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Fo Guang Shan is in the corner of Dashu District, Gaoxiong City, Taiwan. The reporter drove from Gaoxiong City, along the broad asphalt road between rows upon rows of buildings. As time went by, the urban landscape went far gradually, and our sight has been filled with winding country lanes and staggered village houses. Through innumerable twists and turns, all we could see were only scattered villages and brimless open space. The saying “life is a process of walking into society and out of society” could surely be applied here.
When the “Wendao Hall” came into our sight, the car entered the Fo Guang Temple. It seemed that the profound Buddhist buildings filled the whole world and the anima embedded in the air made every visitor praise the solemn of the sacred place. Master Hui Shi received us. He was a Malaysian Chinese and converted to Buddhism decades ago. He was always smiling while he speaking and walking with an elegant gesture like an immortal. Under his guidance, we stepped on the pure land of Fo Guang Temple.
佛光山偏安于台湾高雄市大树区一隅，记者一行驱车自高雄市出发，一路沿着宽阔的柏油路穿梭在两侧栉比鳞次的水泥钢筋之中，随着时间的推移，都市的风光渐行渐远，不知何时视野早已被蜿蜒的乡间小路和那高低交错的村镇楼宇所取代，百转千回，行至最后，收在眼底的竟然只有零星的村落民居以及一望无际的开阔，着实应了那句话“入世出世走一遭”。
伴着“问道堂”的映入眼帘，车子驶进了佛光山，登时一片宏伟的佛教建筑群仿若充斥了整个世界，空间中升腾的佛国净土的灵气，令所有到访者无不由衷的感叹着佛教圣地的庄严。接待我们的慧是法师是位马来西亚籍华人，在佛光山皈依佛门已有十几年的时间，言语间总是洋溢着慈善的笑容，他走起路来僧衣飘飘的姿态，竟如出世仙人一般，一路在他的指引下我们才真正踏进佛光山寺的净土。
“Natural museum of original ecology”
“原生态的自然博物馆”
It cannot be more appropriate to call the Fo Guang Temple a “natural museum of original ecology”. What differentiates it from other temples is that we not only see delicate sculptures of Buddha and smell the fragrance of sandalwood, but also feel the calm in the old trees, birds singing, and beautiful flowers here. They all inspire people’s admiration for Buddha. According to Master Hui Shi, the bodhi trees and red sandalwoods have grown here for hundreds of years. Since the foundation of Fo Guang Shan, the monks have obeyed Venerable Master Hsing Yun to preserve these old trees that can reach into the sky. Every tree and every blade of grass have been preserved in the original status. Moreover, Master Hsing Yun also call on people to return the mountain to forest and collect plants from society to integrate the skills of craftsmen into nature, which enables the visitors to “feel close to nature and understand the value of life” in person.
The reception in the temple is called Dendrocalamus latiflorus Garden. Just as the name implies, the place used to be a Dendrocalamus latiflorus forest. The name means to let every visitor remember this natural landscape in whirling shadows. What’s more interesting is that there are statues of novice monks in various gestures around the garden, vivid and agile. The harmonious relationship between human and nature is self-evident. In such a life-preserving Buddhist garden, listening to the morning bell and evening drum, looking up at the solemn several-hundred foot-high Buddha in the City of Buddha and looking down at the rivers wriggling down the mountain, and feeling the integration of human, Buddha, and nature, one undoubtedly enjoy the most amazing things in the world. 如果说把这座佛光山寺称之为一座“原生态的自然博物馆”，应该再恰当不过。与其他庙宇不同的是，沿着陡峭的山路前行，除了精美的佛陀雕像、氤氲的檀香味道激发起人们内心深处对佛陀的膜拜感外，那随处可见鸟语花香、古木盎然的沉静也让记者多了一分对这片佛家园林内自然生命的肃然起敬。据慧是法师介绍，这沿途的菩提树、紫檀等树中有的竟然足足生长了数百年的时间之久，自佛光山开山建寺以来，憎侣们就遵照开山鼻祖星云大师的嘱托，将这一株株参天古树保存了下来，一草一木均保留着最原始的状态，不止如此，星云大师还号召众人还绿于山，并向社会募集树木花草，力促将能工巧匠的技艺与大自然真正融为一体，现身说法的让所有到访者“亲近自然，体悟生命的价值。”
寺内名叫麻竹园的地方是佛光山寺接待处，顾名思义这里原本是一片麻竹林，取名麻竹园是为了让每一个到访者在竹影摩挲间怀念这片曾经的自然景象，更颇有意思的是麻竹园周遭被安放在葱郁之中的各种姿态的小沙弥，灵动感十足，人与自然的和谐寓意不言而喻。在如此护生的佛家园林中参悟佛法，聆听暮鼓晨钟，仰视大佛城内庄严肃穆的百尺大佛，俯视山下蜿蜒数百里的河流，体味人、佛、自然的水乳交融，无疑是人世间最为美妙的事情。
The Buddha Memorial Hall, a natural museum of original ecology, is also a classic natural landscape that should not be missed in Fo Guang Shan. Walking on the Way of Buddhism, we can see 40 bodhi trees on the sides of roads, guarding the green grass, colorful bougainvillaea, and budding nandina elaborating the charm of nature as a host. Even when we walk around the corner of the road, blossomed flowers can be seen everywhere. Especially Zhi Garden, it is the first established natural garden built in the early stage of the building of the temple.
“We must plant trees and welcome everybody to come here to appreciate the beauty of mountain and forests.” Master Hsing Yun said so when he founded the Fo Guang Shan Monastery. It’s hard to imagine that the original land of Fo Guang Shan only had 30% soil suitable for the grow of grass and flower, and the left 70% was all gravel. The monks picked up every piece of rock by their bare hands, and planted grass and flowers, bearing in mind that “picking up stones is also a kind of practice to pick out what bothers you in your mind.” After three weeks, 10 inches of soil as well as its vigor was unveiled. Every blade of grass and tree has life. When you feel the holiness of Buddhism in the fragrance of flowers and the singing of birds, you will admire nature more.
提及原生态的自然博物馆，佛陀纪念馆亦是佛光山自然景观不容错过的经典。信然行走在成佛大道之上，两侧40株粗壮的菩提树摇曳着枝桠，在微风中守护着茵茵的青草，艳丽盛开的九重葛，新芽萌生的南天竹，以主人的姿态诠释着大自然的奥妙经典。即便是行走在路的转角处，吐露芬芳的花朵也随处可见，尤其是祗园，更是在佛馆建造之初，成为最先竣工的自然园林。
“一定要种树，让大家来佛馆可以欣赏山林之美。”这番话是星云大师在开山之初所言。但难以想象的是在最初佛馆建造的土地上，只有30%是适合花草栽种的土壤，剩下70%全是难垦的碎石，困难可想而知。佛光山的僧众们凭借着“捡石头也算是一种修行，把自己心中的烦恼捡掉”的信念一起捡石头、铺草皮、种花树，如此三周时间之后，石头一颗一颗被众人抬起，露出深达10公分高的土壤，同时也吐露出蓬勃的生机。一草一木皆有灵性，在鸟语花香之中体味佛家的神圣，崇敬感顿由心升。
Evening drum and morning bell:
ring the bell of protecting lives
暮鼓晨钟：敲响护生之音
“Bass drums” were used for assembling people. It’s usually made of animal skin for the best sound effect. Walking along the Way of Buddhism and going through eight Buddhism towers including First Jiao Stupa, Second Zhong Stupa, Third Hao Stupa, Fourth Gi Stupa, Fifth He Stupa, Sixth Du Stupa, Seventh Jie Stupa, and Eighth Dao Stupa, we can see a giant bass drum with the diameter of 210cm and height of 270cm high sitting on the drum tower. When there are important religious ceremonies, it’s used to wake people’s ignorant mind. It’s no surprise the size of the drum is hugh, but its texture is very special. The 1200kg-weighed drum is completely made of plant fiber, fiber glass and chemical fiber material, which is consistent with the spirit of “protecting lives”. In Buddhism, there is an “Origin Theory”, which is the main doctrine of Buddhism and the essence of all Buddha dharma. Buddha defined “Oringin” as “the being of one causes the being of the other, and the origin of one causes the origin of the other; the nonbeing of one causes the nonbeing of the other, and the death of one causes the death of the other.” The four sentences reflect the dependent existence at the same or different time. We always read in Buddhist sutras that “dharma does not emerge by itself, but originates for reasons.” It means that things in the world cannot come into being without ground and exist by themselves, but rely on the concordance of certain reasons and conditions. Once one of these conditions is absent, things go in vanish. In this theory, we are interdependent with other species, and the earth is the homeland owned by all living creatures. To protect other species is to protect ourselves.
“大鼓”在佛教古来被作为敲打集众之用，一般为了追求最佳的声音效果多用动物皮质制成，但沿着成佛大道继续前行，穿越一教塔、二众塔、三好塔、四给塔、五和塔、六度塔、七诫塔、八道塔这蕴含深邃佛理的佛门八塔之后，却有着这样一面直径210公分、高度达270公分的大鼓静静的安放在鼓楼之上，待有重大法事集会之时用来荡涤人们的心灵，敲醒愚钝的行为之用，这面鼓之大倒不是什么稀奇，出彩之处在于它的材质，这么一面重达1200公斤的大鼓竟然完全用植物纤维、玻璃纤维与化纤材料制成，皆为取其“护生”之意。
在佛教中有一种“缘起说”，他既是佛教最主要的教义，也可说是全部佛法的核心。曾经佛陀给“缘起”下过这样的定义:“此有故彼有，此生故彼生；此无故彼无，此灭故彼灭。”这四句就是表示同时的或者异时的互存关系。我们也常常看到佛经上说“法不孤起，仗缘而生”，意思就是指世界上的事物，既非凭空而有，也不能单独存在，必须依靠种种因缘条件和合才能成立，一旦组成的因缘散失，事物本身也就归于乌有。从缘起法的观点来看，我们与地球上的其他物种是相互依存的，地球是一切生物共有的家园，保护其他物种其实就是在保护我们人类自己。
The mercy benevolence of Buddhism is based on the idea of Buddha’s nature. All living creatures in the world have Buddha nature, so all living creatures are equal. Mankind is interdependent and co-existent with other species, and we should oppose the anthropocentrism idea that other species are tools of human beings. Therefore, the Buddhism ecological theory included in Buddhism is interlinked with the modern ecological theory.
We all believe it’s hard to be a pious follower, but the masters of Fo Guang Shan can even carry forward the essence of respecting nature and being kind to all living creatures in such a detailed way, which is really impressing and admirable. It’s said that in order to make this drum of “protecting lives”, the workers spent over a year studying material and techniques to guarantee the best sound effect. Facing such a solemn and profoundly sacred instrument, the reporter cannot help showing the respect before listening to its sound.
佛教的慈悲观，是建立在佛性思想上的。众生皆有佛性，所以众生平等，人类与其他物种是共生共存的关系，要反对人类中心主义那种将其他物种仅仅看作是人类工具的观点。因此可以说，佛教思想中包含的佛教生态学理论与现代生态学理论是相通的。 都说礼佛难，佛光山的法师们竟能在如此细节之处，将佛家尊重自然，善待生灵的缘起说精髓发扬出来，令人不得不折服与震撼。据介绍为了做成这面护生之鼓，鼓匠人足足耗费了一年有余的时间，研究选材与制作工艺，方才保证其音质的浑厚与悠远。面对如此庄严大气的法器，记者竟然未闻其声却早已心生敬畏。
Arhats show equality
between men and women
男女平等 罗汉启示
In recent years, with the ups and downs of feminist movements, pursuing equality of men and women and safeguarding women’s rights and interests have become the hottest topic of the international society. But due to historical reasons, women’s status is still more or less unequally treated. As to Arhats, have you ever seen a female one in historical books, movies or television plays? In the traditional Chinese drama Journey to the west, all Arhats are kind and amicable males. But in Fo Guang Shan, the reporter found three female Arhats with benign faces at the “Bodhi Square”.
With hidebound ideas of Arhats in mind, when stepping into the Square, the reporter did not pay much attention to the sculptures displayed around. From the artistic point of view, these sculptures were wonderful workmanship excelling nature. Their figures in clothes fluttering in the wind and kind and soft faces looked very gentle and peaceful under the Madagascar almond trees, which were totally harmonized with the surrounding Buddhist landscape. But the reporter did not feel surprised at all these. Seeing no clue was found by the reporter, the guide Master Hui Shi pointed at three Arhats and said: “Look, here are three female Arhats- Da Aidao Nagasena, Lian Huase Nagasena and Miao Xian Nagasena.” Following the finger of Master Hui Shi, the reporter certainly found three female figures among the eighteen Arhats. “Bringing in female Arhats, Great Master Xing Yun was not to follow the trend of modern times, but to truly realize the notion of equality of all human beings in Buddha dharma. Everyone in the world, no matter rich or poor, male or female, young or old, can be enlightened to be a Buddha through cultivating themselves.”
近年来随着女权运动的跌宕起伏，追求男女平等、维护妇女权益问题已经成为国际社会最为关注的热点问题之一，但是由于历史原因，女性仍或多或少受到不平等的对待，提及罗汉，无论是从历史著作之中，还是影视剧中，您有没有听过女罗汉？在中国的传统戏码《西游记》中多次出现的罗汉无一不是以慈善和蔼的男性形象出现，但在佛光山，记者却在“菩提广场”观摩到三位慈眉善目的女性罗汉形象。
遵照内心对罗汉墨守陈规的概念，记者初踏进菩提广场时，对陈列四周的罗汉雕塑并未十分在意，单从艺术角度讲，这些雕像群的制作可以称得上是巧夺天工，无论是衣袂飘飘的身姿还是慈祥柔和的面容，在小叶榄仁树下都显得非常的柔和与宁静，与周遭的佛教景观非常的契合与融洽，但却也并不意外。见记者未发现其中端倪，向导慧是法师手指其中的三尊罗汉雕像介绍到:“看，这是三名女性罗汉，大爱道尊者、莲华色尊者和妙贤尊者。”顺着慧是法师手指的方向，记者果然发现在这十八罗汉的群雕之中，有三位女性的身影，“星云大师将女罗汉纳入雕像之中，并不只是要跟随现代潮流，而是真正的要实现佛法之前，众生平等的理念，世间之人无论贫富贵贱、男女老少，皆能透过资深修行，开悟成佛。”
The founder Great Master Xing Yun has always proposed “Humanistic Buddhism”, and he wrote: “From the Buddhist idea that ‘every living creature has Buddhist nature’, women should also be respected. Women’s wisdom and ability are not second to men’s and they should take part in political, social and other public affairs, and actively increase the opportunity and broad the level for service.” “This world is half men’s and half women’s, and in a civilized society, cultured men should respect women’s rights and advocate equality of men and women.” (From Great Master Xing Yun’s Buddhism Should Have More Gender Equality) We often misunderstand Buddhism in a lot of cases by regarding it as a faith and without weighing and considering and brush past it. Actually, many principles of Buddhism are also rules of doing things in daily life, which is just related to faith.
佛光山的开山鼻祖星云大师一直以来倡导“人间佛教”，他更曾经撰文道：从佛教“众生皆有佛性”的思想来看，女子也应当是被尊重的众生。女众的智慧、能力并不亚于男众，应该参与政治、社会等各种公众事务，积极扩大服务的机会与层面。”“这个世间本来就是男人一半，女人一半，文明社会中，有修养的男众应该尊重女权，倡导男女平等。”（《出自星云大师“佛门更应男女平等两性平权》一文）
如此看来我们很多时候都误解了佛教，单将其看作是一种信仰，而没有更多的揣摩与参悟，甚至擦肩而过。其实很多佛理也正是世间为人处世之法则，而与信仰只是相关罢了。
Picture of Protecting Living Things-combination of ecology and arts‘
护生图——生态与艺术的结合
With sincere hearts, the reporter and others visited the Buddha Memorial Hall and appreciated Buddhist art classics build by artists with painstaking efforts, staring and wowing. Impressed by Buddhist culture, when turning back on the ring road, people were surprised repeatedly. On the outer wall of the corridor, colored pictures of Protecting Living Things appeared vividly like embossments, like a huge picture book hanging on the wall to attract people’s attention.
带着虔诚之心，记者一行参观了佛陀纪念馆本馆，欣赏到馆内艺术家用心血铸造的佛学艺术经典，瞠目之余，无不啧啧称奇。感受着佛教文化带来的心灵冲击，记者一行折返而归，不曾想途中竟然在环馆道路上惊喜连连，佛馆的廊道外墙之上，一幅幅彩书护生图如浮雕板跃然墙上，俨然一本挂在墙上的超大绘本般夺人眼球。
Picture of Protecting Living Things is the work of famous cartoonist Feng Zikai with the inscription of Master Hong Yi in the early National Republic of China, which picturized the Buddhist compassionate teachings of protecting living things and no killing. It’s unthinkable that the designer of the Hall brought the lifelike pictures on the wall by drawing them with mud. Every visitor here can feel visual impact in a short time and learn the essence of Buddhist doctrines quickly.
The pictures contained the contents of voicing the discontents of suffered creatures, harmonious coexistence between human beings and other living things, condemning brutal slaughters, well doings of protecting living things in daily life and literary quotations from history books. The notion of equality of all living things was demonstrated clearly in these tiny squares with just a few lines. The picture of Dead Mother Bear showed even a mother bear shot by hunters would still try to protect its child instinctively even in extremis. All pictures from the perspective of changing positions revealed the harmonious coexistence between nature and humanity, which is a live teaching material.
《护生书籍》是著名漫画家丰子恺所绘民国初年大德弘一法师题字的画本。该书将佛教护生、不杀生的慈悲教义，以图像艺术呈现出来。实在是难以想到，佛陀纪念馆的设计师竟然将这样一个栩栩如生的画本用泥作功法，展示在外墙上，让每一位到访者在短时间内通过视觉冲击，迅速阅读到佛学教义精髓。 细细研读画本所选画幅，或替遭殃生物鸣不平，或绘人与物相处的和睦，或谴责虐杀的残忍，或发掘日常护生的善行，或勾陈史书的典故，方寸之间，寥寥数笔，众生平等的观念便清清楚楚的勾勒出来。看这幅“已死的母熊”展现的即是被猎人所射杀的母熊在弥留之际本能的对孩子的保护。一幅幅作品都以换位思考的角度，展现自然万物与人类之间的和谐相处，实乃是一本活教材。
Postscript :
后记：
For Fo Guang Shan, the reporter was just a passer-by in a hurry, who had not appreciated the quintessence there yet within two days and was already on the way to next destination. But what mentioned above were not only a visual feast but also mind cleansing. People’s recognition of Buddhism has always been very superficial as they regard it as doctrines. From this visit to Fo Guang Shan, the reporter’s biggest impression was that Buddhism was actually not far away from us and it was in our daily life, our work and every parts of the world. So why not try to study, work and realize the harmonious coexistence and continuousness between man and nature and among human beings with the Buddhist point of view.
对于佛光山而言，记者只是一个匆匆的过客，两天的时间甚至还未曾细细品味到佛光山的精华就已经赶赴在下一个行程的路上，但文中所提几点带给记者却并不止是视觉上的盛宴，而是心灵上的荡涤。一直以来，世人对于佛教的认知或只有皮毛，或将其归于教义一类。而佛光山归来，记者最大的感受竟然是佛学其实并不遥远，他其实就在我们的生活中，在我们的工作中，在世界上的每一个环节之中。如此，何不尝试着用佛学的观点去学习，去工作，去实现人与自然、人与人之间的和谐共处与延续。
When the “Wendao Hall” came into our sight, the car entered the Fo Guang Temple. It seemed that the profound Buddhist buildings filled the whole world and the anima embedded in the air made every visitor praise the solemn of the sacred place. Master Hui Shi received us. He was a Malaysian Chinese and converted to Buddhism decades ago. He was always smiling while he speaking and walking with an elegant gesture like an immortal. Under his guidance, we stepped on the pure land of Fo Guang Temple.
佛光山偏安于台湾高雄市大树区一隅，记者一行驱车自高雄市出发，一路沿着宽阔的柏油路穿梭在两侧栉比鳞次的水泥钢筋之中，随着时间的推移，都市的风光渐行渐远，不知何时视野早已被蜿蜒的乡间小路和那高低交错的村镇楼宇所取代，百转千回，行至最后，收在眼底的竟然只有零星的村落民居以及一望无际的开阔，着实应了那句话“入世出世走一遭”。
伴着“问道堂”的映入眼帘，车子驶进了佛光山，登时一片宏伟的佛教建筑群仿若充斥了整个世界，空间中升腾的佛国净土的灵气，令所有到访者无不由衷的感叹着佛教圣地的庄严。接待我们的慧是法师是位马来西亚籍华人，在佛光山皈依佛门已有十几年的时间，言语间总是洋溢着慈善的笑容，他走起路来僧衣飘飘的姿态，竟如出世仙人一般，一路在他的指引下我们才真正踏进佛光山寺的净土。
“Natural museum of original ecology”
“原生态的自然博物馆”
It cannot be more appropriate to call the Fo Guang Temple a “natural museum of original ecology”. What differentiates it from other temples is that we not only see delicate sculptures of Buddha and smell the fragrance of sandalwood, but also feel the calm in the old trees, birds singing, and beautiful flowers here. They all inspire people’s admiration for Buddha. According to Master Hui Shi, the bodhi trees and red sandalwoods have grown here for hundreds of years. Since the foundation of Fo Guang Shan, the monks have obeyed Venerable Master Hsing Yun to preserve these old trees that can reach into the sky. Every tree and every blade of grass have been preserved in the original status. Moreover, Master Hsing Yun also call on people to return the mountain to forest and collect plants from society to integrate the skills of craftsmen into nature, which enables the visitors to “feel close to nature and understand the value of life” in person.
The reception in the temple is called Dendrocalamus latiflorus Garden. Just as the name implies, the place used to be a Dendrocalamus latiflorus forest. The name means to let every visitor remember this natural landscape in whirling shadows. What’s more interesting is that there are statues of novice monks in various gestures around the garden, vivid and agile. The harmonious relationship between human and nature is self-evident. In such a life-preserving Buddhist garden, listening to the morning bell and evening drum, looking up at the solemn several-hundred foot-high Buddha in the City of Buddha and looking down at the rivers wriggling down the mountain, and feeling the integration of human, Buddha, and nature, one undoubtedly enjoy the most amazing things in the world. 如果说把这座佛光山寺称之为一座“原生态的自然博物馆”，应该再恰当不过。与其他庙宇不同的是，沿着陡峭的山路前行，除了精美的佛陀雕像、氤氲的檀香味道激发起人们内心深处对佛陀的膜拜感外，那随处可见鸟语花香、古木盎然的沉静也让记者多了一分对这片佛家园林内自然生命的肃然起敬。据慧是法师介绍，这沿途的菩提树、紫檀等树中有的竟然足足生长了数百年的时间之久，自佛光山开山建寺以来，憎侣们就遵照开山鼻祖星云大师的嘱托，将这一株株参天古树保存了下来，一草一木均保留着最原始的状态，不止如此，星云大师还号召众人还绿于山，并向社会募集树木花草，力促将能工巧匠的技艺与大自然真正融为一体，现身说法的让所有到访者“亲近自然，体悟生命的价值。”
寺内名叫麻竹园的地方是佛光山寺接待处，顾名思义这里原本是一片麻竹林，取名麻竹园是为了让每一个到访者在竹影摩挲间怀念这片曾经的自然景象，更颇有意思的是麻竹园周遭被安放在葱郁之中的各种姿态的小沙弥，灵动感十足，人与自然的和谐寓意不言而喻。在如此护生的佛家园林中参悟佛法，聆听暮鼓晨钟，仰视大佛城内庄严肃穆的百尺大佛，俯视山下蜿蜒数百里的河流，体味人、佛、自然的水乳交融，无疑是人世间最为美妙的事情。
The Buddha Memorial Hall, a natural museum of original ecology, is also a classic natural landscape that should not be missed in Fo Guang Shan. Walking on the Way of Buddhism, we can see 40 bodhi trees on the sides of roads, guarding the green grass, colorful bougainvillaea, and budding nandina elaborating the charm of nature as a host. Even when we walk around the corner of the road, blossomed flowers can be seen everywhere. Especially Zhi Garden, it is the first established natural garden built in the early stage of the building of the temple.
“We must plant trees and welcome everybody to come here to appreciate the beauty of mountain and forests.” Master Hsing Yun said so when he founded the Fo Guang Shan Monastery. It’s hard to imagine that the original land of Fo Guang Shan only had 30% soil suitable for the grow of grass and flower, and the left 70% was all gravel. The monks picked up every piece of rock by their bare hands, and planted grass and flowers, bearing in mind that “picking up stones is also a kind of practice to pick out what bothers you in your mind.” After three weeks, 10 inches of soil as well as its vigor was unveiled. Every blade of grass and tree has life. When you feel the holiness of Buddhism in the fragrance of flowers and the singing of birds, you will admire nature more.
提及原生态的自然博物馆，佛陀纪念馆亦是佛光山自然景观不容错过的经典。信然行走在成佛大道之上，两侧40株粗壮的菩提树摇曳着枝桠，在微风中守护着茵茵的青草，艳丽盛开的九重葛，新芽萌生的南天竹，以主人的姿态诠释着大自然的奥妙经典。即便是行走在路的转角处，吐露芬芳的花朵也随处可见，尤其是祗园，更是在佛馆建造之初，成为最先竣工的自然园林。
“一定要种树，让大家来佛馆可以欣赏山林之美。”这番话是星云大师在开山之初所言。但难以想象的是在最初佛馆建造的土地上，只有30%是适合花草栽种的土壤，剩下70%全是难垦的碎石，困难可想而知。佛光山的僧众们凭借着“捡石头也算是一种修行，把自己心中的烦恼捡掉”的信念一起捡石头、铺草皮、种花树，如此三周时间之后，石头一颗一颗被众人抬起，露出深达10公分高的土壤，同时也吐露出蓬勃的生机。一草一木皆有灵性，在鸟语花香之中体味佛家的神圣，崇敬感顿由心升。
Evening drum and morning bell:
ring the bell of protecting lives
暮鼓晨钟：敲响护生之音
“Bass drums” were used for assembling people. It’s usually made of animal skin for the best sound effect. Walking along the Way of Buddhism and going through eight Buddhism towers including First Jiao Stupa, Second Zhong Stupa, Third Hao Stupa, Fourth Gi Stupa, Fifth He Stupa, Sixth Du Stupa, Seventh Jie Stupa, and Eighth Dao Stupa, we can see a giant bass drum with the diameter of 210cm and height of 270cm high sitting on the drum tower. When there are important religious ceremonies, it’s used to wake people’s ignorant mind. It’s no surprise the size of the drum is hugh, but its texture is very special. The 1200kg-weighed drum is completely made of plant fiber, fiber glass and chemical fiber material, which is consistent with the spirit of “protecting lives”. In Buddhism, there is an “Origin Theory”, which is the main doctrine of Buddhism and the essence of all Buddha dharma. Buddha defined “Oringin” as “the being of one causes the being of the other, and the origin of one causes the origin of the other; the nonbeing of one causes the nonbeing of the other, and the death of one causes the death of the other.” The four sentences reflect the dependent existence at the same or different time. We always read in Buddhist sutras that “dharma does not emerge by itself, but originates for reasons.” It means that things in the world cannot come into being without ground and exist by themselves, but rely on the concordance of certain reasons and conditions. Once one of these conditions is absent, things go in vanish. In this theory, we are interdependent with other species, and the earth is the homeland owned by all living creatures. To protect other species is to protect ourselves.
“大鼓”在佛教古来被作为敲打集众之用，一般为了追求最佳的声音效果多用动物皮质制成，但沿着成佛大道继续前行，穿越一教塔、二众塔、三好塔、四给塔、五和塔、六度塔、七诫塔、八道塔这蕴含深邃佛理的佛门八塔之后，却有着这样一面直径210公分、高度达270公分的大鼓静静的安放在鼓楼之上，待有重大法事集会之时用来荡涤人们的心灵，敲醒愚钝的行为之用，这面鼓之大倒不是什么稀奇，出彩之处在于它的材质，这么一面重达1200公斤的大鼓竟然完全用植物纤维、玻璃纤维与化纤材料制成，皆为取其“护生”之意。
在佛教中有一种“缘起说”，他既是佛教最主要的教义，也可说是全部佛法的核心。曾经佛陀给“缘起”下过这样的定义:“此有故彼有，此生故彼生；此无故彼无，此灭故彼灭。”这四句就是表示同时的或者异时的互存关系。我们也常常看到佛经上说“法不孤起，仗缘而生”，意思就是指世界上的事物，既非凭空而有，也不能单独存在，必须依靠种种因缘条件和合才能成立，一旦组成的因缘散失，事物本身也就归于乌有。从缘起法的观点来看，我们与地球上的其他物种是相互依存的，地球是一切生物共有的家园，保护其他物种其实就是在保护我们人类自己。
The mercy benevolence of Buddhism is based on the idea of Buddha’s nature. All living creatures in the world have Buddha nature, so all living creatures are equal. Mankind is interdependent and co-existent with other species, and we should oppose the anthropocentrism idea that other species are tools of human beings. Therefore, the Buddhism ecological theory included in Buddhism is interlinked with the modern ecological theory.
We all believe it’s hard to be a pious follower, but the masters of Fo Guang Shan can even carry forward the essence of respecting nature and being kind to all living creatures in such a detailed way, which is really impressing and admirable. It’s said that in order to make this drum of “protecting lives”, the workers spent over a year studying material and techniques to guarantee the best sound effect. Facing such a solemn and profoundly sacred instrument, the reporter cannot help showing the respect before listening to its sound.
佛教的慈悲观，是建立在佛性思想上的。众生皆有佛性，所以众生平等，人类与其他物种是共生共存的关系，要反对人类中心主义那种将其他物种仅仅看作是人类工具的观点。因此可以说，佛教思想中包含的佛教生态学理论与现代生态学理论是相通的。 都说礼佛难，佛光山的法师们竟能在如此细节之处，将佛家尊重自然，善待生灵的缘起说精髓发扬出来，令人不得不折服与震撼。据介绍为了做成这面护生之鼓，鼓匠人足足耗费了一年有余的时间，研究选材与制作工艺，方才保证其音质的浑厚与悠远。面对如此庄严大气的法器，记者竟然未闻其声却早已心生敬畏。
Arhats show equality
between men and women
男女平等 罗汉启示
In recent years, with the ups and downs of feminist movements, pursuing equality of men and women and safeguarding women’s rights and interests have become the hottest topic of the international society. But due to historical reasons, women’s status is still more or less unequally treated. As to Arhats, have you ever seen a female one in historical books, movies or television plays? In the traditional Chinese drama Journey to the west, all Arhats are kind and amicable males. But in Fo Guang Shan, the reporter found three female Arhats with benign faces at the “Bodhi Square”.
With hidebound ideas of Arhats in mind, when stepping into the Square, the reporter did not pay much attention to the sculptures displayed around. From the artistic point of view, these sculptures were wonderful workmanship excelling nature. Their figures in clothes fluttering in the wind and kind and soft faces looked very gentle and peaceful under the Madagascar almond trees, which were totally harmonized with the surrounding Buddhist landscape. But the reporter did not feel surprised at all these. Seeing no clue was found by the reporter, the guide Master Hui Shi pointed at three Arhats and said: “Look, here are three female Arhats- Da Aidao Nagasena, Lian Huase Nagasena and Miao Xian Nagasena.” Following the finger of Master Hui Shi, the reporter certainly found three female figures among the eighteen Arhats. “Bringing in female Arhats, Great Master Xing Yun was not to follow the trend of modern times, but to truly realize the notion of equality of all human beings in Buddha dharma. Everyone in the world, no matter rich or poor, male or female, young or old, can be enlightened to be a Buddha through cultivating themselves.”
近年来随着女权运动的跌宕起伏，追求男女平等、维护妇女权益问题已经成为国际社会最为关注的热点问题之一，但是由于历史原因，女性仍或多或少受到不平等的对待，提及罗汉，无论是从历史著作之中，还是影视剧中，您有没有听过女罗汉？在中国的传统戏码《西游记》中多次出现的罗汉无一不是以慈善和蔼的男性形象出现，但在佛光山，记者却在“菩提广场”观摩到三位慈眉善目的女性罗汉形象。
遵照内心对罗汉墨守陈规的概念，记者初踏进菩提广场时，对陈列四周的罗汉雕塑并未十分在意，单从艺术角度讲，这些雕像群的制作可以称得上是巧夺天工，无论是衣袂飘飘的身姿还是慈祥柔和的面容，在小叶榄仁树下都显得非常的柔和与宁静，与周遭的佛教景观非常的契合与融洽，但却也并不意外。见记者未发现其中端倪，向导慧是法师手指其中的三尊罗汉雕像介绍到:“看，这是三名女性罗汉，大爱道尊者、莲华色尊者和妙贤尊者。”顺着慧是法师手指的方向，记者果然发现在这十八罗汉的群雕之中，有三位女性的身影，“星云大师将女罗汉纳入雕像之中，并不只是要跟随现代潮流，而是真正的要实现佛法之前，众生平等的理念，世间之人无论贫富贵贱、男女老少，皆能透过资深修行，开悟成佛。”
The founder Great Master Xing Yun has always proposed “Humanistic Buddhism”, and he wrote: “From the Buddhist idea that ‘every living creature has Buddhist nature’, women should also be respected. Women’s wisdom and ability are not second to men’s and they should take part in political, social and other public affairs, and actively increase the opportunity and broad the level for service.” “This world is half men’s and half women’s, and in a civilized society, cultured men should respect women’s rights and advocate equality of men and women.” (From Great Master Xing Yun’s Buddhism Should Have More Gender Equality) We often misunderstand Buddhism in a lot of cases by regarding it as a faith and without weighing and considering and brush past it. Actually, many principles of Buddhism are also rules of doing things in daily life, which is just related to faith.
佛光山的开山鼻祖星云大师一直以来倡导“人间佛教”，他更曾经撰文道：从佛教“众生皆有佛性”的思想来看，女子也应当是被尊重的众生。女众的智慧、能力并不亚于男众，应该参与政治、社会等各种公众事务，积极扩大服务的机会与层面。”“这个世间本来就是男人一半，女人一半，文明社会中，有修养的男众应该尊重女权，倡导男女平等。”（《出自星云大师“佛门更应男女平等两性平权》一文）
如此看来我们很多时候都误解了佛教，单将其看作是一种信仰，而没有更多的揣摩与参悟，甚至擦肩而过。其实很多佛理也正是世间为人处世之法则，而与信仰只是相关罢了。
Picture of Protecting Living Things-combination of ecology and arts‘
护生图——生态与艺术的结合
With sincere hearts, the reporter and others visited the Buddha Memorial Hall and appreciated Buddhist art classics build by artists with painstaking efforts, staring and wowing. Impressed by Buddhist culture, when turning back on the ring road, people were surprised repeatedly. On the outer wall of the corridor, colored pictures of Protecting Living Things appeared vividly like embossments, like a huge picture book hanging on the wall to attract people’s attention.
带着虔诚之心，记者一行参观了佛陀纪念馆本馆，欣赏到馆内艺术家用心血铸造的佛学艺术经典，瞠目之余，无不啧啧称奇。感受着佛教文化带来的心灵冲击，记者一行折返而归，不曾想途中竟然在环馆道路上惊喜连连，佛馆的廊道外墙之上，一幅幅彩书护生图如浮雕板跃然墙上，俨然一本挂在墙上的超大绘本般夺人眼球。
Picture of Protecting Living Things is the work of famous cartoonist Feng Zikai with the inscription of Master Hong Yi in the early National Republic of China, which picturized the Buddhist compassionate teachings of protecting living things and no killing. It’s unthinkable that the designer of the Hall brought the lifelike pictures on the wall by drawing them with mud. Every visitor here can feel visual impact in a short time and learn the essence of Buddhist doctrines quickly.
The pictures contained the contents of voicing the discontents of suffered creatures, harmonious coexistence between human beings and other living things, condemning brutal slaughters, well doings of protecting living things in daily life and literary quotations from history books. The notion of equality of all living things was demonstrated clearly in these tiny squares with just a few lines. The picture of Dead Mother Bear showed even a mother bear shot by hunters would still try to protect its child instinctively even in extremis. All pictures from the perspective of changing positions revealed the harmonious coexistence between nature and humanity, which is a live teaching material.
《护生书籍》是著名漫画家丰子恺所绘民国初年大德弘一法师题字的画本。该书将佛教护生、不杀生的慈悲教义，以图像艺术呈现出来。实在是难以想到，佛陀纪念馆的设计师竟然将这样一个栩栩如生的画本用泥作功法，展示在外墙上，让每一位到访者在短时间内通过视觉冲击，迅速阅读到佛学教义精髓。 细细研读画本所选画幅，或替遭殃生物鸣不平，或绘人与物相处的和睦，或谴责虐杀的残忍，或发掘日常护生的善行，或勾陈史书的典故，方寸之间，寥寥数笔，众生平等的观念便清清楚楚的勾勒出来。看这幅“已死的母熊”展现的即是被猎人所射杀的母熊在弥留之际本能的对孩子的保护。一幅幅作品都以换位思考的角度，展现自然万物与人类之间的和谐相处，实乃是一本活教材。
Postscript :
后记：
For Fo Guang Shan, the reporter was just a passer-by in a hurry, who had not appreciated the quintessence there yet within two days and was already on the way to next destination. But what mentioned above were not only a visual feast but also mind cleansing. People’s recognition of Buddhism has always been very superficial as they regard it as doctrines. From this visit to Fo Guang Shan, the reporter’s biggest impression was that Buddhism was actually not far away from us and it was in our daily life, our work and every parts of the world. So why not try to study, work and realize the harmonious coexistence and continuousness between man and nature and among human beings with the Buddhist point of view.
对于佛光山而言，记者只是一个匆匆的过客，两天的时间甚至还未曾细细品味到佛光山的精华就已经赶赴在下一个行程的路上，但文中所提几点带给记者却并不止是视觉上的盛宴，而是心灵上的荡涤。一直以来，世人对于佛教的认知或只有皮毛，或将其归于教义一类。而佛光山归来，记者最大的感受竟然是佛学其实并不遥远，他其实就在我们的生活中，在我们的工作中，在世界上的每一个环节之中。如此，何不尝试着用佛学的观点去学习，去工作，去实现人与自然、人与人之间的和谐共处与延续。