Mei-Wen Su
Associate Professor,
Center for General Education,
China University of Science and Technology,Taiwan
中華科技大學通識教育中心副教授
Center for General Education,
China University of Science and Technology,Taiwan
中華科技大學通識教育中心副教授
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Papers by Mei-Wen Su
張蓮覺(1875-1938),原名張靜蓉,是香港近代以買辦起家的富商何東爵士的夫人,兩人都是中西混血家庭。何東家族在時代因緣下成為香港巨富。夫人張蓮覺運用財富在香港、澳門開創寶覺第一、第二義學,救濟孤苦,收受女貧童;重視佛教教育,護持澳門功德林女眾佛學社,後轉至香港青山成立寶覺佛學社,最後綜合成立「東蓮覺苑」,是民初香港最重要的佛教女眾教育道場。佛陀時代有位布施第一的女居士毘舍佉,張蓮覺可算是現代毘舍佉。
她僅存一部著作《名山遊記》,民國23年由東蓮覺苑出版,敘寫她遊歷佛教名山寺院等處之所見所感,有〈遊鼓山記〉、〈遊普陀山記〉、〈遊羅浮山記〉等共21篇。本論文探討此著作的書寫出版、朝禮名山之意識,以及從文字的敘事視角,期望爬梳出她一生佛教志業的心相。
《名山遊記》的書寫出版意識,是以當時很重要的佛法傳播方式:文字出版來實踐傳播她的理念。傳播佛法的正信,使有益人心社會,並且對這些名山古寺的佛法歷史與現狀的關懷,使人重視乃至有所研討;更也藉此傳播她在佛教女眾教育上的努力:東蓮覺苑的創建,以發揮更大的護法效益,更有益於社會。
周歷各國的張蓮覺,朝禮名山古寺,是求真訪道,希望能遇善知識,切入佛法究竟真意,甚至觀照佛教問題所在,作為發心引導後人之借鏡。而山川古蹟、歷史古今,也都是學問,也都是啟發智慧之道,所以名山勝遊,不以遊觀為主要目的,是在遊觀中入佛法行佛事。這些也可從其敘事視角得到更具體的佐證。而遍走遊歷,對女性來說是挑戰,也是很好的歷練,就如她所說「余以女子而喜壯遊」,也從中相應於佛法菩薩行的勇猛精進。
而從其敘事視角來觀察,可以看出其初發心及其願成就利益眾生,成就香港佛教教育志業的精神與方向,1、生老病死之抑鬱苦迫。2、念佛感應、法會佛七、佛法講座。3、無常感慨,知因果明如幻,大悲而勇猛發心。4、俠義精神之仁厚、倫理、布施。5、觀察中國佛教現狀與思索解決之道。6、對古代著名女性之欣慕。7、其他等。
關鍵字:張蓮覺、張靜蓉、名山遊記、東蓮覺苑、何東、香港佛教
臺灣在解嚴前後,整個社會從蓄勢待發到風起雲湧,噴發出多元且豐富的生命力,佛教界的出版與弘傳亦是如此,其中由文殊文化中心(蔡榮婷、黃啟霖、洪啟嵩)、文殊雜誌社出版的《文殊雜誌》可以看出這樣的力道與轉變發展。
《文殊雜誌》,從民國73年至79年(1984-1990),歷時6年,幾乎等同文殊機構的開始與結束;作為文殊機構的主要刊物,是重要的文本出版傳播,更是理念與行動的推動場域,是什麼樣的宗旨定位,讓它形成動能,成為當時佛教界注目的焦點?什麼樣的展現,讓它成為「成功地融合宗教、文化、社會和環保的佛教雜誌」?讓它被全國文化界所看到,為佛教界贏得了第一座雜誌公共服務金鼎獎?故本文以《文殊雜誌》為研究對象,以「社論」為文本焦點來考察,期望由此觀照探究臺灣佛教發展史上的這一段精彩歷程。
《文殊雜誌》是以大悲增上的大乘菩薩行為宗旨定位,其內涵:1、圓滿眾生成佛,莊嚴諸佛淨土。2、悲智雙運的入世菩薩行。3、以大悲為上首,菩提心為第一義,佛法化入生活。4、志度一切有情,而以人類為本。5、「以人為本」並非以人種為中心的我執。6、對無窮生命的永恆無限關懷。7、未來走向那裏?要問我們自己。8、「文殊」不一定永遠存在。
由此產生無限動力,幅射出關懷服務,於內於外、於心於物,於佛法於世間,於心淨於土淨,可分成六大項:1、傳統佛法觀念的深思與釐清。2、推廣大乘菩薩禪修實踐。3、出版與弘傳的開放與現代化。4、關懷臺灣與佛教發展。5、現代議題之深化與承擔。6、佛教文物的普及與精緻化。
關鍵字:臺灣佛教、文殊雜誌、文殊、佛教雜誌、洪啟嵩
摘 要
民國初年佛教為了振衰起弊,因應時節因緣,以人間佛教為主軸,末代禪師
虛雲、興復高旻的來果、入定百多日的廣欽,都以禪修聞名。來到臺灣,聖嚴法
師承繼古來禪法,帶起禪法修學之風;近數十年來,臺灣菩薩協會的導師洪啟嵩
先生,長期致力於禪法教學,廣開格局,以地球禪者自居,稟持融入時代,導引
時代的禪者大悲創新精神,開發適合現代人修行的禪法。
洪啟嵩老師創發的一系列以佛身心為典範,適合現代人修行的禪法,包括放
鬆禪法、妙定禪法等。身心是互相連結的,佛心具足智慧慈悲,佛身所顯亦是如
此;洪啟嵩老師的禪法直捷連結佛之身心,由外而內,以現代的語言、身心知識、
修證內涵,運用觀想與調身,讓身心放鬆無執,自然產生定力,由定生智長悲;
讓修行者之身心逐漸內化為佛之身心,圓滿達到智慧與慈悲。究竟之智慧與慈悲,
無二無別,有大智者必具大悲,有大悲者亦具大智,所以在這樣的具體禪法修練
中,洪老師以大悲發心為教授核心,為生命昇華的最佳戰略位置,來打開普覺的
世紀。
佛法依禪出教,藉教悟宗,古來禪者為我們開演出一段精彩的悟道風光,今
之禪者也不遑多讓,承先啟後。因此本論文期望爬梳洪啟嵩老師的禪法教授精神
與內涵,一者掘探賢者智慧,一者呈現承先啟後、與時俱進的現代禪法發展。
關鍵字:洪啟嵩、禪法、放鬆禪法、妙定功
近代藥師佛法門有新的詮釋與運用,對其在現實人生的救度上有所發掘,故
以藥師法門連結身心健康是一個重要方向。
藥師佛大願以救度現世與眾生身心苦迫為心,所以在修行藥師佛念佛法門
時,亦必須以此為心,本文將先分析念佛法門的種類與內涵,再闡明藥師佛名與
十二大願之最重要的第一、二大願,作為藥師念佛法門的總攝。進而拈舉經典,
依「實相藥師佛」、「六念法門之念藥師佛」、「觀藥師佛相」、「念藥師佛三昧」等
方式,闡明藥師佛本願特質所形成的藥師念佛法門之健康禪道,並對鏡像神經元
與念佛法門作科學與宗教修行的連結討論。
在觀想佛名、佛德、佛境界時,因定慧故,身心健康安樂;而藥師佛琉璃光
明,內外透徹,藥師佛心特別救度眾生身心苦迫,當修行者念觀藥師佛時,會比
起念觀其他佛身,更能與藥師佛身、本願相應,於身心安康,消除障礙有所助益。
念藥師佛三昧,具如藥師大慈大悲,以自心為藥師佛悲心,以眾生皆是藥師佛,
自己與眾生皆與藥師佛無異,由此在現世人間實踐藥師菩薩行,成就佛道。這些
也正與藥師佛本願最重要的二願相應,亦由此涵攝其他十願,所謂第一大願生佛
平等願,第二大願佛身如琉璃,作諸悲智大用願;而且亦顯露藥師念佛法門的特
色,具足健康禪之身體健康、心靈安樂、智慧慈悲、圓滿佛道之身心靈面向。
藥師佛既以救度現世眾生為主,現世眾生之身之心之境,都是其發願救度的
範圍,若能蒙其救度,自然現世眾生與世界可以漸次成為淨土;而修藥師念佛法
門的修行者,也正加入其行列,與藥師佛同願同行,作為完成現世淨土的藥師佛
分身,所以其法門為莊嚴淨土,而非往生淨土。而且所莊嚴者,是此時此地,是
地球世界,使之成琉璃淨土,身處其中的眾生,身體健康,心靈安樂,智慧慈悲,
發菩提心,圓滿佛道,而這樣的念佛淨土法門,更有積極意義,更能顯現藥師念
佛三昧的精神。
關鍵字:藥師佛、念佛三昧、觀像念佛、健康禪
Abstract
The pharmacist Buddha's great wish is to save the world and the physical and mental
suffering of all living beings, so it must be taken as the heart when practicing the
Buddhist practice. This article will first analyze the types and connotations of the
Buddhist practice, and then clarify the name of the pharmacist Buddha and the first andsecond most important wishes of the twelve great wishes, which will serve as the
general camera for pharmacists to read the Buddhist practice. Then, citing the classics,this paper expounds the healthy Zen way of pharmacists' chanting Buddha, which isformed by the original wish characteristics of pharmacists' Buddha, and discusses theconnection between mirror neurons and chanting Buddha's method of scientific andreligious practice.
The pharmacist Buddha is mainly to save the living beings, and the realm of the living
beings is the scope of his willingness to save. If he can be saved, the natural living
beings and the world can gradually become pure land; The practitioners who practice
Buddhist practice by pharmacists are joining them, wishing to walk with the pharmacist
Buddha, as the pharmacist Buddha who completes the pure land of this world, so their
practice is solemn pure land, not pure land of the past. Moreover, what is solemn is hereand now, which is the earth world, making it a pure land of coloured glaze. All livingbeings in it are healthy, happy in heart, intelligent and compassionate, develop
bodhicitta and complete the path of Buddhism. This pure land method of chanting
Buddha is more positive and can show the spirit of pharmacists chanting Buddha and
samadhi.
Key words: Medicine Buddha,Buddha-recitation samadhi,Contemplating an image
Buddha-recitation,Healthy Zen
明末妙峰禪師(1540-1612),早年閉關修習華嚴法界觀,心有所悟,後與憨山皆刺血書寫《華嚴經》。中年後,妙峰開始他修建佛寺建築的生涯,所建佛寺塔多納入華嚴法界、觀行的內涵,以磚造無樑殿、銅殿等建築形構,形成明末佛教建築的一大特色,也贏得佛門魯班之名。
筆者於2019年7月前往大陸山西省探查妙峰禪師創建而今日仍留存之佛寺建築。今先以寧化的萬佛洞為主,將實地田野調查所見、碑記、地方志文獻等資料蒐集、記錄、比對,以備將來論述妙峰華嚴建築理念之用。
綜合得出:寧化的萬佛洞,是明末妙峰見此地山石奇懸而興念設計、興建,並由與之同行的華嚴宗洞元(號覺通)募緣兼造,相關重點紀年如下:
明.萬曆19年(西1591年)萬佛洞興工。23年粧彩完工。25年,妙峰的詩偈刻石,並記錄緣由。28年立〈洞內的伽藍菩薩石柱碑記〉,署名洞元覺通募緣兼造,永慈寺比丘福登(即妙峰)等同心建立。
清.同治10年(西1871年)重修,真岫法師發願募化。光緒5年得曾國荃資助,隔年重修完成。光緒6年,立曾國荃〈重修萬佛洞碑記〉、比丘僧真岫〈寧化堡重修萬佛洞朝陽凳板洞韋馱殿白衣庵碑記〉。中華人民共和國(西2015年)立「重建天王殿碑文」。中華人民共和國(西2018年)立「維修萬佛洞碑記」。
整個萬佛洞以立體的方式呈現《華嚴經》所說的華嚴法界之萬象,亦即立體法界曼荼羅。在洞頂呈八角形,中間繪有中國的八卦,象徵方位、時間、自然、人、事、物等及其變化,八卦延伸出去的八個角,分別繪有華嚴世界海的象徵圖像。四周牆壁中間高度以上,全部浮雕立體小佛像,象徵萬佛圍繞。洞內主尊塑像是法身佛毘廬遮那佛,二旁是阿難與迦葉尊者,代表娑婆世界的導師釋迦牟尼佛及隨佛修行的弟子賢聖代表。洞內有二個主柱,柱上繪有韋馱與伽藍二位護法像,代表撐持護佑佛法,助度眾生。左右牆壁繪有各種星宿、地府神祇,代表天與地,而觀音、地藏化現其中。在這樣的曼荼羅中,修行者置身其中,是修行實踐的主體,也是法界實相之一,亦是修行者智悲境界的展現。
關鍵字:妙峰、萬佛洞、華嚴、法界觀、憨山
Field Research on the Architecture of Huayan Buddhist Temple by Zen Master Miaofeng: Focusing on Wanfo Cave in Ninghua, Shanxi
Su Mei Wen
Associate Professor, Center for General Education/ Civil Engineering,
China University of Science and Technology
Summary
In the late Ming Dynasty, when Zen Master Miaofeng (1540-1612) was in his early age, he retreated to practice the Huayan Dharma Realm and had realizations, both he and Hanshandeqing used their own blood to make copies of the Huayan Sutra thereafter. Miaofeng began his career in building Buddhist temples after his middle age. Most of the Buddhist temple towers he built included the connotation of Huayan Dharma Realm and Guanxing. The building structures such as brick-made-beam-free halls, bronze halls formed a style for the Buddhist architectures in the late Ming Dynasty, Miaofeng had won the name of Buddhist Luban ever since.
In July 2019, the author went to Shanxi Province in the mainland China, in order to explore the existing Buddhist temple built by Zen Master Miaofeng. At present, we will focus on the Wanfo Cave in Ninghua mainly, in accordance with the materials seen, inscriptions and local chronicles collected, so as to prepare for the use in future discussion of the Miaofeng concept of Huayan architecture.
It can be concluded that the Wanfo Cave in Ninghua was designed and built by Miaofeng in the late Ming Dynasty when he saw the mountains and rocks hanging there so magnificently, and the annals are as follows:
In Wanli 19th of the Ming Dynasty (A.D. 1591), Wanfo Cave started to be built and was completed the makeup in the Wanli 23rd. In Wanli 25th, Miaofeng's poems were carved on stone with the causes recorded. In Wanli 28th, the "Garan Bodhisattva Stone Pillar in the Cave was erected, its inscription was signed by Dongyuanjuetong as fundraiser and bulider, together with the monk Fudeng (i.e. Miaofeng) of Yongci Temple.
It was renovated in Tongzhi 10th of the Qing Dynasty (A.D. 1871), fundraised by the wish of Master Zhenxiu. In the Guangxu 5th, it was funded by Zeng Guoquan, and the restoration was completed in the next year. In the Guangxu 6th, the stone pillars were erected as "Restoration of the Wanfo Cave Stele" by Zeng Guoquan, and " Restoration of the Wanfo Cave, Chaoyang Bench Cave, Weituo Hall, Baiyi Monastery Stele, Ninghua Fort" by Buddhist monk Zhenxiu's. The People's Republic of China (A.D. 2015) erected the "Renovation Stele of the Hall of Heavenly Kings". The People's Republic of China (A.D. 2018) erected the "Maintenance of the Wanfo Cave Stele".
The entire Wanfo Cave presents the omnipotence of the Huayan Dharma Realm mentioned in the Huayan Sutra in a three-dimensional manner, the so-called three-dimensional Dharma Realm Mandala. The top of the cave is octagonal, with Chinese Eight Divinatory Trigrams in the middle, symbolizing orientation, time, nature, human, matters, objects, etc., and their changes. Each of the extensional eight-sided corners of the Chinese Eight Divinatory Trigrams have symbolic paintings of the Huayan World Sea. Above the middle height of the surrounding walls, they are fully embossed with three-dimensional small Buddha statues, symbolizing the surrounding of uncountable Buddhas. The main statue in the cave is the Dharmakaya Buddha Vairocana Buddha, and on the other side are the Ananda and Venerable Kasyapa, represents the mentor Sakyamuni Buddha of the Saha world and the representatives of saints who practice with the Buddha. There are two main pillars in the cave, which are painted with two Dharma protectors; Shanda and Garan Bodhisattva, representing the support and protection of the Dharma and the salvation of sentient beings. The left and right walls are painted with various constellations, and gods of the underworld, representing heaven and earth, Guanyin and Ksitigarbha appear therein. In such a mandala, practitioners are placed in which as its main part, is one of the realities of the Dharma Realm, and a manifestation of the state of the practitioners' wisdom and compassion as well.
key word:Miao-feng、Infinite Buddha cave、hua-yen、hua-yen Dharma Realm practice、Han-shan
本論文以「城東老母」為主題,觀察這個女性公案如何被禪
師以機鋒語話來作啟悟教化?又在一片以男性禪師為主的參究環
境下,形成如何的女性形象與變化翻轉?
「城東老母公案」的原型來自《佛說觀佛三昧海經》、《菩
薩本生鬘論》的老母毘低羅,禪門截取局部重點,離開時空中的
故事,將它架構成修行法義的象徵。以啟悟人心的機鋒,應機地
靈活運用,欲在刺破學人執取。
依機鋒文字,於事件上的「見與不見」、人物上的「舉揚與
奪抑」來分類探析,共分八類:1、雪竇之機鋒與後續參究。2、
舉揚老母,但仍有誤失,或由此脫出。3、獨揚老母。4、奪抑老
母。5、佛之過與有何過。6、老母與佛陀。7、見與不見。8、教
化點撥女性。
城東老母的形象在禪師們的演義下,約有六種:1、丈夫氣
概。2、婦人態度。3、老婆禪。4、風流、風騷、懶將煙黛畫蛾
眉。5、城東聖母坐蓮臺。6、警世金鎚、古佛先知、慈念眾生。
這些形象並不在讚美或貶抑老母本身,而是藉之來啟悟執著與解
脫、空有相融之究竟法義。
在文化上多被貶抑的女人,在禪師非讚非貶的機鋒中,顯現更多的正面形象,從翻轉成丈夫、雄健、智慧形象,到直接以女
性柔態來比喻無執、慈悲。這是女性公案參究的特別作用,在啟
悟學人悟道的同時,也精彩銳利地打破女性刻板形象之執取,呈
現性別的如幻空性。
關鍵詞:城東老母、女性公案、毘低羅、雪竇、禪宗女性
活用佛法的時代。
僧肇將般若「非有非無」、「不出不在」等不落二邊之內涵
精確地表達,這正也是禪修悟道的方向;而禪門的隨說隨掃,即
文字離文字的機鋒啟悟,即是般若不二的體現,所以《肇論》語
句有成為禪門機鋒公案者,讓禪師啟悟,被學人參究。
本文將探討僧肇以莊子語句般若化的「會萬物以成己者」、
「天地同根,萬物一體」句,在禪門被參究並傳衍為公案的情形
與意義。由此舉出4 個公案:「石頭看肇論」、「南泉指花」、
「法眼悟一切現成」、「晦堂擊香卓狗」,證成僧肇的莊子語句
已般若化,顯現禪宗機鋒與般若的相應,更是發掘《肇論》在禪
門的傳衍與影響。
從這些公案可證明,禪師運用會萬物以成己者等言句,已無
莊子痕跡,換的是般若不落二邊,非同非異的實相、解脫境界。
而且禪門參究這些公案者,石頭與馬祖座下的宗派皆有。
再者,因為僧肇的「會萬物以成己者」等般若內涵之描述,
讓禪者契入萬物與我的關係,因而悟道,因而有機會開出觸目是
道、即物顯性的修行風格,如石頭寫出〈參同契〉回互不回互的
教化、曹洞宗對萬法修行層次的教法。
典型,她也成為情欲魔女的象徵。民國16 年溥緒(1882-1933)(清逸
居士)創作《摩登伽女曲本》,由京劇名伶尚小雲於北京新明戲院演出,
引起轟動。民國22 年,這個印度來的故事被印度泰戈爾(1861-1941)
創作成歌舞劇《昌達爾姑娘》,再改編為《昌達爾姑娘歌舞劇》搬上劇
場公演,至今仍表演不輟。同時代的二個劇本都能移動傳統視角,正視
摩登伽女自身,卸去僵化的魔女形象,但又各自呼應著自己的文化土壤
與時代關懷,呈現不同主題寓意:一者關注她的情愛與修悟,以色幻悟
道為精神;一者關注她的啟蒙與平等,以實踐平等新生為精神。
在溥緒筆下,摩登伽女具有端莊美麗,專情高潔的形象,有傳統文
學的杜麗娘之傷春幽情、賈寶玉之色空悟道,又有《西遊記》魔考誘惑
的情節。故事關注情愛與修悟,在情愛美色的貪執中,徹悟不淨與如幻,
並輔以平等慈悲之懷。
而泰戈爾的歌舞劇,藉此抒發對印度種姓不平等制度的批判。他筆
下的摩登伽女言語靈動,活潑熱情,從不平等的種姓思惟中被啟蒙新生
後,自我作主,勇敢追愛,這份蘊含「愛」的新生,歸向阿難與佛陀所
象徵的平等慈悲,隱含泰戈爾「在愛中徹悟」的梵愛合一路徑。
就女性視角詮釋的二個路徑「情欲主動」、「速證果位」觀察,溥緒
以專情高潔之主動來詮釋其「情欲主動」,並以消融情欲而得悟,雖然
能呈現她因情而悟,但並無深刻描寫其「速證果位」。泰戈爾則完全沒
有著墨「速證果位」,主力全在「情欲主動」上,這份主動來自平等的
啟蒙,情欲化為自主勇敢去愛,與泰戈爾「梵愛合一」的宗教哲學呼應。
關鍵詞:摩登伽女、阿難、溥緒、泰戈爾、昌達爾姑娘
In Chinese Buddhism, the story of Matangi's daughter has been taken as a warning for male Buddhists to keep away from the temptation of lust, and Matangi's daughter has become a representative of femme fatale. In 1927, Pu Xu (1882-1933, art name Qing Yi Ju Shi) composed a tune of "Matangi's daughter", starred by Shang Xiao-yun and caused a sensation in the Xinming Theater in Beijing. Then in 1933, this Indian story was written as a musical drama "Chandalika" by the respected Indian writer Rabindranath Tagore, and be readapted and played in theaters until now. These two scripts of the same era both change the point of view toward female by facing up to this character and getting rid of the stereotype as a femme fatale. What's more, they reflect to their own cultural soil and contemporary concern, and present two different theme implications: the former focuses on her love and enlightenment, taking enlightenment from form & vision as the essence; the later focuses on h...
摘 要
Abstract
僧肇《肇論》一出,格義佛教正式退場,從印度、西域來的佛法,真正能以中文完整表達,讓漢語世界順接佛法教義,依文所顯的道可以無誤,載道所轉的文可以活用,啟發以中文漢傳佛教於焉能立地展開。
僧肇善于用時人熟悉的老莊道家玄語,出入其中,卻也能脫化而出,被其師鳩摩羅什讚為:「吾解不謝子,辭當相挹」。其文字精確達雅,環環相扣,常常文字一翻,意義迥然拔高,不僅跳脫老莊,契合般若思想,更是文道符應,活用中文,因此無形中具足了實踐的力道。而這樣的文道典範與運用,可謂文字般若化,其對後代漢傳佛教有很好的啟發與承接。尤其具實踐力道的文字,為禪門多所運用,啟發禪師們的教化風格、銘記詩偈、機鋒對話、智境相融的境界語等。
僧肇之所以能用中文自在論述佛法,與佛法的語言文字觀有關,故本文先探究佛法與僧肇的名實觀,再具體舉僧肇《肇論》中代表性的語詞,探討它們如何被僧肇運用而般若化,如何被後來修行者所承接。由此更確切了解僧肇《肇論》的位置與價值。
本文選擇四種相關語詞,一個精確文字的精神來探討,分別是:1、當下雙遣:「自虛」、「即」。2、轉換道家印記:「參玄」。3、擇新詞以明:「虛照」、「寂用」、「寂、照」、「默照」。4、觸事即真:「會萬物以成己者,其唯聖人乎」。5、文道符應、文道般若的語言精確度。
關鍵字:僧肇、肇論、格義佛教、石頭希遷、默照禪
Key words: Seng-chao, Chao Lun, Geyi Buddhism, Shitou Xiqian, Chan in Silent Illumination
佛典中有許多不同的性別教化,本論文期望作總體義理、度
眾因緣的理解與安頓。
龍樹《大智度論》將佛法教化分為四種悉檀,即世界悉檀、
各各為人悉檀、對治悉檀、第一義悉檀。四悉檀既是一切佛典法
教的四種類型,亦可作為性別教化類型的探討,故本文將佛典的
性別教化分為九類,並分析其屬於何種悉檀,以四悉檀總攝:
(一)求女人相了不可得:第一義悉檀
(二)女性過患與障礙:世界悉檀之對治、各各為人悉檀
(三) 女人出家與八敬法:世界悉檀中特顯第一義悉檀及對
治、各各為人悉檀
(四)女身五礙:世界悉檀
(五)願轉女身,速成男子:世界悉檀之各各為人悉檀
(六) 諸佛淨土無女人願、轉女成男願:世界悉檀之各各為
人悉檀
(七)如來性為丈夫性:各各為人、對治悉檀
(八)為何要轉女身:以對治悉檀成就第一義悉檀
(九)女身證果:世界悉檀通於第一義悉檀
第一義悉檀是核心、實相、不敗壞的,其他三悉檀是因緣
的,是變化的;而因緣變化即空性,無可執取,所以如果體認到
其他三種悉檀的因緣性,知其所由,知其無可執取,便也是第一
義悉檀。因此在理解安頓佛典的性別教化後,面對近代性別平權
的價值觀,體認到所謂世界悉檀已然改變,各各為人、對治悉檀
的內容也會跟著變化;所以無執於前,尊重此時此地此心之因
緣,展現平等覺性的佛法性別教化,才是知所因緣、無執的世
界、各各為人、對治悉檀,也才同具第一義悉檀。
關鍵詞:四悉檀、佛教女性、轉女成男、性別、女身
禪宗女性公案「婆子燒庵」參究之機鋒啟悟與文學意象
Extreme Chan Buddhist Meditation for Older Women:
Literary Images and Enlightenment through Penetrating and Investigating the Opportune Point of “The Old Woman who Burned the Buddhist Nunnery,” a Chan Buddhist Public Case of Women
蘇美文
Mei Wen Su
中華科技大學 通識教育中心/建築系 專任副教授
Associate Professor,Center for General Education/Department of Architecture,
China University of Science and Technology
摘要
本文以女性公案「婆子燒庵」為對象,探討歷來禪門參究此公案的機鋒啟悟與文學意象。公案的男性僧人(庵主)不入情欲俗流,婆子(燒庵婆)卻放火燒庵,展現猛利殺辣的禪婆手眼。此公案有實相與修行的豐富內涵,歷來的參究,因學人執取的不同,形成千變萬化的啟悟。本文將這些啟悟分成七類作探討:1、舉揚婆子手段。2、扶僧人奪婆子。3、婆子僧人俱奪俱扶。4、婆僧知音敵手。5、正恁麼時如何。6、認取本份事。7、女禪師機鋒。
在文學意象上,燒庵婆常被冠以「風流」與「春光」意象,僧人則是秋霜冬雪等冷冰寒嚴的意象。二者的互動,則有鴛鴦、冰火、戰爭等意象。所以一幅春花秋月、柳綠冬雪式的情景常躍然在其機鋒頌古上,此是修證與文學的巧妙靈活結合。
關鍵字:婆子燒庵、禪宗、女性公案、機鋒、修證與文學
Extreme Chan Buddhist Meditation for Older Women:
Literary Images and Enlightenment through Penetrating and Investigating the Opportune Point of “The Old Woman who Burned the Buddhist Nunnery,” a Chan Buddhist Public Case of Women
Abstract
This article, through the Chan Buddhist public case (gong’an 公案) “The Old Woman who Burned the Buddhist Nunnery” (Pozi shao an 婆子燒庵), investigates how Chan meditation practitioners have achieved enlightenment over time by penetrating and investigating this story. The monk in the public case, the head of the nunnery, does not exhibit any lustful or vulgar behavior, yet the old woman still sets fire to the nunnery, revealing the fierce and ruthless outlook of the Chan Buddhist old woman. This public case has rich implications for reality and cultivation practices, and the practice of penetrating and investigating it has provoked an infinite variety of enlightenment experiences over time because those who study it grasp it in quite different ways. This article classifies these enlightenment experiences into seven kinds in order to examine them: 1) praising the old woman’s methods; 2) supporting the monk and repudiating the old woman; 3) praising and repudiating both figures; 4) presenting the old woman and monk as antagonists that intimately understand one another; 5) how to deal with the situation if you were one of the characters; 6) identifying the root of the matter; 7) understand the female Chan master’s opportune point. In terms of literary images, the old woman has been frequently labeled as a distinguished figure or an erotic character, whereas the monk is pictured as an elder, noble character, one who is stern and unemotional. The interactions between the two then reveal images associated with affectionate couples, irreconcilable differences, and conflict. A scene with picturing descriptions such as spring blossoms, autumn moon, green willows, and winter snow as metaphors, often appears in odes and opportune point sentences. This is not only a flexible combination of cultivation practices and literature, but also one of the features of Chan Buddhism’s verses and Gathas.
Keywords: “The Old Woman who Burned the Buddhist Nunnery” (Pozi shao an 婆子燒庵), Chan Buddhist meditation, public cases of women (nüxing gong’an 女性公案), opportune point (jifeng 機鋒), cultivating realization and literature
New Male Youths in Anxiety:An Analysis of ‘I/Me’ in Lu Xun's “The New-Year Sacrifice” and Lu He-Ruo’s “The Temple” and “Moonlit Night”
蘇美文
Su Mei Wen
中華科技大學 通識教育中心/建築系 副教授
Associate Professor,Center for General Education/Department of Architecture,
China University of Science and Technology
摘 要
本文以「女性」視角,選擇魯迅〈祝福〉與呂赫若〈廟庭〉、〈月夜〉小說為對象,以二人寫作小說時同時使用的第一人稱敘述者:男性的「我」來作各面向的探討,並將之互相比較,呈現二位作者筆下的二位男新青年對傳統文化下女性困境的態度。共從七個面向來呈現與比較:
(一)身份:返鄉的男新青年
(二)「我」面對的傳統女性困境
(三)「我」的心境變化
(四)「我」與女主角的關係與互動
(五)「我」與其他角色的互動
(六)「我」的宗教背景敘事:祝福、廟庭
(七)「我」投射的大自然敘事:雪與月
都是用第一人稱「我」為敘述觀點視角,這個「我」又都是那個時代的男性新青年,由他們來看女性的困境,以及傳統文化的僵化,顯現需要改變而無法改變的困難。經過分析,這二位男新青年,一個幽微,一個直接;一個不安、模糊、逃避,甚至後來心情還變舒坦了,一個憤怒、悲痛轉而低聲下氣;但二者都充滿著焦慮與無力感。
關鍵字:魯迅、呂赫若、祝福、廟庭、月夜、新青年
Abstract
Focusingon Lu Xun's “The New-Year Sacrifice” and Lu He-Ruo’s “The Temple” and “Moonlit Night” that were all written with male ‘I/me’ in the first-person narrative, this paper analyzes these literature in every aspect, and compares to each other in the female perspective, so as to present the attitude of two new male youths towards females’ difficulties under the traditional culture. There are seven aspects for presentation and comparison:
1. identity: home-coming new male youths; 2. ‘I’ facing traditional females’ difficulties; 3. ‘I’ with change in mind; 4. relationship and interaction between ‘I’ and the female character; 5. interaction between ‘I’ and other characters; 6. narrative of religion background of ‘I’: blessing ceremony at the end of year and square in front of Guan-Di Temple; 7. narrative of nature reflected upon ‘me’: snow and moon
These literature were all narrated in the first-person perspective while these ‘I/me’ presented new male youths in that era. Difficulties that should be changed but in vain were viewed by them towards females’ dilemma and rigid traditional culture. Therefore, for these two new male youths, one’s attitude was indirect while the other’s was straightforward; one’s was with anxiety, ambiguity, avoidance but finally at ease while the other’s was with anger, sorrow but submission in the end. However, they were all with disquiet and felt helpless.
Keywords: Lu Xun, Lu He-Ruo, “The New-Year Sacrifice,” “The Temple,” “Moonlit Night,” New Male Youths
蘇美文
中華科技大學 通識教育中心/建築系 副教授
摘 要
本文以沐浴為焦點,觀察佛陀僧團與漢傳禪宗的沐浴精神、空間、修行、禪法觀行等內涵。
佛陀因神醫耆婆之緣,允許並引導建造溫室,使得皮膚病弟子能療癒,讓修行者有健康安穩的身心,也助於悟道解脫。為此,設計浴室溫室之空間建造、方位格局、水管通風、燃火防蟲等設備安排以及浴具使用、入浴秩序、安全設施等。而因沐浴產生與民眾、社會互動,如何和諧,不干擾、不受譏毀等規定也產生。這些都成為戒律行儀,讓修行者如理而行,也形成僧團健康、有序、安然的形象。
進而,佛陀將沐浴作為修行的一環,體踐修行即生活,生活即修行的精神。所以《佛說溫室洗浴眾僧經》宣講洗浴具七物、除七病,供養洗浴則具七福,除七病有益修行,所具七福,甚至能達至圓滿成佛。
這樣的導向對漢傳佛教影響甚深,禪宗寺院建築空間,浴室是七堂伽藍之一,又稱作「宣明」,有沐浴職事與儀規,更有修行的禪觀與徹見。形成豐富的沐浴修行:一、以水悟道的典範與公案:跋陀婆羅等十六開士、水三昧月光童子。二、浴室、洗浴的機鋒公案。三、沐浴的般若空觀。四、沐浴的菩薩願行。五、供養沐浴功德。六、勿樂著沐浴,行「水火釜」為「戒智悲」的真沐浴觀法。七、浴佛。
關鍵字:沐浴、溫室、耆婆、宣明、跋陀婆羅
The Bathing Practice in Buddhism: Focusing on Buddhist Sangha and Chinese Zen
Abstract
This paper aims at focusing on “bathing” to observe the connotations of spirits, space, practice and meditation of the Sangha and Chinese Zen during the era of Gautama Buddha.
During the time when Gautama Buddha led the Sangha, they have encountered the skillful doctor Jivaka, who guided them to build the bathhouse, allowing disciples with skin diseases to be treated whilst offering both physical and mental health, as well as stability for practitioners for the benefit of epiphany and enlightenment. Therefore, the arrangement of facilities, such as the construction, patterns; water tubing, ventilation; water heating and pest control for the bathhouse was designed, just as the bathing equipment, entry orders and safety devices were. Meanwhile, regulations in the bathhouse corresponding to the connections and interactions between the public and the monks, such as being harmonious without disturbing others and not being defamed had also generated. All these contents have developed etiquettes of Vinaya, as well as rules for practitioners to follow; at the same time, they have formed healthy, orderly and peaceful images for the Sangha.
Furthermore, Gautama Buddha has also regarded bathing for a healthy life as part of the practice, carrying the spirit of “the practice is life, and life is the practice”. That is also why “seven items are required while seven diseases are removed in bathing; bath offerings, moreover, are with seven types of blessings” is claimed in the Sutra on Bathing the Sangha in the Bathhouse (Fo Shuo Wenshi Xiyu Zhongseng Jing). That is, removing the seven diseases is beneficial to the practice; obtaining the seven types of blessings may even achieve to the realm of a Buddha.
This orientation has influenced Chinese Buddhism greatly; specifically, in the internal space of Zen monasteries, the bathhouse, also called the “Senmyo,” is one of the Shichido Garan. Not only does it contain the ministry and rituals of bathing, but it has Zen insights and lucidity of practice. Such bathing practice developed afterwards is extremely rich that it could be categorized into 7 aspects. The first: cases of being enlightened by water: Bhadrapala and Candraprabhakumara Samadhi in water. Secondly, edificatory cases for the work in the bathhouse. Third: Sunyata (emptiness) of Prajna in bathing. Fourth: vows of Bodhisattva in bathing. Fifth: merits of bath offerings. Sixth: instead of being addicted to bathing, practice the limpid Vipas (enlightenment). Last but not least, ceremony of bathing the small Buddha.
Keywords: Bathing, bathhouse, Jivaka Komarabhacca, Senmyo (bathing room), Bhadrapala
書》。祇園悟後,隱跡胡庵九年,後來被請至伏獅禪院,上堂開法,以話頭禪為
教法,痛棒熱喝,點撥弟子。為僧俗男女所嘆服,尤其對出家、在家女性之參禪
悟道,帶來信心與具體典範。
本文以這位女性禪師的道場:「伏獅禪院」為中心,藉由古籍文獻來探討,
其在怎樣的機緣下成為女性禪師的道場?在祇園之後又變成如何?另一方面,筆
者亦前往大陸嘉興王店(昔名梅里),現地尋訪,在經過更大的世事變化下,所
存為何?所能知者為何?希望由此呈現伏獅禪院的昔時與今日。
書》。祇園悟後,隱跡胡庵九年,後來被請至伏獅禪院,上堂開法,以話頭禪為
教法,痛棒熱喝,點撥弟子。為僧俗男女所嘆服,尤其對出家、在家女性之參禪
悟道,帶來信心與具體典範。
本文以這位女性禪師的道場:「伏獅禪院」為中心,藉由古籍文獻來探討,
其在怎樣的機緣下成為女性禪師的道場?在祇園之後又變成如何?另一方面,筆
者亦前往大陸嘉興王店(昔名梅里),現地尋訪,在經過更大的世事變化下,所
存為何?所能知者為何?希望由此呈現伏獅禪院的昔時與今日。
According to my analytically survey, there are four cultural phenomena that triggered the publishing. First is the loose traditional values; the second is Bhiksunis were active at Ming-Qing Transitional Period; the third is the prevailing of women writing and publishing; the fourth is female Zen masters followed the trend of reorganizing the Precepts; the fifth is the increasing phenomenon of Dharma transmission and Zen Record. Issues on Jiaxing Canon(Jiaxing zang)will also be touched in this study such as the editor’s opinions (Mi-Cang-Dao-Kai); the process of publishing; the features of collection and so on. I inferred that the following are main reasons that cause the historical event: the Record is prestigious; Jiaxing Canon represents the sprit of that age; the location of publishing—Jiang-Nan—was the center of Bhuddism; leave historical evidence for the female Zen masters.
語錄一部,名為《伏獅祇園禪師語錄》,是目前所見女性禪師語錄之一,而且還被收入明版大藏經《嘉興藏》中。在祇園之前,歷史上不是沒有女性禪師,中國歷史上第一位女性禪師是達摩座下的總持尼,唐宋期間亦有多位女性禪師,但是卻沒有她們的語錄、著作被收入於當代編輯的藏經,也沒有另外流傳下來,她們的存在都是靠禪宗燈傳、史傳才能認識知曉(或是在其他禪師語錄中因與其有對應,才連帶被提起),但是既然是史傳,所記載的都只是數行數偈,何況她們的數量只佔千百禪師之極少數,即使有經論、詩文等著作發行於當世,在歷史的沖刷下或只留下其名,或只留下來片段機鋒、應對而已。一直到明末清初,祇園行剛的修行被書寫成語錄,而且被出版、入藏,流傳下來,我們才能由此看到比較清晰的女性禪師面貌,而這位女性禪師在佛教史上的價值遂於此展開。
本文根據《祇園語錄》的記載,企圖勾勒出祇園禪師的參學、証悟、弘法的具體
圖像,以及其形成的「伏獅門下」的女禪風格,連帶呈現晚明的佛教女性樣態之一。
這是筆者一系列明末清初女性禪師研究的一部份。期望為中國佛教史建立屬於女性修行者的一頁,讓久被掩蓋於某些意識形態洪流下的女性証悟者,有個出現的機會。
現革命僧的本懷,相對地也才能對之加以檢證。所以本文以參與辛亥革命的革命
僧為主體,辛亥革命的時代為橫面,佛法為縱面,來綜合討論。先從參與辛亥革
命的僧人中歸納出革命僧的定義,加以分為四類:1、組成僧軍者。2、發暗殺之
論、欲行暗殺者。3、參與革命事務、發議論者。4、從辛亥革命到佛教改革,甚
至人類思想改革者。介紹其革命行略,分析其革命與佛法的思考。另一方面,依
革命僧的特性,上溯佛教二大典範:佛陀、菩薩之典範意涵。提舉菩薩三種典型:
一切盡捨型、進取入世型、激烈犯戒型,以及所需具備的條件,尤其是激烈犯戒
型的菩薩,處於絕險邊緣,所須具備的條件心態尤為重要。討論革命僧於佛法與
革命間的貫通點:勇猛無畏、救度眾生為第一的菩薩精神。並從太虛經驗,呈現
菩薩精神亦須修行經驗之支撐。最後將菩薩三種典型,來與革命僧對比參看,期
望對革命僧在菩薩典型上有所檢驗與定位。
In order to discuss the revolutionary monks thoroughly, both their patriotism and
Buddhist faith are essential. This study is based on those monks who devoted to the
Revolution of 1911 (the Chinese bourgeois democratic revolution led by Dr. Sun Yat-sen
which overthrew the Qing Dynasty); not only the era background would I discuss but also the
spirit of Buddhism. I try to distinguish the revolutionary monks into four different kinds: first,
those form the revolutionary monk soldiers. Second, those originate assassination statement
and trying to be assassinators. Third, those get involved into the revolutionary affair and
spread revolutionary statement. Fourth, those make efforts in the Revolution of 1911, the
Buddhist Revolution even the Revolution of Human Thoughts. In addition, I notice that the
characteristics of the revolutionary monks reflect two meaningful paragons of Buddhism:
Buddha and Bodhisattva. As for Bodhisattva, there are three kinds: giving up all, concerning
the worldly affair actively, and break the ceremonial laws of Buddhism radically. Especially
the radical Bodhisattva, they are always being in danger so their attitudes are crucial
important. Therefore, the revolutionary monks held the same attitude toward revolution and
Buddhism that is courageous spirit for salvation. Take the example of Master Tai-xu; it
conveys the Bodhisattva spirit is based on the practice of Buddhist teachings. Finally, I
compare the three types of Bodhisattva to the revolutionary monks, hoping that the
revolutionary monks could set a new example of Bodhisattva.
〈畫皮〉有道士與顛瘋高人為其解危,評者有引伸臭皮囊之論,〈皮貌〉裏亦有老法師的脫卸皮殼,顯示這樣的主題與佛道思想有所牽連,並有著佛教不淨觀等等皮相觀背景,因此本文以佛教皮相觀為平台,衡諸〈畫皮〉、〈畫皮〉評點、〈美貌〉、〈皮相〉等文本,討論其「皮相」題材意涵,為其釐定角度,顯其彼此之連結與各自之特色。共分有:1、〈畫皮〉的畫皮:佳人、老縕、瘋顛者。2、〈畫皮〉評家的女色與男迷。3、佛教的皮相觀:從臭皮囊、不淨觀到菩薩化身。4、〈美貌〉的揭皮:揭去自身美色煩惱。5、〈皮相〉的脫皮:脫卻表相煩惱見真實。
Pu Song Lin's “Liaozhai Zhiyi – Draw the skin” is about a love affair happened to Wang Sheng, which led him to a horrible death, yet he survived eventually. As there is a plot that a ferocious ghost wearing “drawn on skin” become a beautiful female form, that gives the story with more fascinating effects, and that also carried out the implied themes: superficial appearance, woman's charms and lust. In modern time, in the book by Lu Chiao “Man's Son” there is also a novel: “The skin deep look” which contains two pieces of work “The beautiful look” and “The superficial appearance” which also talk about “ The superficial appearance” relating to pretty woman's charm, desire, the worldliness and transcendence. These two text stories use literature technique, having “superficial appearance” as theme, developing into the implication of a warning to the world or surpassing. And the later work is as extended from “Draw The Skin” and become a version that furthers and broaden the philosophy of “Draw The Skin”. It is really worthwhile to read these two works together and see their links.
In “Draw The Skin” there are characters like Taoist priest and craze wise man, the critics of later generation also refer “the superficial appearance” to the “stinky leather bag”. And in “The Skin-deep Look”, there is also the old Taoist master as main roles, showing that the themes has to do with Buddhism and Taoism ideas, and Buddhism's impurity concept as background. Therefore, this article uses Buddhism's superficial appearance concept as platform, containing works like “Draw the Skin”, comments on “Draw the Skin”, “the beautiful look”, “the superficial appearance”, discussing the implication of the theme of “the superficial appearance”, and determining its viewpoint, to show the connection between each other and their individual distinguishing features. It can be divided to following sections: 1. The drawn skin in “Draw the Skin”: the beautiful lady, the old maid, the crazy men. 2. The critics' female charms and male fancy in “Draw the Skin”. 3. The superficial appearance of Buddhism: from the stinky leather bag, impurity concept to incarnation of Buddha. 4. The skin tearing off in “The beautiful look”: to tear off the worries about beautiful look of oneself. 5. The skin peeling off in “the superficial appearance”: to peel off the worries on superficial things and see the truth.
明末憨山因弘法蒙難,被發配從軍流放廣東雷陽,途經電白苦藤嶺時,遇見易真潭居士等人施茶,憨山記錄這段經歷,並幫助施茶居士募建施茶庵,取名為化城庵。由此形成他具個人特色,有血有肉、有智有悲的生命修悟與弘法歷程感的施茶觀。
「化城」,典故來自《法華經》,是前往究竟佛乘寶所的中途休息站,憨山將施茶處視為清涼化城,有二個面向:化城觀與邊地觀。他修道之初,切慕華嚴四祖清涼澄觀,遂前往號稱清涼山的五臺山,一生重要的修悟都發生於此,並與「清涼」境界相應;當他流放嶺南,正是從北方「清涼」到南方「火宅」,修悟或身心皆受轉折衝擊,於是施茶處成了清涼化城。而從化城要前往的是究竟「寶所」,然而他前往的卻是無佛「邊地」,憨山對此已有所體悟,他從一人一事開始,實踐入世菩薩行於邊地,使無佛邊地成為佛乘寶所之處,而實則邊地即是寶所。
Tea giving is a common good deed in Buddhism. Tea is often
placed in wilderness or where the pedestrians might feel thirsty. It
is a trivial deed but is a virtuous charity timely for those in urgent
needs. The coolness of tea is associated with liberation and coolness
and Dharma water and sweet dew. To help others through tea giving
is a way to help oneself. In addition to the witticism of Zhao Zhou’s
having tea, tea becomes an introduction to witticism and epiphany.
Tea giving is thus added with the element of cultivation and Buddhist
teaching propagating. Accordingly, the basic philosophy of Buddhist
tea giving is developed from the virtue and mercy of giving to the
wisdom of emptiness in Buddhism.
In the end of Ming Dynasty, Hanshan was banished to serve in
an army Leiyang, Guangdong because he encountered trouble during
Buddhist teaching propagating. He saw Householder Yi Zhen Tan and
others giving tea when passing by Ku Teng Ling, Dianbai. Hanshan
recorded this experience and helped the Tea Giving Householder
to raise funds to build Tea Giving Convent, named Conjured City
Convent. In this way, the philosophy of tea giving with life cultivation
of his personal characteristics, with fl esh and blood, and with wisdom
and sadness and the course of Buddhist teaching propagating is hence
developed.
The allusion of “conjured city” is originated from Lotus
Sutra, a rest stop on the way to the treasured land of final Buddha.
Hanshan regards the place of tea giving as a cool conjured city for
two dimensions: philosophy of conjured city and philosophy of the
frontier. At the beginning of his cultivation, he admired the fourth
patriarch Chengguan. Therefore, he went to Wutaishan, also known
as Qingliangshan. The important understanding in his life happened
here. It corresponds with the realm of “coolness.” When he was exiled
to Lingnan. He moved from the “cool” north to the “fi re residence” in
the south. His cultivation or physical and mental conditions underwent
great impact. Therefore, the tea giving place became a cool conjured
city. He should go from the conjured city to the fi nal “treasured land.”
However, he went to the “frontier” without Buddha. Hanshan had
already understood this. Starting from one man and one thing, he
practiced the way of a worldly bodhisattva in the frontier so that the
frontier without Buddha became a treasured land of Buddha. In reality,
the frontier is the treasured land.
張蓮覺(1875-1938),原名張靜蓉,是香港近代以買辦起家的富商何東爵士的夫人,兩人都是中西混血家庭。何東家族在時代因緣下成為香港巨富。夫人張蓮覺運用財富在香港、澳門開創寶覺第一、第二義學,救濟孤苦,收受女貧童;重視佛教教育,護持澳門功德林女眾佛學社,後轉至香港青山成立寶覺佛學社,最後綜合成立「東蓮覺苑」,是民初香港最重要的佛教女眾教育道場。佛陀時代有位布施第一的女居士毘舍佉,張蓮覺可算是現代毘舍佉。
她僅存一部著作《名山遊記》,民國23年由東蓮覺苑出版,敘寫她遊歷佛教名山寺院等處之所見所感,有〈遊鼓山記〉、〈遊普陀山記〉、〈遊羅浮山記〉等共21篇。本論文探討此著作的書寫出版、朝禮名山之意識,以及從文字的敘事視角,期望爬梳出她一生佛教志業的心相。
《名山遊記》的書寫出版意識,是以當時很重要的佛法傳播方式:文字出版來實踐傳播她的理念。傳播佛法的正信,使有益人心社會,並且對這些名山古寺的佛法歷史與現狀的關懷,使人重視乃至有所研討;更也藉此傳播她在佛教女眾教育上的努力:東蓮覺苑的創建,以發揮更大的護法效益,更有益於社會。
周歷各國的張蓮覺,朝禮名山古寺,是求真訪道,希望能遇善知識,切入佛法究竟真意,甚至觀照佛教問題所在,作為發心引導後人之借鏡。而山川古蹟、歷史古今,也都是學問,也都是啟發智慧之道,所以名山勝遊,不以遊觀為主要目的,是在遊觀中入佛法行佛事。這些也可從其敘事視角得到更具體的佐證。而遍走遊歷,對女性來說是挑戰,也是很好的歷練,就如她所說「余以女子而喜壯遊」,也從中相應於佛法菩薩行的勇猛精進。
而從其敘事視角來觀察,可以看出其初發心及其願成就利益眾生,成就香港佛教教育志業的精神與方向,1、生老病死之抑鬱苦迫。2、念佛感應、法會佛七、佛法講座。3、無常感慨,知因果明如幻,大悲而勇猛發心。4、俠義精神之仁厚、倫理、布施。5、觀察中國佛教現狀與思索解決之道。6、對古代著名女性之欣慕。7、其他等。
關鍵字:張蓮覺、張靜蓉、名山遊記、東蓮覺苑、何東、香港佛教
臺灣在解嚴前後,整個社會從蓄勢待發到風起雲湧,噴發出多元且豐富的生命力,佛教界的出版與弘傳亦是如此,其中由文殊文化中心(蔡榮婷、黃啟霖、洪啟嵩)、文殊雜誌社出版的《文殊雜誌》可以看出這樣的力道與轉變發展。
《文殊雜誌》,從民國73年至79年(1984-1990),歷時6年,幾乎等同文殊機構的開始與結束;作為文殊機構的主要刊物,是重要的文本出版傳播,更是理念與行動的推動場域,是什麼樣的宗旨定位,讓它形成動能,成為當時佛教界注目的焦點?什麼樣的展現,讓它成為「成功地融合宗教、文化、社會和環保的佛教雜誌」?讓它被全國文化界所看到,為佛教界贏得了第一座雜誌公共服務金鼎獎?故本文以《文殊雜誌》為研究對象,以「社論」為文本焦點來考察,期望由此觀照探究臺灣佛教發展史上的這一段精彩歷程。
《文殊雜誌》是以大悲增上的大乘菩薩行為宗旨定位,其內涵:1、圓滿眾生成佛,莊嚴諸佛淨土。2、悲智雙運的入世菩薩行。3、以大悲為上首,菩提心為第一義,佛法化入生活。4、志度一切有情,而以人類為本。5、「以人為本」並非以人種為中心的我執。6、對無窮生命的永恆無限關懷。7、未來走向那裏?要問我們自己。8、「文殊」不一定永遠存在。
由此產生無限動力,幅射出關懷服務,於內於外、於心於物,於佛法於世間,於心淨於土淨,可分成六大項:1、傳統佛法觀念的深思與釐清。2、推廣大乘菩薩禪修實踐。3、出版與弘傳的開放與現代化。4、關懷臺灣與佛教發展。5、現代議題之深化與承擔。6、佛教文物的普及與精緻化。
關鍵字:臺灣佛教、文殊雜誌、文殊、佛教雜誌、洪啟嵩
摘 要
民國初年佛教為了振衰起弊,因應時節因緣,以人間佛教為主軸,末代禪師
虛雲、興復高旻的來果、入定百多日的廣欽,都以禪修聞名。來到臺灣,聖嚴法
師承繼古來禪法,帶起禪法修學之風;近數十年來,臺灣菩薩協會的導師洪啟嵩
先生,長期致力於禪法教學,廣開格局,以地球禪者自居,稟持融入時代,導引
時代的禪者大悲創新精神,開發適合現代人修行的禪法。
洪啟嵩老師創發的一系列以佛身心為典範,適合現代人修行的禪法,包括放
鬆禪法、妙定禪法等。身心是互相連結的,佛心具足智慧慈悲,佛身所顯亦是如
此;洪啟嵩老師的禪法直捷連結佛之身心,由外而內,以現代的語言、身心知識、
修證內涵,運用觀想與調身,讓身心放鬆無執,自然產生定力,由定生智長悲;
讓修行者之身心逐漸內化為佛之身心,圓滿達到智慧與慈悲。究竟之智慧與慈悲,
無二無別,有大智者必具大悲,有大悲者亦具大智,所以在這樣的具體禪法修練
中,洪老師以大悲發心為教授核心,為生命昇華的最佳戰略位置,來打開普覺的
世紀。
佛法依禪出教,藉教悟宗,古來禪者為我們開演出一段精彩的悟道風光,今
之禪者也不遑多讓,承先啟後。因此本論文期望爬梳洪啟嵩老師的禪法教授精神
與內涵,一者掘探賢者智慧,一者呈現承先啟後、與時俱進的現代禪法發展。
關鍵字:洪啟嵩、禪法、放鬆禪法、妙定功
近代藥師佛法門有新的詮釋與運用,對其在現實人生的救度上有所發掘,故
以藥師法門連結身心健康是一個重要方向。
藥師佛大願以救度現世與眾生身心苦迫為心,所以在修行藥師佛念佛法門
時,亦必須以此為心,本文將先分析念佛法門的種類與內涵,再闡明藥師佛名與
十二大願之最重要的第一、二大願,作為藥師念佛法門的總攝。進而拈舉經典,
依「實相藥師佛」、「六念法門之念藥師佛」、「觀藥師佛相」、「念藥師佛三昧」等
方式,闡明藥師佛本願特質所形成的藥師念佛法門之健康禪道,並對鏡像神經元
與念佛法門作科學與宗教修行的連結討論。
在觀想佛名、佛德、佛境界時,因定慧故,身心健康安樂;而藥師佛琉璃光
明,內外透徹,藥師佛心特別救度眾生身心苦迫,當修行者念觀藥師佛時,會比
起念觀其他佛身,更能與藥師佛身、本願相應,於身心安康,消除障礙有所助益。
念藥師佛三昧,具如藥師大慈大悲,以自心為藥師佛悲心,以眾生皆是藥師佛,
自己與眾生皆與藥師佛無異,由此在現世人間實踐藥師菩薩行,成就佛道。這些
也正與藥師佛本願最重要的二願相應,亦由此涵攝其他十願,所謂第一大願生佛
平等願,第二大願佛身如琉璃,作諸悲智大用願;而且亦顯露藥師念佛法門的特
色,具足健康禪之身體健康、心靈安樂、智慧慈悲、圓滿佛道之身心靈面向。
藥師佛既以救度現世眾生為主,現世眾生之身之心之境,都是其發願救度的
範圍,若能蒙其救度,自然現世眾生與世界可以漸次成為淨土;而修藥師念佛法
門的修行者,也正加入其行列,與藥師佛同願同行,作為完成現世淨土的藥師佛
分身,所以其法門為莊嚴淨土,而非往生淨土。而且所莊嚴者,是此時此地,是
地球世界,使之成琉璃淨土,身處其中的眾生,身體健康,心靈安樂,智慧慈悲,
發菩提心,圓滿佛道,而這樣的念佛淨土法門,更有積極意義,更能顯現藥師念
佛三昧的精神。
關鍵字:藥師佛、念佛三昧、觀像念佛、健康禪
Abstract
The pharmacist Buddha's great wish is to save the world and the physical and mental
suffering of all living beings, so it must be taken as the heart when practicing the
Buddhist practice. This article will first analyze the types and connotations of the
Buddhist practice, and then clarify the name of the pharmacist Buddha and the first andsecond most important wishes of the twelve great wishes, which will serve as the
general camera for pharmacists to read the Buddhist practice. Then, citing the classics,this paper expounds the healthy Zen way of pharmacists' chanting Buddha, which isformed by the original wish characteristics of pharmacists' Buddha, and discusses theconnection between mirror neurons and chanting Buddha's method of scientific andreligious practice.
The pharmacist Buddha is mainly to save the living beings, and the realm of the living
beings is the scope of his willingness to save. If he can be saved, the natural living
beings and the world can gradually become pure land; The practitioners who practice
Buddhist practice by pharmacists are joining them, wishing to walk with the pharmacist
Buddha, as the pharmacist Buddha who completes the pure land of this world, so their
practice is solemn pure land, not pure land of the past. Moreover, what is solemn is hereand now, which is the earth world, making it a pure land of coloured glaze. All livingbeings in it are healthy, happy in heart, intelligent and compassionate, develop
bodhicitta and complete the path of Buddhism. This pure land method of chanting
Buddha is more positive and can show the spirit of pharmacists chanting Buddha and
samadhi.
Key words: Medicine Buddha,Buddha-recitation samadhi,Contemplating an image
Buddha-recitation,Healthy Zen
明末妙峰禪師(1540-1612),早年閉關修習華嚴法界觀,心有所悟,後與憨山皆刺血書寫《華嚴經》。中年後,妙峰開始他修建佛寺建築的生涯,所建佛寺塔多納入華嚴法界、觀行的內涵,以磚造無樑殿、銅殿等建築形構,形成明末佛教建築的一大特色,也贏得佛門魯班之名。
筆者於2019年7月前往大陸山西省探查妙峰禪師創建而今日仍留存之佛寺建築。今先以寧化的萬佛洞為主,將實地田野調查所見、碑記、地方志文獻等資料蒐集、記錄、比對,以備將來論述妙峰華嚴建築理念之用。
綜合得出:寧化的萬佛洞,是明末妙峰見此地山石奇懸而興念設計、興建,並由與之同行的華嚴宗洞元(號覺通)募緣兼造,相關重點紀年如下:
明.萬曆19年(西1591年)萬佛洞興工。23年粧彩完工。25年,妙峰的詩偈刻石,並記錄緣由。28年立〈洞內的伽藍菩薩石柱碑記〉,署名洞元覺通募緣兼造,永慈寺比丘福登(即妙峰)等同心建立。
清.同治10年(西1871年)重修,真岫法師發願募化。光緒5年得曾國荃資助,隔年重修完成。光緒6年,立曾國荃〈重修萬佛洞碑記〉、比丘僧真岫〈寧化堡重修萬佛洞朝陽凳板洞韋馱殿白衣庵碑記〉。中華人民共和國(西2015年)立「重建天王殿碑文」。中華人民共和國(西2018年)立「維修萬佛洞碑記」。
整個萬佛洞以立體的方式呈現《華嚴經》所說的華嚴法界之萬象,亦即立體法界曼荼羅。在洞頂呈八角形,中間繪有中國的八卦,象徵方位、時間、自然、人、事、物等及其變化,八卦延伸出去的八個角,分別繪有華嚴世界海的象徵圖像。四周牆壁中間高度以上,全部浮雕立體小佛像,象徵萬佛圍繞。洞內主尊塑像是法身佛毘廬遮那佛,二旁是阿難與迦葉尊者,代表娑婆世界的導師釋迦牟尼佛及隨佛修行的弟子賢聖代表。洞內有二個主柱,柱上繪有韋馱與伽藍二位護法像,代表撐持護佑佛法,助度眾生。左右牆壁繪有各種星宿、地府神祇,代表天與地,而觀音、地藏化現其中。在這樣的曼荼羅中,修行者置身其中,是修行實踐的主體,也是法界實相之一,亦是修行者智悲境界的展現。
關鍵字:妙峰、萬佛洞、華嚴、法界觀、憨山
Field Research on the Architecture of Huayan Buddhist Temple by Zen Master Miaofeng: Focusing on Wanfo Cave in Ninghua, Shanxi
Su Mei Wen
Associate Professor, Center for General Education/ Civil Engineering,
China University of Science and Technology
Summary
In the late Ming Dynasty, when Zen Master Miaofeng (1540-1612) was in his early age, he retreated to practice the Huayan Dharma Realm and had realizations, both he and Hanshandeqing used their own blood to make copies of the Huayan Sutra thereafter. Miaofeng began his career in building Buddhist temples after his middle age. Most of the Buddhist temple towers he built included the connotation of Huayan Dharma Realm and Guanxing. The building structures such as brick-made-beam-free halls, bronze halls formed a style for the Buddhist architectures in the late Ming Dynasty, Miaofeng had won the name of Buddhist Luban ever since.
In July 2019, the author went to Shanxi Province in the mainland China, in order to explore the existing Buddhist temple built by Zen Master Miaofeng. At present, we will focus on the Wanfo Cave in Ninghua mainly, in accordance with the materials seen, inscriptions and local chronicles collected, so as to prepare for the use in future discussion of the Miaofeng concept of Huayan architecture.
It can be concluded that the Wanfo Cave in Ninghua was designed and built by Miaofeng in the late Ming Dynasty when he saw the mountains and rocks hanging there so magnificently, and the annals are as follows:
In Wanli 19th of the Ming Dynasty (A.D. 1591), Wanfo Cave started to be built and was completed the makeup in the Wanli 23rd. In Wanli 25th, Miaofeng's poems were carved on stone with the causes recorded. In Wanli 28th, the "Garan Bodhisattva Stone Pillar in the Cave was erected, its inscription was signed by Dongyuanjuetong as fundraiser and bulider, together with the monk Fudeng (i.e. Miaofeng) of Yongci Temple.
It was renovated in Tongzhi 10th of the Qing Dynasty (A.D. 1871), fundraised by the wish of Master Zhenxiu. In the Guangxu 5th, it was funded by Zeng Guoquan, and the restoration was completed in the next year. In the Guangxu 6th, the stone pillars were erected as "Restoration of the Wanfo Cave Stele" by Zeng Guoquan, and " Restoration of the Wanfo Cave, Chaoyang Bench Cave, Weituo Hall, Baiyi Monastery Stele, Ninghua Fort" by Buddhist monk Zhenxiu's. The People's Republic of China (A.D. 2015) erected the "Renovation Stele of the Hall of Heavenly Kings". The People's Republic of China (A.D. 2018) erected the "Maintenance of the Wanfo Cave Stele".
The entire Wanfo Cave presents the omnipotence of the Huayan Dharma Realm mentioned in the Huayan Sutra in a three-dimensional manner, the so-called three-dimensional Dharma Realm Mandala. The top of the cave is octagonal, with Chinese Eight Divinatory Trigrams in the middle, symbolizing orientation, time, nature, human, matters, objects, etc., and their changes. Each of the extensional eight-sided corners of the Chinese Eight Divinatory Trigrams have symbolic paintings of the Huayan World Sea. Above the middle height of the surrounding walls, they are fully embossed with three-dimensional small Buddha statues, symbolizing the surrounding of uncountable Buddhas. The main statue in the cave is the Dharmakaya Buddha Vairocana Buddha, and on the other side are the Ananda and Venerable Kasyapa, represents the mentor Sakyamuni Buddha of the Saha world and the representatives of saints who practice with the Buddha. There are two main pillars in the cave, which are painted with two Dharma protectors; Shanda and Garan Bodhisattva, representing the support and protection of the Dharma and the salvation of sentient beings. The left and right walls are painted with various constellations, and gods of the underworld, representing heaven and earth, Guanyin and Ksitigarbha appear therein. In such a mandala, practitioners are placed in which as its main part, is one of the realities of the Dharma Realm, and a manifestation of the state of the practitioners' wisdom and compassion as well.
key word:Miao-feng、Infinite Buddha cave、hua-yen、hua-yen Dharma Realm practice、Han-shan
本論文以「城東老母」為主題,觀察這個女性公案如何被禪
師以機鋒語話來作啟悟教化?又在一片以男性禪師為主的參究環
境下,形成如何的女性形象與變化翻轉?
「城東老母公案」的原型來自《佛說觀佛三昧海經》、《菩
薩本生鬘論》的老母毘低羅,禪門截取局部重點,離開時空中的
故事,將它架構成修行法義的象徵。以啟悟人心的機鋒,應機地
靈活運用,欲在刺破學人執取。
依機鋒文字,於事件上的「見與不見」、人物上的「舉揚與
奪抑」來分類探析,共分八類:1、雪竇之機鋒與後續參究。2、
舉揚老母,但仍有誤失,或由此脫出。3、獨揚老母。4、奪抑老
母。5、佛之過與有何過。6、老母與佛陀。7、見與不見。8、教
化點撥女性。
城東老母的形象在禪師們的演義下,約有六種:1、丈夫氣
概。2、婦人態度。3、老婆禪。4、風流、風騷、懶將煙黛畫蛾
眉。5、城東聖母坐蓮臺。6、警世金鎚、古佛先知、慈念眾生。
這些形象並不在讚美或貶抑老母本身,而是藉之來啟悟執著與解
脫、空有相融之究竟法義。
在文化上多被貶抑的女人,在禪師非讚非貶的機鋒中,顯現更多的正面形象,從翻轉成丈夫、雄健、智慧形象,到直接以女
性柔態來比喻無執、慈悲。這是女性公案參究的特別作用,在啟
悟學人悟道的同時,也精彩銳利地打破女性刻板形象之執取,呈
現性別的如幻空性。
關鍵詞:城東老母、女性公案、毘低羅、雪竇、禪宗女性
活用佛法的時代。
僧肇將般若「非有非無」、「不出不在」等不落二邊之內涵
精確地表達,這正也是禪修悟道的方向;而禪門的隨說隨掃,即
文字離文字的機鋒啟悟,即是般若不二的體現,所以《肇論》語
句有成為禪門機鋒公案者,讓禪師啟悟,被學人參究。
本文將探討僧肇以莊子語句般若化的「會萬物以成己者」、
「天地同根,萬物一體」句,在禪門被參究並傳衍為公案的情形
與意義。由此舉出4 個公案:「石頭看肇論」、「南泉指花」、
「法眼悟一切現成」、「晦堂擊香卓狗」,證成僧肇的莊子語句
已般若化,顯現禪宗機鋒與般若的相應,更是發掘《肇論》在禪
門的傳衍與影響。
從這些公案可證明,禪師運用會萬物以成己者等言句,已無
莊子痕跡,換的是般若不落二邊,非同非異的實相、解脫境界。
而且禪門參究這些公案者,石頭與馬祖座下的宗派皆有。
再者,因為僧肇的「會萬物以成己者」等般若內涵之描述,
讓禪者契入萬物與我的關係,因而悟道,因而有機會開出觸目是
道、即物顯性的修行風格,如石頭寫出〈參同契〉回互不回互的
教化、曹洞宗對萬法修行層次的教法。
典型,她也成為情欲魔女的象徵。民國16 年溥緒(1882-1933)(清逸
居士)創作《摩登伽女曲本》,由京劇名伶尚小雲於北京新明戲院演出,
引起轟動。民國22 年,這個印度來的故事被印度泰戈爾(1861-1941)
創作成歌舞劇《昌達爾姑娘》,再改編為《昌達爾姑娘歌舞劇》搬上劇
場公演,至今仍表演不輟。同時代的二個劇本都能移動傳統視角,正視
摩登伽女自身,卸去僵化的魔女形象,但又各自呼應著自己的文化土壤
與時代關懷,呈現不同主題寓意:一者關注她的情愛與修悟,以色幻悟
道為精神;一者關注她的啟蒙與平等,以實踐平等新生為精神。
在溥緒筆下,摩登伽女具有端莊美麗,專情高潔的形象,有傳統文
學的杜麗娘之傷春幽情、賈寶玉之色空悟道,又有《西遊記》魔考誘惑
的情節。故事關注情愛與修悟,在情愛美色的貪執中,徹悟不淨與如幻,
並輔以平等慈悲之懷。
而泰戈爾的歌舞劇,藉此抒發對印度種姓不平等制度的批判。他筆
下的摩登伽女言語靈動,活潑熱情,從不平等的種姓思惟中被啟蒙新生
後,自我作主,勇敢追愛,這份蘊含「愛」的新生,歸向阿難與佛陀所
象徵的平等慈悲,隱含泰戈爾「在愛中徹悟」的梵愛合一路徑。
就女性視角詮釋的二個路徑「情欲主動」、「速證果位」觀察,溥緒
以專情高潔之主動來詮釋其「情欲主動」,並以消融情欲而得悟,雖然
能呈現她因情而悟,但並無深刻描寫其「速證果位」。泰戈爾則完全沒
有著墨「速證果位」,主力全在「情欲主動」上,這份主動來自平等的
啟蒙,情欲化為自主勇敢去愛,與泰戈爾「梵愛合一」的宗教哲學呼應。
關鍵詞:摩登伽女、阿難、溥緒、泰戈爾、昌達爾姑娘
In Chinese Buddhism, the story of Matangi's daughter has been taken as a warning for male Buddhists to keep away from the temptation of lust, and Matangi's daughter has become a representative of femme fatale. In 1927, Pu Xu (1882-1933, art name Qing Yi Ju Shi) composed a tune of "Matangi's daughter", starred by Shang Xiao-yun and caused a sensation in the Xinming Theater in Beijing. Then in 1933, this Indian story was written as a musical drama "Chandalika" by the respected Indian writer Rabindranath Tagore, and be readapted and played in theaters until now. These two scripts of the same era both change the point of view toward female by facing up to this character and getting rid of the stereotype as a femme fatale. What's more, they reflect to their own cultural soil and contemporary concern, and present two different theme implications: the former focuses on her love and enlightenment, taking enlightenment from form & vision as the essence; the later focuses on h...
摘 要
Abstract
僧肇《肇論》一出,格義佛教正式退場,從印度、西域來的佛法,真正能以中文完整表達,讓漢語世界順接佛法教義,依文所顯的道可以無誤,載道所轉的文可以活用,啟發以中文漢傳佛教於焉能立地展開。
僧肇善于用時人熟悉的老莊道家玄語,出入其中,卻也能脫化而出,被其師鳩摩羅什讚為:「吾解不謝子,辭當相挹」。其文字精確達雅,環環相扣,常常文字一翻,意義迥然拔高,不僅跳脫老莊,契合般若思想,更是文道符應,活用中文,因此無形中具足了實踐的力道。而這樣的文道典範與運用,可謂文字般若化,其對後代漢傳佛教有很好的啟發與承接。尤其具實踐力道的文字,為禪門多所運用,啟發禪師們的教化風格、銘記詩偈、機鋒對話、智境相融的境界語等。
僧肇之所以能用中文自在論述佛法,與佛法的語言文字觀有關,故本文先探究佛法與僧肇的名實觀,再具體舉僧肇《肇論》中代表性的語詞,探討它們如何被僧肇運用而般若化,如何被後來修行者所承接。由此更確切了解僧肇《肇論》的位置與價值。
本文選擇四種相關語詞,一個精確文字的精神來探討,分別是:1、當下雙遣:「自虛」、「即」。2、轉換道家印記:「參玄」。3、擇新詞以明:「虛照」、「寂用」、「寂、照」、「默照」。4、觸事即真:「會萬物以成己者,其唯聖人乎」。5、文道符應、文道般若的語言精確度。
關鍵字:僧肇、肇論、格義佛教、石頭希遷、默照禪
Key words: Seng-chao, Chao Lun, Geyi Buddhism, Shitou Xiqian, Chan in Silent Illumination
佛典中有許多不同的性別教化,本論文期望作總體義理、度
眾因緣的理解與安頓。
龍樹《大智度論》將佛法教化分為四種悉檀,即世界悉檀、
各各為人悉檀、對治悉檀、第一義悉檀。四悉檀既是一切佛典法
教的四種類型,亦可作為性別教化類型的探討,故本文將佛典的
性別教化分為九類,並分析其屬於何種悉檀,以四悉檀總攝:
(一)求女人相了不可得:第一義悉檀
(二)女性過患與障礙:世界悉檀之對治、各各為人悉檀
(三) 女人出家與八敬法:世界悉檀中特顯第一義悉檀及對
治、各各為人悉檀
(四)女身五礙:世界悉檀
(五)願轉女身,速成男子:世界悉檀之各各為人悉檀
(六) 諸佛淨土無女人願、轉女成男願:世界悉檀之各各為
人悉檀
(七)如來性為丈夫性:各各為人、對治悉檀
(八)為何要轉女身:以對治悉檀成就第一義悉檀
(九)女身證果:世界悉檀通於第一義悉檀
第一義悉檀是核心、實相、不敗壞的,其他三悉檀是因緣
的,是變化的;而因緣變化即空性,無可執取,所以如果體認到
其他三種悉檀的因緣性,知其所由,知其無可執取,便也是第一
義悉檀。因此在理解安頓佛典的性別教化後,面對近代性別平權
的價值觀,體認到所謂世界悉檀已然改變,各各為人、對治悉檀
的內容也會跟著變化;所以無執於前,尊重此時此地此心之因
緣,展現平等覺性的佛法性別教化,才是知所因緣、無執的世
界、各各為人、對治悉檀,也才同具第一義悉檀。
關鍵詞:四悉檀、佛教女性、轉女成男、性別、女身
禪宗女性公案「婆子燒庵」參究之機鋒啟悟與文學意象
Extreme Chan Buddhist Meditation for Older Women:
Literary Images and Enlightenment through Penetrating and Investigating the Opportune Point of “The Old Woman who Burned the Buddhist Nunnery,” a Chan Buddhist Public Case of Women
蘇美文
Mei Wen Su
中華科技大學 通識教育中心/建築系 專任副教授
Associate Professor,Center for General Education/Department of Architecture,
China University of Science and Technology
摘要
本文以女性公案「婆子燒庵」為對象,探討歷來禪門參究此公案的機鋒啟悟與文學意象。公案的男性僧人(庵主)不入情欲俗流,婆子(燒庵婆)卻放火燒庵,展現猛利殺辣的禪婆手眼。此公案有實相與修行的豐富內涵,歷來的參究,因學人執取的不同,形成千變萬化的啟悟。本文將這些啟悟分成七類作探討:1、舉揚婆子手段。2、扶僧人奪婆子。3、婆子僧人俱奪俱扶。4、婆僧知音敵手。5、正恁麼時如何。6、認取本份事。7、女禪師機鋒。
在文學意象上,燒庵婆常被冠以「風流」與「春光」意象,僧人則是秋霜冬雪等冷冰寒嚴的意象。二者的互動,則有鴛鴦、冰火、戰爭等意象。所以一幅春花秋月、柳綠冬雪式的情景常躍然在其機鋒頌古上,此是修證與文學的巧妙靈活結合。
關鍵字:婆子燒庵、禪宗、女性公案、機鋒、修證與文學
Extreme Chan Buddhist Meditation for Older Women:
Literary Images and Enlightenment through Penetrating and Investigating the Opportune Point of “The Old Woman who Burned the Buddhist Nunnery,” a Chan Buddhist Public Case of Women
Abstract
This article, through the Chan Buddhist public case (gong’an 公案) “The Old Woman who Burned the Buddhist Nunnery” (Pozi shao an 婆子燒庵), investigates how Chan meditation practitioners have achieved enlightenment over time by penetrating and investigating this story. The monk in the public case, the head of the nunnery, does not exhibit any lustful or vulgar behavior, yet the old woman still sets fire to the nunnery, revealing the fierce and ruthless outlook of the Chan Buddhist old woman. This public case has rich implications for reality and cultivation practices, and the practice of penetrating and investigating it has provoked an infinite variety of enlightenment experiences over time because those who study it grasp it in quite different ways. This article classifies these enlightenment experiences into seven kinds in order to examine them: 1) praising the old woman’s methods; 2) supporting the monk and repudiating the old woman; 3) praising and repudiating both figures; 4) presenting the old woman and monk as antagonists that intimately understand one another; 5) how to deal with the situation if you were one of the characters; 6) identifying the root of the matter; 7) understand the female Chan master’s opportune point. In terms of literary images, the old woman has been frequently labeled as a distinguished figure or an erotic character, whereas the monk is pictured as an elder, noble character, one who is stern and unemotional. The interactions between the two then reveal images associated with affectionate couples, irreconcilable differences, and conflict. A scene with picturing descriptions such as spring blossoms, autumn moon, green willows, and winter snow as metaphors, often appears in odes and opportune point sentences. This is not only a flexible combination of cultivation practices and literature, but also one of the features of Chan Buddhism’s verses and Gathas.
Keywords: “The Old Woman who Burned the Buddhist Nunnery” (Pozi shao an 婆子燒庵), Chan Buddhist meditation, public cases of women (nüxing gong’an 女性公案), opportune point (jifeng 機鋒), cultivating realization and literature
New Male Youths in Anxiety:An Analysis of ‘I/Me’ in Lu Xun's “The New-Year Sacrifice” and Lu He-Ruo’s “The Temple” and “Moonlit Night”
蘇美文
Su Mei Wen
中華科技大學 通識教育中心/建築系 副教授
Associate Professor,Center for General Education/Department of Architecture,
China University of Science and Technology
摘 要
本文以「女性」視角,選擇魯迅〈祝福〉與呂赫若〈廟庭〉、〈月夜〉小說為對象,以二人寫作小說時同時使用的第一人稱敘述者:男性的「我」來作各面向的探討,並將之互相比較,呈現二位作者筆下的二位男新青年對傳統文化下女性困境的態度。共從七個面向來呈現與比較:
(一)身份:返鄉的男新青年
(二)「我」面對的傳統女性困境
(三)「我」的心境變化
(四)「我」與女主角的關係與互動
(五)「我」與其他角色的互動
(六)「我」的宗教背景敘事:祝福、廟庭
(七)「我」投射的大自然敘事:雪與月
都是用第一人稱「我」為敘述觀點視角,這個「我」又都是那個時代的男性新青年,由他們來看女性的困境,以及傳統文化的僵化,顯現需要改變而無法改變的困難。經過分析,這二位男新青年,一個幽微,一個直接;一個不安、模糊、逃避,甚至後來心情還變舒坦了,一個憤怒、悲痛轉而低聲下氣;但二者都充滿著焦慮與無力感。
關鍵字:魯迅、呂赫若、祝福、廟庭、月夜、新青年
Abstract
Focusingon Lu Xun's “The New-Year Sacrifice” and Lu He-Ruo’s “The Temple” and “Moonlit Night” that were all written with male ‘I/me’ in the first-person narrative, this paper analyzes these literature in every aspect, and compares to each other in the female perspective, so as to present the attitude of two new male youths towards females’ difficulties under the traditional culture. There are seven aspects for presentation and comparison:
1. identity: home-coming new male youths; 2. ‘I’ facing traditional females’ difficulties; 3. ‘I’ with change in mind; 4. relationship and interaction between ‘I’ and the female character; 5. interaction between ‘I’ and other characters; 6. narrative of religion background of ‘I’: blessing ceremony at the end of year and square in front of Guan-Di Temple; 7. narrative of nature reflected upon ‘me’: snow and moon
These literature were all narrated in the first-person perspective while these ‘I/me’ presented new male youths in that era. Difficulties that should be changed but in vain were viewed by them towards females’ dilemma and rigid traditional culture. Therefore, for these two new male youths, one’s attitude was indirect while the other’s was straightforward; one’s was with anxiety, ambiguity, avoidance but finally at ease while the other’s was with anger, sorrow but submission in the end. However, they were all with disquiet and felt helpless.
Keywords: Lu Xun, Lu He-Ruo, “The New-Year Sacrifice,” “The Temple,” “Moonlit Night,” New Male Youths
蘇美文
中華科技大學 通識教育中心/建築系 副教授
摘 要
本文以沐浴為焦點,觀察佛陀僧團與漢傳禪宗的沐浴精神、空間、修行、禪法觀行等內涵。
佛陀因神醫耆婆之緣,允許並引導建造溫室,使得皮膚病弟子能療癒,讓修行者有健康安穩的身心,也助於悟道解脫。為此,設計浴室溫室之空間建造、方位格局、水管通風、燃火防蟲等設備安排以及浴具使用、入浴秩序、安全設施等。而因沐浴產生與民眾、社會互動,如何和諧,不干擾、不受譏毀等規定也產生。這些都成為戒律行儀,讓修行者如理而行,也形成僧團健康、有序、安然的形象。
進而,佛陀將沐浴作為修行的一環,體踐修行即生活,生活即修行的精神。所以《佛說溫室洗浴眾僧經》宣講洗浴具七物、除七病,供養洗浴則具七福,除七病有益修行,所具七福,甚至能達至圓滿成佛。
這樣的導向對漢傳佛教影響甚深,禪宗寺院建築空間,浴室是七堂伽藍之一,又稱作「宣明」,有沐浴職事與儀規,更有修行的禪觀與徹見。形成豐富的沐浴修行:一、以水悟道的典範與公案:跋陀婆羅等十六開士、水三昧月光童子。二、浴室、洗浴的機鋒公案。三、沐浴的般若空觀。四、沐浴的菩薩願行。五、供養沐浴功德。六、勿樂著沐浴,行「水火釜」為「戒智悲」的真沐浴觀法。七、浴佛。
關鍵字:沐浴、溫室、耆婆、宣明、跋陀婆羅
The Bathing Practice in Buddhism: Focusing on Buddhist Sangha and Chinese Zen
Abstract
This paper aims at focusing on “bathing” to observe the connotations of spirits, space, practice and meditation of the Sangha and Chinese Zen during the era of Gautama Buddha.
During the time when Gautama Buddha led the Sangha, they have encountered the skillful doctor Jivaka, who guided them to build the bathhouse, allowing disciples with skin diseases to be treated whilst offering both physical and mental health, as well as stability for practitioners for the benefit of epiphany and enlightenment. Therefore, the arrangement of facilities, such as the construction, patterns; water tubing, ventilation; water heating and pest control for the bathhouse was designed, just as the bathing equipment, entry orders and safety devices were. Meanwhile, regulations in the bathhouse corresponding to the connections and interactions between the public and the monks, such as being harmonious without disturbing others and not being defamed had also generated. All these contents have developed etiquettes of Vinaya, as well as rules for practitioners to follow; at the same time, they have formed healthy, orderly and peaceful images for the Sangha.
Furthermore, Gautama Buddha has also regarded bathing for a healthy life as part of the practice, carrying the spirit of “the practice is life, and life is the practice”. That is also why “seven items are required while seven diseases are removed in bathing; bath offerings, moreover, are with seven types of blessings” is claimed in the Sutra on Bathing the Sangha in the Bathhouse (Fo Shuo Wenshi Xiyu Zhongseng Jing). That is, removing the seven diseases is beneficial to the practice; obtaining the seven types of blessings may even achieve to the realm of a Buddha.
This orientation has influenced Chinese Buddhism greatly; specifically, in the internal space of Zen monasteries, the bathhouse, also called the “Senmyo,” is one of the Shichido Garan. Not only does it contain the ministry and rituals of bathing, but it has Zen insights and lucidity of practice. Such bathing practice developed afterwards is extremely rich that it could be categorized into 7 aspects. The first: cases of being enlightened by water: Bhadrapala and Candraprabhakumara Samadhi in water. Secondly, edificatory cases for the work in the bathhouse. Third: Sunyata (emptiness) of Prajna in bathing. Fourth: vows of Bodhisattva in bathing. Fifth: merits of bath offerings. Sixth: instead of being addicted to bathing, practice the limpid Vipas (enlightenment). Last but not least, ceremony of bathing the small Buddha.
Keywords: Bathing, bathhouse, Jivaka Komarabhacca, Senmyo (bathing room), Bhadrapala
書》。祇園悟後,隱跡胡庵九年,後來被請至伏獅禪院,上堂開法,以話頭禪為
教法,痛棒熱喝,點撥弟子。為僧俗男女所嘆服,尤其對出家、在家女性之參禪
悟道,帶來信心與具體典範。
本文以這位女性禪師的道場:「伏獅禪院」為中心,藉由古籍文獻來探討,
其在怎樣的機緣下成為女性禪師的道場?在祇園之後又變成如何?另一方面,筆
者亦前往大陸嘉興王店(昔名梅里),現地尋訪,在經過更大的世事變化下,所
存為何?所能知者為何?希望由此呈現伏獅禪院的昔時與今日。
書》。祇園悟後,隱跡胡庵九年,後來被請至伏獅禪院,上堂開法,以話頭禪為
教法,痛棒熱喝,點撥弟子。為僧俗男女所嘆服,尤其對出家、在家女性之參禪
悟道,帶來信心與具體典範。
本文以這位女性禪師的道場:「伏獅禪院」為中心,藉由古籍文獻來探討,
其在怎樣的機緣下成為女性禪師的道場?在祇園之後又變成如何?另一方面,筆
者亦前往大陸嘉興王店(昔名梅里),現地尋訪,在經過更大的世事變化下,所
存為何?所能知者為何?希望由此呈現伏獅禪院的昔時與今日。
According to my analytically survey, there are four cultural phenomena that triggered the publishing. First is the loose traditional values; the second is Bhiksunis were active at Ming-Qing Transitional Period; the third is the prevailing of women writing and publishing; the fourth is female Zen masters followed the trend of reorganizing the Precepts; the fifth is the increasing phenomenon of Dharma transmission and Zen Record. Issues on Jiaxing Canon(Jiaxing zang)will also be touched in this study such as the editor’s opinions (Mi-Cang-Dao-Kai); the process of publishing; the features of collection and so on. I inferred that the following are main reasons that cause the historical event: the Record is prestigious; Jiaxing Canon represents the sprit of that age; the location of publishing—Jiang-Nan—was the center of Bhuddism; leave historical evidence for the female Zen masters.
語錄一部,名為《伏獅祇園禪師語錄》,是目前所見女性禪師語錄之一,而且還被收入明版大藏經《嘉興藏》中。在祇園之前,歷史上不是沒有女性禪師,中國歷史上第一位女性禪師是達摩座下的總持尼,唐宋期間亦有多位女性禪師,但是卻沒有她們的語錄、著作被收入於當代編輯的藏經,也沒有另外流傳下來,她們的存在都是靠禪宗燈傳、史傳才能認識知曉(或是在其他禪師語錄中因與其有對應,才連帶被提起),但是既然是史傳,所記載的都只是數行數偈,何況她們的數量只佔千百禪師之極少數,即使有經論、詩文等著作發行於當世,在歷史的沖刷下或只留下其名,或只留下來片段機鋒、應對而已。一直到明末清初,祇園行剛的修行被書寫成語錄,而且被出版、入藏,流傳下來,我們才能由此看到比較清晰的女性禪師面貌,而這位女性禪師在佛教史上的價值遂於此展開。
本文根據《祇園語錄》的記載,企圖勾勒出祇園禪師的參學、証悟、弘法的具體
圖像,以及其形成的「伏獅門下」的女禪風格,連帶呈現晚明的佛教女性樣態之一。
這是筆者一系列明末清初女性禪師研究的一部份。期望為中國佛教史建立屬於女性修行者的一頁,讓久被掩蓋於某些意識形態洪流下的女性証悟者,有個出現的機會。
現革命僧的本懷,相對地也才能對之加以檢證。所以本文以參與辛亥革命的革命
僧為主體,辛亥革命的時代為橫面,佛法為縱面,來綜合討論。先從參與辛亥革
命的僧人中歸納出革命僧的定義,加以分為四類:1、組成僧軍者。2、發暗殺之
論、欲行暗殺者。3、參與革命事務、發議論者。4、從辛亥革命到佛教改革,甚
至人類思想改革者。介紹其革命行略,分析其革命與佛法的思考。另一方面,依
革命僧的特性,上溯佛教二大典範:佛陀、菩薩之典範意涵。提舉菩薩三種典型:
一切盡捨型、進取入世型、激烈犯戒型,以及所需具備的條件,尤其是激烈犯戒
型的菩薩,處於絕險邊緣,所須具備的條件心態尤為重要。討論革命僧於佛法與
革命間的貫通點:勇猛無畏、救度眾生為第一的菩薩精神。並從太虛經驗,呈現
菩薩精神亦須修行經驗之支撐。最後將菩薩三種典型,來與革命僧對比參看,期
望對革命僧在菩薩典型上有所檢驗與定位。
In order to discuss the revolutionary monks thoroughly, both their patriotism and
Buddhist faith are essential. This study is based on those monks who devoted to the
Revolution of 1911 (the Chinese bourgeois democratic revolution led by Dr. Sun Yat-sen
which overthrew the Qing Dynasty); not only the era background would I discuss but also the
spirit of Buddhism. I try to distinguish the revolutionary monks into four different kinds: first,
those form the revolutionary monk soldiers. Second, those originate assassination statement
and trying to be assassinators. Third, those get involved into the revolutionary affair and
spread revolutionary statement. Fourth, those make efforts in the Revolution of 1911, the
Buddhist Revolution even the Revolution of Human Thoughts. In addition, I notice that the
characteristics of the revolutionary monks reflect two meaningful paragons of Buddhism:
Buddha and Bodhisattva. As for Bodhisattva, there are three kinds: giving up all, concerning
the worldly affair actively, and break the ceremonial laws of Buddhism radically. Especially
the radical Bodhisattva, they are always being in danger so their attitudes are crucial
important. Therefore, the revolutionary monks held the same attitude toward revolution and
Buddhism that is courageous spirit for salvation. Take the example of Master Tai-xu; it
conveys the Bodhisattva spirit is based on the practice of Buddhist teachings. Finally, I
compare the three types of Bodhisattva to the revolutionary monks, hoping that the
revolutionary monks could set a new example of Bodhisattva.
〈畫皮〉有道士與顛瘋高人為其解危,評者有引伸臭皮囊之論,〈皮貌〉裏亦有老法師的脫卸皮殼,顯示這樣的主題與佛道思想有所牽連,並有著佛教不淨觀等等皮相觀背景,因此本文以佛教皮相觀為平台,衡諸〈畫皮〉、〈畫皮〉評點、〈美貌〉、〈皮相〉等文本,討論其「皮相」題材意涵,為其釐定角度,顯其彼此之連結與各自之特色。共分有:1、〈畫皮〉的畫皮:佳人、老縕、瘋顛者。2、〈畫皮〉評家的女色與男迷。3、佛教的皮相觀:從臭皮囊、不淨觀到菩薩化身。4、〈美貌〉的揭皮:揭去自身美色煩惱。5、〈皮相〉的脫皮:脫卻表相煩惱見真實。
Pu Song Lin's “Liaozhai Zhiyi – Draw the skin” is about a love affair happened to Wang Sheng, which led him to a horrible death, yet he survived eventually. As there is a plot that a ferocious ghost wearing “drawn on skin” become a beautiful female form, that gives the story with more fascinating effects, and that also carried out the implied themes: superficial appearance, woman's charms and lust. In modern time, in the book by Lu Chiao “Man's Son” there is also a novel: “The skin deep look” which contains two pieces of work “The beautiful look” and “The superficial appearance” which also talk about “ The superficial appearance” relating to pretty woman's charm, desire, the worldliness and transcendence. These two text stories use literature technique, having “superficial appearance” as theme, developing into the implication of a warning to the world or surpassing. And the later work is as extended from “Draw The Skin” and become a version that furthers and broaden the philosophy of “Draw The Skin”. It is really worthwhile to read these two works together and see their links.
In “Draw The Skin” there are characters like Taoist priest and craze wise man, the critics of later generation also refer “the superficial appearance” to the “stinky leather bag”. And in “The Skin-deep Look”, there is also the old Taoist master as main roles, showing that the themes has to do with Buddhism and Taoism ideas, and Buddhism's impurity concept as background. Therefore, this article uses Buddhism's superficial appearance concept as platform, containing works like “Draw the Skin”, comments on “Draw the Skin”, “the beautiful look”, “the superficial appearance”, discussing the implication of the theme of “the superficial appearance”, and determining its viewpoint, to show the connection between each other and their individual distinguishing features. It can be divided to following sections: 1. The drawn skin in “Draw the Skin”: the beautiful lady, the old maid, the crazy men. 2. The critics' female charms and male fancy in “Draw the Skin”. 3. The superficial appearance of Buddhism: from the stinky leather bag, impurity concept to incarnation of Buddha. 4. The skin tearing off in “The beautiful look”: to tear off the worries about beautiful look of oneself. 5. The skin peeling off in “the superficial appearance”: to peel off the worries on superficial things and see the truth.
明末憨山因弘法蒙難,被發配從軍流放廣東雷陽,途經電白苦藤嶺時,遇見易真潭居士等人施茶,憨山記錄這段經歷,並幫助施茶居士募建施茶庵,取名為化城庵。由此形成他具個人特色,有血有肉、有智有悲的生命修悟與弘法歷程感的施茶觀。
「化城」,典故來自《法華經》,是前往究竟佛乘寶所的中途休息站,憨山將施茶處視為清涼化城,有二個面向:化城觀與邊地觀。他修道之初,切慕華嚴四祖清涼澄觀,遂前往號稱清涼山的五臺山,一生重要的修悟都發生於此,並與「清涼」境界相應;當他流放嶺南,正是從北方「清涼」到南方「火宅」,修悟或身心皆受轉折衝擊,於是施茶處成了清涼化城。而從化城要前往的是究竟「寶所」,然而他前往的卻是無佛「邊地」,憨山對此已有所體悟,他從一人一事開始,實踐入世菩薩行於邊地,使無佛邊地成為佛乘寶所之處,而實則邊地即是寶所。
Tea giving is a common good deed in Buddhism. Tea is often
placed in wilderness or where the pedestrians might feel thirsty. It
is a trivial deed but is a virtuous charity timely for those in urgent
needs. The coolness of tea is associated with liberation and coolness
and Dharma water and sweet dew. To help others through tea giving
is a way to help oneself. In addition to the witticism of Zhao Zhou’s
having tea, tea becomes an introduction to witticism and epiphany.
Tea giving is thus added with the element of cultivation and Buddhist
teaching propagating. Accordingly, the basic philosophy of Buddhist
tea giving is developed from the virtue and mercy of giving to the
wisdom of emptiness in Buddhism.
In the end of Ming Dynasty, Hanshan was banished to serve in
an army Leiyang, Guangdong because he encountered trouble during
Buddhist teaching propagating. He saw Householder Yi Zhen Tan and
others giving tea when passing by Ku Teng Ling, Dianbai. Hanshan
recorded this experience and helped the Tea Giving Householder
to raise funds to build Tea Giving Convent, named Conjured City
Convent. In this way, the philosophy of tea giving with life cultivation
of his personal characteristics, with fl esh and blood, and with wisdom
and sadness and the course of Buddhist teaching propagating is hence
developed.
The allusion of “conjured city” is originated from Lotus
Sutra, a rest stop on the way to the treasured land of final Buddha.
Hanshan regards the place of tea giving as a cool conjured city for
two dimensions: philosophy of conjured city and philosophy of the
frontier. At the beginning of his cultivation, he admired the fourth
patriarch Chengguan. Therefore, he went to Wutaishan, also known
as Qingliangshan. The important understanding in his life happened
here. It corresponds with the realm of “coolness.” When he was exiled
to Lingnan. He moved from the “cool” north to the “fi re residence” in
the south. His cultivation or physical and mental conditions underwent
great impact. Therefore, the tea giving place became a cool conjured
city. He should go from the conjured city to the fi nal “treasured land.”
However, he went to the “frontier” without Buddha. Hanshan had
already understood this. Starting from one man and one thing, he
practiced the way of a worldly bodhisattva in the frontier so that the
frontier without Buddha became a treasured land of Buddha. In reality,
the frontier is the treasured land.
近代藥師佛法門有新的詮釋與運用,對其在現實人生的救度上有所發掘,故
以藥師法門連結身心健康是一個重要方向。
藥師佛大願以救度現世與眾生身心苦迫為心,所以在修行藥師佛念佛法門
時,亦必須以此為心,本文將先分析念佛法門的種類與內涵,再闡明藥師佛名與十二大願之最重要的第一、二大願,作為藥師念佛法門的總攝。進而拈舉經典,依「實相藥師佛」、「六念法門之念藥師佛」、「觀藥師佛相」、「念藥師佛三昧」等方式,闡明藥師佛本願特質所形成的藥師念佛法門之健康禪道,並對鏡像神經元與念佛法門作科學與宗教修行的連結討論。
在觀想佛名、佛德、佛境界時,因定慧故,身心健康安樂;而藥師佛琉璃光
明,內外透徹,藥師佛心特別救度眾生身心苦迫,當修行者念觀藥師佛時,會比起念觀其他佛身,更能與藥師佛身、本願相應,於身心安康,消除障礙有所助益。
念藥師佛三昧,具如藥師大慈大悲,以自心為藥師佛悲心,以眾生皆是藥師佛,自己與眾生皆與藥師佛無異,由此在現世人間實踐藥師菩薩行,成就佛道。這些也正與藥師佛本願最重要的二願相應,亦由此涵攝其他十願,所謂第一大願生佛平等願,第二大願佛身如琉璃,作諸悲智大用願;而且亦顯露藥師念佛法門的特色,具足健康禪之身體健康、心靈安樂、智慧慈悲、圓滿佛道之身心靈面向。
New Male Youths in Anxiety:An Analysis of ‘I/Me’ in Lu Xun's “The New-Year Sacrifice” and Lu He-Ruo’s “The Temple” and “Moonlit Night”
蘇美文
Su Mei Wen
中華科技大學 通識教育中心/建築系 副教授
Associate Professor,Center for General Education/Department of Architecture,
China University of Science and Technology
摘 要
本文以「女性」視角,選擇魯迅〈祝福〉與呂赫若〈廟庭〉、〈月夜〉小說為對象,以二人寫作小說時同時使用的第一人稱敘述者:男性的「我」來作各面向的探討,並將之互相比較,呈現二位作者筆下的二位男新青年對傳統文化下女性困境的態度。共從七個面向來呈現與比較:
(一)身份:返鄉的男新青年
(二)「我」面對的傳統女性困境
(三)「我」的心境變化
(四)「我」與女主角的關係與互動
(五)「我」與其他角色的互動
(六)「我」的宗教背景敘事:祝福、廟庭
(七)「我」投射的大自然敘事:雪與月
都是用第一人稱「我」為敘述觀點視角,這個「我」又都是那個時代的男性新青年,由他們來看女性的困境,以及傳統文化的僵化,顯現需要改變而無法改變的困難。經過分析,這二位男新青年,一個幽微,一個直接;一個不安、模糊、逃避,甚至後來心情還變舒坦了,一個憤怒、悲痛轉而低聲下氣;但二者都充滿著焦慮與無力感。
關鍵字:魯迅、呂赫若、祝福、廟庭、月夜、新青年
Abstract
Focusingon Lu Xun's “The New-Year Sacrifice” and Lu He-Ruo’s “The Temple” and “Moonlit Night” that were all written with male ‘I/me’ in the first-person narrative, this paper analyzes these literature in every aspect, and compares to each other in the female perspective, so as to present the attitude of two new male youths towards females’ difficulties under the traditional culture. There are seven aspects for presentation and comparison:
1. identity: home-coming new male youths; 2. ‘I’ facing traditional females’ difficulties; 3. ‘I’ with change in mind; 4. relationship and interaction between ‘I’ and the female character; 5. interaction between ‘I’ and other characters; 6. narrative of religion background of ‘I’: blessing ceremony at the end of year and square in front of Guan-Di Temple; 7. narrative of nature reflected upon ‘me’: snow and moon
These literature were all narrated in the first-person perspective while these ‘I/me’ presented new male youths in that era. Difficulties that should be changed but in vain were viewed by them towards females’ dilemma and rigid traditional culture. Therefore, for these two new male youths, one’s attitude was indirect while the other’s was straightforward; one’s was with anxiety, ambiguity, avoidance but finally at ease while the other’s was with anger, sorrow but submission in the end. However, they were all with disquiet and felt helpless.
Keywords: Lu Xun, Lu He-Ruo, “The New-Year Sacrifice,” “The Temple,” “Moonlit Night,” New Male Youths