Thursday, 14 October 2021

2021 NRI-AIIT-FAMES Workshop - ‘China, India, and Iran: Scientific exchange and cultural contact through the first millennium CE’

On 8–9 October 2021, the Needham Research Institute, the Ancient India and Iran Trust, and the Faculty of Asian and Middle Eastern Studies, University of Cambridge, jointly organised a workshop on ‘China, India, and Iran: Scientific exchange and cultural contact through the first millennium CE’. The event was first proposed by Bill Mak in 2019 when he was the Ho Peng Yoke Fellow of History of Science at the Needham Research Institute, and was due to take place in October 2020 after receiving the support of the three organising partners and the generous sponsorship of the Glorison Network and the Tsz Shan Monastery in Hong Kong. Postponed for a year because of the Covid-19 pandemic, the two-day workshop, held at Needham Research Institute and the Ancient India and Iran Trust on its first and second day respectively, revived the convivial, social atmosphere that is an integral part of the identity of the two institutes. This was aided by the bright and warm weather, which enabled participants to enjoy both the garden and the lecture venues.

The workshop began with a keynote lecture by Professor Sam Lieu FBA: ‘From Qin to Cathay – Names for China and the Chinese on the Silk Road’. Over the two days, fifteen speakers from Cambridge, Oxford, and SOAS covered an wide range of topics from religion and ancient codices to astronomy and the transmission of metallurgical recipes and aromatics across Eurasia. (Regrettably Nicholas Sims-Williams was unable to join us due to a recent injury). The cross-disciplinary, plurilingual, transcultural content, discussion provided by the six discussants (Mei, Galambos, Hunter, Mak in lieu of Sims-Williams, Barrett, and de Blois), and the collaborative organisation of the event contributed to its richness, offering new insights to its participants in terms of the interconnectivity of the three ancient, neighbouring cultures: China, India, and Iran. Due to the limitation of the venues and consideration for social-distancing, both venues accommodated no more than thirty participants at any time. However, nearly 100 online partcipants, mostly researchers and students affiliated with universities around the world, were able to join the event at some point through Eventbrite and Zoom live-streaming of the lectures.

Online program of the workshop: HERE

Programme booklet (pdf, 16.8 MB): HERE









2021年“中國–印度–伊朗:古代科學交流與文化接觸”研討會(NRI-AIIT-FAMES工作坊)

2021年10月8日至9日,英國劍橋李約瑟研究所、古印度伊朗信託基金會以及劍橋大學亞洲和中東研究學院聯合舉行“中國–印度–伊朗:古代科學交流與文化接觸”研討會。本活動於2019年在麥文彪博士的倡議下展開,由三方學術機構共同支持協辦,並獲得旭日全球佛教研究網絡和香港慈山寺慷慨贊助,促成此學術盛會的落實。緣於疫情影響,原定於2020年10月召開的研討會,推遲至今年舉行。為期兩天的會議分別安排於劍橋李約瑟研究所與古印度伊朗信託基金會進行,對於多數英國的與會者來說,不僅是疫情舒緩後首次的實體學術會議,更在宜人的天氣與明媚的風光中,盡興地暢談交流,一同分享研究成果。


研討會以劉南強教授(Sam Lieu FBA)的主題演講拉開序幕:“從秦到Cathay——中國的名字和絲綢之路上的中國人”。十五位來自英國劍橋、牛津和倫敦亞非學院的講者為參加者帶來廣博豐富的討論議題,從古代宗教典籍到天文學,乃至於冶金術與香文化的傳播歷程,內容橫跨歐亞大陸(遺憾Nicholas Sims-Williams教授由於意外受傷無法與會)。針對是次的報告內容,六位點評人(梅建軍、I. Galambos、E.H. Hunter、麥文彪代N. Sims-Williams、T.H. Barrett和F. de Blois)以其專業的學識提供了精彩的討論。是次主辦單位和與會者,學科專業和關注點各有特色,並針對古代中國、印度、伊朗,三個比鄰的古文明之間的關係的問題上,進行深入探討,提出不同角度、跨學科、跨語種和跨地域的看法。由於場地限制和社交距離的考慮,兩個場地僅能各自容納不超過三十名與會者。近一百名在線參與者(主要為世界各地大學的研究人員和學生),通過 Eventbrite 和 Zoom 的講座直播參與是次活動,共享珍貴的知性時刻。

研討會日程: 點擊

會議手冊 (pdf, 16.8 MB): 點擊








Thursday, 30 September 2021

「佛教藝術與信仰」講座系列:尾聲與回顧


隨著最後一講「印度秣菟羅與桑奇的早期釋迦牟尼佛禮敬表現」在9月25日順利完成,為期三個月的「佛教藝術與信仰」講座系列也終於走入尾聲,感謝所有的參與者,共同成就這場盛夏的知識饗宴。

回顧這趟旅程,我們由香港本地展開信仰與藝術的探索,透過衍空法師的講述,理解前輩大德的信念如何創建香港最知名的人文地標—木魚峰上的天壇大佛,在彷若字謎的標題中,思考如來如去的深意。延續寺院巡禮的步伐,在金玟求博士的帶領下走訪韓國的山寺,從歷史背景與古代寺院交織出的宏偉願景中,認識東亞與韓國佛教信仰的獨特面貌。藉而理解佛教信仰在歷史長河的發展中,並非如想像般的永恆不變,而是隨著不同地區的文化與信眾,逐步適應融合,尋求新的生命力突破。

亦如觀音信仰在香港創造別具特色的非物質文化遺產,在駱慧瑛博士的介紹下,舞火龍、借庫等等都已然是嶄新的本港文化傳統,不僅作為香港重要的節慶活動,也承載著古老信仰的傳播使命。追溯這條歷史源流,在輝煌的敦煌石窟壁畫中,我們看到中國觀音圖像與經典間的關係與發展,以視覺方式重構信仰中最核心的教義。如果說藝術正是一道通向過往信仰的窗口,那麼文物的遺存都曾是歷史的見證者。 Pia Brancaccio博士深刻解讀犍陀羅藝術的視覺語彙,為我們展現初興的佛像藝術如何帶給信眾更為立體的宗教信念與知識層面的啓發。

信仰的面向相當多元,更不限於圍繞著信眾所展開的議題,匠師與創作者雖也是其中的參與者,卻常為我們所忽略。李品誼博士以自身佛像修復的工作經驗,帶我們認識日本佛像的製作傳統,也藉由實例反思在當代思維與古代的傳統中,如何努力找出文物保存與信仰間的平衡點。信仰的內涵也同時體現在現代與過去間的不斷思考,崔中慧博士以藥師經變作為觀覽的焦點,在認識中國藥師信仰發展的脈絡之餘,也實為疫症當前的我們帶來心靈法藥的啟示。

而在大清王朝的盛世光輝中,楊煦博士帶著我們進入奇幻的空間蹊徑,結合了皇帝的創意野望與匠師們努力將夢想實現的技術創新,皇家寺院裡的信仰空間更具多元性與大膽的文化視野,展現非漢民族別樣的藝術觀點。最後一站,我們回到佛教藝術發展的最初階段,透過桑奇與秣菟羅的文物遺存,Corinna Wessels-Mevissen博士為我們喚醒這個古老遙遠的傳統,像與塔之間的信仰命題,仍不斷提醒人們憶念起佛陀的教誨。

就像是繞行佛塔般的圓滿而又周而復始,講座雖走入尾聲,卻也是下一趟里程開始的契機。東亞佛教藝術與文化、禮儀空間的建構、信仰傳統的重新思考等等,本次講座系列所展開的觀點與伏筆,期待在未來的時間中再與大家相續。






Monday, 23 August 2021

「印度與西域佛教文明」讀書會後記:與像無關


主題:印度與西域佛教文明讀書會

時間:8月7日(六)、8月21日(六)

人數:30人、29人


「印度與西域佛教文明」讀書會選讀的日本學者平川彰與印度史學家戈耶爾兩本《印度佛教史》的部分章節,重新觀察佛教藝術與早期佛教的發展情況,試圖理解佛教藝術的深層基因。

談到佛教藝術,似乎都與「造像」脫不了關係,如果以本館館藏的內容來看,就正是由不同時間、空間的佛教造像所組成,從形形色色的造像中,組合出一頁佛教藝術發展與變化的歷史情境。但這裡標題為什麼要說「與像無關」呢?很多人可能也都有些疑惑,甚至提出反對意見。其實這邊標題只給了一半,還有另一半隱藏的下聯,完整的一句話是「與像無關但和法有關」。這樣,思路就清晰了許多,佛教藝術並不是真的與像無關,而是很多時候造像的本意不是以直觀方式呈現,而是透過背後隱藏的象徵意義來傳遞佛法。也就是說,若缺乏對於圖像意涵的掌握,以及佛法的基礎知識,將未能清楚掌握佛教藝術的精神,也忽略其間所欲展現的藝術表現。

誠如戈耶爾所提及「象徵」在佛教藝術當中的運用極為廣泛,許多的圖像或符號性傳統源自於印度本土。尤其是早期佛教藝術「無像時期」的作品,此時期佛教藝術集中在佛塔的欄循與塔門雕刻,一幕幕的佛傳故事分布在其中,作為主角的佛陀並未現身,而以王座、佛足、菩提樹等等的形象代替,像是一場缺乏主角的戲劇,一群人環繞著空置的席位禮敬膜拜,顯得有些荒誕、詭譎,亦有些許超現實的意味。對比周圍環繞成熟的人物雕刻,以及複雜的群像構圖,毫無疑問缺乏佛陀形象描繪能力的說法是不成立,這應是一個有意識的選擇結果,刻意隱去佛陀的真實形象,將這個空缺留給更為重要教法本身。主角存在與否已然不是表現重點,重點是這個故事、這些角色與佛陀互動過程中的經典性意義,也就是佛陀所提示的解脫之道。

真實的意涵,即隱藏在這些象徵性的佛塔或菩提樹等元素上,是種隱喻式的陳述。也就如平川彰所提醒早期佛教經典中,無論是佛傳文學或《本生經》,均散見帶有譬喻性質的內涵,尤以《本生經》為重,脫胎自印度傳統中的寓言故事。這些故事或以動物為主角,講述關於因果、奉獻、慈悲等佛教精神的種種經歷緣由,不以說教或直觀的敘述書寫文本,而透過故事帶領信眾反思其中隱藏的寓意。自然,早期佛教藝術中佛陀的虛位以待也應是種隱喻,隱藏主角光環下的佛陀形象,引導觀者深入體會佛陀言行背後的動機與開悟過程的啟示,才正是當時的所有佛弟子們所一心期盼,自此也初步完善佛教藝術的基本調性。

當我們習慣於以佛像的出現,作為佛教藝術的分水嶺,區分為「無像時期」與「有像時期」,如以藝術表現來說是合理的,不過若結合上述的理解,無論是無像或有像,超越物象背後的藝術思想實際上仍存續其中。佛像的形塑亦以許多象徵性的元素組成,三十二相的超人類特徵可以視為是此一思想的延續,貫穿整個佛教藝術發展過程,甚至在更晚期的密教藝術中又重新被強調,大量符號化的圖像構築出龐大複雜的神秘譜系,創造遊走在具象與抽象的多元性視覺世界。佛教藝術創作的中心思想絕不是空相的無稽之談,而是以象徵性的圖像或隱喻不斷地傳達佛法信念,結合直觀或抽象的形象,創作出契合該時代的視覺情境。


Sunday, 1 August 2021

「香港觀音誕探源」的反思:世俗中的觀音信仰



有幸聆聽駱慧瑛博士於慈山寺的「香港觀音誕探源」專題,不僅為其最新的研究成果,也適逢農曆六月十九日觀音成道日的前夕,透過難得的因緣,將香港觀音信仰的特殊性與淵源為公眾帶來精彩的講演。對於來自台灣的筆者而言,更是收獲豐碩,在短暫時間內一覽本地信仰背後的民俗與諸多田野信息,也認識香港觀音誕在過去與現在時空中的演化。同時,觀音誕為本港的非物質文化遺產,其間的代表性與重要性不言可喻,亦期待未來有機會逐一走訪踏察。觀察信仰在當代場域中的延續與形塑,一直是筆者相當感興趣的部分,但對於香港本地歷史脈絡仍在學習中,未有置喙之處,因此藉以談談台灣「東山迎佛祖」的民俗盛典,透過不同地區觀音習俗的對照,反思觀音信仰的多元性與開放性。



「東山迎佛祖」是台灣台南東山區碧軒寺的重要宗教活動,這裡所稱的佛祖並非釋迦牟尼佛,而是觀音菩薩,因台灣民間俗稱觀音菩薩為觀音媽或佛祖媽,遂簡稱為佛祖。每年於農曆春節前後,寺方循著古道香路以徒步方式,將開基的觀音菩薩聖像送駕至關仔嶺碧雲寺團圓過年,再由原路迎駕返寺,據傳已有160年左右的歷史,往年均吸引大批香客一同隨觀音巡境。今年受疫情影響,規模較小,亦取消信眾沿路隨香與廟內觀禮。

東山碧軒寺主祀觀音菩薩,開基創寺的觀音聖像,實來自於關仔嶺火山碧雲寺應祥禪師(約活動於18世紀末-19世紀初)由中國福建開元寺攜奉渡臺之神,因此淵源上亦屬於火山碧雲寺之開基觀音佛祖,故有「正二媽」之稱。

相傳,由於火山碧雲寺於清 道光24年(1844)因兵災而遭毀,東山先民遵照觀音菩薩指示,迎請正二媽至東山便房安奉,在東山十六村和白河四里等莊民的協助下,共同興建碧軒寺,成為當地的信仰中心。每年農曆十二月廿三日必恭送上山,返回碧雲寺過年,過年後的正月十日,再舉行隆重的返駕大典,此即著名的「東山迎佛祖」,極具地方信仰與文化特色,也是台灣唯一迎觀音的民俗盛典。碧軒寺配祀的神靈以佛教為主,有三寶佛、十八羅漢、伽藍菩薩、地藏菩薩,亦有屬民間信仰的土地公福德正神、註生娘娘、虎爺公等等,展現早期台灣佛教信仰中存在的佛道混融特色。

綜觀「東山迎佛祖」的觀音習俗,可以察覺與漢傳佛教的內涵已有些許差距,觀音菩薩的角色不但更加的大眾化、民俗化,也或許受到媽祖信仰的影響,吸納許多地方信仰的特色。觀音菩薩的身份已然有所轉變,從一個救度眾生的聖者,成為有如媽祖一般具有分身、分靈的神祇,也具備更全能的神力,甚至冠以「佛祖」的稱號。在一般信眾的心目中,觀音菩薩已是無所不能的最高階神祇,而不僅僅只是協助眾生成佛的「覺有情」,甚至在台灣的民間傳說中,觀音菩薩還具備調停民間神祇紛爭的能力,如:台南六甲赤山龍湖巖觀音調停南鯤鯓五王千歲與囝仔公之間的大戰。

由此所見,別於由福建原鄉應祥禪師帶來的觀音信仰,新一輪的地方信仰傳說已然成型,信仰並非是一成不變,唯有不斷回應大眾的需求,擴大宗教圈的範圍,才能繼續繁衍維繫。更透過不斷的靈驗故事,強化信眾的信心,以新的「迎佛祖」宗教傳統維繫地方祭祀圈的交流,也在過程中完成觀音信仰在地化的重新建構。誠如在香港觀音誕中所見的,透過舞火龍、借庫等不同的民俗傳統,為觀音信仰發展更多元化與親民的特色,也為在地信眾提供更貼地的精神與物質需求。




Monday, 19 July 2021

觀物II:像的人間思索

 一座孤單的人像沉默地矗立在山崖海傍,安靜的讓人心中有些發慌,也或許是在人來人往的鬧區建築的顯眼處,人形雕像以猶疑的姿態出現,將不安感寄於模棱兩可的行動暗示,吐露著不欲明言的企圖。這就是當代雕塑大師安東尼・葛姆雷(Antony Gormley)的人間思索,在面對當代文明世界的詭譎變幻、潮起潮落,或是重新定義人與大自然之間的辯證關係時,他選擇用雕像來作為當下的表態。


面對碩大的課題之前,人類的個體形象已經逐漸消融,可以是線性組合或幾何形的塊狀結組,而不再具備有機的人體形貌,僅成為某種精神意念的投射,也更像是具有永恆意義、紀念碑性質的一處人文地景。安東尼・葛姆雷也喜歡將作品放置於自然環境與廣闊的地平線上,藉以塑造出一個適合沉思的場景。對其而言,答案不會只有唯一解,作品的代表性或意涵,可能已不是關注的焦點,反而更重視它們能成為回顧過往、觀照現世的催化劑,靜靜地思考,回首來時路。


阿彌陀佛立像,約鎌倉初期(12世紀末—13世紀初)

重要文化財,京都禪林寺藏

回顧佛教藝術中,以像作為人間思索的傳統,實串聯起歷代造像的傳承。如日本永觀和尚與「回首阿彌陀佛」故事,亦為當下人生與未來的漂泊,指引一條正念之路。在一次佛堂早課中,原本安置於禪林寺大殿中的阿彌陀佛像突然動了起來,並走下佛壇朝永觀和尚徐步走去,引導他一同入列經行。當永觀和尚還在驚魂未定之際,阿彌陀佛回首呼喚道:「永觀,太慢了」,再回過神來,阿彌陀佛已回復到佛壇上,而餘音猶在耳邊。此後,永觀和尚請匠師摹刻回首阿彌陀佛立像,傳達阿彌陀佛的訊息,造像流傳至今,成為禪林寺的重要文化財。


未來不是幻想或虛無,而是藉由與過去的接觸而創造的結果,是因與果之間的永恆作用與體現。當代社會中,雖少有能不間斷的自我反省時間,但面對不斷湧現的未來,或許短暫的暫停,反思內心,才是穩定前進的原動力。


Thursday, 8 July 2021

聽講紀實:「百年粵港密宗發展」


 一真會七月份例會由鄧家宙博士帶來「百年粵港密宗發展」的專題,為其近期的研究成果,透過仍在進行中的香港佛教真言宗居士林口述歷史與資料整理,以及本地密教道場田野調查的資料蒐集,發現了許多新資料,藉以認識香港密教發展在近代中國大背景下的重要意義。

民國初年,由於邊疆地區的相對動盪,部分上師進入漢地,使密教重新回傳中土。先有七世章嘉國師,續有1923年九世班禪入京,藏密上師活動地區多集中在上海、北京等政治與經濟發達城市。 1933年後,只餘少量藏密上師駐留漢地,漢地弘化工作轉移到漢人上師。

1920年代開始,東密也開始回傳漢地。持松、顯蔭赴日得法,回國後在華中一帶弘法。王弘願著手翻譯真言宗典籍,並得日本權田雷斧大僧正傳法,但亦掀起一波顯密爭論,使得華中密法活動萎縮,僅得王弘願與其弟子馮達庵在廣東活動。隨著1924年權田雷斧大僧正在港舉行灌頂,象徵香港東密發展的起始點。遂有黎乙真居士往和歌山根來寺,由權田親傳金胎兩部曼荼羅灌頂,授與傳法信物,回港後於1926年創立香港佛教真言宗居士林。

戰後密教的發展受到新中國政策影響,密壇盡悉被毀,只餘上海靜安寺持松法師所設的密壇,作為外交禮儀用途。由戰前持續至今的,唯有香港真言宗居士林。戰後香港密教道場逐步發展,最早有章嘉國師弟子—吐登上師所設立的「真如密院」、「普賢佛院」;李鈺圓居士創建「崇珠精舍」,講求佛道雙修;圓行法師「宗圓道場」;吳潤江上師與屈映江上師「諾那精舍」;劉銳之居士倡議的「金剛乘學會」等等。

整體而言,由粵港密宗發展的歷史來看,具有相當重要的研究價值,透過香港特殊的地理與歷史因素,檢視整體佛教傳播過程的影響,亦可作為民國顯密衝擊中的新視點。



Monday, 5 July 2021

「東亞佛教文化中的經典與造像」讀書會後記



主題:東亞佛教文化中的經典與造像讀書會
日期:2021年7月3日(六)
人數:32 人

別於過往以講座串聯的課程,今次以讀書會作為一個講座系列的開場,顯得別開生面,也算得上是一次新的嘗試。主線劇情仍以各領域專家學者們的專題講座為軸,支線則是專為導賞員所設計的讀書會與分組報告,希望透過支線的穿插,激發學員學習的主動性,展延講座嘉賓所暢談的內容,並進一步轉化為自身的知識體系。

作為揭開「佛教藝術與信仰」序幕的讀書會,選擇以敦煌莫高窟172窟的兩鋪《觀無量壽經變》為討論焦點,除了經典與圖像間的解讀之外,回歸到空間、禮儀與風格間的呈現,實有更多複雜的脈絡與面向,或許更簡潔的來說信仰本身就是複雜,隨群眾而異,跟隨社會需求的變化而不斷進化。

回應到佛教經典在過去的社會中的不易讀,以平面、立體甚至是韻文的藝術手法再現,幫助信眾認識佛教的隱喻與修持。如今導賞服務,或可視為佛教藝術的逆向工程,也再度為信眾提供認識佛法要義的重要途徑。當代的我們重新檢視視覺線索的同時,也不應忘記由文本轉譯為圖像或造像時的落差,兩者間有時未必有絕對的必然性,解讀的靈活空間也帶給佛教藝術更活躍的發展。

「觀」或「觀想」的重要性在172窟的經變畫中,不言可喻,有著更強烈的宗教修持意義。順應經典《佛說觀無量壽佛經》的結構,以兩側條幅中的未生怨和十六觀破題,將所應觀看、觀想到的內容呈現在壁面的中央,為信眾提供該時代想像的淨土佛國。禪觀與觀想的修持方式,自南北朝早期就開始流行,對於視覺記憶的重視,也形成推動佛教藝術發展的內在力量之一。

即便今日漢傳佛教不再以觀想的修持方式為主流,但在腦海中再現視覺記憶的行為,與現代運動心理學的「意象訓練」有同工異曲之妙。意象訓練即運用大腦的鏡像神經元,將實際練習過的內容在腦海中回放,藉以達到練習、放鬆甚至強化表現的效果。或許目的不盡相同,但觀想在當代社會的新解亦極具啟發,透過結合觀察與腦海中的不斷再現,對於日常所思所學必有所助益。




Friday, 2 July 2021

參考書目與網上佛學資源

「東亞佛教文化中的經典與造像」讀書會 | 2021 0703

 



參考書目與網上佛學資源

 

講座手冊下載


參考書目:

衍空法師正覺的道路2008)[][下卷]

李炳南佛學常識課本1953

趙樸初佛教常識答問1983

Gethin, Rupert. The Foundation of Buddhism (1998)

平川彰《印度佛教史》(1979/ 釋大田翻譯 2019

Goyal, S. R. A History of Indian Buddhism (1987) /印度佛教史黃寶生翻譯 2020

 

網上佛學資源

1)大藏經

·       法鼓山CBETA

https://cbetaonline.dila.edu.tw/zh/

https://cbetaonline.dila.edu.tw/zh/T0001_001

·       佛光山NTI Reader

http://ntireader.org/

·       Early Buddhist texts, translations, and parallels

https://suttacentral.net/

·       Comprehensive resources on Buddhist studies

http://www.buddhanet.net/e-learning/index.htm


 

2)大學佛學研究綜合資源

·       Prof. Ron Epstein‘s Resources for the Study of Buddhism

http://online.sfsu.edu/rone/Buddhism/Buddhism.htm

·       Oxford Centre for Buddhist Studies resource page

https://ocbs.org/resources/

·       Stanford Centre for Buddhist Studies resource page

https://buddhiststudies.stanford.edu/resources/online-resources

 

3)佛教綜合資訊

·       佛門網

https://www.buddhistdoor.org/tc

https://www.buddhistdoor.net/

 

4論文數據庫

·       JSTOR

https://www.jstor.org/

·       Indian and Buddhist Studies Treatise Database

https://www.inbuds.net/jpn/

 

5)其他

·       電子佛教辭典

http://www.buddhism-dict.net/ddb/

·       法鼓山學術語字辭典

https://glossaries.dila.edu.tw/?locale=zh-TW

    ·       佛光大辭典

https://www.fgs.org.tw/fgs_book/fgs_drser.aspx

·       Tsz Shan Monastery Research Blog

http://tszshanblog.blogspot.com/

Wednesday, 9 June 2021

Following the Buddha's Footsteps - A Visit of Nepalese Consul General of Hong Kong and Friends

Consul General Udaya Bahadur Ranamagar (centre), TSM Secretary General Walter Ngai (second left), author (first right) 


On 28th May, 2021, Mr. Udaya Bahadur Ranamagar, the Nepalese Consul General of Hong Kong since 2020, came to Tsz Shan for a visit. Although this was our first meeting with the Consul General, neither Walter nor myself were strangers to Nepal. Indeed we discovered that we have more than a few common friends. Walter was a longtime friend of the local Nepali community. He visited Nepal a number of times including joining once a noviciate program in Lumbini, with many stories to share. As for myself, I too made numerous trips to Nepal both for pleasure and for work. Both my Sanskrit teachers, Kashinath Naupane and Diwakar Acharya, are Nepalese. The Consul General not only knew these two eminent Sanskritists familiar to Buddhist and Indian Studies scholars worldwide, he himself had also enrolled in the PhD program of the Sanskrit University Prof. Kashinath Naupane taught. I fondly remember this the "Valmiki Campus" of this rustic university in Kathmandu where the professors sometimes taught their classes outdoor in the garden instead of inside the classrooms!

My connection with Nepal began after I completed my Master of Buddhist Studies at the University of Hong Kong. Feeling that I had barely scratched the surface of the vast body of Buddhist knowledge, I decided to go to Nepal in search of the Sanskrit manuscript of the Diamond Sutra, whose Chinese translation I tried to learn by heart as a child when I visited the Po Lam Monastery 寶林禪寺 in Lantau Island, Hong Kong in the 1980s. In retrospect, I was woefully ignorant about my own pursuit. I nonetheless had the good fortune of meeting Prof. Kashinath at the NGMPP office in Kathmandu. Realising that despite my years of bookish study in Sanskrit, I could not even chant a śloka, guru-ji gave me my first recitation lesson - the first verse of Raghuvaṃśa. For the following week, all we did was recitation. I had just turned thirty by then and my memory no longer as good it was. His patience and kindness greatly touched me, while my love of Sanskrit recitation and the language grew. Our friendship would continue for decades up till today. In 2007, I invited Prof. Kashinath Nyaupane to China for the first Sanskrit summer camp in Baofeng Monastery, Jiangxi 江西寶峰寺. The Abbot, Ven. Yanzheng 衍真, a Peking University graduate and a lover of Pali, Sanskrit, and learning in general, kindly supported our works. Among Prof. Kashinath's many projects were his editing of the Śatasāhasrikā Prajñāpāramitā, sponsored by the monastery.





Sanskrit Summer Camp in China with Prof. Kashinath Nyaupane in  2007

My meeting with Prof. Diwakar Acharya was no less extraordinary and fruitful. In 2008 I received a Monbushō scholarship from the Japanese Government to continue my research in Buddhist Studies in Japan. My first choice had always been Kyoto and I was fortunate to be accepted into the doctoral program of the Department of Indological Studies of Kyoto University, in the beautiful, ancient capital of Japan, where I would spend the following decade first as a student, then a postdoctoral researcher, and finally an associate professor at one of the most prestigious institutions in Japan. It was during my doctoral training when I first met Prof. Diwakar Acharya, whose Sanskrit reading classes I attended for years. Among the classes I remember most fondly was the Sanskrit composition class, where I tried to compose the Dao De Jing in Sanskrit! I fondly remember also our weekend hike on the Daimonji mountain where we would chant Sanskrit verses as we climbed the hills and passed through the forests. Another decade passed and Prof. Diwakar Acharya is now the Spalding Professor of Eastern Religions and Ethics at Oxford University. Recently, Prof. Acharya and I got in touch again to launch a truly ambitious project to edit and publish a series of Sino-Sanskrit Buddhist texts. The project will likely be an unprecedented collaboration between the Tsz Shan Monastery, the Bodleian Library of Oxford University, and the Sanskrit Text Society which is about to be established. The new Sanskrit edition of these important Buddhist texts will make use of the valuable manuscripts kept in various archives and monasteries in Nepal.

Prof. Diwakar Acharya and myself in Oxford

Among my most important contributions to academia and Indian studies in the recent years was my research on Indian astral texts, and in particular, an ancient text titled Yavanajātaka, literally "genethliacal astrology of the Greeks." The complete Sanskrit palm-leave manuscript survived only in Nepal. After Pingree's important work on this text in 1976, I produced a number of studies (2013a, 2013b, 2014) that shed new light on the dating and astronomical content of the work. In 2015, I made a visit to the National Archive in Kathmandu (after the earthquake!) with Prof. Yano Michio of Kyoto Sangyo University and Prof. Kashinath Nyaupane and I could examine the original palm-leave manuscript of the Yavanajātaka that I have been trying to decipher for years, as well as a new paper manuscript of the same text that Prof. Yano discovered inadvertently earlier in 2011.

Yano, Kashinath, myself at the National Archive in Kathmandu, 2015

My examination of the original palm-leave manuscript of the Yavanajātaka

A visit to the Āśā Archives

A visit to Prof. Mahes Pant and his extraordinary collection of jyotiṣa manuscripts

Beside our personal ties with Nepal, Walter and I were told also about the history of the Nepalese community right here in Hong Kong. It is our hope that we can further strengthen the friendship between the two peoples through meaningful projects and exchanges. Beside the Sino-Sanskrit Buddhist text project which Walter supports wholeheartedly, we have the idea of perhaps writing a book on our journeys to Nepal -- Following the Buddha's Footsteps.

How does that sound for a title?

Tuesday, 8 June 2021

Sun-drying and caring for Buddhist texts

A commonality between ancient and modern libraries is their capacity to house collections of books (Sometimes as thematic libraries, like the Law Library of the Congress, in the U.S.A., or as general libraries, like the Hong Kong Central Library) that are functional, and provide a space for readers to wade through their pages; in the case of Tsz Shan Monastery, our faithfulness to tradition and scholarship, together with the sustained presence of volunteers and visitors, makes it so that we do not only house numerous volumes of the Tripiṭaka (三藏/त्रिपिटक), but also that we can provide a place for such volumes, and many other books on Buddhist content to be read and studied properly.


Thanks the sustained support of our many volunteers, our collection has grown from few specific compilations of very traditional sutras to several thousand DVDs, magazines, encyclopedias and books on many different subjects, covering a wide range of themes, styles and languages, all around the subject of Buddhism. With the increase of our bibliographical collection, however, also came an increase in the elements to consider when maintaining our collection in good shape. Thanks to Dr. Bill Mak, our Principal Researcher, a project was put in motion with the objective of establishing a comprehensive, efficient and useful library for visiting researchers, while also providing a reading space for anyone interested in learning about general aspects of Buddhism, all the while keeping precious volumes of Buddhist sutras properly safeguarded.

(Chinese section of the Tsz Shan Monastery Buddhist Art Museum Research Library)

Having used the library of my university many times before, I was acquainted with some details of its classification system: Indeed, if one means to house a sizable collection of literary references, there are some international standards that can be applicable to any library, no matter the size. So when my colleagues and I were told about the necessity to revamp our library system, and about the idea of separating our collection by the type of reader that would enjoy each section of the collection, I was excited about the chance to get more closely acquainted with the Buddhist volumes at our disposal.

One of the most important steps when organizing a library is, without a doubt, making sure that the books are in good shape. For this purpose, and inspired by Buddhist tradition, we organized a sun drying (晒经节) activity with our volunteers. After receiving a lecture on the history and importance of sutra copying and drying, our volunteers helped us with three main tasks: Relocating books, sun drying and shelf cleaning.

The starting point of the activity was our Tripitaka Library (藏經閣). In there, the monastery houses some very significant collections from each of the three baskets (Discourses, rules and philosophy), and the volunteers and staff were tasked with opening the books under the sunlight (To diminish any humidity contained inside of the books), cleaning any dust that could be on the books, and arranging the new additions to the collection that would belong to this hall. Due to the contents and the religious importance of the objects, most of our volunteers took to this task, which required attentive care and mindful handling of the volumes. The end result was a tasteful, well ordered distribution, which goes well with the parallel use of this hall as meditation room for our monastic community. 
 
(Present state of the Tripitaka Library)

Next was the relocation of the volumes that would be housed in the Museum library. Being the newest collection, and soon to be of use for the upcoming research programs that will complement the development of our Museum's efforts on spreading awareness and appreciation for the rich artistic value of Buddhist art, many of the books that were originally located in the Learning Commons, and even some of the ones located in the Tripitaka Hall were transported to their new location. As many of these collection had numerous volumes (One collection of medicine sutras, for example, had 100 volumes of more than 600 pages each!), our volunteers traveled several times back and forth between venues with carts full of books, while keeping track of the intended destination for each one of them.
In this regard, however, the most challenging venue to reorganize was the Learning Commons.


The Learning Commons, which is a venue that sees extensive use by many of our volunteers and staff, houses our Buddhist books that do not belong to a specific set of sutras; instead, this collection includes many different topics and authors: From vegetarian cuisine to language learning, this collection is very varied both in content and in format, and keeping track of the location and condition of each item can be challenging at times. The answer to this test was to take stock of all the books contained in the monastery, label them, and to take note of their condition after a simple routine of maintenance, which consisted in dusting (Plus sun-drying and airing in the case of books) and relocating them in their original position. The result was a neat and symmetrical library full of interesting and enriching Buddhist content.


As the summer weather was perfect for this sun-drying exercise, everyone worked very hard to make sure that the books were taken care of in the best possible way, and it was a happy occasion to share in the care and passion that the volunteers demonstrated when being in close contact with Buddhist texts. As many times in the past history of the monastery, and as it has always been in the history of Buddhism itself, the monastic community and Buddhist institutions can grow and thrive thanks to the invaluable effort of those who selflessly and sincerely believe in Dharma: Thanks to them, and to the efforts of the many people who uphold the Teachings, sentient beings get ever closer to the ceasing of their suffering.

Saturday, 29 May 2021

觀物I:當禪是一種美學


2021年的Art Basel為沈寂許久的實體現當代藝術展覽,帶來一波風潮,或許是朝聖、或許是跟風打卡、或許只是來觀察現代藝術的流行趨勢。觀眾視角的多樣性,反應了現當代藝術的開放性價值,尤其重視更廣泛觀眾的互動與參與的趨向。

對於現當代藝術的興趣,也倒是在近年才開始慢慢培養起來,古代藝術看得多後,偶而換點耳目一新的視覺刺激,來點貼近生活距離的實在觸碰,倒也有很多新的想法萌生。在展覽的一角,一件野口勇的作品在友人的介紹下,吸引了我的目光。作為一個現當代藝術的初心者,對於藝術家本身經歷與其作品,雖然只有粗淺的了解,不過從現場作品在藝術形象與帶動空間上的變換,都實著令人著迷。


野口勇: Environment

White Cube at Art Basel in Hong Kong 2021


這組作品令人聯想起日式的枯山水庭園,金屬的裝置像是枯山水中的山石,而呈現不規則卵形的紙燈籠則賦予空間溫潤的暖意,散發出平衡展場冷白調性的迷人魅力,地上黑色的松鼠更添加些許的趣味元素。這一種油然而生的禪意使人冷靜下來,重新思索藝術品、空間與人的三角關係。野口勇以其敏銳的觀察,將物象簡化後,以幾何及非幾何的形象結組在一起,在現實與抽象間重塑對於世界的想像,創造出一種令人靜思的空間效果。

究竟是什麼引發禪的感受?是作品本身象徵的符號,還是特定的有機組合關係?幾經思量,或許應該是在表象之下,所帶來的知覺感受吧!兩者之間在本質上的呼應,才使人有如此的微妙體會。即使身處在嘈雜的展場都能將思緒沉靜,觸動心靈的深層感知,並給與禪意一種當代美學的定義。


Friday, 21 May 2021

佛經從何處來,往何處去?

適逢本週末慈山寺藏經閣經書整理和寺院書籍重整,我們安排了一天「曬經日」,研究組安排我為義工團作一個簡單介紹,我不知道什麼題目最合適,不如就簡單談一下佛經的由來吧。

佛經可以理解為佛說的經。我們知道佛祖釋迦牟尼沒有文字著作,佛陀四十五年遊行說法,都是以口述形式流傳下來的。佛陀入滅以後,聲聞弟子結集,即是大家開會去確定佛說過什麼話,大家同意後便把其文句定下來,並通過諷誦形式暗記。所謂經,是梵文sūtra的漢譯(巴利文sutta),原來就是指這些早期通過僧團核實的經文,一般都以「如是我聞(一時)」(evaṃ mayā śrutam [ekasmin samaye])作為開始,說的就是以下經文獲得了佛陀十大弟子之一阿難尊者的確認。後來經典整理為三藏,即分為經、律、論三個部分的藏經。藏本來是梵文piṭaka的翻譯,意思為「籃子」。我們說三藏法師,就是指精通佛法的法師,精通的不單是一藏二藏,而是三藏。

僧伽羅體巴利文《吉祥經》貝葉經。十多年前跟香港大學老法師到斯里蘭卡遊學時請回來的。

佛經以諷誦形式流傳,沒有書寫下來,這本來是古代印度的傳統。印度人記憶力特別好,過去是,現在也是,像遠古的吠陀經文至今還有不少印度人,特別是婆羅門,能幾千幾萬頌的背下來!不過到了大約公元前後一世紀,佛經終於以文字方式記下來,寫在貝葉或樺樹皮上,成為當今最古來有關佛陀和其教化的記載,甚至是考古證據。


婆羅謎體于闐文《Zambasta》樺樹皮經。最近跟英國中亞語言學家Sims-Williams氏(SOAS/劍橋)習于闐語每週讀經的段落。于闐文其中特徵為原因上的兩點,一般轉寫為ä,發音為i,兩者經常混淆。十五年前在北大時跟段晴教授學了一個學期,沒想到多年後又有機會接觸了。

那麼原來最古老的佛經是用什麼語言記載的呢?我國印度學大師季羨林先生,即是北大印度學創始人之一,亦即是我的博士導師王邦維教授的導師,認同西方的說法,認為佛陀的語言是印度東北部方言摩揭陀語(Ardhamāgadhī)。古代印度有很多方言,一般我們稱之為俗語(Prākṛtam),相對的就是雅言,即是梵文(Saṃskṛtam)。大乘佛教的經典一般以梵文為主,但更古老的版本都是俗語寫成的,除了已經幾乎消失了的半,摩揭陀語外,主要還有以佉盧文書寫的犍陀羅語(Gāndhārī)。南傳佛教的佛典以巴利文為主,是當時佛教界的書面語,也是古印度俗語的一種。

至於中國的佛經則有近兩千年的歷史,從東漢明帝始,印度、西語和漢地的佛教徒大量把外來的佛經翻譯為漢語。這些佛經原來用的不單只是印度的俗語和雅語,還有西域各種語言,按季羨林先生的說法,其中比較重要的包括甲種和乙種吐火羅語、于闐語和後來的粟特語。這些語言對古代漢傳佛教有比較大的影響,像我們現在說彌勒,後者是入聲字,跟梵語的Maitreya對不上,原因就是受了這些西域語言的影響,如焉耆語(即甲種吐火羅語)Metrak。近幾十年巴基斯坦和阿富汗一帶出土不少經文殘片,都是犍陀羅語佉盧文,其中包括年代最早的《般若經》。不過到了鳩摩羅什和玄奘的時代,印度傳過來的佛經基本上都是比較標準的梵語了。因此,一般我們會認為梵文是大乘佛教的經典語言。

中國對佛教的傳播發揮了極大的作用,除了歷史悠久,信徒眾多外,很大部分是我國過去的大德對經典的細心整理。有學者指出,漢譯佛經不管是從量的角度,還是時間的覆蓋度,都可以堪稱人類文明史上的創舉。很少會有一個文明那麼用心和耐心的把大量的外文著作翻譯成本國語言,而且這都是出於宗教情操,並包含對另外一個文明的尊敬,而不是古代甚至近代世界文化鬥爭或殖民侵略的產物。這一點實在值得佛教徒深思,也是祖宗留給我們漢地佛教徒,讓我們自豪的一份文化遺產和禮物。

漢譯佛經的量究竟有多大?華語區佛教徒一般熟悉的「大正藏」有一百冊,一萬多卷,按統計超過一億兩千萬字。光是這個量就比西方國家希臘和拉丁文的「經典」的量要多很多倍。我們一般熟悉的大乘經典,像『心經』、『金剛經』、『法華經』、『華嚴經』等當然也包括在內。研究佛經的人一般會熟讀幾十、幾百、甚至幾千部經。至於這麼多經,該怎麼讀,有何技巧?這可以以後再跟大家分享。

大正藏」其實是日本人在大正時代出版的經藏,由於編排和校對方式符合現代學術規範,百年來廣為流傳,大家亦多加引用。「大正藏」出版時,近乎每月出一冊,能夠以這樣的速度出版,除了由於當時日本佛教界人士發心支持,也說明日本佛教學術界實力雄厚,過去累積了大量的文獻材料,可以充分利用。這一點現代中國佛教界做不到(除了以「趙城金藏」為底本的《中華大藏經》外)。不過台灣法鼓山研發的CBETA,上世紀90年代後來居上,以「大正藏」為底本,通過團隊力量把內容不斷完善,至臻完美,甚至補充了其他各種經藏內容,成為當今網絡時代大眾接觸佛經的主要橋樑,這也是十分殊勝的。

Saturday, 15 May 2021

犍陀羅:未曾止歇的劇幕

犍陀羅可以說是一個充滿奇幻色彩的文明,作為身處文明十字路的古代國度,複雜的文化來源、頻繁戰禍與政權更迭,似乎註定這是一個不平凡的地方。時至今日,這個地方仍是世界上最危險的地方之一,激進的武裝組織塔利班,仍不時與阿富汗新政府與多國部隊產生衝突。也就是在這樣充斥著煙硝味的多元文化土壤裡,孕育出犍陀羅文明的瑰麗篇章。

因緣故事浮雕

談及對犍陀羅的印象,我們常因看到高鼻深目、輪廓立體的西洋人面貌,就簡單的歸類為希臘羅馬藝術的影響與延續,但這可能僅僅只是表象,觀察到更多來自於這個地區的傳統,包括安息、印度與北亞草原文化的脈絡,都讓整個文明的有機體變得更加複雜。單向的影響路徑不再是唯一解,這不是簡單的文化移植或是文化霸權的擴張,我們曾經以為的希臘羅馬色彩,其實更像是一種扮相或是服裝。

也或者,希臘化藝術就是一種「國際風」的潮流,有點類似現代社會中「大眾文化」的概念,改變的是一時的風格,是新的視覺形象,但主流文化上沒有翻天覆地的改造,仍順應著原來的內涵持續發展,當然希臘化藝術潮流的影響力得要比大眾文化的覆蓋更加全面。所以當來自北印度的佛陀以歐洲人的樣子出現,倒也不是特別令人詫異,執金剛、鬼子母等佛教中的護法神,都紛紛穿上希臘式的衣裝,上演著一場古代的時裝劇。


若以現時香港舞台劇來比擬的話,應該就像是林奕華的中國四大名著系列,透過時裝以及現代的對白重新詮釋古代著作。跳脫新瓶裝舊酒的格局,沈澱提煉後的經典韻味仍然雋永,但清新的風貌令人為之一亮,油然已是一齣全新的創作。

作為已有500年歷史的佛教,遇上了新興的西潮,站在時代轉捩點上的佛教藝術,自此展開了一趟全新的歷程。犍陀羅佛教藝術將透過其優越的地理位置,順著駝鈴聲與絲綢之路,傳播到更遙遠的陌生疆域,以其所蘊含的充沛能量,帶給不同地區的信眾心靈與視覺上的感動。這一幕迄今猶未止歇,當我們回望這一切時,仍為犍陀羅上演的這場大戲而著迷,吸引著我們持續探索這座文明古國的歷史遺痕,尋找它如何感動人心的神秘源頭。




Wednesday, 12 May 2021

What's behind the name: Brilliance Pond

In front of the Universal Gate Hall 普門 is the 8-meter Brilliance Pond 洛伽池, said to be named after the mythical Mount Potalaka, the abode of Avalokiteśvara, according to the Gaṇḍavyūhasūtra 入法界品 of the Avataṃsakasūtra 華嚴經, an important text of the Mahāyāna tradition.

Where is Mount Potalaka? It was said to be a mythical mountain located in the south of India. For those who have read the popular Chinese translation of Gaṇḍavyūhasūtra, the eighty-fascicled Huayan 八十華嚴 translated by Śikṣānanda 實叉難陀 in the late seventh century CE during the reign of Empress Wu Zetian, one may recall the adventure of the tireless Sudhana in search of spiritual teaching, and Avalokiteśvara was among one of his fifty-three spiritual guides:

善男子!於此南方有山,名補怛洛迦,彼有菩薩,名觀自在。(T10n0279_p0366c)

The name Potalaka is found the Sanskrit recension of the Gaṇḍavyūhasūtra (Gv 159):

atha khalu sudhanaḥ śreṣṭhidārako veṣṭhilasya gṛhapater anuśāsanīm anuvicintayan...anupūrveṇa yena potalakaḥ parvatas tenopasaṃkramya potalakaṃ parvatam abhiruhya avalokiteśvaraṃ bodhisattvaṃ parimārgan parigaveṣamāṇo 'drākṣīd avalokiteśvaraṃ bodhisattvaṃ paścimadikparvatotsaṅge..."

"Then, the merchant’s son Sudhana pondering upon the instruction of the householder Veṣṭhila… arrived then first at Mount Potalaka. Having climbed Mount Potalaka, he searched for the bodhisattva Avalokiteśvara. Looking around, he (finally) saw the bodhisattva Avalokiteśvara on a plateau on the west of the mountain..."

A number of scholars have examined the scanty descriptions, including those of Xuanzang and others, and attempted to identify the earthly locale that inspired the mythical Potalaka. Given the great popularity of the worship of Avalokiteśvara in Asia, Sudhana's spiritual adventure and the mythical Potalaka nonetheless became the inspiration of a number of real places.

In China, the most famous place associated with Potalaka is Mount Putuo 普陀山 in Zhejiang 浙江, considered one of the four sacred mountains in Chinese Buddhism. I first visited the mountain when I attended the First World Buddhist Forum 世界佛教論壇 in 2006. It is a truly beautiful place and a meaningful place to visit as it has been a site of pilgrimage and worship of Guanyin for over a thousand years since the Tang Dynasty. In Tibet, the Potala Palace པོ་ཏ་ལ། in Lhasa was also named after Mount Potalaka. Many other places in Asia also have such connection if we pay closer attention. For example, the historical 53 Stations of the Tōkaidō 東海道五十三次 between Tokyo and Kyoto were conceived as a metaphor of Sudhana's journey.

But why was the fountain called Brilliance Pond? I was slightly annoyed that the Sanskrit name was not used instead. Yesterday I posed the question to Walter and Walter told me that I was the one who came up with the name! I have no recollection and had to dig up the archive to unravel the story.

Back in May 2013 when TSM was still under construction, Walter and Ven. Thong Hong asked me to help them to review all the English names used in the monastery, and especially those connected with Sanskrit since I was teaching Sanskrit and Buddhist philology at the University of Hong Kong at that time. The fountain was first given the Chinese name 洛伽池 in connection to the abode of Avalokiteśvara and the English name was provisionally given as Potalaka. In a document dated 9 May 2013 [arch/2013/1], I proposed the name to be changed to Pond of Brilliance on the following ground:

"The reference to the pond in the Gaṇḍavyūha Sūtra is actually rather obscure in the history of Buddhism. General English translation is preferable."

From the Pond of Brilliance, now we have Brilliance Pond.




Welcome to Tsz Shan Research

Welcome to Tsz Shan Research, a multilingual blog of our small, creative team from the Research Department of Tsz Shan Monastery and Tsz Shan Buddhist Art Museum, based here in Tai Po, in the rural side of Hong Kong. Our office is located inside the 70m bronze-cast white Avalokiteśvara (Guanyin) statue, overlooking the tranquil Tolo Harbour connected to the South China Sea. Please join us in exploring the monastery, our collection, the beautiful land, and many stories and ideas that inspire our presence here. You are welcome to leave us comments and to share your thoughts with us. We hope that you too will find inspiration here at Tsz Shan 慈山, which means "Friendly Mountain" in Chinese. May all beings be safe and happy.

Bill M. Mak, Principal Researcher

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On 8–9 October 2021, the Needham Research Institute, the Ancient India and Iran Trust, and the Faculty of Asian and Middle Eastern Studies, ...