印度教

In the first chapter, the author studied the traditional decorative patterns of plants and analyzed unique aesthetic tendency of the Indian nation in the field of decoration as well as its different embodiment in Buddhism and Hinduism through the typical relics of decorative patterns of plants in Buddhism left in all different parts of Gandhara, Mathura, Amaravati of different period in ancient India, such as the Phoenician Dynasty, Kushan Dynasty, Sunda kingdom Galerkin, Gupta period and so on, which is the exotic origin of decorative patterns of plants in Buddhism in Tang Dynasty.

本文第一章借助遗留在犍陀罗、马土腊、阿马拉瓦蒂各个不同地区的孔雀王朝、贵霜王朝、巽伽王朝、笈多王朝等各个时期佛教植物装饰纹样的典型遗物，探讨了古代印度传统的佛教植物装饰纹样，并分析了印度民族在装饰领域的独特审美倾向及其在佛教和印度教中的不同体现。

In the Hindu legends, the Garuda is seen as the steed of Vishnu and is recognised throughout the Himalayas.

在印度教传说中，鹰被认为是骏马的毗湿奴，管理整个喜马拉雅山脉。

In the Hindu legends, the Garuda is seen as the steed of Vishnu and is recognised throughout the Himalayas.

在印度教传说中，鹰被认为是骏马的毗湿奴，确认整个喜马拉雅山脉。

In practice, however, this reverence seems to have degenerated into a superstitious worship of the "Granth"; and even a certain vague divinity is attributed to the ten gurus, each of whom is supposed to be reincarnation of the first of the line, their original founder -- for the Hindu doctrine of transmigration of souls was retained even by Nanak himself, and a certain amount of pantheistic language occurs in parts of the sacred hymns.

实践不过，现在这个虔敬似乎已完全堕落成为迷信崇拜的& granth &；甚至某一个空泛的神，是归功于以十大师，每个人应该是轮回的第一线，其原先的创始人-为印度教教义轮回的灵魂被保留甚至诞辰自己，而且有相当多的p antheistic语言出现在零件的神圣赞美诗。

In practice, however, this reverence seems to have degenerated into a superstitious worship of the "Granth"; and even a certain vague divinity is attributed to the ten gurus, each of whom is supposed to be reincarnation of the first of the line, their original founder -- for the Hindu doctrine of transmigration of souls was retained even by Nanak himself, and a certain amount of pantheistic language occurs in parts of the sacred hymns.

在实践中然而，这种敬畏似乎已经沦落为一种迷信崇拜&格兰斯&；甚至某些含糊不清的神是由於10大师，每个人应该是转世第一线，他们原来的创始人-为印度教教义的灵魂轮回的保留甚至纳纳克本人，并采取一定的pantheistic语言发生在地方的神圣赞美诗。

Sikhs keep the Hindu festivals by performing ceremonies in the gurdwaras, and they also celebrate festivals on their own holy days (e.g., the birthdays of some of the Gurus) by taking the Granth in procession through the streets.

锡克教也在谒师所举行仪式来保留印度教的节日，他们也庆祝自己的圣日，是成群结队地手持锡克教《圣典》在街上游行。

The fifth guru, Arjun (guru 1581 - 1606), gave Sikhism its holy book, the Granth Sahib, which contains hymns of Sikh gurus as well as those of Hindu and Muslim saints such as Kabir.

第五大师，古塔（大师1681至06年），给予其锡克教圣地书中，格兰斯希卜，其中载赞美诗的锡克教大师以及印度教和穆斯林圣人如卡比尔。

In Hindu Tantra, practice is graded into three types, corresponding to three classes of devotees: the animal, i.e., those in whom the guna, or quality, of tamas predominates; the heroic, those in whom the guna of rajas predominates; and the divine, those in whom sattva predominates.

在印度教坦陀罗，练习被分成三种类型，与三种级别的皈依者相对应：动物，那些在黑暗之中，或者等同于黑暗支配的人；英雄，那些掌握主动支配的人；和神性，那些有良好支配的人。

Kali is a destructive and creative aspect of God as the Divine Mother in Hinduism.

卡莉是神毁灭性和创造性的面貌，是印度教的神圣母亲。

The gods can be divided into four kinds,the first kind includes Buddha and Bodhisattva,who are recorded by sutra and have the western image;the second kind is the lokapala who transformed by Indian gods;the third kind includes the gods recor- ded by sutra and created by Chinese,but their images do not exit in India;the fourth kind is the gods mixed.

印度诸神像来到中国，大致可分为四类：第一类是既有佛经的记述，又有西方的形象依据，如诸佛、诸菩萨等；第二类是由印度教诸神转化成的佛教护法神；第三类是佛经虽有记述而印度未有造像者，则由中国人大胆创作；第四类是中国人调和不同宗教的造像，把不同宗教的像造在一起。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。