法情

生命之实相



庄子志在逼显生命之实相，进而以生命实相来统合生命之表象，而将表象之局部性、有限性、短暂性、对立性、依附性等一一化入实相—道—的一体性、无限性、恒久性、绝对性、自立性中。<齐物论>旨在以实相齐表象，而获致生命之真平等；<逍遥游>则以独一实相游於众多表象中，而获致生命之大自由，使实相与表象之对立不至於成为吾人生命超升之障碍。进而以之为阶梯，设法融贯表象之杂多性与实相的统一性，达成「一中有多，多中有一」的生命无碍境界。



在此，我们可以仿柏格森（H. Bergson)的说法，作如下之比论：庄子以道为其生命绵延之韵律，一切物质之表象在此绵延之韵律中不断被取消彼此间的差异性，而无数瞬间所制造的杂多性，也於是进入永恒的系统中，终归寂寂。由认识论进入形上实体，实相是道：而道作为知行之原则，道则逼显了生命之实相，而此一生命之实相在动态的道的历程中，生命之无尽绵延在此，生命之无穷律动在此，如此，差异不断被取消，因时间相续而起的变化的状态终归於原则不变的生命系统，生命的超时间性并不必在破坏生命的时间相之後才显现，因生命的实相之所以摆脱表象的纠缠，原是为了以实相融化表象，以一化多，而终於一多无碍，理事无碍。庄子以道统合万物之理，以万物共通之理统合万物差殊之事相。生命全体之显豁，乃生命之实相与表象互动的结果，其间，道不断进行理事之涵摄与统合。



表象之分殊并不碍实相之统一，由分殊可趋向统一，乃是庄子以道融贯一切事相理相的高明手法所致。由事相理相之各种角度，皆可见生命之实相，故生命之各境界及价值之各层次，皆可升进於道的最高境界。各分殊表象之间，具备互成一体的有机的关系。



为了融贯实相与表象，庄子於是运用高超的象徵手法，将实相之在表象中者或表象之在实相中者，全转为曼妙生动的象徵，以共同组合成一大意义系统。故对庄子而言，人不仅是理性的动物，更是「象徵的动物」。人以象徵照见生命之意义，人以象徵抉取自然之机趣。象徵是意义的结晶，运用象徵，一方面是为了避免二分法的谬误，不使思维落入逻辑的陷阱中；另一方面，则是为了保持生命的完整性及活动性，以展现生命之实相。在象徵相互交织之际，实相与表象乃相互渗透。可以说，一大生命体中，无处不是象徵，无不可据之以作生命之完整之诠释，故象徵手法使庄子生命哲学展现了独特风貌。道之有象有物有精有信，乃庄子所特别关注的，透过道之象、物、精、信等实存之义涵，庄子发现生命之内涵是无比丰富的，而生命内涵所以无比丰富，乃在於生命之精神元素与物质元素可作全面而深广的整合，这就是象徵手法的高度运用，以超於实相与表象之二分，以超於精神与物质之二分，而终助成生命一体之超升及一贯之完成。

生命的自我实现



确立了生命之本体，吾人才可能进行价值之辩证、价值之超越及价值之实现。庄子以气为生命之本体，以道为生命之法则。



庄子的气具有本体之意义，故谓之「一气」，生命体之为一个完整的个体，乃此「一气」所致，而气之化生与流行，则遵道而生，循道而行。



在此，吾人可如此界定：气之化生即生命价值之具现，气之流行即生命价值的大统合。也可以说，气的活动就是价值的实现活动。生命以气进行各种价值的活动，生命之内涵由气所变现，其中无不是价值的体现。



而道的形上意义与气的形上意义可经由价值之统合而不断地结合，此一结合即生命的自我实现，由小生命而大生命，此一统合、结合的历程是无穷的。

Interesting matter during CNY- Light and Sun
Man made and Natural Phenomena


Light for Buddha


Oop! One bait missing of Sun


Ha...ha...slowly gain back


Ya, almost back to normal

Life and Death


Good Karma; a sense of Prosperity



Bad Karma; a sense of Innoncient (Na Mo A Mi To Fo)

Lion Dance



Well, got you



Oh! Can't get it



Let see, whether you scare or not!

Kungfu Lion



Woo...gotcha...gotcha



Smile! well done!!

cap gomei - full moon


On Feb 9, at 10.50pm what was happen to moon?



waited for two hours, nothing seems to happen...



try to get the best shoot at least

生命之真









庄子的归真—归生命之真，实即生命之发展，而生命发展为一辩证历程—内外、上下、纯杂、一多、人我、有我无我、有与无、道与德等，皆在生命的辩证历程中，皆是生命辩证的实际课题，皆足以助成生命的大回归与大统合。

Europe Trip- Jun 13-26, 2009

This trip come about before April, when one of my friend (who also an architect) about to finish his Master degree in London suggested to joint him for an Europe tour. Another friend of my (who was my classmate) started to plan our itinerary through internet, book air ticket and accommodation.


We know our itinerary was very short and rush, plan to cover 6 major cities in 3 country in about 13 days.


First Stop
LONDON
The largest city in Europe, London is home to about seven million people. Founded by the Romans in the first century AD as an administrative center and trading port, the capital is the principal residence of British monarchs, as well as the center of government and business, and is rich in historic buildings.



Window view of St Paul's Cathedral from inside Tate Modern.



St Paul's Cathedral rebuilt on the site of a medival cathedral after the Great Fire of 1666, this magnificent Baroque building, designed by Sir Christopher Wren, was completed in 1710.
At 110 m (360 ft) high, the dome is the second largest in the world, after that of St. Peter's in Rome.


Know as both the London eye and the Millennium Wheel,
this huge 443 foot ferris wheel on the South Bank gives
a fabulous bird's eye view of London.

We took a Bus no. 24 from hostel to Houses of Parliament near the Thames river, and walk all the way along the South Bank to Tate Modern, which pass by London Eye.


London Eye from Houses of Parliament down the river.



Tate Modern
One of the world's most important collections of 20th century art now has a worthy home in this imposing former power station with its vast, cathedral-like spaces.
Originally designed by Sir Giles Gilbert Scott, the architect of London's red telephone kiosks, the huge Bankside building had been disused since 1981, when it was acquired by the Tate Gallery in 2000. Swiss architect, Herzog de Meron were responsible for the building's redesign, which allows the works of art to be displayed in a dynamic style suited to their innovatiove spirit.


View of Millennium Foot Bridge by Sir Norman Foster, from the balcony of Tate Modern.