the United States.  Because of his poor financial condition, he was forced to sell some of his beloved masterpieces at the famous Christie's auction house.  His paintings brought an impressive amount of money, and he was able to start over once again.
　　In order to achieve a new transformed painting style different from that of the vast snowy Tibetan Plateaus to one that would be appropriate in prosperous American cities, Cao Yong spent the first three years of his stay traveling throughout the United States.  The journey on the road exposed him to life in America; but, more importantly, it transformed his way of thinking. The journey was filled with explorations of new subjects, styles, and techniques of painting.  With an extraordinary perseverance, he painted over 200 self- exploratory and experimental works.  In each of these works, he tried to reinterpret himself in a new way.
　　In 1997, Cao Yong, with his pet bird, Toby, drove his car from New York City to Los Angeles, California.  He stated that the brilliant west coast sunshine brought him back to his days in Tibet.
　　Standing on the Santa Monica Pier, Cao Yong looked at the vastness and magnificence of the Pacific Ocean. He basked in the afterglow of the setting sun, the softness and grace of the moonlight, and the flickering lights in the coves. He was overwhelmed by the peace and tranquility that this place exuded.  He visualized many brilliant and warm colors in the world, and saw himself standing on a new horizon full of beauty and joy. 
　　These wonderful new sights caused Cao Yong's memories to return him to the desolate snow-capped plateaus of Tibet. He thought-Life is full of pain and struggles, but it is also filled with happiness and celebrations. An artist should create more beauty and joy to be shared with all living beings.
　　At this moment, the doors to his soul opened, and through them poured the Golden Coast, Romantic Garden, Venice, Hawaii, Paris, and Mediterranean Series.From the deep seated passion of his soul and his love for life, he drew upon the color and light effects of the impressionists, and integrated classicism, romanticism, and realism into his works.
　　He dedicated them to the purity of humanity and the charms of nature, the summer night carnival on the Gold Coast, the mysterious memories of Venice, the singing birds and blooming flowers in the sun, and the good luck wishes below the rainbow.  He even integrated dance, music, and a number of artistic elements into his paintings in order to enrich his painting language and create an artistic realm pleasing to the eye. He wanted to turn his paintings into a grand occasion or a fantasy world suitable for the young and the old.
　　When discussing Santa Monica, a work marking a significant turning point in his art career, Cao Yong said, "Even today, I can still clearly sense my great joy as I poured my heart-felt emotions onto the canvas. When I painted the 200 plus figures enjoying themselves at the pier on a warm summer's night, I experienced a wonderful celebration in my heart."
　　In 1999, Cao Yong formed his own publishing house.  He put forth a limited number of artworks into the western market.  In the year 2000, Cao Yong returned to New York-- not only as an artist, but also as a publisher.  He exhibited his artworks at the New York Art Expo, a great international art exposition, held once a year in springtime.  This was the first appearance of his enterprise and artworks on the international market. His numerous works proved to be a great force at the Art Expo. People marveled at the rise of this new and immensely talented artist.  Over 100 galleries competed to act as his agent after his startling exhibit.
　　In 2001, and 2005, Cao Yong's Publishing House again exhibited Cao's work at the New York Art Expo.  Already a household name in America, his paintings were very popular and widely sought after. Like a fresh breeze crossing the sea at night, people embraced his art with passion.  In just a short period, Cao Yong's artworks hung in numerous American homes.  Wherever Cao Yong went, his fans followed.When his artworks were exhibited, the galleries would be packed with collectors, some of them overcome with tears. The media often referred to them as the "Cao Yong phenomenon."
　　Cao Yong's publishing house grew and ascended to the ranks of the most popular and competitive art publishing house on the American market. Its sales network has expanded and covers the Canadian, Japanese, and European markets. Cao Yong's works of art have played a dominant role in the art markets of the United States.
　　Cao Yong stated that the reason why people love his paintings is that he shares the same emotional opinion about the beauty and charm of life as they do.  The owner of a gallery in Florida told Cao Yong, "I've never seen customers feel such sincere gratitude for a painter.  It's as if they were personally experiencing the spiritual awakening, love and warmth you give them."
　　A California woman stood before the oil painting, Parisian Dream, with tears in her eyes. She told Cao Yong that she had spent her most memorable and romantic moments with her husband at the cafe depicted in the painting. Her husband had passed away two years earlier, and that painting reminded her of the "sweet old days."  She added that, to view it, gave her much comfort.  She held a yard sale to dispose of her husband's personal belongings from which the earnings from the sale allowed her to purchase the painting.  Thus, she believed that the painting was a gift that her husband had sent to her from Heaven!
　　An art collector who was suffering from cancer said, "Every day, my family members lights a lamp before one of several paintings created by Cao Yong, and every time I see it, I am greatly moved and feel extreme peace and tranquility."
　　During a television interview, Marty Brown, proprietor of a chain of eight galleries in California said, "Except for Cao Yong, no artist can fill his paintings with such fanciful surprises. People cannot help but enter the beautiful and earthly paradise that he has painted. I believe that Cao Yong is the greatest artist of the century. We wish that he continues to convey the message of a beautiful life not only to collectors of fine art, but to all peace loving people in the world, as well."
　　Cao Yong, in recalling the journey of his life over the past several years said, "In the process of moving from my hometown in Henan Province, China, to the holy land of Tibet, to Japan, and finally to the modern United States, I subconsciously experienced a massive integration. It was the integration of ancient, modern, Eastern, Western, Chinese, Japanese, European, American, and international art, as well as various schools of art.  From this integration, there was an emergence of change. I felt the importance of communication between the soul of a painter with that of everything in nature, as well as the importance of sharing with others."
　　Cao Yong is very much like a bee flying from flower to flower.  By embracing each day with enthusiasm and wonder, he brings happiness and comfort to all who see his paintings.
　　In 2004, after ten years of struggle overseas, Cao Yong finally returned to his spiritual homeland of Tibet.  Cao Yong said, "In Tibet, I felt as if I had touched the sky, as if something had entered my body for a lifetime.  I understood the sighs of the mountains and plateaus, and that was an inspiring feeling. These valuable memories are an intricate part of my life."
　　Cao Yong was born in the East, but he also belongs to the West.  He encompasses both worlds within him.  In the mind of Cao Yong, there is no distinction between East and West. Just as he depicted his vision in The Streets in Heaven what he always pursues is a thorough integration of supreme enlightenment.