在北方时曾有偶然的机缘与鹤近距离接触，这与众不同的生灵沉静、智慧、灵性。当我望着它、观察它时，它也望着我，洞悉一切的神情就像先知先觉，它打量着整个世界。这异类的眼睛如深不见底的秋潭，我觉得自己的心底被触动了，忽然有种相知相惜的感觉。

　　在中国传统中，鹤往往是闲逸、高洁的化身，有时也象征富贵和长寿。迷恋“采补之术”者希望能“驾鹤上青天”作不老神仙。与鹤相关的书画墨宝，诗词曲赋数不胜数地赞美鹤。这可以归结为东方所特有的一种文化现象。

　　国人对鹤如此的迷恋和崇拜，恐怕与道家学说、老庄思想的影响有关。鹤在外形上是飘逸而纤尘不染的，背生双翼可以翱九霄、声唳轻吁能够仰长空，与《逍遥游》的审美恰恰相符，却又意态清远，气定神闲，偶合了老子所言“道”的“无为”本性，难怪文人高士喜欢自比“野鹤闲云”。

　　而今，隐者们的竹篱茅舍早已被钢筋水泥的丛林取代。物欲横流的环境中，现代人逐渐消失了那份“逍遥”和“无为”的闲情逸致。而鹤，别说在自然中数量越来越少，就连形象都似乎背离了它原本代表的精神气质，在这个商业社会中“鹤”被廉价地复制，沦为街头巷尾庸俗的符号。这是人的悲哀，也是鹤的无奈。

　　在我看来，这神秘的精灵同它背后溯源久远的历史一样不会从我的心里消亡，它是东方的、永恒的。

　　鹤也是聪明的。它窥测着人类，对周围的一切充满好奇。但它却又异质疏离，飘飘然遗世独立。它从仙岛瑶池御风而来，不慎落到这个喧嚣的、快节奏的世界里，与四周格格不入。

　　这一点与当下的都市人倒有几分相似——物质层面较过去优越多了，精神反而孤独了。孤独应该是自由的影子。一只降落在人世间的鹤，正是我们处境的绝佳写照。

Crane

　　When I lived in the north, I once had a chance to take a really closer look at a crane. It was indeed a unique creature, radiating a sense of calmness, wisdom and spirituality. I stared right into its eyes, trying to observe it more carefully; and it also stared right into my eyes, with a look that he knew everything. The eyes of the creature from a different species were so penetrating that I felt I was deeply moved and sympathized with it.

　　Crane is associated with freedom, nobleness, prosperity and longevity in traditional Chinese culture. Those who were obsessed with immortality aspired to be able to ride a crane to find the paradise where men could live forever. The image of crane appeared repeatedly in Chinese paintings and poems and was highly eulogized and widely favored. It can be seen as a unique culture phenomenon of the east.

　　Chinese people's obsession with crane seems to have something to do with Taoist philosophies. Crane has an air of elegance and dignity. With a pair of wings that are like clouds in the sky and a gracefully penetrating voice, the image of crane matches the aesthetic taste stated in Zhuangzi's Enjoyment in Untroubled Ease. Moreover, the sense of calmness and detachment it gives out complies with Wu Wei (literally "non-action" or "non-acting"), a central concept of Taoism. In China, literati prefer to refer themselves as "wild cranes and floating clouds".

　　Nowadays recluses' humble thatched cottages and bamboo fence are replaced by the concrete jungle. In a world that is full of material desires, people gradually leave the elegance of "non-action" behind. In the case for cranes, despite the sharp decrease in its number, the image is more and more frequently seen in this commercialized society and has drifted away from the original ideals it stands for. It's been degraded to a cheap sign that can be seen at almost every corner of the street. It's quite a pity, both to cranes and to human beings.

　　Nonetheless, the image of this graceful and mysterious creature, the long history and profound cultural implications behind it will never fade out. It's eastern and it's eternal.

　　Cranes are smart. They observe the world and human beings with curiosity. But in the meantime, the sense of detachment and independence they give out distances them from the hustle and bustle of the world. It seems that they accidentally fall to the madding crowd from some heavenly fairyland.

　　In a way, they share some similarities with modern urban dwellers. It's often the case that the richer it is on the material level, the lonelier it is on the spiritual level. Loneliness is the shadow of freedom. A crane falling in earth is a portrayal of ourselves.

作者：韩绍光