In Tantric Buddhist iconography, the battle axe is held by ferocious deilies to symbolize severance of this worldly attachment.在佛教金铸文法本图解中，战斗斧是由凶残的神灵拿来象征阻隔世俗的依恋的。
Lesson Sixteen Tibetan Art第十六课西藏艺术
The land of snow is known as the“Ocean of Songs and Dances”and indeed singing and dancing are greatly enjoyed by Tibetans.这块被雪覆盖的土地作为歌舞的海洋被人们所知晓。
却是这样，唱歌和跳舞是西藏人民非常喜欢的。
During holidays and festivals,everyone joins in dancing,gaily singing hand in hand.在节假日里，每个人都参加到舞蹈中，手牵着手愉快的唱着歌。
Tibetan opera is known as Lhamo in Tibetan and is universally popular in Tibet.藏戏被人们了解是由西藏的拉姆仙女的故事和其在西藏地区的普遍流行。
Tibetan opera is a composite performance art in which a story is presented through the medium of song and dance.藏戏是一种情景通过唱歌跳舞的方法呈现出来的复合的表演艺术。
Tibetan opera is generally performed in the open while stage performances are rare.藏戏通常是在户外表演的，舞台表演很稀少。
Unlike Chinese opera,only simple stage makeup is worn ,but masks are a feature of the Tibetan operatic style.不同于中国戏曲，藏戏只有简单的舞台化妆架，但带着面具是西藏歌剧的一个风格特征。
The orchestral accompaniment is simple as only two percussion insturments are needed:a drum and a cymbal.简单的管弦乐伴奏，只需要两种打击乐器：鼓和铙钹。
Religious dance is called Cham in Tibetan.宗教舞蹈在西藏被叫做羌姆（跳神）。
It was initiated by Padmasambhave in the Samye Monastery in the eighth century.它是在公元八世纪由Padmasambhave 在Samye 修道院发起的。
According to an account in the chapter
“Dance of the Four Guardian kings”recorded in Shakyamuni’s teachings on the four tantric mysticisms,Padmasambhave perfo rmed a religious dance to drive out evil spirits and thus ensure an auspicious inauguration for the newly-completed Samye Monastery. 根据“舞蹈的四守护神”一章的说明，记录了释迦摩尼关于四部密宗的神秘的教义，Padmasambhave 为新建成的Samye修道院表演了一种宗教舞蹈去去除邪恶的灵魂来确保一个吉祥的落成礼。
Padmasambhave’s biography read s:At the completion of the translation of scriptures in the Samye Monstery,the Lotsavas led by the senior Lotsava holding the translation,wearing masks and beating drums,formed a line and danced round the Central Palace three times to celebrate the complet ion of the translation of scripture.”Padmasambhave的传记中写到：在Samye修道院完成圣经的翻译的时候，译师们由资深的译师领导着举起译文，戴上面具打起鼓，排成一行，围绕着中央宫殿跳三次舞来庆祝圣经译文的完成。
This was the origin of the religious dance.这就是宗教舞蹈的起源。
The drum Dance comes from the Lhoka region,it is known as the‘dro’.鼓舞来源于山南地区，被称作‘dro’。
Danced with swift,abrupt movements,it calls for a highly skilled performance.迅速的起舞，突然地动作，它需要非常高超的表演技能。
Dancers,wearing long hair,in striped costumes,stamp backwards and forwards in rhythm,drums at their waists and drumsticks in their hands,twisting their heads as they dance,all of which draws cheers from the audience.舞蹈演员们，留着长长的头发，穿着条纹的衣服，腰间跨着鼓，手里拿着鼓棒，扭着头，随着韵律向前向后跺脚，就像跳舞一样，这些都得到了观众的喝彩。
The Repa Dance is from the Chamdo and Kongpo regions and the Tibetan-inhabited areas of Sichuan and Yunnan.热巴舞源于昌都和空波地区和四川云南的藏俗地区。
An energetic dance,the performers circle with flying steps,men beating flat bells while the
women drum.这是一个充满活力的舞蹈，表演者围成一个圈步伐灵动，男人敲锣，女人打鼓。
At the height of the performance,the men perform pirouettes on one leg while the women beat their drums high above their heads as they twirl.在表演的高潮，男人单脚站立旋转，女人在旋转的同时把鼓举在头顶击打。
The Gor-shae is a round dance popular in the three major regions and the Tibet:Lhasa,Lhoka and Shigatse. Gor-shae是圆舞的一种在三个的三个主要地区流行：拉萨，山南，日喀则。
This kind of round dance is performed by both men and women who form two concentric circles around a bonfire,and holding hands,shoulders touching,sing in alternate choruses of men and women.这种圆舞有男的女的围绕着一炉篝火形成两个同心圆，手牵着手，肩并着肩交替合唱。
The dance may continue throughout the night until daybreak.舞蹈可能贯穿整个晚上直到黎明。
Ballad is popular in Tibet to transmit the history of nation,myths of Buddhism and folk tales down the generations by describing them with simple and short songs or poems.民谣用于传达西藏民族历史很是流行，佛教传说和民间故事通过描写他们的简短歌曲和诗传递给下一代。
Art and literature are deeply rooted in the history of Tibet,and in the splendid isolation of the Tibetan plateau folk tales,songs,and dances and opera have developed their own unique form and local flavour.艺术和文化深深地根植于西藏的历史，孤立的青藏高原的民间故事，歌曲，舞蹈和戏曲通过他们自己独特的方式和风格发展的非常辉煌。