轮回

But taken together, in samsaric existence there is not a single space that is worthy of attachment.

但总的来说轮回之中根本没有一个可执着之处。

There is also a night club set."Not many people know how long this music video has been in pre-production. The entire concept behind the music video, which I cannot talk about was entirely Britney's idea, and this is the first time that she has been involved in it as early as the story board process, all the way to the production design and the casting as well. The only thing I can say is that this video is about "rebirth.

我们的内部人员还说：并不是许多人都知道这首录影带弄了多久，但MV背后的全部原则都是布布的主意，这也是第一次她早早的就参与到了整个故事框架的程序中，MV所有的设计和投掷都很棒~我能说的唯一一件事就是这个录影带是关于"轮回"的。

Intermediate and deep focus earthguakes ; Earthquake cycle ; Subduction zone ; Magma tide.

中源和深源地震；地震轮回；俯冲带；岩浆潮。

And those sutra and Thangkas will provid us with the core of Tibetan Thanatology and the philosophy of life from Tibetan Buddhism.

因此，西藏目前仍十分通行的「生死流转图」，也可以说明在《入胎经》与「人体胚胎发育图」基础下，藏族对生命起始、消逝及不断轮回的独特生死观念。

As tracks go on you sink in a sort of dantesque circle, the boundary between joy and suffering,life and death, where Eros and Thanatos melt and become the same thing.

当这张唱片在你的唱机里转动的时候，你就会沉溺在一种下沉的轮回里，享受和痛苦，生命和死亡，爱的迷惑和死的愿望，这些对立之间的边界融化，变成了相同的事物。

Zhang Tiemei used painting brush to make classical theatric character to fix on the painting.

所以她笔下的戏剧人物也超越了时空而赋予戏剧更加本质的一种东方意义、一种关于生死、一种关于轮回、一种关于艺术家自己对戏剧的阐释，都反映在她这批戏剧人生的画中。

Zhang Tiemei used painting brush to make cla ical theatric character to fix on the painting.

所以她笔下的戏剧人物也超越了时空而赋予戏剧更加本质的一种东方意义、一种关于生死、一种关于轮回、一种关于艺术家自己对戏剧的阐释，都反映在她这批戏剧人生的画中。

Theosophy was based on Hindu ideas of karma and reincarnation with nirvana as the eventual aim.

theosophy是基于印度教思想的因果报应和轮回与涅槃作为最终目标。

He said, I have practiced with you all the way. Though I learned much from you in numberless transmigration, my theurgy is still worse than others'. It is unfair!

他说：「我这一路走来，在无数轮回中，虽然闻道甚多，可是在神通方面却比别人差，"未全道力"，这似乎太不公平了！

I hope to use visualized language to probe the injuries and pains that inflict our bodies and souls, to probe the tininess of the individual and the vastness of the times. We encounter these conundrums and pressures in every era, and it seems that in our historical experience, every time we encounter massive social change and destruction, Chinese culture comes out with a shocking ability to recover, so that our spiritual roots have never totally collapsed but continued on to this day through the impermanent cycles of the millennia. Rebirth and transmutation from destruction seems to be the religion that universally connects us as a people.

我希望是用视觉化的语言来讨论我们的灵与肉的创伤和阵痛，个体的渺小和时代的漫无边际，在任何时代里我们都会遭遇这种相似的困境和压力，似乎在过去的历史经验中我们每遇重大社会变革和灾难中，中国文化总是有一种惊人的自我修复能力，才使我们的精神文脉并没有全面的崩溃，反而是在数千年无常的时间轮回中绵延至今，在幻灭中重生和蜕变似乎是我们这个具有现世宗教的民族的普遍性联系。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。