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    时间:2018-11-12 07:13:15来源:何蓉文库网本文已影响何蓉文库网手机站





      My Longing and Yearning


      Xiao Hong


      In 1911 I was bom into a small landlord family in a small county town in Helongjiang—China’s farnortheastern province where it snowed for four months of the year.


      Father was almost inhumanly avaricious. To his servants, his children and even his own father,he was just as miserly and indifferent, or heartless for tha matter.


      Once:because a tenant failed to pay his rent, Father detained his cart and horses. Thetenant’s family knelt in front of Grandpa, pleading for mercy with tears in their ey六扇门最新配信es. Grandpaunharnessed the two brown horses from the cart and gave them back to the tenant. Over thisFather wrangled with him far the whole night. “Two horses don’t mean much to us,” saidGrandpa, “but they are the life-blood to the poor.” Father bickered on.


      when I was nine years old Mother died and Father became worse. If you accidentally broke asmall thing like a cup, he would keep throwing curses at you until you shivered all over. Latereven his eyes could cast crooked glances. Whenever I passed by him, he would eye mesideways with his arrogant look streaming down the bridge of his nose and then off the comerof his laouth, making me feel as if pricked on needles.


      ln snowy evenings I would sit with Grandpa by the stove, listening to him leading poems,watching his pink lips while he was reading.

      父亲打了我的时候,我就在祖父的房里,一直面向着窗子,从黄昏到深夜——窗外的白雪,好象白棉花一样飘着;而暖炉上水壶的盖子,则象伴奏的乐器似的振动着。 祖父时时把多纹的两手放在我的肩上,而后又放在我的头上,我的耳边便响着这样的声音:

      When Father beat me, I would go to Grandpa’s room and stood by the windiow from eveningtill late into the night, watching the white snow falling like cotton, while the lid of the kettle overthe stove clinked like a musical Instrument playing accompaniment. Grandpa would put hiswrinkled hand on my shoulder and then my head, saying into my ear:


      “Grow quickly, my child. When you are grown, things will be better.”


      At the age of twenty I fled home. Even today I am still wandering around Kke a hobo.


      “Grown” as I am, but things are not any “better ”.

      可是从祖父那里,知道了人生除掉了冰冷和憎恶而外,还有温暖和爱。 所以我就向这“温暖”和“爱”的方面,怀着永久的憧憬和追求。

      However, from Grandpa I have learned that in life there is not only coldness ind hatred, butalso warmth and love. For that “warmth and love I will keep longing and yearning.


      A Shy Dreamer


      Zai Mei


      Our bedroom has no full-length mirror. There is one at the canteen entrance. I always cherish asecret desire to take a peep before it at myself in a beautiful new dress. However, each timewhen it comes to the fulfillment, I get seized with such an uneasiness that I literally staggeraway—backing out at the critical moment.


      Shy I am, so helplessly!


      At the root of it is my difference by which I have been enslaved since childhood. It embarrassesme at the mildest flattery, crushes my utmost efforts to say "no", and prevents me fromasking my parents for one cent more than necessary. Among other things, diffidence haswormed it way into my love piano.


      At the age of 14, one Sunday morning, I was woken up by a resounding hymn. Tracing that callof God into a neighbouring church, I found myself inexorably attracted by the melody of apiano—something beyond the means of my parents. To make it worse, people say a pianist issupposed to have music in the blood, but I believe I had none from my engineer father andtechnician mother. For days on end, I kept thinking of nothing else. I had a dream.


      It wasn't a dream after gold, which enticed some of my close friends to engage in business asa self-employed trader or a street pedlar. I was sometimes dazzled by their gold rings orelegant necklaces behind which, however, I seemed to catch sight of skeletons in theircupboards and was frightened away from the craze for fortune. Out of despair, I retreatedinto seclusion, diffidence weighing heavy on me. I could do nothing but turn to my dream forcomfort, for courage to aim high and wish for the impossible. I was convinced that before Icould afford anything expensive(to me, it was a piano), I should climb up the academic ladderas high as possible.


      For the next nine years I carefully smothered my hazy aspiration for music to keep aflame myquest for learning, especially in English studies. My efforts were so rewarding that I wentsuccessfully through high school and college in my hometown. When I received the admissionnotice for a second degree course at a prestigious university in Beijing, the national capital,tears welled up in my eyes. I knew my command of English was my asset, for I might make adeal with a pianist who would give me across to his piano in exchange for English lessons.


      And that has come true!


      To this day whenever I lay my fingers on the snowwhite keyboard, ready for a melody, I stillfeel shy. I am quite aw六扇门最新配信are of my limited music talent, but as a shy dreamer I have found myway to success—making every effort to turn a dream into reality.


      The Famous Monastery Witnesses Vicissitudes

      常书鸿 李承仙

      Chang Shuhong& Li Chengxian


      At the invitation of the Buddhist abbot of the Date Monastery in Tokyo, Japan, Li Chengxianand I did a set of mural paintings of th六扇门最新配信e Xuanzhong Monastery—Monastery of Mystery for theDate Monastery from July 24 to October 30, 1985, thus carrying out the behest of KeikyoSugehara, the late abbot of the well-known Japanese Buddhist temple.


      The Mystery Monastery is located in the Lvliang Mountains, 60km from Taiyuan in ShanxiProvince, China. Records show that the temple was built by an eminent monk named Tanluan inthe 2nd year of Yanxing (472) of the Northern Wei Dynasty (386—534). Master Tanluan was aBuddhist scholar, specializing in the Sukhavati Sect. He wrote The Twelve Gathas of theSukhavati and some other important works. He won the respect of Emperor Xiaowen, whogranted him the title of “Tan, the Immortal”. That is why Master Tanluan is commonly regardedas the founder of the Sukhavati Sect.


      In the Sui (581一618) and Tang (618—907) Dynasties, eminent monks like Daochuo andShandao became abbots of the temple successively, where they distinguished themselves inthe study of the doctrine of the Sukhavati Sect. The Mystery Monastery is the first temple ofthe Sukhavati Sect and a principal Buddhist temple in Northern China. Obviously, the Monasteryoccupies an important position in the history of Buddhism in China. Although it was destroyedmany times during dynastic wars, it was rebuilt time and again so that it is now preserved asbefore.


      Since the Tang Dynasty, the doctrine of the Sukhavati Sect originated by Tanluan, Daochuoand Shandao has been passed on to Japan, where Japanese eminent monks like Horan andQinluan founded the Sukhavati Sect in Japan on the basis of the Buddhist works by the above-mentioned three Chinese masters. That is how the doctrine of the Sukhavati Sect, whichoriginated in the Mystery Monastery in China, has been wide spread in Japan.


      On December 27, 1920, Dr. Daitei Tokiwa, having gone through all kinds of hardships anddifficulties, reached the Mystery Monastery in Shanxi Province. He wrote many books to confirmthe fact that the Japanese Sukhavati Sect of Buddhism originated in the Mystery Monastery ofChina. In the fall of 1942, Dr. Daitei Tokiwa and Master Keikyo Sugehara made a special trip tothe Mystery Monastery and held a ceremony there in commemoration of the 1,400thanniversary of the death of Master Tanluan. Having a deep respect for the founder, MasterSugehara picked a handful of dates from the date tree in the Monastery and took them toJapan. He planted the seed in his monastery, where, with the meticulous care, it has growninto a big date tree. So Master Sugehara named his temple “The Date Monastery”.


      After World War II, friends in the Japanese Buddhist world did a lot to promote the friendshipbetween Japan and China under most difficult conditions In 1953, Eyun Otani, Keikyo Sugeharaand others gathered remains of over 7,000 Chinese prisoners of war who died in Japan duringthe war, and sent them back to China. In high praise of the Japanese friends for theircontributions to the normalization of relationship between the two countries, the late PremierZhou Enlai said: “Don't forget the well-diggers when you drink from the well.”


      In 1977, friends in the Japanese Buddhist world set up the Japan-China Friendship Associationof the Sukhavati Sect. Master Keikyo Sugehara in spite of his advanced age of 84, started thepublication of the magazine True Disciples of the Mystery Monastery, thus making fresh effortsto promote the friendship between the Japanese and Chinese peoples.


      As early as 1958,the year when the Dunhnang Murals Exhibition was held first time in Japan,Master Keikyo Sugehara invited Li Chengxian and me to do paintings of Wutai Mountain for hismonastery. As that was the time when we were busy restoring the Dunhuang Murals, we couldfind no time for that task. In February, 1982, Master Sugehara passed away. To carry out hislast wish and promote the friendship and cultural exchange between Japan and China, thepresent abbot of the Date Monastery sent us an official invitation to paint murals in the newlyconstructed Main Hall of his monastery. In 1985, the Chinese Ministry of Culture and theChina Buddhist Association entrusted us with the responsibity for the work.


      As Li Chengxian and I had engaged in the study and copying of the Dunhuang Murals for 40-odd years, we did the set of mural paintings of th六扇门最新配信e Mystery Monastery after the techniques andstyle of the Dunhuang art. The murals are composed of 15 paintings, each presenting adifferent location or content: Wutai Mountain in Shanxi, Old Pines on Gua Hill, Twin Pagodas inTaiyuan, China-Japan Friendship trees, the Pure Land, to name just a few.


      We worked hard day and night for over three months. The paintings symbolize our efforts tocontribute to the friendship between the Chinese and Japanese peoples. May the culturalexchange be everlasting between China and Japan.







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