想去叙利亚的这个地方:
Aleppo, Syria
This is the second capital of Syria 350 km north of Damascus, and one of the oldest continuously inhabited cities in history. Abraham (pbuh) is said to have camped on the acropolis which, long before his time, served as the foundation of a fortress where the Aleppo citadel is standing now. He milked his grey cow there, hence Aleppo's name "Halab Al-Shahba".
Ever since the 3rd millennium BC, Aleppo has been a flourishing city, with a unique strategic position. This position gave the city a distinctive role from the days of the Akkadian and Amorite kingdoms until modern times.
Paved street in the Citadel and Mosque of Abraham (pbuh)
It was the meeting point of several important commercial roads in the north. This enabled Aleppo to be the link in trade between Mesopotamia, the Fertile Crescent and Egypt. The Amorites made it their capital in the 18th century BC. This position also made it subject to invasions from various races; from Hittites, Egyptians, Assyrians, Persians, Greeks and Romans.
Aleppo was prominent in the Christian era; it became a Bishopric and a huge cathedral was built in it, which is still standing.
The conflict between Byzantium and Persia, however, resulted in the latter's occupation of Aleppo in 440 AD. The Persians robbed the city, burned considerable parts of it and damaged many of its features. Though expelled by Justinian, the Persians still threatened Aleppo and frightened its inhabitants until the Arab Islamic conquest came in 636 AD.
The Citadel, Aleppo
The city then regained its status, both cultural and commercial. Apart from the Umayyad and Abbasid periods in which Aleppo flourished, the Hamadani state established by Sayf Addawla in 944 AD made Aleppo the northern capital of Syria. Sayf Addawla built Aleppo's famous citadel, and in his days the city enjoyed great prosperity and fame in science, literature and medicine, despite this leader's military ambitions. Mention should be made of the two most prominent poets, Al-Mutanabbi and Abu Al-Firas Al-Hamadani; of the philosopher and scientist, Al-Farabi; and of the linguist, Ibn Kahlaweh, all of whom lived in Sayf Addawla's court and were renowned for great knowledge and scholarship.
Aleppo was famous for its architecture; for its attractive churches, mosques, schools, tombs and baths. As an important center of trade between the eastern Mediterranean kingdoms and the merchants of Venice, Aleppo became prosperous and famous in the centuries preceding the Ottoman era. Many of its khans (caravanserai) are still in use even today; one of them is called Banadiqa Khan, Banadiqa in Arabic being the term for inhabitants of Venice.
Courtyard of The Great Umayyad Mosque, Aleppo
In the Ottoman age, Aleppo remained an important center of trade with Turkey, France, England and Holland. This caused various types of European architecture to be adopted in Aleppo which can be seen in many buildings today.
Nowadays, Aleppo is famous for its ancient citadel with medieval fortress, the great Umayyad mosque, and the extraordinary souqs (bazaars) with every conceivable kind of article for sale. It was and still the far distant trade center when Shakespeare mentioned it in Macbeth and Othello.
The old city was surrounded by a wall incorporating defense towers and fortified gates built during the Islamic period. A large part of the wall still standing.
The Archaeological Museum of Aleppo contains exhibits from the stone age to modern times.
It has particularly interesting collection of antiquities from some of the most ancient sites in Syria including Mari, Ugarit, and Ebla, as well as objects found in the Euphrates Basin, Hama, Tell Halaf and Ayn Dara, in addition to remains from Greek, Roman, Arab and Islamic periods.
- Re: 06年的旅行心愿-叙利亚、土耳其posted on 03/02/2006
这里有叙利亚ALeppo的一组图片。http://www.atlastours.net/gallery/syria/ - Re: 06年的旅行心愿-叙利亚、土耳其posted on 03/02/2006
With all the things goings on, is it safe to travel in that region? - Re: 06年的旅行心愿-叙利亚、土耳其posted on 03/04/2006
叶迪特 wrote:
With all the things goings on, is it safe to travel in that region?
Sure. Just try not show off the States accent. :) - Re: 06年的旅行心愿-叙利亚、土耳其posted on 03/04/2006
LingHuChong wrote:
叶迪特 wrote:Sure. Just try not show off the States accent. :)
With all the things goings on, is it safe to travel in that region?
Oh, ya! Do you suppose the bloody London Cockney accent would be safe? :) - Re: 06年的旅行心愿-叙利亚、土耳其posted on 03/05/2006
叶迪特 wrote:
Oh, ya! Do you suppose the bloody London Cockney accent would be safe? :)
Oh, ye, believe ot not. Knew Lawrence of Arab, his accent was close to some Londonders. :) Certainly you should not try Blair's, the northern one misxed with some southern scotish tone. :) - Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/03/2006
今天早上给在DC的叙利亚大使馆打电话,电话很容易就通了,很快就被转到签证处,有个叫哈桑的阿拉伯人热情接电话,知道我是中国护照,态度极其热情友好,手续也非常简单,让我想飞的心又开始了无穷无尽的想象,童年时旅行之前的那股兴奋又开始发酵~,查机票,查旅店,昨天迷朦的情绪又峰回路转~只这么一点点的微笑亲切就让你开始喜欢这个国家和这个民族了~
又回忆起1999年去摩洛哥时的情形~~
- posted on 04/03/2006
其实那倒也没什么。阿拉伯国家的许多政要,也是美国英国培养出来的。有美国英国的口音,未必就受嫌疑。我看,问题反而在于,护照上有了阿拉伯国家的入境记录,回美国时怎么不叫美国海关的移民局人员生疑。以前美国移民局归司法部管,现在归本土安全部了。
叶迪特 wrote:
LingHuChong wrote:Oh, ya! Do you suppose the bloody London Cockney accent would be safe? :)
叶迪特 wrote:Sure. Just try not show off the States accent. :)
With all the things goings on, is it safe to travel in that region? - posted on 04/04/2006
一个中国女子眼中的叙利亚
1 我蒙在面纱后面的一双眼睛,好奇地注视着这个神秘而陌生的世界。心里,静静地洋溢着欢欣、激动、惊叹与感喟。
南方网讯 冬日的阳光,变得祥和而温柔。奥兰德河(Orontes)由南向北,默默地蜿蜒着,流过高山大地,流过原野湖泊,流过数千年古老的文明,流过世世代代的风雨沧桑。
这里,是叙利亚,是世界最古老文明的发祥地之一。这块位处欧、亚、非三大洲交接处,被里海、印度洋、黑海、尼罗河环绕的土地,记载了至少七个伟大帝国的存在。赫梯(Hittite)、亚述(Assyria)、巴比伦(Babylon)、埃及、波斯、希腊、腓尼基,然后被纳入了罗马帝国的版图。这里,孕育了基督教,又兴盛了伊斯兰。留下过十字军东征的足迹,闪烁过奥斯曼帝国的辉煌。
大马士革古城,奥马亚清真寺
不同时期不同民族不同的建设和文化,在这里留下了多少古国遗迹、城堡宫殿、教堂与清真寺。人类最古老的文献,那些公元前2300年左右,采用苏美尔人的楔形文字记录在泥板上的文书,包括法律条约、政治、行政、教育、商业文件,以及字典语文宗教等等等等,是在这里出土。世界上第一种拼音文字,也是在这里发展而成。
这里,是叙利亚。一个国家,是一个庞大的博物馆,是一座人类历史的纪念碑。
2 我蒙在面纱后面的一双眼睛,热烈地注视着这个动人心魄的世界。
有4000多年历史的大马士革的老城墙,围住的是一派昂然生机。不必说朱庇特神庙,萨拉丁的坟墓和阿兹姆宫,也不必讲哈奈尼圣徒教堂,布罗斯圣徒教堂和阿尤布城堡……单单是那些古宅深巷、浴室茶馆、旅舍食店、集市商铺,碎玛瑙般玲珑剔透地散落在青石路上,激动我的血脉,温暖我的灵魂。
大马士革集市上的店铺。大马士革古城于一九七九年成为联合国教科文组织世界遗产。
我推开奥马亚清真寺的大门,走进高廊环绕的宽大庭院。我的赤脚下是富丽堂皇的大理石地面,正中间用黄色和绿色的马赛克镶嵌而成的喷泉水池,此刻正映照着夕阳的光辉。时光在这里悄悄地倒退了几千年。早在公元前2000多年,这里就是人们拜天神 Hadad的地方。罗马时代,这里首建了朱庇特神庙。拜占庭统治时期,又在神庙的基础之上建成了一座圣约翰大教堂。公元635年,大马士革被穆斯林攻陷,城里的伊斯兰教徒就一天比一天地多了起来。渐渐地,旁边那座星期五清真寺越挤越满,终于到了人满为患的地步。公元703年始,倭马亚王朝时期,历经15 年,圣约翰教堂终于被改建成眼下这座闻名世界的第四大清真寺。
我注视着巍峨的宣礼塔,精雕细琢的前廊壁龛,肃穆的礼拜堂。清真寺正面的高墙上,用各色马赛克拼出一幅精美绝伦的山水画。这在穆斯林建筑史上无疑是一个巨大的特例。因为伊斯兰教严格禁止偶像崇拜,因而各种建筑,特别是清真寺,从来不出现人物动物植物的雕像画像。也正是因此,造就了伊斯兰建筑艺术在几何图案和装饰花纹上,在整体景观和结构对称上,独树一帜,登峰造极,闻名于世。
我的心,宁静而肃穆。我穿行在几千年风云变幻的历史之间。
阿拉伯的古书中,有这样的句子:“人间若有天堂,大马士革必在其中。天堂若在天空,大马士革必与它齐高。”
3 我蒙在面纱后面的一双眼睛,温柔地注视着这个风光旖旎的世界。
地中海岸边,山川与海水比邻,几近相连。我走过一片片绿色的橄榄林,那绿,绿得高贵,绿得富足,绿得充满希望。我走过一片片橙红的柑桔林,那香,香得轻柔,香得和谐,香得令人晕眩。还有满树的石榴,像一顶又一顶的红灯笼,喜气洋洋地吊在枝头。
我走饿了。站下来问路,就有一个老婆婆领了我去她家里吃饭。她在一口凸出来的半圆形锅上烙薄饼,放进烤羊肉、酸黄瓜、腌橄榄和生菜,卷成一个长长的卷,塞进我的手里。
我走累了。刚停下脚步,就有一个老公公端给我一张凳子,又快快地去张罗了一杯滚烫的红茶。我们比划着,讲些从哪里来到哪里去的闲话。
走过了白天,就走进了夜晚。塔尔图斯(Tartus)的老城,像一座迷宫。暗黄的灯光下,内墙外墙,高墙矮墙,砖墙土墙石头墙,一层挨着一层,一层接着一层。不同的建筑方式,不同的建筑材料,争先恐后地,记录着历史的久远。阡陌纵横的小巷里,抬头望见一线窄窄的星空。古老的铸铁街灯,镶嵌在棕褐色的石墙里,歪斜着。并不再燃有当年跳跃的烛火,时光,却依然汩汩地从那里流过。
天上那轮满月正在静悄悄地残缺下去,海面上粼粼错错地泛着银光。面对着大海的,有一面十字军东征时代的残墙,斑驳的墙灰,阳台上铸铁的花栏杆,在夜风里凄楚地动人心弦。
送走了夜晚,又迎来了白天。一辆小型面包车,稳稳地停在我的身边。那里前不着村,后不着店,我的脸上,正淌满了汗水。司机用阿拉伯语问我去哪里,车上几双眼睛亮晶晶地望着我。一个年轻姑娘,也是包在一层薄薄的轻纱里,露出来的那双眼睛,橄榄绿的瞳仁衬在清澈洁白的眼底上,长睫毛弯弯地向上翘。她说一口法语。叙利亚自从18世纪直到1946年正式宣告独立,一直是法国的“保护地”。至今,这两个国家仍有着千丝万缕的联系。
Misyaf。我说。那里有一座古城堡。
走穿了Misyaf,走到了哈马(Hama)。奥兰德河流经之处,都可以看到大大小小木制的被称为Noria的水车。一千年前,水车将河里的水引进城里作为居民用水,也为农田提供灌溉水源。
走完了乡村,便走入集市。那被称为Souq的阿拉伯市集,是每一座城里最为充满活力的地方,是城市的心脏。连接着纵横交错的街巷,三步五步,一个铺面连着另一个铺面,高高低低的叫卖声不绝于耳。针头线脑,家电五金,更有传统的作坊。打铁的,编制地毯的,做鞋的,配香水的……应有尽有,令人目不暇接。
我停在榨果汁的摊子前,端一杯浆稠的新鲜混合果汁,用一柄长勺往嘴里送。目光,我远远地掷出去,掠过那过往的人流。天色,又在慢慢地暗将下来。对面三层楼高的老屋,燃起了桔黄的灯光。
“左旋右旋不知疲”
“去不去看跳舞呢?”年轻的摊主微笑着,露出一口洁白整齐的牙齿。
“跳什么舞呢?迪斯科吗?”我不解地问。
“哈,大错特错啦!是我们的民族舞蹈呢。”他一脸的得意与自豪。
竟然,是“胡旋舞”啊!
小时候,读过白居易的《胡旋女》:
胡旋女,胡旋女,
心应弦,手应鼓。
弦鼓一声双袖举,
回雪飘摇转蓬舞。
左旋右旋不知疲,
千匝万周无已时。
人间物类无可比,
奔车轮缓旋风迟。
曲终再拜谢天子,
天子为之微启齿。
在敦煌,也曾经看到过描绘胡旋舞的壁画。据说,这种舞蹈在唐代也由西域传入中国,兴盛一时。当年,中亚一带的康国(Samarqand,今乌兹别克斯坦撒马尔罕一带)等,都曾向宫廷里送胡旋舞女。安禄山、杨贵妃也都擅长这种舞蹈。
然而百闻不如一见。意料之外的惊喜,就这样突如其来地降临到我的心上。
我蒙在面纱后面的一双眼睛,欢欣地注视着这个五光十色的世界。
一个年轻的男人。穿了一件纯白的长衫。是那种厚实的布料,重重地拖到脚面。腰上,紧紧地系了一根宽大的布腰带。头上,有一顶棕色的筒形帽子。
音乐响起来了。一把乌德琴(Oud),一柄奈伊(Ney),一支坦布尔(Tanbur)。三件阿拉伯乐器之外,还有一件西洋乐器———电子琴。
舞者慢慢地旋转起来,他的长袍也跟着慢慢地旋转。音乐旋律加快,他的旋转亦加快,长袍像鼓满了的风帆,朝气蓬勃地展开来。乐符更加密集地甩落在空气里,如同一阵急雨落在阔大的芭蕉叶上。他更快地旋转着,双袖举起,如同疾风中的蓬草,令人目眩神迷。他转啊转,百次千次地转,是一阵风,是一排海浪,是一阵惊雷。
又想起唐朝元稹的诗里也有咏胡旋舞的句子:“蓬断霜根羊角疾,竿戴朱盘火轮炫,骊珠迸珥逐飞星,虹晕轻巾掣流电……万过其谁辨始终,四座安能分背面。”……
阿勒颇是世界上建城历史最长的城市之一
4 我蒙在面纱后面的一双眼睛,沉着地注视着这个气势壮伟的世界。
在地中海和美索不达米亚之间以及俄罗底斯河和幼发拉底河之间的新月形沃地的北部,我踩上阿勒颇(Aleppo)的黄土。这浪漫的一千零一夜之城,这富庶的“丝绸之路”最西端。
早在公元前18世纪,青铜器时代,阿勒颇就是帝国的首都。几千年漫长的历史上,阿勒颇屡经战乱。巴比伦、亚述、塞琉西王朝、罗马帝国、倭马亚王朝、奥斯曼王朝……旧桃新符,朝梁暮晋。赫梯人、阿拉伯人、十字军、蒙古人,过眼烟云,此时彼时。阿勒颇就有了她4000多年的历史,使她当之无愧地成为这个地球上建城历史最长的城市之一。
我高高地站在阿勒颇卫城上,俯瞰这座古城。古城里街市繁华,车水马龙,丝毫不减当年都城之风采。一座座大大小小的清真寺密布在灰色基调的传统住宅中间,拜占庭的遗迹,古埃及的风格,伊斯兰早期形式……建筑艺术丰富多彩,构成了阿勒颇独特的风韵。那些古老的街衢和窄巷,按照公共和私有领地的等级制度严格分布,齐齐整整,井井有条。即便是新时期新筑的道路,也与原有的古街巷完美地结合成了一个整体。
阿勒颇的城市布局网,据说是接受了古希腊神灵的启示。露天剧场坐落在安第科奇(Anticoch)门和城墙之间的直线上,庄严大方,气派非凡。大清真寺建在曾是古希腊时的集市中心。而我脚下这座建于古城东走势平缓的小山坡上的卫城,更是历史文化的见证。
作为兵家必争之地,阿勒颇在历史上,曾屡经战事。公元前2000年,这里是一座亚述帝国的神庙。在后来漫长的几十个世纪里,几经重建和扩建,目前保留下来的古卫城堪称世界奇观。
用巨石砌成的城墙,四周是深22米、宽30米的壕沟,从沟底到城墙顶端共65米高,且在坡度很陡的壕沟上面铺满光滑的石板,使越沟爬墙攻城变得难上加难。入口处和哨楼之间有大吊桥相连,收起吊桥,卫城便固若金汤。城堡有三道大铁门,第一道是蛇门,因为门上雕有两条盘踞的巨蛇。第二道是狮门,顾名思义,门上雕有一对盘坐着的狮子。而第三道,还是狮门。而这一次,上面的那对狮子,一笑一哭!安拉啊,这些象征力量和权力的生灵在向你呼唤,呼唤你无边的法力和仁慈。
然而,这座构思巧妙,易守难攻的卫城,还是在历史上有过仅有的一次失陷。那是在公元1401年,帖木儿汗的蒙古铁骑征战万里。阿勒颇,也没有能逃脱她的历史命运。
俱往矣!
5 我蒙在面纱后面的一双眼睛,热情地注视着这个风情万种的世界。
天黑以后的世界,几乎就是男人的世界。繁华的街上,再难见到一个遮面纱的身影。我于是就换上牛仔裤羊毛衫,一条薄围巾,仍然是严严实实地围在头上,却是换成了胭脂粉的颜色,遮住黑发,露出一双眼睛,却也足以说明自己的身份。我就这样心情欢愉地走在夜晚喧闹的街上,和男人们一起,享受着月光繁星,享受着清冷的空气和五颜六色的彩灯,享受着香喷喷的街边小吃,享受着茶楼烟馆的夜生活。
沿着墙,是一间又一间的茶室。男人们,做完了一天的生活,都齐齐地聚到这里来。三三两两地围在桌边,品茶,抽水烟,饮浓稠的阿拉伯咖啡,谈天,玩纸牌。我轻轻地推开门进去,全屋子的男人都抬起头来望着我。店老板殷勤地迎上来。我会问:“可以吗?”店老板便把右手放在左胸上,微微低头,谦卑地说:“欢迎。”然后,迈着碎步,把我领到临街的玻璃窗前。再手脚麻利地给我端来茶水,端来水烟壶。我欣赏着夜晚的街,我欣赏着街上形形色色的人。我的背后,玩牌的男人们忘情地将纸牌重重地打在桌子上。
阿拉伯水烟壶,有厚玻璃的底座。浅绿,深绿,橄榄绿,也有深蓝,淡蓝,湖蓝。当然还有透明如水晶,上面刻着素雅的花。吸一口,里面的水就活泼地舞蹈起来。
烟枪有高有矮,玲珑有致如同宝塔。有黄铜的,镀银的,木头雕的,讲究的上面还嵌了骆驼骨,闪亮的贝壳,或者是宝石。长条的蛇形软管接出来一截金属或者是木质的烟嘴,上面还垂一个与底座同色的丝坠。烧得红红的炭被小心翼翼地放在最上端的锡纸上面,隔着锡纸的烤烟丝,混合着各种的口味。我最喜爱的,是苹果香。挑逗一下那底座里的水,我深深地吸一口清淡,吸一口朴实,吸一口雅致。
总有一个小伙子,提着一个扁扁的铁盒子,有长长的柄,里面装满了烧红的炭。他不言不语地在人堆里穿梭,小心地将燃尽的炭灰收起来,再将新炭加上去。他一边急步走着,敏锐的眼睛地扫过满屋子一只又一只的水烟壶,一边熟练地晃动着手上的铁盒子,暗红的炭火遇到了空气,就勃勃地燃烧起来。
有时候,我也和谁玩一局Backgammon(十五子棋)。黑棋子白棋子,黑白分明。我们都不说话,安静地喝一口茶,吸一口水烟,用食指和中指夹起一个棋子移动。眼睛,全神贯注地盯在棋盘上。
夜,活泼,生动,像一组明快的乐符划过琴弦。凝重,粘稠,像一条缓缓流动的五彩的河流。
6 我蒙在面纱后面的一双眼睛,思索地注视着这个理智豁达的世界。
这是一个多民族的国家,其中阿拉伯人占80%以上,此外还有库尔德人、亚美尼亚人、土库曼人以及少量的撤尔克斯人、茨冈人、土耳其人、伊朗人、亚述里亚人、犹太人等等。百分之九十以上的居民信奉伊斯兰教。
尽管穆斯林占社会的绝大部分,伊斯兰教却并不是国教,也并没有对妇女服饰作任何的强制要求。街上川流不息的人群,形形色色,百态千姿。有将头发染成彩色的时髦少女,也有穿牛仔裤、高跟皮鞋的年轻女郎。当然,更多的,是系着面纱的女人们。那些深色的,浅色的,素雅的,花俏的,厚实的,柔软的,透明的……许许多多种面纱围在她们的头上,或松或紧,或是俏皮地露出一张秀丽的脸,或是单单地写意出那一对黑白分明的大眼睛。一种何等的美,一种何等的风韵。
在西方世界里,人们通常接受的观点,是阿拉伯的妇女长期被压迫在社会的最底层。其中很重要的一个标志,便是穆斯林妇女的面纱。西方妇女解放运动,只要一提起阿拉伯妇女,更大有将其解救于水深火热之中的豪情壮志。而这个观点,至少有两点错误:首先是由一孔之见而产生的一概而论,其次是将“阿拉伯世界”与 “伊斯兰教”混为一谈。
我不是女权主义者,也不是宗教学家。但是我愿意用平和的心情去看待世界上所有的人,所有的事物。我带面纱,是因为我愿意入乡随俗。是因为,我愿意像当地人一样,用那双蒙在面纱后面的眼睛,冷静地看这个世界。同时我也希望,自己能被这个世界毫不见外地拥进怀里。
我翻阅有关伊斯兰教义和阿拉伯文化的文献和专著,我试图理解伊斯兰世界男女之间的关系以及其分别在社会当中担任的角色。我利用一切可能的机会和穆斯林妇女交流以加深对她们的理解……我愈来愈看到她们以面纱作为宗教的表述,所表达出来的政治色彩。
面纱是人类最古老的服饰之一,迄今,它已经走过了4000多年的历史。对它的起因有着许多种不同的说法。最通常的说法是“虔诚说”。认为穆斯林妇女为了表示对伊斯兰教的信仰,穿戴面纱长袍遮闭自己的面孔和身体,以示虔诚。而法国学者提出一种“辟邪说”。他们在研究撒哈拉中部高原的岩画时发现,画中有不少人像都用手挡住脸的下部。研究的结果说,在许多民族的迷信传说中,人的五官是神秘的魔力出入的地方,这种魔力若从外部潜入五官会加害于本人,若从五官钻出来就会损害他周围的人,因而必须被遮住。此外,也有学者认为面纱是拜火教的服装,蒙住鼻子和嘴是为了防止火种被吹熄。此外,还有更多的从环境的角度,安全的角度来解释面纱的存在。我还读到过一种令我感动的解释,说是《古兰经》里讲到,每一个人都是平等的,无论富贵贫穷,无论美貌丑陋。于是,伊斯兰初期,就有女人开始遮住自己的面孔,以响应安拉的人人平等说。就这样,面纱慢慢地流传开来,直到今天……
我在西亚。我在漫漫黄沙里,我在炎炎烈日下……我遮一块面纱,它给我凉爽,给我清洁,给我安全,更给我一颗安静平常的心。
在叙利亚,我用蒙在面纱后面的一双眼睛,看世界。
(编辑:曾义) - Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/04/2006
胡旋舞???原来是这个,今天收获太大了。
- Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/04/2006
其实我非常喜欢面纱。在穆斯林世界行走,我都带上面纱。还希望能在大热天也穿他们的白袍子。 - posted on 04/04/2006
胡旋舞就是Whirling Dervishes.今天疯狂在找相关的资料。google真好,好google,长命百岁。
………………
As a young child, I remember my first memory of the Whirling Dervishes.
It was my grandmother who told me of men who spun around lifting themselves to heaven. Such a vivid picture I had of them, scraggly men with long matted hair and beards, spinning like tops and never passing out.
As children, we have all practiced this fine art called passing out or fainting and never realizing that we were imitating the ancient religion of Mevlana. Shades of our ancestors?
Journal - December 14, 1987
Since our arrival in Turkey, my husband, Leon and I had looked forward to seeing this ritual.
In 1927 when Attaturk came into power, these practices of the Dervishes were banned and are now only presented and allowed an open display of mysticism in December on the anniversary of Mevlana's death.
Mevlana was a Sufi mystic, totally dedicated to the love of God and the transcendence of the soul. He embraced all men of all religions and taught the immortality of the spirit. His teachings dating from the 11th century are those of the "New Age Thinkers."
During the week of the Dervish performances, tours are made daily to watch the dancers.
In November, Leon and I signed up for a tour with the Radar Travel Agency. For fifteen dollars a person, we were to have a luxury Pullman coach (interesting adjective), tours of Mevlana mausoleum, the Selchuk ruins, lunch and tickets for the exhibition.
As an added treat, we were to be given tea and cake service along the way and tea and fruit on the way home. It said to bring a picnic lunch so that we would have time for some shopping in the city of Konya. Sounded good to us so we paid the agency and counted the days until December 12th.
The bus picked us up a block away at the Officers Club and we immediately realized that we were also a part of the Officers Wives Club tour.
At seven in the morning, we all stood in front of the club constantly on the move to keep warm. It was a low 22 degrees outside.
It was a large group and two buses: arrived to take us on our way. The first one filled up fast as people climbed on hoping to keep warm and defrost frozen toes and noses.
We made it to the second one, a much older model with a much older driver. A distinguished gentleman who was dressed as though attending the wedding of his only son. He turned out to be an excellent driver, safe and steady and we all felt immediately at ease. Something you do not always do with Turkish drivers.
It is a three-hour drive to Konya and about one hour into the trip, we were served large slices of sponge cake individually wrapped and quite delicious.
As we started to eat them, the bus pulled into our rest stop, a service station/restaurant. Most of the group headed for the restrooms, you never know just when you will find another one that is useable.
We were ushered up the stairs into a small room with tables and chairs, it looked like a conference room but out of place in this particular setting.
Here, we were served hot tea in the usual small glasses. Some of us were wishing that we had not eaten our cake first, the tea would have made it that much more enjoyable and a whole lot easier.
Our fifteen-minute stop turned into thirty and after several glasses of tea, we boarded the bus and the remainder of the drive.
Two hours later, we arrived, now thirty minutes behind schedule.
Our first stop was a Mosque built during Mevlana's time and a place where he taught and where he grew totally in his love of God and the ecstasy of his soul. After a short tour, back on the bus and then a stop at the Mausoleum, 3aeon and I had visited it this summer while sightseeing with some friends.
We knew that the crowds in December would not permit us to see much so we took the opportunity to see it in September.
Even then, it was crowded as this is a site of pilgrimages for Moslems, both Shiites, as are the Iranians and the Sunnis as the Turkish people follow.
Standing in the extreme cold, we removed our shoes and covered our hair and wedged in amongst the rest of humanity we entered. Buried here are Mevlana, his father, his son and many other followers.
Mournful music played on the reed flute is heard and tombs covered with woven tapestries and topped with the Dervish headdress are all along the walls.
Manuscripts written by Mevlana and clothes worn by him are preserved in this shrine. There is a special feeling when you enter and one that remains with you as you leave.
Back to the bus and then lunch. Now we are even further behind schedule. We seemed to be driving to the outskirts of town.
Over a small stone bridge with only two inches clearance on either side of the bus, we entered a park with narrow stone streets that seemed to go either straight up or straight down. Pine trees along the sides and the city of Konya far below.
After winding around the park and getting nowhere, one of the guides got out and scouted the area for the restaurant.
We soon found it and grabbed our lunches and went in. Here we were in a resturant with picnic lunches in hand.
Here we were in a big dining room with tables set for dining. We sat down and looked at each other wondering who was going to open their lunches and be the first.
One of the young lawyers from the base and his group were the daring ones. Sandwiches, chip s, cookies and water started appearing from plastic shopping bags and we followed.
We sat there feeling rather guilty when a group of people,feeling more guilty than we did, ordered. In just a few seconds, there appeared bowls of soup, salad and a main course. This they hurriedly ate while the rest of us ate our cold sandwiches.
Why they had told us to bring a picnic lunch is still open for debate. Ot»r schedule was now leaving no time for shopping, let alone serious buying.
By time we finished, we were now an hour behind schedule and the performance had already started.
We arrived at the Sports Stadium where we all ran in and tried to find our seats.
We were finally seated just as intermission was announced.
The dancers would start immediately following intermission.
This is what we had come for. For a hundred TL we had purchased little cushions to sit on, thinking this was to be a long afternoon.
During this intermission, people were running to the concession stands to buy mementoes of the performance.
We had already purchased a five-piece set of porcelain figures depicting two dancers and three musicians.
On the wall of our den is a poster of the performers and on the shelf over the typewriter is a music box with the dancers turning to the music. We did not join in this mass exit to the lobby.
After intermission, a distinguished gentleman addressed the group. He is a direct descendant of Mevlana. Of course, it was all in Turkish.
Following his speech, which I am sure was most interesting, the musicians and chanters entered and took their places on a small stage, which was covered in animal pelts of various colors.
Among the group were two blind gentlemen who were led in, one being the main chanter of the Koran. A gentleman who could barely move due to advanced age, was also in this group.
All were dressed in black robes with white dresses beneath and the dervish cylindrical headdress, one made of beige felt and at least twenty inches tall.
The musicians took seats on chairs while the drummers sat on the floor.
Reed flutes, a unique type of violin and drums made up the orchestra. With the supporting group seated the dancers entered.
They too had the black robe and headdress of the dervishes. Below their robes, you could see the hems of their full white dresses. The headdress represents their tombstone; the black robes are their shrouds.
Leading the procession is the Sheyh, the representative of Mevlana on Earth.
He is seated on a pelt of red fur, the color designating the manifest or the visible. It is the symbol of mystical union and of God manifest, as it set on the threshold to the spiritual world.
The purpose of the ritual is to induce controlled ecstasy in the individual through which he may divest himself of his physical self and attain the ultimate truth.
Each dervish moves forward and kisses the hand of the briefly asking permission to perform the ritual of the dance.
Their hands are crossed over their chest resting on their shoulders.
As permission is received, they slowly begin to whirl, opening their arms with the right hand outstretched and turned upwards, palm opened, the left hand is turned downwards.
This is to symbolize the Mevlevi principle: What we take from God and give to man.
The dancers then whirl around the room at the same time pivoting on their own axis...as if spinning around the sun, like the earth, the planets and the stars.
The graceful motions of the unfolding of the arras and the full flowing white robes are inspiring.
Men come from all over Turkey to participate in this homage.
Among them are doctors, lawyers and men whose faces with their eyes closed are truly seeking God and the return of their soul to their creator.
It was expressed in every face of the dancers and in the faces of people in the audience who appreciated the performance for the abandonment to God and the love expressed in the movement.
It was an experience to always be carried in the heart, an expression of divine love.
A glorious way to celebrate the holiday season.
Peace and love to all and the remembrance of the unity with our Source.
Connie and Leon
Sacred Geometry and the Mevlevi Sufi Round Dance
Whirling Dervishes - Trance Dance - Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/04/2006
- Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/04/2006
玛雅姐,你太酷啦~~~ - Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/04/2006
安全第一,要三思。真要去的话,有些担心。 - Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/04/2006
这篇游记是曼陀罗的,怎么没见著名?胡旋舞与苏非的旋舞终究有时
间上的距离,白居易的胡旋舞是唐代西域的,八世纪的,那时有没有
苏非,苏菲有没有旋舞都说不定。
我看过一个莫扎特的《后宫诱逃》,终曲时音乐伴随的苏非旋舞简直
让人直入化境!
http://www.amazon.com/gp/product/B00008H2H1/qid=1144176101 /sr=1-3/ref=pd_bbs_3/102-0122346-9247376?%5Fencoding=UTF8&s
=dvd&v=glance&n=130
- Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/05/2006
猪蹄儿, nidal怎么不回我的email呢? - posted on 04/05/2006
翻遍了资料,依然找不到这种舞蹈的渊源。现在这个舞蹈都是以鲁米来命名的。
Mevlana who is also known as Rumi。他出生在阿富汗地区,但一生大多时间都在土耳其境内的konya渡过。
…………………………
Born in the City of Balkh in Afghanistan , Mevlana lived most of his life in Konya , seat of the Seljuk Empire , located in present day Turkiye . The son and heir to the position of a noted Theologian and Mystic , Mevlana was jarred out of his comfortable ways and beliefs by a mysterious dervish named Shems of Tebriz . The moment of the meeting of Mevlana and Shems is referred to as the 'meeting of two seas' . Each of them had attained a spiritual awareness of depth and breadth which distinguished them from others . Now these two would complete each other in the boundless Sea of Unity .
Shems' way of attracting Mevlana's attention was by asking whether the Prophet Mohammed or the Mystic Beyazid-i Bestami was greater. This was a rather shocking question, but Mevlana without hesitation replied that of course, the Prophet is the greater of the two. At this Shems' fiery manner softened a little. Then he continued , " But Lord Mohammed said, 'God! I glorify You. We do not know Your worth.' Whereas Beyazid-i Bestami said, 'I glorify myself, my reputation is great because there is no Being but God in every particle of my body.' How can you explain this? " Mevlana had anticipated this, and replied immediately, "The Lord Mohammed spoke these words because each day he progressed many stages forward; and each time he reached a new level of understanding, he begged God's forgiveness for his previous knowledge and errors. The Prophet had the endurance to contemplate God in abstraction, purified of all else, in all His manifestations, without remaining at any one stage of judgement. But Bestami was carried away by his arrival at the very first stage and, having been intoxicated by this attainment, got no further..."
Overwhelmed by the profundity of this answer, Shems fell to the ground senseless. After Mevlana helped him up, they embraced as long lost lovers and without a word, set out arm in arm for Mevlana's house at medrese. The townsfolk looked on in confusion and astonishment as their dignified Mevlana walked away with this disheveled strange dervish.
It was Shems who kindled the spark of passion for the Divine in Mevlana. Mevlana's whole life of book learning, canonical views, and conservative behavior changed radically as the burning of Divine Love swept through him. A steady husband and father, Mevlana had taught in the medrese (a center of learning similar to a university of the time), given judgements on religious matters, and drawn a following. Now he was completely absorbed with Shems, stayed in seclusion with him for months, and humbled himself in his attempt to meet his every wish.
Mevlana's students and disciples couldn't bear to see this person they held in such high esteem submitting himself to an unknown, again dervish who was uninterested in endearing himself to anyone except Mevlana. Soon their displeasure turned to actual threats against Shems, and one day he disappeared. Because those followers were unable to comprehend the meaning and depth of the relationship between Mevlana and Shems, they were unprepared for Mevlana's reaction to Shems' disappearance. Instead of returning to his former ways and relationships, Mevlana became crazed with longing and spent days and nights whirling in the Sema (2) that Shems had given him a taste for, and feverishly reciting love poems that sprang from the anguish and longing within him.
When it was learned that Shems was in Damascus, Mevlana's oldest son Sultan Veled set out to try to bring him back. Now Mevlana was overcome with anticipation--He was returning! The one who had revealed to him Divine Love in man ! The on who had brought him to Divine Love! The one who had become Divine Love! Poetry, music, Sema ecstasy!
And for some time after Shems' return things went well. The malcontents were remorseful and on their best behavior , Mevlana gave a young woman of his household to Shems in marriage , and the loving relationship between Shems and Mevlana reached new depths as Mevlana matured in this Sea of the Divine .
The distinction between lover and beloved was being obliterated . In response to Sultan Veled's asking Shems to give him what he had given to Mevlana , Shems replied that nothing of himself , no Shems , existed any longer . He told Veled that he could find Shems only in Mevlana now . As for Mevlana , through his poems we see him losing his individual identity and acknowledging Shems as the embodiment of the Divine in which he had 'drowned' .
But things were not to continue like this for long . Shems' young wife died rather suddenly and the former agitators used this as an excuse to openly disparage Shems , and actually threatened his life , saying the young woman had been unable to bear such a husband and had pined away in sadness . Their menacing became bolder until one night when Shems left the room where he was chatting with Mevlana and stepped outside in response to a call , the threats were brought to realization . Nothing was found of Shems but a few drops of blood on the threshold . Though Mevlana searched for Shems as at his first disappearance , this time there was to be no delivery from the loss .
One time they had asked Mevlana to describe his life and he replied , " I was raw . I cooked . I burned . " Now was the time of burning , of reaching total unity , of realizing Shems within himself . They were not two individuals but rather two bodies with one soul . The longing , the anguish that Mevlana was living were essential . Shems was not anywhere but within Mevlana himself ; he had merely been a bodily form presenting to Mevlana the reflection of that Divine within himself .
After a time Mevlana's extraordinary need for a mirror for his love was met by Sheik Selahaddin ' Zarkubi ' (Goldsmith) , a former disciple of Seyyid Burhaneddin of Tirmiz ( Mevlana's early mentor and after his father , the one with the greatest influence on his introduction to spirituality along with knowledge ) .
Mevlana now held Selahaddin up as a sheik to his disciples , as a spiritual model . Again there were complaints and murmuring , this time because of the goldsmith's lack of formal education . They had not admired Shems , But at least they had realized that he was a well-educated person . Now an illiterate craftsman was being presented to them as their spiritual master . They were unable to perceive the beauty , the greatness , the purity of the true 'self ' of Selahaddin, and thus missed out on the graces possible from his words and example.
No matter. For a time Mevlana found the love born of Shems in the pure face shining with inner light and the truly fervent hearth of Selahaddin. In one poem Mevlana said: Last year he suddenly appeared in a red caftan, his face shining. This year he has come again, wrapped in a gray cloak. He changed his apparel and came... When Mevlana was asked, "Who is a man of wisdom ?", he answered thus, " The wise one is he who, when you're silent, speaks of your inner secrets. That man is Sheik Selahaddin."
With an awareness that his worldly time was nearing its end, Sheik Selahaddin looked forward to his death; and in the winter of 1258 he was released from the prison of the body and re-united with the Source of all Love in the Divine.
Mevlana had lost first his father Sultanul Ulema Bahaeddin Veled, then Seyyid Burhaneddin, then Shems, and now Sheik Selahaddin. Each lost left its mark and threw Mevlana deeper into the inner world where he burned in spiritual communion. This burning was bringing him ever closer to becoming the Mevlana he was to be.
The calm peacefulness of Sheik Selahaddin was just what Mevlana had needed, but now it was time for a new light to shine for Mevlana, the light which would enable the immortal masterpiece The Mesnevi to come into being. This light was Husameddin Chelebi.
Initiated into the beauties of the spiritual path by both Shems and Sheik Selahaddin, Husameddin Chelebi had been participating in the Sema and music assemblies and Mevlana's discourses for years. He was spiritually matured and ready to bear the great responsibility of taking down the words of Mevlana which whereto flow and become the six volume poem The Mesnevi. In Husameddin Chelebi Mevlana again found the embodiment of Shems. Mevlana's exuberance now took on a calmness and maturity of thought. Husameddin Chelebi was aware of Mevlana's mature readiness, and one day suggested that Mevlana produce a work that would encompass his thoughts and ideas in a form that would touch people and be a guide to them in their spiritual seeking. With a smile that sublime Lover of God reached up and took a piece of paper from within the folds of his turban and preferred in to Chelebi to read. It was the first 18 verses of what was to be the Book of Realities, the book revealing secrets unsaid before, The Light offered to man as a help in realizing God, The Mesnevi .
The passionate poems of Love and longing which make up to the Divan-i Kebir are often too wild in their passion, too outrageously uninhibited to be easily tolerated as man speaking to and of his God. So in the six volumes of rhyming couplets of the Mesnevi, Mevlana deliberately set out to write a guide for those seeking the essence of this Divine Love and Passion. Using fables and folk stories, examples of the sacred and the profane, Mevlana interwove hundreds of stories in which the reader could see his own fallible and faults, and also discover to means of abandoning them and taking on the characteristics of the Divine. Time and again Mevlana emphasizes his essential premise of the need for a living guide in the form of a spiritual master... A human being, a Perfect Human Being to lead one to the Divine.
There is another book based on the discourses and the conversations between the master and disciple--Mevlana and Suleyman Pervane. Called Fihi Ma Fih (3), it offers in prose style Mevlana's views on God, heaven and earth, the Universal Intellect and Partial Intellect, and more. It is a controlled and scholarly work, maintaining a dignified pace while The Mesnevi unrestrainedly sweeps along. Different only in style and form, there is nothing contradictory in the three works, The Divani Kebir, The Mesnevi, Fihi Ma Fih . The intellect , the soul and the love of the soul are all satisfied .
Remember the joy , the craziness of your first love ? Puppy love ? Summer Love ? High School Romance ? It doesn't matter -- it was real ! Filling pages in your notebook with ' his ' name . Hanging out on the corner of ' her ' street . Playing the same record over and over because you two had first heard it together and it was ' your ' song... Perhaps the only time of totally unaffected love . Mevlana experienced love of the Divine , love of his Creator , with total exuberance and intoxication. God incarnate in Shems , in Selahaddin , in Chelebi . The passion for God leaves earthly loves far behind , yet Mevlana had this to say , " All loves lead to the Divine ."
Turning in the Sema and the pouring forth of poetry sprang from the intense passion Mevlana was living . There was nothing static or passive about the love of Mevlana . Times of silent introspection and contemplation interspersed with rapturous activity...He was now Lover , now Beloved , now the very Spirit of Love itself , the Divine manifested as each of these within the human .
The years of fasting and abstinence had taken their toll on Mevlana's body , and in the fall of 1273 he fell ill . On his deathbed he comforted his family and friends thus , " Don't grieve that I am leaving this world . Whatever may happen to you , I am with you . As our Prophet said , ' Both my life and my death are auspicious for you .' The purpose of my life was to show the true path and my death is to aid you along the way . "
On the evening of 17 December 1273 Mevlana took leave of this mortal world, calling out to God, "When You receive our spirit, death is as sweet as sugar ! When we are with You, death is sweeter than sweet life !"
- posted on 04/05/2006
难道真是鲁米开始这种神秘舞蹈?这个舞蹈又被称为sema。这个网站是鲁米的后代建立的。
http://www.mevlana.net/sema.htm
Sema is part of the inspiration of Mevlana Celaleddin-i Rumi (1207- 1273) as well as of Turkish custom, history, beliefs and culture.
From a scientific viewpoint we witness that contemporary science definitely confirms that the fundamental condition of our existence is to revolve. There is no object, no being which does not revolve and the shared similarity among beings is the revolution of the electrons, protons and neutrons in the atoms, which constitute the structure of each of them. As a consequence of this similarity, everything revolves and man carries on his live, his very existence by means of the revolution in the atoms, structural stones of his body, by the revolution of his blood, by his coming from the earth and return to it, by his revolving with earth itself.
Whirling Dervishes doing SemaHowever, all of these are natural, unconscious revolutions. But man is the possessor of a mind and intelligence which distinguishes him from and makes him superior to other beings. Thus the "whirling dervish" or Semazen causes the mind to participate in the shared similarity and revolution of all other beings… Otherwise, the Sema ceremony represents a mystical journey of man's spiritual ascent through mind and love to "Perfect." Turning towards the truth, his growth through love, desert his ego, find the truth and arrive to the "Perfect," then he return from this spiritual journey as a man who reached maturity and a greater perfection, so as to love and to be of service to the whole of creation, to all creatures without discrimination of believes, races, classes and nations.
nat-serif #8.gif (2958 bytes)Sema consists of seven parts.
The first part
The dervish with his headdress (his ego's tombstone), his white skirt (his ego's shroud) is by removing his black cloak spiritually born to the truth, he journeys and advances there. At the onset and each stop of the Sema, holding his arms crosswise he represent the number one, and testifies to God's unity. While whirling his arms are open, his right hand directed to the skies ready to receive God's beneficence, looking to his left hand turned toward the earth, he turn from right to left around the heart. This is his way of conveying God's spiritual gift to the people upon whom he looks with the eyes of God. Revolving around the heart, from right to left, he embraces all the mankind, all the creation with affection and love… It starts with an eulogy "Nat-I Serif" to the Prophet, who represents love, and all Prophets before him. To praise them is praising God, who created all of them.kudum #6.gif (3179 bytes)
The second part is a drum voice,
symbolizing God order to the Creation: "Be."
ney #7.gif (2255 bytes)The third part is an instrumental improvisation "taksim" with a reed "ney." It represents the first breath which gives life to everything. The Divine Breath.
The fourth part is the "dervishes" greetings to each other and their thrice repeated circular walk "Devr-i Veled," with the accompaniment of a music called "peshrev." It symbolize the salutation of soul to soul concealed by shapes and bodies.
The fifth part is the Sema (whirling). It consists of four salutes or "Selam"s. At the end of each as in the onset, the dervish testifies by his appearance to God's unity.
* The first salute is man's birth to truth by feeling and mind. His complete conception of the existence of God as Creator and his state of creature.
* The second salute expresses the rapture of man witnessing the splendor of creation, in front of God's greatness and omnipotence.
* The third salute is the transformation of rapture into love and thereby the sacrifice of mind to love. It is a complete submission, it is annihilation of self with in the loved one, it is unity. This state of ecstasy is the highest grade in Buddhism, defined as "Nirvana" and in Islam "Fenafillah." However, the highest rank in Islam is the rank of the Prophet, he is called God's servant first and his messenger afterwards. The aim of Sema is not unbroken ecstasy and loss of conscious thought. At the termination of this salute, he approves again by his appearance, arms crosswise the Unity of God, consciously and feelingly.
* The forth salute Just as the Prophet ascends till the "Throne" and then returns to his task on earth, the whirling dervish reaching the state of "Fenafillah," return to his task in creation, to his state of subservience following the termination of his spiritual journey and his ascent. He is a servant of God, of his Books, of his Prophets and all his creation.
hirka cikar #9.gif (3094 bytes)
First Salute
kiss hand #5.gif (3485 bytes)
Kiss of hand
Permission to whirl (dance)
Second Salute
whirl #4.gif (2770 bytes)
Third Salute - Whirling
meditation #2.gif (1831 bytes)
At the sixth part Sema ends with a reading of the Quran and specially of the verse from sura Bakara 2, verse 115, "Unto God belong the East and the West, and whither over ye turn, you are faced with Him. He is All-Embracing, All-Knowing."
The seventh part is a prayer for the repose of the souls of all Prophets and all believers.
- posted on 04/05/2006
也在查 Whirling Dervishes 的起源 - 既然胡旋舞来自西域,他们或许有关 - 但溯到十三世纪就没了。看到这样一段:
The dance has been performed for over 700 years by the Sufi, a rather mystic order of the Islamic faith. A story is told of a tradesman in a small village in the East who sat on his knees in his little shop, and with his left hand he pulled a strand of wool from the bale which was above his head. He twirled the wool into a thicker strand and passed it to his right hand as it came before his body. The right hand wound the wool around a large spindle. This was a continuous motion on the part of the old man who, each time his right hand spindled the wool, inaudibly said "la illaha illa'llah." There could be no uneven movement or the wool would break and he would have to tie a knot and begin again. The old man had to be present to every movement or he would break the wool. This is awareness. This is life. Sufi means awareness in life, awareness on a higher plan than on which we normally life. (http://www.touregypt.net/featurestories/dervish.htm )
想一想怎样才能进入 trance 状态。不动,发呆,不好,容易走神儿 - 打坐不容易。做复杂的动作,也不好,注意力都集中到动作上去,反客为主。最好是准确有节奏地反复同样的动作,在有意无意之间。旋舞是一种方式,当然不是唯一。但旋转,头晕,又保持平衡,是不是更容易进入trance?这神秘舞蹈让我这么一想,不神秘了,嗯,太唯物了不好。。。 - posted on 04/06/2006
想一想怎样才能进入 trance 状态。不动,发呆,不好,容易走神儿 - 打坐不容易。做复杂的动作,也不好,注意力都集中到动作上去,反客为主。最好是准确有节奏地反复同样的动作,在有意无意之间。旋舞是一种方式,当然不是唯一。但旋转,头晕,又保持平衡,是不是更容易进入trance?这神秘舞蹈让我这么一想,不神秘了,嗯,太唯物了不好。。。
浮生唯物得还不够深入,其实很多形式都能让人进入trance状态。看看这个从wikipedia搬过来的描述。这些其实就是endorphins的释放。
在生理層面上,BDSM的「感官遊戲」經常包含了痛苦的施加,即使並沒有造成實際的傷害。它會造成腦內啡(endorphins)的釋放,製造出一種類似賽跑者在邉幼罴ち視r或高潮過後餘韻的感覺,稱為「飛昇」(flying),有些人可以從中得到愉悅。某些作家會使用「身體緊迫」(body stress)這個名詞。這種感覺是許多BDSM實踐者進行BDSM的動機,不過並不是唯一的動機。相反地,有為數不少的BDSM實踐者(尤其是 bottom)可能會參與一個他們完全不會得到任何生理愉悅感的場景,好讓他們的top有機會能放縱他們的慾望與戀物。
在某些BDSM遊戲中,top(通常是支配的那一方)提供感官刺激給bottm(通常是臣服的那一方),會用摑打屁股、摑掌(slapping)、捏夾(pinching)、用指甲摩擦(stroking)或抓擦(scratching),或者會使用道具,如皮帶(strap)、鞭子(whip)、拍板(paddle)、棍棒(cane)、刀子、蠟油、冰塊、曬衣夾(clothespin)、竹籤(bamboo skewer)等等。用繩子、鍊子、皮帶、保鮮膜、手銬或其他東西綁縛起來也可能會是遊戲的一部分。
BDSM遊戲中使用的工具包含了各式各樣的項目,從特別設計過的道具到日常家庭用品都有,後者被稱為「歪用道具」(pervertible)。
一場愉悅的BDSM遊戲有很大一部分要取決於top是否稱職,而bottom是否達到了該有的感覺。信賴與性刺激可以幫助一個人準備進入強烈的感官刺激。有些人甚至將一場熟練專業的BDSM遊戲比喻為音樂作曲與演湊,每個感官刺激都好像是一個音符一樣。於是,不同的感官刺激就可以用不同的方法結合起來製造出一個整體的經驗。
- Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/08/2006
去土耳其千万别忘了去看“卡帕多气压”!还有诺亚方舟停留的阿格里山,还有亚美尼亚的旧都阿尼,,,,,,,, - Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/08/2006
忘说了,还有毛派库尔德共产党的势力范围,东部山区,tunceli,呵呵,,,,, - posted on 04/10/2006
阿拉丁燃灯 wrote:
去土耳其千万别忘了去看“卡帕多气压”!还有诺亚方舟停留的阿格里山,还有亚美尼亚的旧都阿尼,,,,,,,,
一定的,世界上还有这样多的地方我要去历险呢。
………………
声音温柔的哈桑王子从领事馆打来电话,给了我一个特别的惊喜,虽然我只申请一个月的签证,他说可以给我6个月多次往返。但因为我在profession一栏里填的是writer,他要知道我到底要写什么。我说我对他们国家的sufi dance感兴趣。但他这一问就让我多了一个心眼儿,莫非他们要控制新闻报道??所以我重复了好几次我这次只作为一个普通旅行者去看朋友而已。哈桑很聪明,马上就暗示我说,如果要采访拍照的话,就要经过3道国内审批的程序。你不会去拍特殊的照片吧,我赶紧澄清道,当然不会的啦。
乌拉,哈桑,乌拉,叙利亚,乌拉,阿拉伯人!六个月来回进出才24美金的签证费,多棒!
又想起那年申请去摩洛哥的情形~~~
那年,千僖年就要到了,而我依然懵懂,不知何去何从。我想也许一场特殊的旅行会帮助我找到那条路。
于是我就找来地图,闭门冥想。点兵点将就点到了摩洛哥。拿了护照、签证费就直奔摩洛哥驻纽约领事馆。 那天没什么人,很窄小的铺面,小小的窗口前只有两个阿拉伯小伙子在用阿拉伯文讲话。
柜台里的小姐让我填了申请表,收了签证费,立刻就在我的护照上盖了章~~~
- Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/10/2006
99年在卡撒布拉卡的照片:
- Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/10/2006
... - Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/10/2006
玛雅太牛了。。。惊叹中 - Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/10/2006
噢, 玛雅是牛, 怪不得你是马.
马慧元 wrote:
玛雅太牛了。。。惊叹中 - Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/10/2006
- posted on 04/10/2006
聪聪 wrote:
总之都很笨的说。。。:)
另外纠正一下,上面的“MAYA妹妹”应该为“MAYA贤妹”。
严肃中的说。。。:)
老聪,小牛是很笨的,不过玛雅是金牛。
接着说俺的摩洛哥奇遇。
…………
看她这样快什么问题都没问当下就给了我签证,我高兴坏了,拿回护照一蹦老高。前个星期去西班牙使馆签证,官员们左右为难,还问三问四的,哈类卤鸭,摩洛哥万岁!
旁边的两个小伙子看我发狂,挺好奇,问我去那里干嘛。我说去看你们的清真寺啊,看玛拉喀什城外的沙丘啊。他们说,你要去卡撒布拉卡吗?我说当然,电影上最浪漫的地方当然要去的。他们就说,啊那儿是俺老家啊,你去的话,给俺娘捎带点儿东西好吗?俺们很想家哩。
看他们蛮诚实的,就给了他们纽约家的住址。 过了几天,那个叫阿里的小伙子出现在家门口,手里拎着一个包裹,他局促地进门,把包裹与一封阿拉伯文地址的信与联系电话等等交给我,说他的兄弟姐妹会到机场来接我的。说完就匆匆走了。留下的包裹里是一条普通的咔叽裤子。我满心狐疑,这样一条普通裤子值得这样郑重其事托一个陌生人带到摩洛哥吗?莫非?莫非这是条暗藏玄机的裤子。 我把这条褐色的咔叽裤子翻来覆去看了好几遍,就差没有拿舌头舔了(我还真担心这是条浸泡过毒品的裤子呢),也没发现有什么特殊的地方。
带着这条暗藏悬念的裤子我上了去摩洛哥的飞机。 下了飞机就是各色袍子飘飘的异域风光。提了行李出了站口,看见一群人一字排开手里拿着一个大招牌上面写着玛雅的名字。我知道是阿里的亲戚了,但这么大阵仗的一群穿长袍子的人来接飞机,让我大吃了一惊,推车赶紧笑着过去。有个会几句英文的英俊男孩过来,大叫,你就是玛雅啊,我兄弟可好啊?然后呼啦这一大群人就过来拉我的手,亲我的额头和脸颊,问长问短分外亲切。我也糊里糊涂地跟着他们走,兴兴头头地东拉西扯。到了停车场,一个兄弟过来示意我在原地等着,他开车过来。停车场跟美国的比起来寒酸得很,车很少。我望眼看去,天啊,原来是一辆破破烂烂的小吉普。这么多的人能挤得进去吗?于是我问:我们都进去吗?他们说当然。把我放在最好的前排座位,然后塞给我两个小妹妹放在我的两个膝头上,然后这些表兄弟堂姐妹的10来个人就挤进了这个最多只容得下六个人的小吉普。一个兄弟爬上了车顶,两个兄弟身上堆着我的两个小行李箱,两个人半个身子在车外探出头,手抓着车顶,那个开车的胖伙计脚踩油门,轰隆隆我们就这样上路了。
- posted on 04/11/2006
天啊,原来是一辆破破烂烂的小吉普。这么多的人能挤得进去吗?于是我问:我们都进去吗?他们说当然。把我放在最好的前排座位,然后塞给我两个小妹妹放在我的两个膝头上,然后这些表兄弟堂姐妹的10来个人就挤进了这个最多只容得下六个人的小吉普。一个兄弟爬上了车顶,两个兄弟身上堆着我的两个小行李箱,两个人半个身子在车外探出头,手抓着车顶,那个开车的胖伙计脚踩油门,轰隆隆我们就这样上路了。
这个好玩。让我想起曼陀罗写的一个非洲妇女坐在变速箱上,驾驶员在她两腿之间换档的故事。 :-) 这条裤子的故事也有意思。玛雅还是古道热肠地。 - posted on 04/12/2006
呵呵,确实有意思。不过这在美国其实也有,在少数裔多之处不太罕见。有年在佛罗里达迈阿密(那里古巴及西班牙裔人极多),眼见一辆小van象大变活人的魔术箱般,从里面一个接一个地跳出近十几个“古巴人”来,直把周围的人都看呆了。人的可压缩性及折叠性其实还是很大的,只是在常可见一个人开一辆大面包车的美国,这类属性因不常用而退化罢了。
八十一子 wrote:
天啊,原来是一辆破破烂烂的小吉普。这么多的人能挤得进去吗?于是我问:我们都进去吗?他们说当然。把我放在最好的前排座位,然后塞给我两个小妹妹放在我的两个膝头上,然后这些表兄弟堂姐妹的10来个人就挤进了这个最多只容得下六个人的小吉普。一个兄弟爬上了车顶,两个兄弟身上堆着我的两个小行李箱,两个人半个身子在车外探出头,手抓着车顶,那个开车的胖伙计脚踩油门,轰隆隆我们就这样上路了。这个好玩。让我想起曼陀罗写的一个非洲妇女坐在变速箱上,驾驶员在她两腿之间换档的故事。 :-) 这条裤子的故事也有意思。玛雅还是古道热肠地。 - posted on 04/12/2006
我们一直就是这样能屈能伸来着:)
Fengzi wrote:
呵呵,确实有意思。不过这在美国其实也有,在少数裔多之处不太罕见。有年在佛罗里达迈阿密(那里古巴及西班牙裔人极多),眼见一辆小van象大变活人的魔术箱般,从里面一个接一个地跳出近十几个“古巴人”来,直把周围的人都看呆了。人的可压缩性及折叠性其实还是很大的,只是在常可见一个人开一辆大面包车的美国,这类属性因不常用而退化罢了。
八十一子 wrote:
天啊,原来是一辆破破烂烂的小吉普。这么多的人能挤得进去吗?于是我问:我们都进去吗?他们说当然。把我放在最好的前排座位,然后塞给我两个小妹妹放在我的两个膝头上,然后这些表兄弟堂姐妹的10来个人就挤进了这个最多只容得下六个人的小吉普。一个兄弟爬上了车顶,两个兄弟身上堆着我的两个小行李箱,两个人半个身子在车外探出头,手抓着车顶,那个开车的胖伙计脚踩油门,轰隆隆我们就这样上路了。这个好玩。让我想起曼陀罗写的一个非洲妇女坐在变速箱上,驾驶员在她两腿之间换档的故事。 :-) 这条裤子的故事也有意思。玛雅还是古道热肠地。 - Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/13/2006
嫁给中东人很不错的。 中东男人很有味道, 英俊者居多。 - Re: 06年的旅行心愿-叙利亚、土耳其posted on 04/14/2006
胡旋舞应与WHIRLINGDERVISHES 无关。
WHIRLINGDERVISHES is not entertainment, it is called Semas, a religions ceremony from Mevlana Jelaluddin Rumi's(1207-1273) time. Mostly only men dance in public semas.
胡旋舞 was introduced to China in Tang Dynsty (0618AD-0907AD) and mostly done by women. - RE: 06年的旅行心愿-叙利亚、土耳其posted on 11/16/2015
Reply #34 吕行ti
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