《肥唐瘦宋》闲舞人舞蹈工作室6.docxVIP

首尾相依，卧在云朵之上，既如盛开之莲的花心又如同潭水中绽放着一片曼妙的莲花，让人心旷神怡。花开见佛性，佛与莲花皆出淤泥而不染，正所谓十方诸佛，同生于污泥之浊，三身证觉，俱坐于莲台之上，此情此景，呈现清净无碍、喜悦祥和之意。With their heads and feet connected with each other, they are crouching on the clouds, looking like the heart of lotuses in full bloom and lithe and graceful lotuses blossoming in the pond, which make people completely relaxed and happy. Buddha nature is embodied in the blooming lotuses. Both Buddha and lotuses have the same quality--living in the silt but not imbrued. Just as the old saying says, “All the Buddhas in the ten directions were originally born in the dirty sludge. However, when they achieved actualized awakening of three kayas, they were all seated in the lotus thrones”. The scene presented the feelings of unhindered peace and quietness, as well as joy and auspiciousness.《莲花》感化了人们的心灵，从而起到了以莲化舞、以舞传佛、以佛托舞的“功能效应”，悦耳悦目、悦心悦意、悦志悦神。不少人认为无论演员塑造的是什么性格、气质的佛陀形象，他们塑造的都是神，他们营造的都是宁静、和谐的氛围和佛国万象的情景，舞者在心里呈现出各种美妙的景象，同时伴随着各种神妙的悦乐将气息、情感、思维高度融台。舞者的精伸体验把观众带入了禅定忘我的境界，观赏《莲花》的观众，从舞蹈塑造的佛陀形象及所表现的唯美意境中感受到它的“沉静”和“纯美。“观想念佛”般像虔诚的佛教徒一样将动作升华成对佛陀的敬畏和对舞蹈的热爱，所感受到的是一个不增不减，无求无欲，自在圆满的精神世界。Lotus influenced people’s heart, thus producing the “function influence”—transforming lotuses into dance; conveying Buddhism through dance; set off dance with Buddhism by contrast, which pleased the audience’ ears and eyes and provided impressive emotions and spirits. Many people think no matter what characters and temperaments of Buddha images the dancers created, it was the image of deity that they created and it was tranquil and harmonious atmosphere and scenery of Buddhist Panorama that they created. In their heart, dancers presented various kinds of beautiful scenes and integrated highly flavors, feelings and thoughts, accompanied by all kinds of fantastic pleasures. The spiritual experience of dancers brought the audience into the state of jhana and ecstasy. The audience viewing Lotus felt the “tranquility” and pure beauty in the aesthetic conception presented by the dance and the Buddha imag