✡︎ Charya Nritya (Mudra Dance) 大手印舞蹈
The symbolism of the ornaments is also important. They are associated with the six paramitas (transcendental perfections) of Buddhism. The necklace expresses dana (generosity), while the bracelets and anklets symbolize sila (morality and self-discipline). Earrings represent ksanti (patience), the sash around the waist symbolizes virya (joyful effort and diligence), and the third eye signifies dhyana (meditative concentration). The crown with its five jewels (or skulls) stands for the integrity of the prajna (wisdom) of the five Buddha families.
裝飾品的象徵意義也很重要。 它們與佛教的六波羅蜜（超然完美）相關。
項鍊表現出達納（慷慨），
手鐲和腳鍊則像徵著sila（道德和自律）。
耳環代表ksanti（耐心），
腰間的腰帶象徵著virya（快樂努力和勤奮），
而第三隻眼睛則代表dhyana（冥想集中力）。
帶有五個珠寶（或頭骨）的王冠代表五個菩薩家族的般若（智慧）的完整性。
Sadhana ‘Dance’ of the Vajracharyas:
‘Charya Nritya’ and the Dance of Vajrayogini
練習大乘佛法加行道“舞蹈修行”：
“查里亞 恩蒂亞”金剛瑜伽母舞
Many people within the Tibetan Buddhist tradition will have heard of the Lama Vajra Dances or Cham. However, not so many people will be familiar with the sacred (and until recently, secret) spiritual dances of Charya Nritya, preserved and practiced by the Newars, the native people of Nepal, revered for thousands of years as masters of Buddhist sculpture, painting, and architecture. In this short post, I pull together some information and articles about this sacred practice and share the video of a perfomance of the ‘Dance of Vajrayogini’ by a world class Charya Nyitra performer.
藏傳佛教傳統中的許多人都聽說過喇嘛金剛舞蹈或羌母舞蹈。但是，沒有多少人會熟悉由尼泊爾原住民紐瓦爾（Newars）保存下來實踐的查里亞·尼迪亞（Charya Nritya）神聖的精神舞蹈。作為佛教藝術，人們享有數千年的崇高敬意和架構。在這篇簡短的文章中，收集了有關這一些信息，並分享了世界級的表演者。
The Sanskrit word Charya (Caryā) means ‘movement’, ‘actions’, ‘conduct’, ‘discipline’ or ‘performance’. Nritya means ‘dance’. So the literal translation might be ‘Dance as Conduct (Action)’, or as ‘spiritual discipline’, as it says in this article Charya Nritya: Ancient Buddhist Dances of Wisdom and Healing in the Modern World by Lianne Takeuchi Hunt (a skilled dancer of the art):
梵語Charya的意思是“行”，“動作”，“品行”，“紀律”或“表現”。 Nritya的意思是“跳舞”。因此，直譯可能是“作為行為（行部）的舞蹈”或“精神學科”，正如本文中所說的那樣。Charya Nritya：Lianne Takeuchi Hunt（熟練的舞蹈家）在現代世界中的古代佛教智慧與療癒舞蹈最先進的）：
Their [Newar] priests, known as Vajracharyas, descend through a family lineage and caste system, similar to the Brahmins of India.The Vajracharya priests maintain a Buddhist dance tradition that dates back over a thousand years and has remained, for the most part, hidden from the world. This ritual art is known as “Charya Nritya,” which means “dance as a spiritual discipline.” In this lineage, practitioners offer devotional songs and dance as ritual ceremonies, meditation, and training in the physical yogas. To the Vajracharyas, followers of the Hevajra Tantra, singing and dancing are prerequisites to enlightenment. Yogis and yoginis therefore perform Charya Nritya as a path of realization.
尼瓦爾牧師，即Vajracharyas，通過家庭血統和種姓制度而傳遞，類似於印度的婆羅門。Vajracharya牧師保持著佛教舞蹈的傳統，可以追溯到一千多年以前，並且在很大程度上，隱藏在世界之外。這種儀式藝術被稱為“ Charya Nritya”，意思是“舞蹈是一種精神修養”。在這種血統中，從業者提供虔誠的歌曲和舞蹈作為禮儀，冥想和物理瑜伽訓練。
Charya Nritya is a method of deity yoga that integrates body, speech, and mind techniques. It is a meditative discipline that involves physical training and spiritual transformation. Practitioners engage in visualization, recitation of mantras, sacred hand gestures, foot movements, and yogic postures, and adorn themselves with the crown and ornaments of a deity.
Charya Nritya是結合身體，言語和心靈技巧的神瑜伽方法。這是一門冥想學科，涉及體育鍛煉和精神轉變。從業者從事可視化，梵樂唱誦，神聖的手勢，腳步運動和瑜伽姿勢，並以神冠和飾物裝飾自己。
As a classical dance, Charya Nritya is distinctly South Asian in aesthetic and style. Dancers perform to flowing ragas and melodic chacha songs written by accomplished Vajrayana masters. These devotional songs, known as “Charya Giti,” supplicate, describe, and praise the deity in Sanskrit. Songs are accompanied by musical cymbals, or ta, and a hand-held hourglass-shaped drum, or damaru. The dances portray the stories of Buddhas and bodhisattvas, interpreting the songs through codified hand gestures, or mudras.
Charya Nritya是古典舞蹈，在美學和風格上顯然是南亞人。舞者表演由熟練的金剛乘大師創作的流暢的拉格斯旋律恰恰歌曲。這些靈修的歌曲被稱為“ Charya Giti”，對梵文中的本尊進行了描述，稱讚和讚美。歌曲伴有音樂小鑼或坦不拉琴，以及手持沙漏形鼓或達瑪茹。舞蹈描繪了佛陀和菩薩的故事，並通過編纂的手勢或手印來解釋歌曲。
Modern day teachers of ancient, sacred traditions
古代，神聖傳統的現代教師
These meditative ‘dances’ are still taught and practised in Nepal, but now also in western countries such as the USA, like Prajwal Ratna Vajracharya, a 35-generation Newar priest and founder of Dance Mandal Foundation of Buddhist Arts of Nepal and Nritya Mandala Mahavihara temple, based in Portland, Oregon. As Prajawal explains in this recent article:
這些冥想的“舞蹈”仍在尼泊爾教授和實踐，但現在在美國等西方國家，如Prajwal Ratna Vajracharya，35歲的紐瓦爾（Newar）牧師，也是尼泊爾佛教藝術舞蹈曼達爾基金會和Nritya Mandala Mahavihara的創始人寺廟，基於俄勒岡州波特蘭。正如Prajawal在最近的這篇文章中解釋的那樣：
“It is an important form of Buddhist yoga and a part of meditative practice that is unique to our Buddhist tradition… “But it’s not just dance. It has the potential to lead one to high levels of tantric realizations.”“It is a complete spiritual discipline requiring performance with deep devotion and right understanding,” It requires a solid foundation of Buddhism, which makes it a profound form of Sadhana.”
“這是佛教瑜伽的重要形式，也是我們佛教傳統所特有的冥想練習的一部分……”但是，這不僅僅是舞蹈。它有可能導致高水平的密宗實現。”“這是一門完整的精神學科，需要具有深厚的奉獻精神和正確的理解才能表現出來，”它需要紮實的佛教基礎，這使其練習成為一種有深度的形式。
The Vajracharya Yagyaman Pati Bajracharya too is a very well known Charya Master in Kathmandu who teaches students Charya at his Nepali Vihar, explains how the sacred practice went from being open to anyone, to secret, to more open again in recent years in this interview:
Vajracharya Yagyaman Pati Bajracharya也是加德滿都著名的Charya大師，他在尼泊爾的Vihar教授學生，並解釋了這種神聖的做法是如何從對所有人開放，秘密化到近年來再次開放的：
This limited exposure of Charya to the wider community restricted the growth of the tradition, according to Munikar. With not many aware of the dance, its religious and cultural significance, Charya was slowly withering. Many in the Bajracharya community, who were adamant about preserving the sacredness by not sharing it with others, weren’t interested in this artform, which was costing the dance’s very existence. During the 60s, this became more prominent as the younger generation were more drawn towards western influences and weren’t keen on carrying the tradition forward.
Munikar認為，Charya對更廣泛社區的有限接觸限制了這一傳統的發展。由於沒有多少人意識到該舞蹈及其宗教和文化意義，Charya逐漸枯萎。 Bajracharya社區中的許多人都堅持不與他人分享神聖性，以保持這種神聖性，對這種藝術形式不感興趣，因為這種形式使舞蹈的存在失去了生命。在60年代，隨著年輕一代更受西方影響，並且不熱衷於繼承傳統，這一點變得更加突出。
It was then that the Bajracharya community realised the importance of teaching the spiritual dance to young people who were interested in learning the dance form. “Had we continued in the old ways, we probably wouldn’t have been able to conserve this spiritual dance,” says Bajracharya.
那時，Bajracharya社區意識到了向有興趣學習舞蹈形式的年輕人傳授精神舞蹈的重要性。 Bajracharya說：“如果我們以舊的方式繼續下去，我們可能就無法保存這種精神舞蹈。”
A sacred vajrayana practice, not dance as entertainment
神聖的金剛乘練習，而不是跳舞作為娛樂
There are challenges to maintaining the lineage as a sacred practice and not just an entertaining dance though, as Hunt explains:
正如Hunt所解釋的那樣，將血統作為神聖的練習而不僅僅是娛樂性的舞蹈存在著挑戰：
Within contemporary society, there are challenges to maintaining the lineage as a spiritual practice. In the last 20 years, Charya Nritya has become recognized as a classical dance, transitioning from the temples to the theatre. This was the case for all classical dances with roots in spiritual practice. However, Nepal sidesteps the outcome of other traditions, where the ancient died in lieu of modern context. Charya Nritya is an exception as Vajracharya priests continue to maintain the lineage as a yogic discipline. Despite the problems of secularization, genuine practitioners seeking to engage in the art as meditation continue to receive initiation and instruction.
在當代社會中，維持血統作為一種精神實踐存在挑戰。在過去的20年中，Charya Nritya已成為公認的古典舞蹈，從寺廟過渡到劇院。所有植根於精神實踐的古典舞就是這種情況。但是，尼泊爾迴避了其他傳統的成果，在那裡，古代人代替現代人而死。 Charya Nritya是一個例外，因為Vajracharya牧師繼續將其血統保持為一種瑜伽學科。儘管存在世俗化的問題，但在冥想中尋求從事藝術的真正從業者仍在繼續接受啟迪和指導。
Charya Nritya is a meditation, yogic discipline, and dance of enlightenment to support practitioners on the path. It continues as a living tradition amongst the Newar Buddhists of Kathmandu and is being adopted by Buddhists of all lineages wishing to incorporate the physical yogas in their meditation practice.
Charya Nritya是冥想，瑜伽學科和啟蒙之舞，旨在為修行者提供支持。它一直是加德滿都紐瓦佛教徒中的一種活潑傳統，並被希望將物理瑜伽納入冥想練習的所有宗族的佛教徒所採用。
Ultimately, Charya Nritya is a vehicle for the deity to manifest, and is given the title rupa, which in Sanskrit makes reference to sculpture or a container. Like Buddhist sculpture, the dance is a container and symbolic representation of enlightenment, albeit through a living, breathing, sentient being. Yogis and yoginis dance to transcend ordinary existence, and through the practice of Charya Nritya, offer their body, speech, and mind as a vessel for enlightenment’s display. Thus, an accomplished Charya Nritya practitioner’s role when offering the dance is to bring the Buddhas and bodhisattvas to life.
最終，Charya Nritya成為神靈彰顯的載體，並被賦予了rupa頭銜，在梵文中它是指雕塑或容器。就像佛教雕塑一樣，舞蹈是一種啟蒙的容器和象徵性代表，儘管它是通過一種活生生的，呼吸的，有感知力的存在而實現的。修行者們通過舞蹈超越普通的生活，並通過金剛行舞的實踐，以他們的身口意作為展示開悟的器皿。因此，一位出色的Charya Nritya練習者在供養舞蹈時的作用是使佛陀和菩薩栩栩如生。
As Prajwal explains too:
正如Prajwal解釋的那樣：
“In Charya, singing is the mantra, dancing is the meditation. When you combine the two – dance and song – that becomes the Hevajra Tantra, from where liberation comes,” Prajwal said. “Through it, you grow spiritually, and you can liberate yourself from the bondages and limitations.”
“在查里亞，唱歌是口頭禪，跳舞是冥想。當您將舞蹈和歌曲這兩者結合在一起時，便成為了解放之地的Hevajra密宗，” Prajwal說。 “通過它，您可以在精神上成長，並且可以從束縛和局限中解放自己。”
“You dance with full awareness. You don’t just dance to entertain yourself. If you have complete awareness when you are dancing, it becomes a deep spiritual exercise. If you sing and dance with total awareness, then you would be doing what the yogis and the yoginis did back in the old days.”
“您在充分意識下跳舞。您不只是跳舞娛樂自己。如果您在跳舞時有完整的意識，它將成為一種深層的精神鍛煉。如果您以完全的意識唱歌和跳舞，那麼您將做過去的瑜伽士和瑜伽女所做的。”
“I think time has come for people around the world to know about and benefit from the spiritual heritage of Nepal,” Prajwal said. “There is no point keeping it hidden forever.”
普拉傑瓦爾說：“我認為現在是全世界人民了解尼泊爾的精神遺產並從中受益的時候了。” “將其永遠隱藏是沒有意義的。”
“But that doesn’t mean I teach these secret Charyas to anybody who just walks in. They have to study for many years, even up to 10 years, to be eligible for that. First they learn the Slokas (chants). Then they learn the Avalokiteshwora dance, and then the Tara dance. That way, they gradually build up their practice,” he said. “Ten years is a standard time for learning anything serious. Even to get a master’s degree at a university, you need to study for so many years.”
“但是，這並不意味著我會向任何剛進門的人教授這些秘密的Charyas。他們必須學習很多年，甚至長達10年，才有資格參加。首先，他們學習Slokas（聖歌）。然後，他們學習Avalokiteshwora舞蹈，然後學習Tara舞蹈。這樣，他們就逐漸建立了自己的實踐。”他說。 “十年是學習嚴肅事物的標準時間。即使要獲得大學的碩士學位，您也需要學習很多年。”
References參考資料
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