回家后拿着老同学给我的同学通讯录

编者按：“活在当下”，是一个人生命力的自然展现。活在当下，就是要专心做好眼前事，用心珍惜眼前人，将外 界的嘈杂纷扰放到一边。在面对天灾人祸、挫折困难时，保持良好的心态，发挥自己的能力饶益众生，才是个快乐 的人。 　　阿远是我的一个忘年交的小朋友，他当过兵，后来复员分到我们单位。那年他才二十二岁。他黑黝黝的脸膛， 健壮的身体，说话很轻，很憨厚。通过他我认识了阿涛和阿木俩个复员兵，并和他们成了好朋友。他们都是80后 ，经常到我家来玩。后来我退休了，彼此见面的机会就少了。
　　再见到阿远的时候是去年我回大连的火车上。正巧他也去大连。在闲谈中他告诉我他就要结婚了，爱人在大连 工作，还告诉我他现在信佛，他的爱人也信佛。我不清楚他为什么信佛。回大连后我到阿远家小坐，他送给我一些 佛家的书，他对我说，姨，没事你看看。闲暇时我翻看了几本佛书，我虽然不想成为佛家弟子，但是那几本介绍佛 教的书读完，对佛教有了一点浅显的认识，对佛家的一些理念我还是很感兴趣。
　　记得多年前，我曾去过五台山这个驰名中外的佛教圣地旅游。面对居佛教四大名山之首的五台山，我曾被它建 寺历史悠久规模宏大寺庙之多，人文景观多姿多彩，古韵依然，自然风光奇丽壮观，佛教信徒和游人前来拜佛之多 ，而深感作为中华的传统文化的佛教在国人心中的地位。孙中山曾经说过“佛教是科学之母”这当然是我看了佛教 的书之后，才知道这句话的。
　　我找出我在五台山买的佛学警世语人生二十最，我觉得说的是相当透彻和富有哲理。“如人生最大的敌人是自 己；最大的失败是自大；最危险的境地是贪婪；最烦恼的是争名利；最大的幸福是放得下；最大的财富是健康；最 大的破产是绝望等等。”
　　有人说经历是财富，回首自己走过的风风雨雨，跌跌撞撞，有过不幸，也深陷过痛苦，有过迷茫和困惑，也有 过欢乐和欣慰，有时总觉得昨天的故事不想提也忘不掉。黄土地上走过的知青岁月，一步一个汗滴，青春沾满泥， 酸甜苦辣，那山那水，有情有爱，花开花落，寻寻觅觅，早已不见自己的影踪。那片多情的土地，分享了我的天真 烂漫，成长了我青春的梦想，也埋藏了我的多少辛酸和泪水。总觉得经历了那样一个特殊的年代和岁月，总觉得错 过了许多人生的机遇，总觉得自己的人生苦味太多，总觉得自己的人生不尽人意，放不下总觉得生活的沉重。还是 佛语说得好，放得下，留下坦然的微笑，去面对现在和将来，这个真的是一件很幸福的事情。
　　佛家常劝世人要“活在当下”。什么是“当下”呢？我想这个“当下”应该就是我们现在眼前的人，身边的事 和此刻的心情。
　　八十一岁高龄的老母亲来电话说想我了,abercrombie and fitch。我已经退休了不像上班的时候，常常因为公事在身，身不由己。我买张车票回家陪她小住了几日。陪她散步，陪 她聊天，陪她看电视，母亲很高兴，我心里也觉得坦然。因为天地无常，这些事情我如果不立即去做，等你有时间 和功夫的时候，也许你挚爱的亲人就不在了。子欲孝而亲不待，因为你的双亲是等不起的,chaussure louboutin。别给自己留下深深的愧疚和忏悔。
　　这次回大连和许多老同学又相聚了，一个男生感慨地说，我们都是六十岁的人了，见一次少一次 ,polo ralph lauren。虽然我觉得老同学说的有点伤感，但这毕竟是事实。回家后拿着老同学给我的同学通讯录，赶忙拨通了在威海的 多年未谋面的同学的电话。听着她那兴奋而有些颤抖的声音，我也很激动。我仿佛又回到了十八九岁的年代，青年 点里吃的是一锅饭，睡在一个炕头，寒冷的冬天带着棉帽子睡觉的情景,polo ralph lauren pas cher。和一些失去联系的老同学取得了联系，他们也常打电话给我，或者发个电子邮件，真是生活中的一 件快事。
　　老公感冒了，我赶忙去给他买药，尽管他过去坚信抗两天，让自己肌体的抵抗力去和病毒作斗争，我还是非叫 他吃药不可，因为我担心我深爱的人会有什么闪失。我在悄悄地告诉他我爱他,doudoune pas cher，我的世界里不能没有他。
　　我的qq空间总也装扮不好，在和远在外地的侄女聊天时，她就一遍遍地教我，无奈我这个“大学生”还是弄 不好，一急之下小孩子帮我给弄好了。待我打开空间一看我笑了，９０后的孩子装扮的空间，是太时髦了，充满了 年轻人的活力和气息，虽然觉得不太适合我，但是我还是很感动，并且欣然接受了，让我的心也和孩子们一样年轻 吧。
　　“活在当下”全心全意地去关注眼前人、身边事，好好把握心里的那些瞬间的感动。该是人生多么惬意的事情 ，可惜的是我错过的时光太多了。
　　我对自己说，岁月一去不回头，不要在错过当下属于自己的时光，好好地生活吧！
　　2009.08.23相关的主题文章：


她都一直陪着

在某一瞬间

我为你忧愁，你知道么？


Having worked overseas nearly 30 years, Chinese-born painter Jia Lu has made unique contributions in helping Western audiences understand more about the East through her canvases.
She was recently short-listed in the “Ten Most-focused Chinese in the World" by none other than the Global Times. The reason? “Her paintings fuse Chinese and Western elements, showing a modern China with beautiful colors," according to the panel.
“I have a deep sense that my mission to help the rest of the world understand China is not only an artistic goal but a personal responsibility," Lu says, when asked how she felt. “This award reminds me of the importance of that obligation."
Her father, Lu Enyi, was a famous painter who taught her to paint when she was very young. Like many painters of the time, she learned Chinese ink painting first, and was taught by master painter Fan Zeng.
But like many artists who traveled abroad in the 1980s, Lu felt lost in the collision of cultures, and turned to different ways of appreciating art.
When she left China for Canada in 1983, she quickly discovered that, for her new friends, without an understanding of Chinese culture and history, her art was “simply too alien to understand."
“In Chinese painting, we value the traditions passed from one generation to the next; for Westerners, true art is about originality and individual expression," Lu told the Global Times. “Ink painting explores the expressiveness of black ink and the bamboo brush; but to a Westerner, who has never held a brush before and is used to the color and richness of oil painting, my art seemed dull and lifeless."
Although her paintings sold well in the overseas Chinese community, to reach a larger audience, communicating essential concepts of traditional Asian culture to a Western audience was key.
Her solution? Borrow the techniques and expressive power of oil painting, with its illusionistic perspective and realism, and substitute Asian content. The method is known as “Jiechuan Chuhai", or “Crossing the sea in a borrowed boat."
“We have a unique, complex and rich culture. But we share [that] among ourselves, using a difficult written and spoken language, raising a high wall that excludes the rest of the world." Lu says. “By borrowing Western art history to communicate Eastern ideas, I have been able to tear down a small section of that wall."
Having grown up in a Confucian society that emphasized personal sacrifice, selflessness and hard work, Lu discovered her Western friends appreciated these values much more than their wealth and luxury.
Her painting was infused with Buddhism, an Eastern spirituality cherished by many Westerners.
Having first visited Dunhuang in 1980, spending several weeks copying its Buddhist art – some of the rarest early examples of Chinese figurative art – directly from the cave walls, Lu studied figure painting.
But it was not until she worked in Japan in the early 1990s that she began to explore their significance, finding their ideas represented what was most enduring and special about Chinese culture: compassion, mindfulness, a deep respect for learning and wisdom and a belief in the perfectibility of the human state.
Lu began to show her works in China: at the Shanghai International Art Fair, Art Beijing and CIGE expos, and found how “vibrant the Chinese art market had become in the so-many-years I’d been away, and how open it was to new ideas."
“I am both humbled and inspired that my work has been recognized in this way by the Global Times. It is an honor to be included among the other outstanding artists whom I have admired for so long," says Lu.
“But in the end, I think it is not important if I live or work in China or in the West, The important thing is to continue to paint for a global audience, to improve my own art as far as I am able, and to strive to be a better person."