千古佳句話牡丹（English）
在神韻2011年女子舞蹈「唐麗風韻」中，盛世大唐，宮廷仕女，寬袍廣袖翩翩而舞，彷如天宮仙子下界，親自演繹了「典雅」二字的真義。那裙邊袖口綻放的，是朵朵金光熠熠的牡丹。
國色天香，花中之王。在各式繽紛的花團錦簇中，最奪目的那一支總是牡丹。其形雍容華貴，花瓣層層曡曡可達上百片。其色艷而不俗，深紅、淺粉、金黃、姹紫，無不恰到好處。她儀態萬方而令人起敬，典雅莊重卻無絲毫矯飾，這正是受命于天的帝王之家應有的氣象。難怪牡丹常盛開于皇室庭園，在民間被視爲富貴、吉祥和幸福的象徵。在中華文明黃金時期的唐朝，牡丹是最受喜愛的花卉，也是大唐的國花。
古往今來，文人墨客爭相吟詠，令牡丹之美雋永流傳。唐代賞玩牡丹盛行，每到開花季節，整個京城為賞花傾城而出，由此成就了詩豪劉禹錫「唯有牡丹真國色，花開時節動京城」的名句。
唐元和年間，賞牡丹、頌牡丹之風尤盛。一日，唐文宗和楊賢妃在內殿觀賞牡丹花，文宗愛詩，就問畫家程修己：「現在京城裡傳唱的牡丹詩誰的最好？」程修己回答是中書舍人李正封的〈牡丹〉詩：「國色朝酣酒，天香夜染衣。」詩中用「天香」來形容牡丹的香味就像天上傳來的，以「國色」來讚美牡丹的雍容就如盛世美人應有的高貴大度。自此，「國色天香」就成爲牡丹專屬的形容詞。
自古美人常被比作花卉，那麽什麽樣的女子才當得起國色天香的牡丹呢？唐朝白居易是這樣說的 ：「絕代只西子，衆芳惟牡丹」，就是說西施為美女之首，正如牡丹艷壓群芳。
而詩仙李白卻為四大美女中的另外一位 — 楊貴妃，寫下了流傳千古的牡丹詩。當年玄宗與貴妃在宮中沉香亭賞牡丹花，伶人正要演奏，玄宗卻說：「賞名花，對妃子，豈可用舊日樂詞？」於是詔李白進宮寫詩。李白前來，在金花箋上寫下「清平調詞三首」，成詠花詠人的巔峰之作。其中一首是：
雲想衣裳花想容，春風拂檻露華濃。
若非群玉山頭見，會向瑤臺月下逢。
詩人說，雲霞是她的衣裙，花兒是她的容顔，春風拂過玉欄，花瓣在露珠的潤澤下顔色愈發濃艷。如此姿容，如不是群玉山巔的仙子，就必是瑤臺月下的 神女。
惟有國色天香的牡丹，才最能體現大唐那雍容典雅的大氣之美。神韻藝術品的「唐花牡丹」，靈感來自神韻舞蹈中再現的中華文明全盛時期的富饒、尊貴和氣度，也希望帶給您和家人富貴、吉祥、和幸福。
The Peony: An Embodiment of Grace and Majesty
In the Shen Yun 2011 female dance Ladies of the Tang Palace, palace maidens of the great Tang Dynasty elegantly danced in wide-sleeved robes—as if celestial maidens descended to the mortal realm in front of the audience’s eyes and embodied the true meaning of the word “grace.” Blooming at the hems and cuffs of their skirts were radiant peonies.
Amidst colorful bouquets of flowers, the most eye-catching is often the peony. It has a graceful and luxurious form, with layer upon layer of petals reaching into the hundreds; its colors vibrant yet elegant—deep red, light pink, golden yellow, and royal purple—all in perfect balance. Its dignified bearing commands respect and solemn awe yet without any pretense, embodying the majesty befitting a royal family appointed by the heavens. No wonder peonies often bloom in imperial gardens, regarded by the people as symbols of wealth and a noble spirit. Perhaps this is why the peony has been revered as the national flower of China since the Ming Dynasty.
Throughout history, poets and literati have vied to extol the beauty of the peony. During the Tang Dynasty, the admiration for peonies was widespread. Every flowering season, the entire capital would flock to appreciate the flowers, inspiring the famous line by poet Liu Yuxi, “Only peonies truly exhibit the Empire’s colors, stirring all the capital when they bloom.”
During the Tang era, the tradition of appreciating and praising peonies was especially prominent. One day, Emperor Wen and his consort Yang were admiring peonies in the palace. Emperor Wen, who was fond of poetry, asked the painter Cheng Xiuji, “Among the peony poems circulating in the capital, whose is the best?” Cheng Xiuji replied that it was the poem “Peony” by the imperial courtier Li Zhengfeng: “The Empire’s beauty intoxicates the nose, and Heaven’s fragrance dyes the Evening’s clothes.” The poem uses “Heaven’s fragrance” to describe the peony’s scent as if it descended from Heaven and “the Empire’s beauty” to liken the peony’s color to the awe-inspiring qualities of a flourishing empire’s beauty. From then on, “the Empire’s beauty and Heaven’s fragrance” became the exclusive epithet for peonies.
Since ancient times, beautiful ladies have often been compared to flowers. So what kind of woman deserves the epithet “the Empire’s beauty and Heaven’s fragrance” like the peony? During the Tang Dynasty, Bai Juyi said: “The unparalleled one is only Xi Shi; among the many flowers, only the peony.” This means Xi Shi is the foremost beauty, just like the peony outshines other flowers.
The Tang poet Li Bai wrote a peony poem about another of the Four Great Beauties of Chinese history—Yang Guifei—a poem that has been passed down through the ages. During Emperor Xuanzong’s reign, he and Yang Guifei were in the palace’s Sandalwood Pavilion admiring peonies. The musicians were about to perform, but Emperor Xuanzong said, “To appreciate famous flowers with the consort, how can we use old musical phrases?” So, he ordered Li Bai to compose a poem. Li Bai came and wrote the “Three Poems of Qingping Melody” on golden flower paper, which became the pinnacle of flower poetry. The first poem goes:
The clouds like swirling clothes, the flowers like fine faces;
The Spring breeze brushes railings; dewdrops form in places.
If you don’t see them at the mountaintop displayed,
Meet there beneath the moon at the terrace known as Jade.
This poem not only praises the peony but also embodies the majesty of the golden age of Chinese civilization—the Tang Dynasty. It is a majesty that can also be found in Shen Yun’s dance piece Ladies of the Tang Palace and that Shen Yun Collections seeks to bring to you and your loved ones through peony-inspired pieces its designers and craftsmen work to create. The culture of the peony is a tradition and treasure ripe for rediscovery.
「雲想衣裳花想容，春風拂檻露華濃」。大唐仕女，輕舒廣袖，雍容華貴，儀態萬方。
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點擊鏈接閱讀原文：https://www.epochtimes.com/b5/23/1/21/n13912117.htm
Japanese：https://jp.minghui.org/2023/01/23/89043.html
點擊鏈接閱讀原文：https://www.epochtimes.com/gb/23/4/17/n13975246.htm
Japanese：https://jp.minghui.org/2023/04/18/90685.html
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