標題: 洪志评论(2)美国艺评家眼中鄙夷的满清文化
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洪志评论(2)

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美国艺评家眼中鄙夷的满清文化

从建国来就一直致力于建立新中国新文化的中国政府近来突然回归传统﹐对内对外大力推な所谓的中国文化-腐臭扑鼻的满清文化﹐一面是电视上辫子格格满天飞﹐一面是充斥于各种场合穿荌开叉旗袍搔首弄姿的露腿女人。对此乱象﹐有识之士已纷纷口诛笔伐﹐但国内一些权威动则就以外国人喜欢辫子旗袍做理由﹐借国际化之东风为满清文化造势。鄙人旅居美国已有年﹐深知西人颇讲仪﹐在正式场合﹐即便不喜欢也会说好。外国人是不是真心喜欢辫子旗袍呢﹖苍天见怜﹐我终于在月日纽约时报找到了答案.


北京故宫博物院最近瓣j量清廷物品来美国展示所谓的康乾盛世,并与ART INSTUTITE OF CHICAGO 联合举办了名为“SPLENDORS OF CHINA’S FORBIDDEN CITY: THE GLORIOUS REIGN OF EMPEROR QIANLONG”, 我暂译为>.为此﹐纽约时报发表了一篇相关英文评论.纽约时报是一家在全球较有影响的报纸﹐其办报风格严谨求实﹐绝不媚俗﹐纽约时报的编辑水平更公认代表茈美各大报纸的最高水准。相对于普通美国人对中国文化的一は所知﹐纽约时报的这篇文章代表了懂得中国文化的美国评论家对满清文化的认知。


作者一开文就指出清统治者是北方游牧民族,是相对中国鉹H而言的外国人,其民族是蒙韩以及JURCHEN人的混血﹐其文化是中亚,印度,西藏以及欧州文化的混合体: “The Qing were foreigners to Han China, northern invaders who called themselves Manchus. They named their Chinese dynasty Qing, which means pure, though there was nothing pure about it. The Manchus were of mixed Mongolian, Korean, Chinese and Jurchen stock. The culture they inherited as conquerers incorporated Middle Eastern, Indian, Tibetan and European influences.”


此外﹐作者特别选用了几张展品图片来展示满清的审美﹐并精辟地把满清的审美观归纳为MORE-IS-MORE的审美观, 即堆砌的,过份装饰的审美观。
“And in truth, although the Qing brought forms like jade-carving to a peak of technical finesse, for most 21st-century eyes, their more-is-more aesthetic is an acquired taste.”
ACQUIRED TASTE 指的是非先天的﹐并非直接发自于内心的﹐需要别人从旁指点才能认知的审美品位。例如你要观赏现代派的绘画﹐参观现代派的展览馆﹐你就非要有ACQUIRED TASTE不可。ACQUIRED TASTE 本身是中性的﹐但在作者的话中带上了贬憛M作者说“虽然清代把玉雕的技术发展到了技术(是技术﹐不是艺术〕上的极致﹐但对于绝大多数的世纪的人来说﹐要能欣赏这种堆砌的美﹐还需要些额外的修练。”

作者参观展览的收获并不是故宫博物院所设想的感受到了乾隆治下的盛世,反而感悟到虽然满民族表面上好象被中国华夏化了,实际上狶满民族的民族性L加给了统治下的中国人.
“The show is particularly useful in pointing out how the Qing, despite their assimilationist Chinese-ness, asserted their Manchu identity and imposed it on their subjects. Under their rule all men in China had to adopt a Manchu-style pigtail coiffure. Manchu women were forbidden to have their feet bound, an emblem of femininity among the Han Chinese elite. In couture, wide Chinese sleeves were out; narrow Manchu sleeves with flares were in, as were equestrian-style boots that reminded the Manchus of their distant nomadic history.”

中国政府花钱费力﹐从北京跨了大半个地球运来多件既SPLENDOR 又GLORIOUS 的清廷文物﹐意在对外宣传康乾盛世的文化大宴﹐珜Q美国放在专重于自然史﹐民族生成史和人类学的自然博物馆中对外展出了﹔而且还被懂得中国艺术的美国评论家评作了极具人类学价值的研究满民族的大好机会﹐这恐怕是出于中国文化权威们的意料之外了吧﹖

More Was More for One Ruler in Qing Dynasty
By HOLLAND COTTER

CHICAGO - When it comes to Chinese art, museums tend to supersize us. The Guggenheim dished up 5,000 years of cultural history in 1998. The Art Institute of Chicago packed a whole religion into its Taoism bash two years later. By comparison, "Splendors of China's Forbidden City: The Glorious Reign of Emperor Qianlong," at the Field Museum here, is spartan fare, covering the career of one ruler.
Believe me, though, we're not talking lean cuisine. Most of the 400 objects in the show, on loan from the Palace Museum in Beijing, date from the 18th century, when China, under the Qing dynasty (1644-1911), was in High Rococo mode. What the Qing wanted in court art was more: more ingenuity, more virtuosity, more bells and whistles, extra everything. When it came to scale, they went for extremes, the teensy and the colossal, cups the size of thimbles, jades the size of boulders. The Confucian middle way was not their way.
This is one reason the Forbidden City, a walled complex of apartments, offices, reception halls and temples in Beijing, the imperial capital, looked the way it did. Jammed and encrusted with decoration, it was tchotchke heaven. At least that's the impression conveyed by the environments reconstructed in this show, which include an imperial throne room and a Buddhist altar, and by individual items so extravagant as to amount to minienvironments in themselves, like a five-foot-high cloisonn□elephant with a lamp on its back.
The Qing were foreigners to Han China, northern invaders who called themselves Manchus. They named their Chinese dynasty Qing, which means pure, though there was nothing pure about it. The Manchus were of mixed Mongolian, Korean, Chinese and Jurchen stock. The culture they inherited as conquerers incorporated Middle Eastern, Indian, Tibetan and European influences. The official coronation portrait of the emperor Qianlong, around whom this exhibition revolves, was painted by an Italian Jesuit priest.
Qianlong, was an interesting guy, a real master-of-the-universe type, and to talk about him is to crunch some impressive numbers. He reigned for nearly 60 years, from 1736 to 1795, and ruled nearly 300 million people in what was then the biggest and richest empire in the world. When he took the throne at 25 he already had eight wives and several children; he eventually supported more than 40 consorts. His intellectual commitments were no less demanding. He wrote more than 44,000 poems and thousands of essays. He was a musician (the qin, or zither, he used is in the show), a better-than-average calligrapher and an avid though not-so-hot painter. As a ruler he was thoroughly hands-on. He had a phenomenal memory for administrative details, signed off on every edict issued by his government and made more than 150 lengthy public relations tours of China, meeting, greeting and scrutinizing to keep provincial officials on their toes.
His interest in cultural history was both profound and pragmatic. He knew that for political credibility the Qing had to be closely associated with Chinese tradition. To this end he sponsored a project to have all surviving Chinese writing from the past assembled, copied and securely stored. The job took 300 scholars and 3,600 scribes 10 years to complete and filled some 4.2 million pages. As an act of conservation it was invaluable. At the same time, it allowed the emperor to survey China's literary history and edit it. He destroyed thousands of books he considered anti-imperialist, almost as many as he preserved.
He also amassed an art collection of hundreds of thousands of paintings, ceramics, jades, textiles, pieces of furniture and metal objects, some of great antiquity, others brand new commissions. Among the more spectacular made-to-order pieces were religious objects, from solid-gold table-top stupas to a fancy-dress version of a Tibetan lama's ritual robe. Immodestly he had himself depicted in paintings as the bodhisattva of wisdom, Manjushri.
Court apparel was another big-budget item, with everything custom made and minutely coded to reflect hierarchical standing. The number of pearls in a consort's crown indicated just where she fell in the pecking order, as did the number of "eyes" in the peacock feather a courtier wore in his cap. The emperor was intensely sensitive to any breech of protocol.
The show is particularly useful in pointing out how the Qing, despite their assimilationist Chinese-ness, asserted their Manchu identity and imposed it on their subjects. Under their rule all men in China had to adopt a Manchu-style pigtail coiffure. Manchu women were forbidden to have their feet bound, an emblem of femininity among the Han Chinese elite. In couture, wide Chinese sleeves were out; narrow Manchu sleeves with flares were in, as were equestrian-style boots that reminded the Manchus of their distant nomadic history.
That history reached its zenith with Qianlong but began to lose its luster well before the end of his rule. For all his strengths, Qianlong was no Manjushri. He grew more repressive with the years and took on corrupt and grasping advisers. There were more book-burnings. The social mood grew coarse and parochial. From a height of tremendous, world-conquering potential, the dynasty slipped into decline until 1911, when the last Qing emperor, who was also the last Chinese emperor, left the Forbidden City and its kingdom of collectibles behind.
Modern art historians, Chinese and Western, have long treated those collectibles with disdain, concentrating instead on another aspect of Qing period art, a scholar-artist painting tradition that continued from the Ming. Surely it means something that this exhibition, which continues through Sept. 12, is appearing at a museum of natural history, ethnology and anthropology, not a museum of "art." And in truth, although the Qing brought forms like jade-carving to a peak of technical finesse, for most 21st-century eyes, their more-is-more aesthetic is an acquired taste.
There is no better way to begin acquiring than through the exhibition catalog written by Chuimei Ho and Bennet Bronson, curators at the Field Museum, a sterling example of hard history set out with a storyteller's skill. The show is a good introduction too, but of a different kind. Crowded, theatrical, it offers a total sink-or-swim immersion in a consumerist culture as awesomely polished as it is absurd, where Classical China and Turandot-in-the-Forbidden-City meet. That the giant gift shop at the exit is almost as big as the show makes perfect sense. Very Qing. Very us.

哈哈﹐他在倒数第二段里还写﹕

Modern art historians, Chinese and Western, have long treated those collectibles with disdain.

现代的艺术史专家﹐は论是中国的还是外国的﹐一直以来都对这些收藏品持鄙视态度。

最后一段﹕

Crowded, theatrical, it offers a total sink-or-swim immersion in a consumerist culture as awesomely polished as it is absurd, where Classical China and Turandot-in-the-Forbidden-City meet. That the giant gift shop at the exit is almost as big as the show makes perfect sense. Very Qing. Very us.


这个展览拥挤不堪、装腔作势﹐体现□一种充满铜臭味的文化﹐矫揉造作的可怕﹐荒谬的可笑。展厅一半的空间被出售纪念品的摊位占据非常有满清味

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作者一開文就指出清統治者是北方游牧民族,是相對中國漢人而言的外國人,其民族是蒙漢韓以及JURCHEN人的混血﹐其文化是中亞,印度,西藏以及歐州文化的混合體。为什么中国人就是这么难明白呢?

真是旁观者清啊!满清文物都是最贱的东西,邪恶腐败的满清怎能代表中华?!不知道忙活组织这个展览的头目谁? 可真让他白忙了一场!看来想讨洋主子的欢心也难呀!满清文化也拿的出手?还偏把满清拿出去显摆!现在1000多万满人,一大半聚集在北京城,近水楼台嘛,天子脚下,放个屁传到地方上都象炸雷,各地愚昧は知的老百姓盲目追风罢!北京满人集团从来拿鉹H不当一回事儿,自己拿荅}瓶子破罐子跑去给洋大人Y媚,结果碰了一鼻子灰!连洋大人也不买满清的帐!

评:
国共两党政府中的一些领导们一直宣扬的是,鉹H把满人同化了,
我们有必要告诉他们和他们的祖先,
是满人把你们的娘日了,不是你们把满人的娘日了。
是满人把你们的爹杀了,不是你们把满人的爹杀了。
那么,是你们把满人同化了,还是满人把你们同化了呢?
是满人以整理四库全书为名,篡改了鉹H的は数书籍,把鉹H的文化变成了满人的文化,当前要想找正统的华夏文化,就要到日本韩国去找。这分明是满人消灭了銆琱H的文化,而不是鉹H消灭了满人的文化。你们怎么就还装糊涂呢?
我要说得怎么明白你们才能理解呢?

我们必须正视这帚漱@个现实。
是满清的恶俗取代了銆琲漱憍,消灭了銆琲漱憍,而不是相反!

有人还说,不同的人有不同的审美观念,这种说法本身就是变态的。说这话的人,他一边吃大便也可以说,“不同的人有不同的学术品味”。




看毛泽东、江泽民、鲁迅、孙中山等人的文章,跟法轮功佛学会形成多么鲜明的对比!
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孙中山说满清统治者“贪残は道,实为古今所未有,二百六十年中,异族凌残之惨,暴君专制之毒,令我鉹H刻骨难忍,九世不忘!”

毛泽东同志在《抗日游击战争的战略问题》一文中明确地把宋亡于元、明亡于清看作民族危亡。他说:

“我们的敌人大概还在那里做元朝灭宋、清朝灭明、英占北美和印度、拉丁系国家占中南美等等的好|。这等|在今天的中国已经没有现实的价值,因为今天的中国比之上述历史多了一些东西,颇为新鲜的游击战争就是其中的一点。假如我们的敌人少估计了这一点,他们就一定要在这一点上面触一个很大的霉头”(《抗日游击战争的战略问题》第一章)。
他还说:

“岳飞、文天祥、曾静、戴名世、瞿秋白、方志敏、邓演达、杨虎城、闻一多诸辈,以身殉志,不亦伟乎!”

他在致友人的信中说:

“你的研究民族史的三个态度,我以为是对的,尤其第二个态度。如能在你的书中证明民族抵抗与民族投降两条路线的谁对谁错,而把南北朝、南宋、明末、清末一班民族投降主慦拑h斥一番,把那些民族抵抗主慦赞扬一番,对于当前抗日战争是有韺U的。”


江泽民高度评价史可法。史可法是扬州历史上一个著名的人物,也是江主 席心目中的英雄和一直效仿的楷模之一。史可法生于1602年,他亲眼目睹了 明王朝如何走向衰亡。他官至兵部尚书,1644年女真人攻占北京并建立清王朝以后,他仍拒绝承认他们的政权,并前往扬州准备守城。就在他抵达扬州的第二天,清兵包围了这座城市。尽管力量对比悬殊,史将军仍然拒绝投降。他送信给清军将领说:“城亡与亡,我意已芋A即劈尸万段,甘之如饴。”
  一周后,扬州城被攻破。史可法被俘并遭到杀害,成为南明王朝第一个以身殉职的高级官员。随时间的推移,他的事迹被人们な为传颂,直至史可法之死被视为神圣的殉难,足以“惊天地,泣鬼神”。
  在江主 席眼中,史可法代表了中国人最为崇高的理想:爱国、勤勉、忠贞、诚实、道德和奉Y。1991年,在一次接受俄罗斯媒体采访时,江再一次自豪地说起他所出生的那座城市及其最著名的人物。江说:“我是江苏省扬州人。扬州梅花岭下有史可法的‘衣冠冢’。冢前有一副对联:‘数点梅花亡国泪,二分明月故臣心。’”
  江主 席后来有一次回忆说,民族英雄史可法的墓就在他的家乡扬州,日本人侵略中国时,他和同学们星期天经常去咻Q,每当看到墓碑上的对联“数点梅花亡国泪,二分明月故臣心”,便激起一种抗日的激情,角发愤读书,树立好的民族气节。(节选《他改变了中国:江泽民传》作者:罗伯特•劳伦斯•库恩·美国)

孙中山:“ 何以说民族主还没有完全达到目的呢?自从满州来到中国,我们銆痝Q他征服二百几十年之久。”
“驱除鞑虏,恢复中华。”

章太炎:

1902年,章太炎等在日本东京发起《支那亡国二百四十二年纪念会》,提出“光复銆琚A还我河山,以身许国,功成身退”的誓词(“支那亡国”是指明朝亡於清朝的那一年)。
鲁迅:

“对我最初的提醒了满銂漪伬酊漱ㄛO书,是辫子,是砍了我们古人的许多的头,这才种定了的,到我们有知识的时候大家早忘了血史。”

“文字狱的血迹已经消失,满洲人的凶焰已经缓和,愚民政策早已集了大成,剩下的就只有‘功德’了。那时的禁书,我想他都未必看见。现在不说别的,单看雍正乾隆两朝的对于中国人著作的手段,就足{令人惊心动魄。全毁,抽毁,剜去之类也且不说,最阴险的是删改了古书的内容。乾隆朝的纂修《四库全书》,是许多人颂为一代之盛业的,但他们狺ㄕ捣乱了古书的格式,还修改了古人的文章;不但藏之内廷,还颁之文风较盛之处,使天下士子阅读,永不会觉得我们中国的作者里面,也曾经有过很有些骨气的人。”
“他们(满清皇帝)是深通鉹慦盡搊琲漣g主,以胜者的看法,来批评被征服的銆琲漱憭ぅM人情,也鄙夷,但也恐惧,有苛论,但也有确评,文字狱只是由此而来的辣手的一种……我们不但可以看见那策略的博大和恶辣,并且还能{明白我们怎岳异族主子的驯扰,以及遗留至今的奴性的由来的罢。 ”
“《前锋月刊》上用大号字题目的《黄人之血》的作者黄震遐诗人,不是早已告诉我们过理想的元帅拔都了吗?这诗人受过傅彦长先生的熏陶,查过中外的史传,还知道‘ 中世纪的东欧是三种思想的}突点’,岂就会偏不知道赵家末磲漱国,是蒙古人的淫掠场?拔都元帅的祖父成吉思皇帝侵入中国时,所至淫掠妇女,焚烧庐舍,到山东曲阜看见孔老二先生像,元兵也要指骂道:‘说“夷狄之有君,不如诸夏之は也 ”的,不就是你吗?’夹脸就给他一箭。这是宋人的笔记里垂涕而道的,正如现在常见于报章上的流泪文章一屆C”

“贼”、“虏”、“犬羊”是讳的;说金人的淫掠是讳的;“夷狄”当然要讳,但也不许看见“中国”两个字,因为这是和“夷狄”对立的字眼,很容易引起种族思想来的 。

“不亦快哉!”――到了一千九百十一年的双十,后来绍兴也挂起白旗来,算是革命了,我觉得革命给我的好处,最大,最不能忘的是我从此可以昂头露顶,慢慢的在街上走,再不听到什么嘲骂。几个也是没有辫子的老朋友从乡下来,一见面就摩茼菑v的光头,从心底里笑了出来道:哈哈,终于也有了这一天了。

“不能说话的毛病,在明朝是还没有这厉害的;他们还比较地能{说些要说的话。待到满洲人以异族入侵中国,讲历史的,尤其是讲宋末的事情的人被杀害了,讲时事的自然也被杀害了。所以,到乾隆年间,人民大家便更不敢用文章来说话了。”
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以前国共两党高层领导人反清的态度是非常鲜明的。可是在法轮功佛学会中,是怎么帚漫O?

大家看一看2006法轮功佛学会组织的新唐人晚会中的一组镜头
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看那男的,还拿辫子用英语说“pigtail”,并向全世界宣扬这就是中华传统文化呢,那女的则兴}}抑扬顿错介绍荂C
“中国有一个朝代,男人梳长辫子,女人戴荌玫U子,她们还穿茪T寸高的花盆鞋,请欣赏舞蹈‘大清仕女’……”
那女的说”男人梳长辫子“,那外国人就翻译说“the man wore long pigtail”……

这个节目之后就是我的干妹妹白雪的歌“找真相”。


一切都是佛学会安排的,可是,它们说,“这是师父要的”、“师父是神韵的设计者,总导演”、“这是师父选择的”,以我的名撏骗学员。这帚节目很多,你们可以系统的找一找,将来都是证据。这就是它们的“中华传统文明、五千年神传文化”,在它们这些满族人的眼里,最能代表”中华神传文化“的就是“pigtail”。

包括我在佛学会控制下的历次讲法,关于新唐人啊、神韵啊,佛学会都打荍琲犖X号行恶。
------------------------
  师:……大法弟子做什么中共邪党都害怕。大法弟子的文艺演出是纯正的中国文化,古文化,真正的神传文化,当然对中共邪党文化就会起到破除作用,它当然害怕。邪党不管怎么折腾,它是个流氓政府,它占据的只是中国那块土地,它搞什么也只能是中国范围的。新唐人这一搞那就是全球的,国际大赛,不管怎么帕O国际性的活动,(师父笑)(众笑,鼓掌)得奖者得的也是国际比赛奖。

当然了,什么事情哪,说起来简单,我一参与,这个性质就变了。大家知道,大法弟子是证实法,那师父来干啥的?师父来正法的。所以我要来做这件事情,面对的观众,我所要度的人,所要做的这件事情,都发生变化了。要想做好这件事情,就必须得达到最好的效果,真正能把那个人度了、救了,我才做,也必须得做到这屆C那么,我就不能象以前那么做了。以前因为大法弟子都是业余的在做,要做就做高水平的。当然有人说了,说师父要干啥,那一定是干最好的。是!不是最好的我也不干。(鼓掌)所以哪,我就叫人开始招收、组建舞蹈学校,选拔人才,组建乐团,所有这一系列事情要从基础上培养,然后要达到真正一流的演出效果。包括创作排练,许多事情师父也都参与了。你们也都听说了。

  不管怎么岱a,演出中孩子们也很争气,做的确实不错。人们看一个文艺演出能{看的落泪,这个很少见。神韵的演出,场场会有很多人从开始落泪到最后,还有更多的人不断在抹眼睛。场场都是这屆A人觉的很震撼。这个空间是孩子们在演,另外空间很多我的法身与很多神都在做。(鼓掌)震撼力和对人的改变,很象我当年亲自传法,(鼓掌)所以对人的改变很大。

文艺演出嘛,水平越高,人对他的接受越好,对人的改变也就越大,所以必须得是一个完美的演出。方方面面都得是完美的,大幕一拉开就是一幅最漂亮的画。要求上必须是舞蹈动作美、服装美、场景美。这个在现在的社会里人已经不懂这些了。人的审美观念是随茠会潮流在变化的,今天这个时髦说这个好,明天那个时髦说那个好。只有大法的理才是不变不动的,只有我们才知道什么是真正的美。因为大法弟子就是修真善忍的嘛,所以我们才能知道那真的好是什么,是不变的,才能{引起人善的一面、美好的一面的共鸣。这些常人做不到了。而且场上随蚨t员的歌唱、乐队的演奏和演员的舞动,打出来的能量那都是纯善的、慈悲的、极大的。其实场上有很多人的病都好了。现在看文艺演出的人还不知道,慢慢人们就会知道,看完演出思想净化了,身体好了,(鼓掌)所以这件事情我觉的做起来效果还是很好的。当然了,演出团多数是大法小弟子,这岸S不占用大法弟子资源。
-----------------------------

这一段以前唐奇评过,骂荍评的,在佛学会的淫威下,当年我不是讲神韵是我正法的工具么。

--------------------------------------
“那师父来干啥的?师父来正法的”,那为什么设计IGTAIL一段呢?哈哈,原来这pigtail还是李洪志正法要用的呢,那是不是还是个法器呢?“神鞭”,哈哈,想起那个电视来了。

看啊,李洪志说的很明确啊,“大法弟子”用pigtail演出的是“纯正的中国文化,古文化,真正的神传文化”,说pigtail“对中共邪党文化会起到破除作用”,还真TMD“神鞭”了。

“要想做好这件事情,就必须得达到最好的效果,真正能把那个人度了、救了,我才做,也必须得做到这屆C”,哈哈,原来这还是宇宙主佛的“pigtail神鞭度人大法”。

“当然有人说了,说师父要干啥,那一定是干最好的。是!不是最好的我也不干。”看来在李洪志的眼里,pigtail就是最好的了。我靠,我再也不笑话张艺谋老谋子了,他可比宇宙主佛李洪志L多了。

“我就叫人开始招收、组建舞蹈学校,选拔人才,组建乐团,所有这一系列事情要从基础上培养,然后要达到真正一流的演出效果。包括创作排练,许多事情师父也都参与了。你们也都听说了”,嗯,是呀,听说了,据说连满族衣服辫子还都是你做过整理的呢,腰带也是你系过,然后神韵那当传家玼諟毤荂C创作排练,那是,都是你设计的。

“人们看一个文艺演出能{看的落泪,这个很少见。神韵的演出,场场会有很多人从开始落泪到最后,还有更多的人不断在抹眼睛。场场都是这屆A人觉的很震撼。”看舁igtail,感动的落泪,我靠,什么世道?

“这个空间是孩子们在演,另外空间很多我的法身与很多神都在做。(鼓掌)震撼力和对人的改变,很象我当年亲自传法,(鼓掌)所以对人的改变很大。”哦,那你的法身是不是也留茪@个pigtail呢?那些神是不是也是这帘O?

“大幕一拉开就是一幅最漂亮的画。要求上必须是舞蹈动作美、服装美、场景美。这个在现在的社会里人已经不懂这些了。”L呀,就你李洪志现在还能把pigtail这一民族屈辱为美。还说别人不懂,好,你懂,你懂,你什么都懂。

宇宙主佛挥动R尾巴pigtail,法正乾坤……
--------------------------------------------

唐奇敢于骂我,为了震慑佛学会,而这种方式,也真的L烈的震慑了佛学会。神韵对我而言,真的是我的最大耻辱,其实神韵完全是邪灵搞的,狴滋荍琲漲W号,它们佛学会一顐灵,还L迫我女儿美歌也跳满清格格舞,你们很多都看到过。

这一切,虽然不是我愿意干的,但是,确确实实,都是我干的。

而蒙元满清的邪灵,就以此操控了千千万万的学员,毒害了は数亿的世人。并且把满族全面奴役銆琲计划也往前推进了一大步。我虽然不愿意,虽然是情非得已,但是,又毕竟真的是我做的。

我迟早要让佛学会给我一个交代,否则,我的耻辱可是洗刷不清的啊。


弟子们,你们也都来批判一下我当年被迫给佛学会神韵讲的那一段吧。


神韵,毒害了宇宙は量は际的众生!


里边总是满清舞,蒙古舞,西藏舞…………这些垃圾。

好容易勉L出现个穿銂A的,那銂A还被故意穿成左衽的。

大家把以前的神韵光盘找一下,把里边这帚澈扬满清蒙元的内容截取发上来,这些都可以是重大证据。也是世人的笑料了。


“让你活,你都不想活下去”

呵呵,我可没这么说过,估计你又是从哪听说过来的吧。

好死不如赖活荌琚Aは论任何情G下,保存实力都是最重要的。



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該用戶匿名發帖 發表於 2016-10-26 04:24 
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洪志評論(2)

看這篇文章
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美國藝評家眼中鄙夷的滿清文化

從建國來就一直致力於建立新中國新文化的中國政府近來突然回歸傳統﹐對內對外大力推廣所謂的中國文化-腐臭撲鼻的滿清文化﹐一麵是電視上辮子格格滿天飛﹐一麵是充斥於各種場合穿著高開叉旗袍搔首弄姿的露腿女人。對此亂象﹐有識之士已紛紛口誅筆伐﹐但國內一些權威動則就以外國人喜歡辮子旗袍做理由﹐借國際化之東風為滿清文化造勢。鄙人旅居美國已有年﹐深知西人頗講禮儀﹐在正式場合﹐即便不喜歡也會說好。外國人是不是真心喜歡辮子旗袍呢﹖蒼天見憐﹐我終於在月日紐約時報找到了答案.


北京故宮博物院最近攜大量清廷物品來美國展示所謂的康乾盛世,並與ART INSTUTITE OF CHICAGO 聯合舉辦了名為“SPLENDORS OF CHINA’S FORBIDDEN CITY: THE GLORIOUS REIGN OF EMPEROR QIANLONG”, 我暫譯為>.為此﹐紐約時報發表了一篇相關英文評論.紐約時報是一家在全球較有影響的報紙﹐其辦報風格嚴謹求實﹐絕不媚俗﹐紐約時報的編輯水平更公認代表著全美各大報紙的最高水準。相對於普通美國人對中國文化的一無所知﹐紐約時報的這篇文章代表了懂得中國文化的美國評論家對滿清文化的認知。


作者一開文就指出清統治者是北方遊牧民族,是相對中國漢人而言的外國人,其民族是蒙漢韓以及JURCHEN人的混血﹐其文化是中亞,印度,西藏以及歐州文化的混合體: “The Qing were foreigners to Han China, northern invaders who called themselves Manchus. They named their Chinese dynasty Qing, which means pure, though there was nothing pure about it. The Manchus were of mixed Mongolian, Korean, Chinese and Jurchen stock. The culture they inherited as conquerers incorporated Middle Eastern, Indian, Tibetan and European influences.”


此外﹐作者特別選用了幾張展品圖片來展示滿清的審美﹐並精辟地把滿清的審美觀歸納為MORE-IS-MORE的審美觀, 即堆砌的,過份裝飾的審美觀。
“And in truth, although the Qing brought forms like jade-carving to a peak of technical finesse, for most 21st-century eyes, their more-is-more aesthetic is an acquired taste.”
ACQUIRED TASTE 指的是非先天的﹐並非直接發自於內心的﹐需要別人從旁指點才能認知的審美品位。例如你要觀賞現代派的繪畫﹐參觀現代派的展覽館﹐你就非要有ACQUIRED TASTE不可。ACQUIRED TASTE 本身是中性的﹐但在作者的話中卻帶上了貶義﹐作者說“雖然清代把玉雕的技術發展到了技術(是技術﹐不是藝術〕上的極致﹐但對於絕大多數的世紀的人來說﹐要能欣賞這種堆砌的美﹐還需要些額外的修練。”

作者參觀展覽的收獲並不是故宮博物院所設想的感受到了乾隆治下的盛世,反而感悟到雖然滿民族表麵上好象被中國華夏化了,實際上卻把滿民族的民族性強加給了統治下的中國人.
“The show is particularly useful in pointing out how the Qing, despite their assimilationist Chinese-ness, asserted their Manchu identity and imposed it on their subjects. Under their rule all men in China had to adopt a Manchu-style pigtail coiffure. Manchu women were forbidden to have their feet bound, an emblem of femininity among the Han Chinese elite. In couture, wide Chinese sleeves were out; narrow Manchu sleeves with flares were in, as were equestrian-style boots that reminded the Manchus of their distant nomadic history.”

中國政府花錢費力﹐從北京跨了大半個地球運來多件既SPLENDOR 又GLORIOUS 的清廷文物﹐意在對外宣傳康乾盛世的文化大宴﹐卻被美國放在專重於自然史﹐民族生成史和人類學的自然博物館中對外展出了﹔而且還被懂得中國藝術的美國評論家評作了極具人類學價值的研究滿民族的大好機會﹐這恐怕是出於中國文化權威們的意料之外了吧﹖

More Was More for One Ruler in Qing Dynasty
By HOLLAND COTTER

CHICAGO - When it comes to Chinese art, museums tend to supersize us. The Guggenheim dished up 5,000 years of cultural history in 1998. The Art Institute of Chicago packed a whole religion into its Taoism bash two years later. By comparison, "Splendors of China's Forbidden City: The Glorious Reign of Emperor Qianlong," at the Field Museum here, is spartan fare, covering the career of one ruler.
Believe me, though, we're not talking lean cuisine. Most of the 400 objects in the show, on loan from the Palace Museum in Beijing, date from the 18th century, when China, under the Qing dynasty (1644-1911), was in High Rococo mode. What the Qing wanted in court art was more: more ingenuity, more virtuosity, more bells and whistles, extra everything. When it came to scale, they went for extremes, the teensy and the colossal, cups the size of thimbles, jades the size of boulders. The Confucian middle way was not their way.
This is one reason the Forbidden City, a walled complex of apartments, offices, reception halls and temples in Beijing, the imperial capital, looked the way it did. Jammed and encrusted with decoration, it was tchotchke heaven. At least that's the impression conveyed by the environments reconstructed in this show, which include an imperial throne room and a Buddhist altar, and by individual items so extravagant as to amount to minienvironments in themselves, like a five-foot-high cloisonn□elephant with a lamp on its back.
The Qing were foreigners to Han China, northern invaders who called themselves Manchus. They named their Chinese dynasty Qing, which means pure, though there was nothing pure about it. The Manchus were of mixed Mongolian, Korean, Chinese and Jurchen stock. The culture they inherited as conquerers incorporated Middle Eastern, Indian, Tibetan and European influences. The official coronation portrait of the emperor Qianlong, around whom this exhibition revolves, was painted by an Italian Jesuit priest.
Qianlong, was an interesting guy, a real master-of-the-universe type, and to talk about him is to crunch some impressive numbers. He reigned for nearly 60 years, from 1736 to 1795, and ruled nearly 300 million people in what was then the biggest and richest empire in the world. When he took the throne at 25 he already had eight wives and several children; he eventually supported more than 40 consorts. His intellectual commitments were no less demanding. He wrote more than 44,000 poems and thousands of essays. He was a musician (the qin, or zither, he used is in the show), a better-than-average calligrapher and an avid though not-so-hot painter. As a ruler he was thoroughly hands-on. He had a phenomenal memory for administrative details, signed off on every edict issued by his government and made more than 150 lengthy public relations tours of China, meeting, greeting and scrutinizing to keep provincial officials on their toes.
His interest in cultural history was both profound and pragmatic. He knew that for political credibility the Qing had to be closely associated with Chinese tradition. To this end he sponsored a project to have all surviving Chinese writing from the past assembled, copied and securely stored. The job took 300 scholars and 3,600 scribes 10 years to complete and filled some 4.2 million pages. As an act of conservation it was invaluable. At the same time, it allowed the emperor to survey China's literary history and edit it. He destroyed thousands of books he considered anti-imperialist, almost as many as he preserved.
He also amassed an art collection of hundreds of thousands of paintings, ceramics, jades, textiles, pieces of furniture and metal objects, some of great antiquity, others brand new commissions. Among the more spectacular made-to-order pieces were religious objects, from solid-gold table-top stupas to a fancy-dress version of a Tibetan lama's ritual robe. Immodestly he had himself depicted in paintings as the bodhisattva of wisdom, Manjushri.
Court apparel was another big-budget item, with everything custom made and minutely coded to reflect hierarchical standing. The number of pearls in a consort's crown indicated just where she fell in the pecking order, as did the number of "eyes" in the peacock feather a courtier wore in his cap. The emperor was intensely sensitive to any breech of protocol.
The show is particularly useful in pointing out how the Qing, despite their assimilationist Chinese-ness, asserted their Manchu identity and imposed it on their subjects. Under their rule all men in China had to adopt a Manchu-style pigtail coiffure. Manchu women were forbidden to have their feet bound, an emblem of femininity among the Han Chinese elite. In couture, wide Chinese sleeves were out; narrow Manchu sleeves with flares were in, as were equestrian-style boots that reminded the Manchus of their distant nomadic history.
That history reached its zenith with Qianlong but began to lose its luster well before the end of his rule. For all his strengths, Qianlong was no Manjushri. He grew more repressive with the years and took on corrupt and grasping advisers. There were more book-burnings. The social mood grew coarse and parochial. From a height of tremendous, world-conquering potential, the dynasty slipped into decline until 1911, when the last Qing emperor, who was also the last Chinese emperor, left the Forbidden City and its kingdom of collectibles behind.
Modern art historians, Chinese and Western, have long treated those collectibles with disdain, concentrating instead on another aspect of Qing period art, a scholar-artist painting tradition that continued from the Ming. Surely it means something that this exhibition, which continues through Sept. 12, is appearing at a museum of natural history, ethnology and anthropology, not a museum of "art." And in truth, although the Qing brought forms like jade-carving to a peak of technical finesse, for most 21st-century eyes, their more-is-more aesthetic is an acquired taste.
There is no better way to begin acquiring than through the exhibition catalog written by Chuimei Ho and Bennet Bronson, curators at the Field Museum, a sterling example of hard history set out with a storyteller's skill. The show is a good introduction too, but of a different kind. Crowded, theatrical, it offers a total sink-or-swim immersion in a consumerist culture as awesomely polished as it is absurd, where Classical China and Turandot-in-the-Forbidden-City meet. That the giant gift shop at the exit is almost as big as the show makes perfect sense. Very Qing. Very us.

哈哈﹐他在倒數第二段媮椇g﹕

Modern art historians, Chinese and Western, have long treated those collectibles with disdain.

現代的藝術史專家﹐無論是中國的還是外國的﹐一直以來都對這些收藏品持鄙視態度。

最後一段﹕

Crowded, theatrical, it offers a total sink-or-swim immersion in a consumerist culture as awesomely polished as it is absurd, where Classical China and Turandot-in-the-Forbidden-City meet. That the giant gift shop at the exit is almost as big as the show makes perfect sense. Very Qing. Very us.


這個展覽擁擠不堪、裝腔作勢﹐體現□一種充滿銅臭味的文化﹐矯揉造作的可怕﹐荒謬的可笑。展廳一半的空間被出售紀念品的攤位占據非常有滿清味

--------------------------------
作者一開文就指出清統治者是北方遊牧民族,是相對中國漢人而言的外國人,其民族是蒙漢韓以及JURCHEN人的混血﹐其文化是中亞,印度,西藏以及歐州文化的混合體。為什麼中國人就是這麼難明白呢?

真是旁觀者清啊!滿清文物都是最賤的東西,邪惡腐敗的滿清怎能代表中華?!不知道忙活著組織這個展覽的頭目誰? 可真讓他白忙了一場!看來想討洋主子的歡心也難呀!滿清文化也拿的出手?還偏把滿清拿出去顯擺!現在1000多萬滿人,一大半聚集在北京城,近水樓台嘛,天子腳下,放個屁傳到地方上都象炸雷,各地愚昧無知的老百姓盲目追風罷!北京滿人集團從來拿漢人不當一回事兒,自己拿著破瓶子破罐子跑去給洋大人獻媚,結果碰了一鼻子灰!連洋大人也不買滿清的帳!

評:
國共兩黨政府中的一些領導們一直宣揚的是,漢人把滿人同化了,
我們有必要告訴他們和他們的祖先,
是滿人把你們的娘日了,不是你們把滿人的娘日了。
是滿人把你們的爹殺了,不是你們把滿人的爹殺了。
那麼,是你們把滿人同化了,還是滿人把你們同化了呢?
是滿人以整理四庫全書為名,篡改了漢人的無數書籍,把漢人的文化變成了滿人的文化,當前要想找正統的華夏文化,就要到日本韓國去找。這分明是滿人消滅了漢族人的文化,而不是漢人消滅了滿人的文化。你們怎麼就還裝糊塗呢?
我要說得怎麼明白你們才能理解呢?

我們必須正視這樣的一個現實。
是滿清的惡俗取代了漢族的文明,消滅了漢族的文明,而不是相反!

有人還說,不同的人有不同的審美觀念,這種說法本身就是變態的。說這話的人,他一邊吃大便也可以說,“不同的人有不同的學術品味”。




看毛澤東、江澤民、魯迅、孫中山等人的文章,跟法輪功佛學會形成多麼鮮明的對比!
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孫中山說滿清統治者“貪殘無道,實為古今所未有,二百六十年中,異族淩殘之慘,暴君專製之毒,令我漢人刻骨難忍,九世不忘!”

毛澤東同誌在《抗日遊擊戰爭的戰略問題》一文中明確地把宋亡於元、明亡於清看作民族危亡。他說:

“我們的敵人大概還在那堸竣葩繚嬪滿B清朝滅明、英占北美和印度、拉丁係國家占中南美等等的好夢。這等夢在今天的中國已經沒有現實的價值,因為今天的中國比之上述曆史多了一些東西,頗為新鮮的遊擊戰爭就是其中的一點。假如我們的敵人少估計了這一點,他們就一定要在這一點上麵觸一個很大的黴頭”(《抗日遊擊戰爭的戰略問題》第一章)。
他還說:

“嶽飛、文天祥、曾靜、戴名世、瞿秋白、方誌敏、鄧演達、楊虎城、聞一多諸輩,以身殉誌,不亦偉乎!”

他在致友人的信中說:

“你的研究民族史的三個態度,我以為是對的,尤其第二個態度。如能在你的書中證明民族抵抗與民族投降兩條路線的誰對誰錯,而把南北朝、南宋、明末、清末一班民族投降主義者痛斥一番,把那些民族抵抗主義者讚揚一番,對於當前抗日戰爭是有幫助的。”


江澤民高度評價史可法。史可法是揚州曆史上一個著名的人物,也是江主 席心目中的英雄和一直效仿的楷模之一。史可法生於1602年,他親眼目睹了 明王朝如何走向衰亡。他官至兵部尚書,1644年女真人攻占北京並建立清王朝以後,他仍拒絕承認他們的政權,並前往揚州準備守城。就在他抵達揚州的第二天,清兵包圍了這座城市。盡管力量對比懸殊,史將軍仍然拒絕投降。他送信給清軍將領說:“城亡與亡,我意已決,即劈屍萬段,甘之如飴。”
  一周後,揚州城被攻破。史可法被俘並遭到殺害,成為南明王朝第一個以身殉職的高級官員。隨著時間的推移,他的事跡被人們廣為傳頌,直至史可法之死被視為神聖的殉難,足以“驚天地,泣鬼神”。
  在江主 席眼中,史可法代表了中國人最為崇高的理想:愛國、勤勉、忠貞、誠實、道德和奉獻。1991年,在一次接受俄羅斯媒體采訪時,江再一次自豪地說起他所出生的那座城市及其最著名的人物。江說:“我是江蘇省揚州人。揚州梅花嶺下有史可法的‘衣冠塚’。塚前有一副對聯:‘數點梅花亡國淚,二分明月故臣心。’”
  江主 席後來有一次回憶說,民族英雄史可法的墓就在他的家鄉揚州,日本人侵略中國時,他和同學們星期天經常去憑吊,每當看到墓碑上的對聯“數點梅花亡國淚,二分明月故臣心”,便激起一種抗日的激情,決心發憤讀書,樹立好的民族氣節。(節選《他改變了中國:江澤民傳》作者:羅伯特•勞倫斯•庫恩·美國)

孫中山:“ 何以說民族主義還沒有完全達到目的呢?自從滿州來到中國,我們漢族被他征服二百幾十年之久。”
“驅除韃虜,恢複中華。”

章太炎:

1902年,章太炎等在日本東京發起《支那亡國二百四十二年紀念會》,提出“光複漢族,還我河山,以身許國,功成身退”的誓詞(“支那亡國”是指明朝亡於清朝的那一年)。
魯迅:

“對我最初的提醒了滿漢的界限的不是書,是辮子,是砍了我們古人的許多的頭,這才種定了的,到我們有知識的時候大家早忘了血史。”

“文字獄的血跡已經消失,滿洲人的凶焰已經緩和,愚民政策早已集了大成,剩下的就隻有‘功德’了。那時的禁書,我想他都未必看見。現在不說別的,單看雍正乾隆兩朝的對於中國人著作的手段,就足夠令人驚心動魄。全毀,抽毀,剜去之類也且不說,最陰險的是刪改了古書的內容。乾隆朝的纂修《四庫全書》,是許多人頌為一代之盛業的,但他們卻不但搗亂了古書的格式,還修改了古人的文章;不但藏之內廷,還頒之文風較盛之處,使天下士子閱讀,永不會覺得我們中國的作者媊恁A也曾經有過很有些骨氣的人。”
“他們(滿清皇帝)是深通漢文的異族的君主,以勝者的看法,來批評被征服的漢族的文化和人情,也鄙夷,但也恐懼,有苛論,但也有確評,文字獄隻是由此而來的辣手的一種……我們不但可以看見那策略的博大和惡辣,並且還能夠明白我們怎樣受異族主子的馴擾,以及遺留至今的奴性的由來的罷。 ”
“《前鋒月刊》上用大號字題目的《黃人之血》的作者黃震遐詩人,不是早已告訴我們過理想的元帥拔都了嗎?這詩人受過傅彥長先生的熏陶,查過中外的史傳,還知道‘ 中世紀的東歐是三種思想的衝突點’,豈就會偏不知道趙家末葉的中國,是蒙古人的淫掠場?拔都元帥的祖父成吉思皇帝侵入中國時,所至淫掠婦女,焚燒廬舍,到山東曲阜看見孔老二先生像,元兵也要指著罵道:‘說“夷狄之有君,不如諸夏之無也 ”的,不就是你嗎?’夾臉就給他一箭。這是宋人的筆記堳垣鬫蚢D的,正如現在常見於報章上的流淚文章一樣。”

“賊”、“虜”、“犬羊”是諱的;說金人的淫掠是諱的;“夷狄”當然要諱,但也不許看見“中國”兩個字,因為這是和“夷狄”對立的字眼,很容易引起種族思想來的 。

“不亦快哉!”――到了一千九百十一年的雙十,後來紹興也掛起白旗來,算是革命了,我覺得革命給我的好處,最大,最不能忘的是我從此可以昂頭露頂,慢慢的在街上走,再不聽到什麼嘲罵。幾個也是沒有辮子的老朋友從鄉下來,一見麵就摩著自己的光頭,從心底堹漱F出來道:哈哈,終於也有了這一天了。

“不能說話的毛病,在明朝是還沒有這樣厲害的;他們還比較地能夠說些要說的話。待到滿洲人以異族入侵中國,講曆史的,尤其是講宋末的事情的人被殺害了,講時事的自然也被殺害了。所以,到乾隆年間,人民大家便更不敢用文章來說話了。”
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以前國共兩黨高層領導人反清的態度是非常鮮明的。可是在法輪功佛學會中,是怎麼樣的呢?

大家看一看2006法輪功佛學會組織的新唐人晚會中的一組鏡頭
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看那男的,還拿著辮子用英語說“pigtail”,並向全世界宣揚這就是中華傳統文化呢,那女的則興衝衝抑揚頓錯介紹著。
“中國有一個朝代,男人梳著長辮子,女人戴著高帽子,她們還穿著三寸高的花盆鞋,請欣賞舞蹈‘大清仕女’……”
那女的說”男人梳著長辮子“,那外國人就翻譯說“the man wore long pigtail”……

這個節目之後就是我的幹妹妹白雪的歌“找真相”。


一切都是佛學會安排的,可是,它們卻說,“這是師父要的”、“師父是神韻的設計者,總導演”、“這是師父選擇的”,以我的名義欺騙學員。這樣的節目很多,你們可以係統的找一找,將來都是證據。這就是它們的“中華傳統文明、五千年神傳文化”,在它們這些滿族人的眼堙A最能代表”中華神傳文化“的就是“pigtail”。

包括我在佛學會控製下的曆次講法,關於新唐人啊、神韻啊,佛學會都打著我的旗號行惡。
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  師:……大法弟子做什麼中共邪黨都害怕。大法弟子的文藝演出是純正的中國文化,古文化,真正的神傳文化,當然對中共邪黨文化就會起到破除作用,它當然害怕。邪黨不管怎麼折騰,它是個流氓政府,它占據的隻是中國那塊土地,它搞什麼也隻能是中國範圍的。新唐人這一搞那就是全球的,國際大賽,不管怎麼樣是國際性的活動,(師父笑)(眾笑,鼓掌)得獎者得的也是國際比賽獎。

當然了,什麼事情哪,說起來簡單,我一參與,這個性質就變了。大家知道,大法弟子是證實法,那師父來幹啥的?師父來正法的。所以我要來做這件事情,麵對的觀眾,我所要度的人,所要做的這件事情,都發生變化了。要想做好這件事情,就必須得達到最好的效果,真正能把那個人度了、救了,我才做,也必須得做到這樣。那麼,我就不能象以前那麼做了。以前因為大法弟子都是業餘的在做,要做就做高水平的。當然有人說了,說師父要幹啥,那一定是幹最好的。是!不是最好的我也不幹。(鼓掌)所以哪,我就叫人開始招收、組建舞蹈學校,選拔人才,組建樂團,所有這一係列事情要從基礎上培養,然後要達到真正一流的演出效果。包括創作排練,許多事情師父也都參與了。你們也都聽說了。

  不管怎麼樣吧,演出中孩子們也很爭氣,做的確實不錯。人們看一個文藝演出能夠看的落淚,這個很少見。神韻的演出,場場會有很多人從開始落淚到最後,還有更多的人不斷在抹眼睛。場場都是這樣,人覺的很震撼。這個空間是孩子們在演,另外空間很多我的法身與很多神都在做。(鼓掌)震撼力和對人的改變,很象我當年親自傳法,(鼓掌)所以對人的改變很大。

文藝演出嘛,水平越高,人對他的接受越好,對人的改變也就越大,所以必須得是一個完美的演出。方方麵麵都得是完美的,大幕一拉開就是一幅最漂亮的畫。要求上必須是舞蹈動作美、服裝美、場景美。這個在現在的社會堣H已經不懂這些了。人的審美觀念是隨著社會潮流在變化的,今天這個時髦說這個好,明天那個時髦說那個好。隻有大法的理才是不變不動的,隻有我們才知道什麼是真正的美。因為大法弟子就是修真善忍的嘛,所以我們才能知道那真的好是什麼,是不變的,才能夠引起人善的一麵、美好的一麵的共鳴。這些常人做不到了。而且場上隨著演員的歌唱、樂隊的演奏和演員的舞動,打出來的能量那都是純善的、慈悲的、極大的。其實場上有很多人的病都好了。現在看文藝演出的人還不知道,慢慢人們就會知道,看完演出思想淨化了,身體好了,(鼓掌)所以這件事情我覺的做起來效果還是很好的。當然了,演出團多數是大法小弟子,這樣又不占用大法弟子資源。
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這一段以前唐奇評過,罵著我評的,在佛學會的淫威下,當年我不是講神韻是我正法的工具麼。

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“那師父來幹啥的?師父來正法的”,那為什麼設計PIGTAIL一段呢?哈哈,原來這pigtail還是李洪誌正法要用的呢,那是不是還是個法器呢?“神鞭”,哈哈,想起那個電視來了。

看啊,李洪誌說的很明確啊,“大法弟子”用pigtail演出的是“純正的中國文化,古文化,真正的神傳文化”,說pigtail“對中共邪黨文化會起到破除作用”,還真TMD“神鞭”了。

“要想做好這件事情,就必須得達到最好的效果,真正能把那個人度了、救了,我才做,也必須得做到這樣。”,哈哈,原來這還是宇宙主佛的“pigtail神鞭度人大法”。

“當然有人說了,說師父要幹啥,那一定是幹最好的。是!不是最好的我也不幹。”看來在李洪誌的眼堙Apigtail就是最好的了。我靠,我再也不笑話張藝謀老謀子了,他可比宇宙主佛李洪誌強多了。

“我就叫人開始招收、組建舞蹈學校,選拔人才,組建樂團,所有這一係列事情要從基礎上培養,然後要達到真正一流的演出效果。包括創作排練,許多事情師父也都參與了。你們也都聽說了”,嗯,是呀,聽說了,據說連滿族衣服辮子還都是你做過整理的呢,腰帶也是你係過,然後神韻那幫當傳家寶般供著。創作排練,那是,都是你設計的。

“人們看一個文藝演出能夠看的落淚,這個很少見。神韻的演出,場場會有很多人從開始落淚到最後,還有更多的人不斷在抹眼睛。場場都是這樣,人覺的很震撼。”看著pigtail,感動的落淚,我靠,什麼世道?

“這個空間是孩子們在演,另外空間很多我的法身與很多神都在做。(鼓掌)震撼力和對人的改變,很象我當年親自傳法,(鼓掌)所以對人的改變很大。”哦,那你的法身是不是也留著一個pigtail呢?那些神是不是也是這樣呢?

“大幕一拉開就是一幅最漂亮的畫。要求上必須是舞蹈動作美、服裝美、場景美。這個在現在的社會堣H已經不懂這些了。”強呀,就你李洪誌現在還能把pigtail這一民族屈辱為美。還說別人不懂,好,你懂,你懂,你什麼都懂。

宇宙主佛揮動豬尾巴pigtail,法正乾坤……
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唐奇敢於罵我,為了震懾佛學會,而這種方式,也真的強烈的震懾了佛學會。神韻對我而言,真的是我的最大恥辱,其實神韻完全是邪靈搞的,卻打著我的名號,它們佛學會一幫邪靈,還強迫我女兒美歌也跳滿清格格舞,你們很多都看到過。

這一切,雖然不是我願意幹的,但是,確確實實,都是我幹的。

而蒙元滿清的邪靈,就以此操控了千千萬萬的學員,毒害了無數億的世人。並且把滿族全麵奴役漢族的計劃也往前推進了一大步。我雖然不願意,雖然是情非得已,但是,又畢竟真的是我做的。

我遲早要讓佛學會給我一個交代,否則,我的恥辱可是洗刷不清的啊。


弟子們,你們也都來批判一下我當年被迫給佛學會神韻講的那一段吧。


神韻,毒害了宇宙無量無際的眾生!


媄靾`是滿清舞,蒙古舞,西藏舞…………這些垃圾。

好容易勉強出現個穿漢服的,那漢服還被故意穿成左衽的。

大家把以前的神韻光盤找一下,把媄銙o樣的宣揚滿清蒙元的內容截取發上來,這些都可以是重大證據。也是世人的笑料了。


“讓你活,你都不想活下去”

嗬嗬,我可沒這麼說過,估計你又是從哪聽說過來的吧。

好死不如賴活著啊,無論任何情況下,保存實力都是最重要的。