因明

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Five mountains

Thursday, Aug. 23, 2007 THE GOZAN TEMPLES A rich repository of traditional Zen art By MICHAEL DUNN Special to The Japan Times For a subject in which words are considered an impediment to meditative insight, it is daunting just how many words are needed to explain Zen. It uncannily dodges any attempt at definition, and at least some exposure to the practice seems necessary before embarking on any worthwhile discussion of the subject. Four ink paintings from a set of 10 attributed to Tenshu Shubun (1414-63) illustrate the Zen pursuit of a state of "no mind" with a parable about a young boy taming a water buffalo. IMAGES COURTESY OF TOKYO NATIONAL MUSEUM Nonetheless, it is hard to imagine anything that has had a more profound influence on Japanese culture than Zen, apart from the natural world before the modern period. This is evident everywhere — in martial arts, tea ceremony, flower-arranging, Japanese architecture, garden design, noh drama — even in the scrubbed wood and clean lines of a sushi restaurant or the dancing calligraphy on its matchboxes. Zen is also a "way," like those cultural pursuits, in which practice and experience are far more valuable than a manual. A Buddhist concept imported in the 13th century from China, Zen espouses spiritual enlightenment through meditation and other contemplative practices, and the realization of truth through intuition rather than intellect. We can see parallels in the otherwise inexplicable psychological processes of artistic creation. An exhibition at the Tokyo National Museum, "Zen Treasures from the Kyoto Gozan Temples," is currently showing masterpieces associated with the Gozan (five mountains) Zen temples: Tenryuji, Shokokuji, Tofukuji, Kenninji and Manjuji. After meeting brief hostility from entrenched sects of esoteric Buddhism when it was first imported, Zen attracted the support of military rulers. The five temples, modeled after a Song Dynasty (960-1279) system in China, were established in Kyoto to promote the new sect of Buddhism. Ranking above these five temples was the huge Nanzenji Temple, which enjoyed Imperial support, and below them was an extensive network of subsidiary temples spread throughout the country. The Gozan temples functioned as de facto ministries for the dissemination of government directions and the monitoring of regional conditions, continuing the Chinese system on which they were modeled. Thus military rulers were able to promulgate control under a religious cloak, while high-ranking clerics — especially those with experience in China — took on government-service roles as translators, diplomats and advisers on foreign affairs. Mixing easily with the political and cultural elite, and well-supported by them financially, such clerics soon assumed a more secular, courtly style, living in palatial quarters and wearing silk robes, with the leisure to cultivate gentlemanly skills of social entertaining, painting and poetry. Many of the arts of the Gozan temples show elaborate features of the older sects of esoteric Buddhism and iconographic similarities with Song Dynasty culture. The temples served as repositories of art treasures brought back by monks who had studied Zen in China. These paintings, sculptures and ceramics were held in similar high regard to foreign brand-name luxuries today and were avidly collected, studied and imitated. Chinese subjects such as celebrated sites of natural beauty and figures from religious legend and history entered the artistic repertoire, so that many Japanese paintings show inspiration from the mainland even up to the modern period. Kamakura Period (1192-1333) Zen art is characterized by portrait paintings and sculptures of leading temple clerics. The sculptures are super-realistic — this was, after all, the golden age of religious sculpture in Japan — with inlaid crystal eyes that seem to follow every move. Almost without exception they are armed with a flat stick (keisaku), ever ready to give a salutary and reviving whack on the shoulders of monks who show signs of flagging diligence during meditation sessions. Those practicing Zen meditation are told to sit and think about nothing — far easier said than done — an achievement likened to the efforts of a young boy taming a water buffalo. A set of 10 ink paintings attributed to Tenshu Shubun (1414-63) show the stages of capturing the gentle but wayward beast, ending with the boy in total control, seated on its back, playing a flute — an analogy to the calmed state of mind, thinking about nothing, but intuitively alert. The exhibition provides a chance to see well-known but rarely displayed National Treasures familiar to students of Japanese art history. A famous pair of scroll-paintings of a scowling dragon and grumpy tiger attributed to Mokkei (or Mu Qi in Chinese) from Daitokuji Temple are shown, as is his landscape "River and Sky in Evening Snow" from Rokuonji Temple, which captures atmosphere in much the same way as the later English painter Joseph Mallord William Turner (1775-1851) did. Landscapes were a common theme for Zen priest-painters from the 14th to the 16th century. Color was used sparingly, if at all, and ink was the favored medium used to capture feeling and atmosphere. With the phrase "the colors of ink," Japanese describe how, in the hands of a master, ink tones can suggest the flamboyance of fall or the hues of spring blossoms more effectively than mere pigments. They depict towering mountains, placid lakes punctuated by a boat and a lonely fisherman, gnarled pine trees and a hermitage retreat for a lucky Zen monk, dwarfed by the magnificence of nature. These artists knew nothing of the vanishing point in perspective, but captured distance by using fading ink tones, and leaving blank space to suggest mist and vastness. The smaller hanging scrolls are haunting and evocative, and seem to provide portals to another, idyllic world — all the more poignant when we consider the wars and ever-present insecurity of the time when they were painted. Perhaps the feeling of Zen can be felt most in haboku (broken ink) landscapes that are almost abstract. A few hasty brush strokes of ink in various intensities suggest a sheer cliff, withered trees, a rustic roof in an infinity of space and diffused light — so seemingly simple and yet so difficult to accomplish. Landscape painting by Shubun Perhaps the most famous example is a landscape painting by Sesshu Toyo (1420-1506) with inscriptions by the monk Getto Shukyo and five others, now a National Treasure in the Tokyo National Museum. Almost completely abstract, this painting feels strangely modern and, in another format, would not look out of place in a modern gallery. This is truly an example of painting with "no mind," where the brush-hand works as a direct extension of expression without the interference of thought. A full-color catalog accompanies the exhibition, containing an informative essay by Asami Ryusuke in an excellent and clear English translation. Almost nothing of note about Zen has appeared in English since Suzuki Daisetsu's (1870-1966) "Zen and Japanese Culture" (1959) and Hisamatsu Shin'ichi's (1889-1980) "Zen and the Fine Arts" (1971). Asami gently points out the slightly opinionated, though well-argued direction of these books and adds much new insight in light of recent scholarship into how Zen established itself within Japan's military power structure. In their time, both Suzuki and Hisamatsu purported that certain aesthetic characteristics, such as asymmetry, simplicity, otherworldliness and subtle profundity, are evidence of Zen in works of art. But Asami points out that such sensitivity existed long before the arrival of Zen, and can be seen in earlier poetry such as a one-verse waka poem by Fujiwara Sadaie (1162-1241): My hut by the water in the autumn twilight — wherever I look, neither blossoms nor autumn leaves . . . Note how the verse conjures a monotone image without a trace of the expected exuberant colors of the season, and suggests the restrained atmosphere and sensitivity that we associate with the works of later Zen monks. With such observations, this is a fascinating and scholarly new appraisal of Zen art that is highly recommended for all with serious interest in this profound culture. "Zen Treasures from the Gozan Temples" shows till Sept. 9 at the Tokyo National Museum, Ueno Park; it then travels to Kyushu National Museum, Jan. 1, 2008-Feb. 24. For more information call (03) 3822-1111 or visit www.tnm.jp

09/27/2012 By Nina Weber Iron Man was carved from the remains of a meteorite, say scientists.Zoom AFP/ Uni. Stuttgart/ Elmar Buchner Iron Man was carved from the remains of a meteorite, say scientists. The statue was first discovered by the Nazis in Tibet as they were searching for the origins of the Aryan race. Now, scientists have established that an ancient Buddha statue known as the "Iron Man" was carved from the remains of a meteorite. Info The statue is some 24 centimeters tall, weighs 10.6 kilograms and depicts a male figure presumed to be the Buddhist god Vaisravana. It is believed to be 1,000 years old and it is made out of a material almost as hard as steel. Dubbed the Iron Man, researchers have now figured out exactly what that material is: meteorite. They published their findings in the journal Meteorics and Planetary Science on Thursday. Furthermore, the chemical make-up of the material reveals that it comes from the Chinga meteorite which slammed into the border region between Siberia and Mongolia some 15,000 years ago. Fragments of the meteorite have previously been found in the region. According to an interdisciplinary research team, it is the only human figure ever to have been found that is carved out of meteorite stone. The material's hardness comes from its high iron content in addition to containing some 16 percent nickel. Geologist Elmar Buchner from the University of Stuttgart, the primary author of the study, says the result is a material similar to steel. By now, the statue is well-travelled. It was brought to Europe in the late 1930s by Ernst Schäfer, a zoologist and ethnologist who visited Tibet on an expedition funded by the Nazis: Schäfer and his team were exploring the roots of the Aryan race. Soon to Be on Public Display Most probably, the team took the iron man with them because of the ancient Hindu swastika, a symbol of good luck and success, on his stomach. The Nazis, of course, used a right-facing swastika as a symbol of the Aryan race. According to Buchner, Schäfer had returned to Germany with a catalogue of objects found on the expedition, many of which were decorated with swastikas. But since this catalogue is no longer complete, it is unclear where Schäfer found the statue and how he came to bring it back to Europe. The statue then disappeared into a private collection for decades and was only brought to the attention of experts several years ago. Meteorites are considered in many cultures to be heavenly signs. In some places, the rocks are worshipped as holy objects, for example, by Native Americans in North America and the Aborigines in Australia. Knives and other objects made from meteorites, including bird figures, have been found in a wide range of locations. But the depiction of a human figure is thus far unique. The scientists have not been able to answer when exactly the statue was made. They presume it dates to the 11th century in the region of modern-day Tibet, and was made with a great deal of effort, because the artist had to work with the extremely hard material. He covered a large portion of the front part with a golden gild. Now that the scientists have determined the exceptional origin of the statue, they want to make it available to the public. "We plan to have it become part of a permanent collection in a museum, where it can be exhibited," Buchner says.

http://www.scribd.com/doc/43691507/The-Buddhist-Doctrine-of-Momentariness-A-Survey-of-the-Origins-and-Early-Phase-of-this-Doctrine-up-to-Vasubandhu

The Benefits of Meditation and Sacrifice by Aung San Suu Kyi

The rainy season retreat has begun. It is a time for offering robes to monks and for making special efforts toward gaining a better understanding of Buddhist values. In Burma, we look upon members of the sangha (the Buddhist religious order) as teachers who will lead us along the noble eightfold path. Good teachers not merely give scholarly sermons, they show us how we should conduct our daily lives in accordance with right understanding, right thought, right speech, right action, right livelihood, right effort, right mindfulness and right concentration.

Not long ago before my house arrest in 1989, I was granted an audience with the venerable U Pandita, an exceptional teacher in the best tradition of great spiritual mentors whose words act constantly as an aid to a better existence. U Pandita, the hole teacher, spoke of the importance of right speech. Not only should one speak only the truth, one's speech should lead to harmony among beings, it should be kind and pleasant and it should be beneficial. One should follow the example of the Lord Buddha who only spoke words that were trustful and beneficial, even if at times such speech was not always pleasing to the listener.

The holy teacher also urged me to cultivate mindfulness. Of the five spiritual faculties (ie, faith, energy, concentration, wisdom, and mindfulness), it is only mindfulness that can never be in excess. Excessive faith without sufficient wisdom leads to blind faith, while excessive wisdom without sufficient energy leads to undesirable cunning. Too much energy combined with weak concentration leads to indolence. But as for mindfulness, it is in excess, but always in deficiency. The truth and value of this Buddhist concept that holy teacher U Pandita took such pains to impress on me became evident during my years of house arrest. Like many of my Buddhist colleagues, I decided to put my time under detention to good use by practicing meditation. It was not an easy process. I did not have a teacher and my early attempts were more than a little frustrating. There were days when I found my failure to discipline my mind in accordance with prescribed meditation practices so infuriating I felt I was doing myself more harm than good. I think I would have given up but for the advice of a famous Buddhist teacher, that whether or not one wanted to practice meditation, one should do so for one's own good.

So, I gritted my teeth and kept at it, often rather glumly. Then my husband gave me a copy of Sayadaw U Pandita's book, "In this Very Life, the Liberation Teachings of the Buddha."

By studying this book carefully, I learned how to overcome difficulties of meditation and to realize its benefits. I learned how practicing meditation led to increased mindfulness in every day life and again and again. I recalled the holy teacher's words on the importance of mindfulness with appreciation and gratitude.

In my political work, I have been helped and strengthened by the teachings of members of the sangha. During my very first campaign trip across Burma, I received invaluable advice from monks in different parts of the country. I Prome, a holy teacher told me to keep in mind the hermit Sumedha, who sacrificed the possibility of early liberation for himself alone and underwent many lives of striving that he might save others from suffering. So must you be prepared to strive for as long as might be necessary to achieve good and justice, exhorted the holy teacher.

In a monastery at Pakokku, the advice that an abbot gave to my father when he went to that town more than 40 years ago was repeated to me: "Do not be frightened every time there is an attempt to frighten you, but do not be entirely without fear. Do not become elated every time you are praised, but do not be entirely lacking in elation."

In other words, while maintaining courage and humility, one should not abandon caution and healthy self-respect.

When I visited Natmauk, my father's home town, I went to the monastery where he studied as a boy.

There the abbot gave a sermon on the four causes of decline and decay: failure to recover that which had been lost; omission to repair that which had been damaged; disregard of the need for reasonable economy; and the elevation to leadership of those without morality and learning. The abbot went on to explain how these traditional Buddhist views should be interpreted to help us build a just and prosperous society in the modern age.

Of the words of wisdom I gathered during that journey across central Burma, those of a 91-year-old holy teacher of Sagaing are particularly memorable. He sketched out for me how it would be to work for democracy in Burma.

"You will be attacked and reviled for engaging in honest politics," pronounced the teacher, "But you must persevere. Lay down an investment in suffering and you will gain bliss."

Aung San Suu Kyi, Bangkok Post, September 1996.

PERCEPCIÓN

http://www.thebuddhistsociety.org.uk/abhidhamma.htm

The Abhidhamma Version of the Theory of Perception
by Y Karunadasa
(volume 75:4 p. 211) February 2001

The Abhidhamma theory of perception is the subject of a study made by E R Sarathchandra in his Buddhist Psychology of Perception . In this article we shall refer to it where necessary while making our own observations. Besides, we propose to refer to the theory of perception, developed by the Vaibhasikas and the Sautrantikas, wherever it helps to provide a better understanding of the Theravada version of the theory.

What could be considered as the earliest Buddhist teaching pertaining to sense-perception is found in the Madhupindika Sutta of the Majjhima Nikaya. As far as the Theravada is concerned, its subsequent version in its most developed form is found in the post-canonical commentaries and Abhidhamma compendiums. Although the two versions differ in some important aspects, there is one feature that is common to both. This is the fact that an act of complete perception does not arise as an immediate result of the contact between the organ and the sense-object. Perception is regarded as involving a process of thought that begins as a simple sensation and ends up with the complete apprehension of the object.

For background to our subject, let us first examine briefly the earlier version of the theory. According to this, a process of perception consists of six stages. The first stage is (for example) visual consciousness ( cakkhuvinnana ), which arises with the visual organ and a visible object as its conditions. Here the context demands that we understand visual consciousness not as an act of complete perception but as some kind of bare sensation that occurs before the object is fully apprehended. In the Abhidhamma version too the term is understood in the same sense. The second stage of the process is sensory impression ( phassa ). It is defined as the co-ordination among the sense-organ, the sense-object and sense-consciousness ( tinnam sangati phasso ). The third stage is vedana or feeling. It refers to the hedonic tone or the emotional value of the experience so obtained. The fourth stage is sanna or perception. The fact that sanna occurs after vinnana (bare sensation) shows that the former represents a more complex form of awareness. If, as mentioned above, vinnana refers to mere sensory awareness, sanna seems to suggest a state of awareness obtained by introducing distinctions to the earlier stage of bare awareness. The fifth stage of the process is vitakka , which is usually translated as 'the initial application of thought'. This seems to suggest a stage where the object of perception becomes an object of interpretation. The sixth and last stage of the process is called papanca , which may be explained as 'expansion' or 'diffusion' of thought. Bhikkhu Nanananda in his Concept and Reality observes that papanca here means 'prolificity in ideation' and that it 'hints at the tendency of the individual's imagination to break loose'. We may, therefore, interpret papanca as a very complex level of experience that is tainted by the individual's own desires and prejudices.

Now one important question that arises here is this: of the six stages described above, which stage should be considered as the final stage of sense-perception? Sarathchandra and also Bhikkhu Nanananda believe that it is the stage called papanca that should be considered the final one. However, it seems more reasonable to consider sanna , which in the above process is the fourth stage, as the final stage of sense-perception. What follows after sanna could be understood not as a process of sense-perception but as a purely ideational process set up by a process of perception. In point of fact, both Sarathchandra and Bhikkhu Nanananda explain the stages subsequent to sanna as a process of interpretation and judgement.

As generally understood, the Buddhist term for perception is sanna , not papanca . This is also suggested by the fact that in the Pali suttas the unenlightened ordinary person is said to cognize things by way of sanna ( sanjanati ). In contrast, the enlightened person cognizes things by way of abhinna ( abhijanati ) and parinna ( parijanati ). The contrast between sanna , on the one hand, and abhinna and parinna , on the other, refers to two levels of knowledge corresponding to the ordinary worldling and to the enlightened person. Our suggestion that sanna represents what early Buddhism means by sense-perception has direct relevance to a proper understanding of the Abhidhamma version of the theory of perception.

The Abhidhamma version of the theory of perception differs from the previous one in that it is based on two new developments. One is the theory of moments, which we have discussed previously. The other is the theory of bhavanga or the unconscious. As this latter theory is intimately connected with our subject of discussion, we propose to examine it here briefly.

The theory of bhavanga is an Abhidhammic development that, as Sarathchandra observes, seeks to provide an answer to a problem left unexplained in early Buddhist psychology. In early Buddhism consciousness is described as a mental phenomenon that can never arise without the appropriate conditions. It is not regarded as a permanent entity residing within the human body and manifesting itself in mental activity. It is not something that lies dormant when mental activities do not operate. Then the question arises as to the position of consciousness on such occasions as when perceptual activities are apparently completely still, such as in deep, dreamless sleep. What would explain the uninterrupted continuity of the life process? Hence it is very likely that, as Sarathchandra observes, it was as a solution to this problem that the theory of bhavanga came to be developed.

To this we may add another reason. This has reference to the Buddhist teaching on sannavedayita-nirodha . This is the attainment of the highest level of concentration, when all sense-activity comes to a complete end. In such a situation what happens to the mind? If nirodha-samapatti means the suspension of all mental activities, how could one who has attained it emerge from it? This was a problem that confronted the various schools of Buddhist thought, and it was as an answer to this that the Sautrantikas posited a suksma-citta , a subtle consciousness that persists during the nirodha-samapatti . That the theory of bhavanga was intended as a solution to both is clear from the Milindapanha. Here, in an answer to a question raised by King Milinda, Nagasena says that on two occasions the mind does not function in the body ( sarire cittam appavattam hoti ), i.e. during deep sleep and during nirodha-samapatti . It is therefore maintained that when a man is in deep sleep his mind has 'gone into bhavanga ' ( cittam bhavangagatam ). This implies that the same is true of nirodha-sampatti .

What is called bhavanga , then, means the unconscious, a kind of anoetic consciousness. The fact that it is described as bhavanga-sota , the stream of the unconscious, shows that, like the normal, surface consciousness, it too operates as a series of momentary events. The theory of bhavanga is resorted to for explaining not only occasions when surface mental activity ceases but also the Buddhist teaching on rebirth. Hence it is maintained that the last moment before death and the first moment at rebirth are also two varieties of bhavanga consciousness.

What is the relevance of the theory of bhavanga to the theory of sense-perception? If bhavanga means the unconscious process, it does not continue to persist when a conscious thought-process operates. This means that the former does not function as an undercurrent when we are conscious. The two processes alternate in the sense that when one ceases, the other begins to operate. They alternate continually in such a manner that every act of sense-perception is immediately preceded and succeeded by the bhavanga consciousness. The series of the bhavanga consciousness flows on undisturbed as long as there is no conscious thought to interfere with it. A stream of surface consciousness, which is a process of perception, is called citta-vithi. Therefore, the unconscious when it remains undisturbed is called vithi-mutta , i.e. free from a perceptual process.

Now let us examine how bhavanga and the theory of moments become a basis for the Abhidhamma theory of perception. As we have already mentioned, both according to early Buddhism and the Abhidhamma a series of mental events is necessary in order to culminate in complete perception. In the Abhidhamma such a thought process is called cittavithi and is said to consist of 17 thought-moments. Before we examine why the number is fixed at 17, let us see how the process begins.

When a visual object, for instance, comes within the range of the eye, it makes an impact on the sensitive portion of the eye. By the force of that impact there is set up a vibration in the unconscious. This vibration in the unconscious occurs during two moments. During the first moment, which is called bhavanga-calana , the unconscious stream gets disturbed. During the second moment, called bhavangupaccheda , the unconscious stream gets interrupted. The disturbance and the subsequent interruption are both due to the force exerted by the material object before it comes to be fully cognized. With the immediate interruption of the unconscious, a stream of surface consciousness arises, which has seven stages.

The first stage is called avajjana or attention. It is at this stage that the conscious mind turns its attention to the material object. This focusing of attention is a passive reaction on the part of the individual to the impact of the external stimulus. The second stage is called cakkhu-vinnana or visual consciousness. This is not full cognition but bare awareness. It is defined as dassana-matta , the mere awareness of the presence of the object. It does not produce any kind of knowledge ( pancahi vinnanehi na kan ci dhammam pativijanati ). The third stage is sampaticchana , i.e. receiving or welcoming the object. It is at this stage that the mind assimilates it. The fourth stage is santirana or investigation. The object that has been assimilated now begins to be investigated. The fifth stage is votthapana , when the object begins to be determined. The sixth stage is javana , which is the Abhidhamma term for full perception or cognition. It is at this stage that the mind experiences ( anubhavati ) the object. It is on javana, therefore, that the process of perception culminates. The last stage, which is called tadarammana , refers to the act of registering the object.

This process of perception, which begins with the vibration in the unconscious and ends with the registration of the object, is a process of thought-moments, which arise and perish in rapid succession. Therefore, to each of its different phases an appropriate number of moments are assigned: the first seven phases are each assigned one moment. Of the last two phases, javana is said to occur during seven moments, i.e. it vibrates seven times. The last, which is tadarammana , is assigned two moments. Thus we have in all 16 thought-moments. This number is made up to 17 by adding one moment of thought at the very beginning of the perceptual process.

The additional thought-moment is said to occur immediately before the material object makes an impression on the sense-organ. It is introduced by the technical term atita-bhavanga . Its recognition seems to be due to two reasons. A moment of matter, unlike a moment of thought, is said to exert its influence not at the time of its origination but at the time of its duration. It thus follows that when a material object impinges on a sense-organ, it does so during its moment of duration. Therefore, its time of origination has to be considered as a time of preparation to exert its impact. A second reason for the recognition of the additional moment can be seen in light of the statement that there is always a momentary gap between two thought-processes. This gap is represented by bhavanga , the unconscious. This means, in other words, that bhavanga intervenes between two thought-processes. Quite probably it is in order to recognize this situation that another moment was added to the very beginning of the perceptual process.

Continued in The Middle Way February 2001 p. 215 (volume 75: 4)

从“意义治疗”观点论“普贤行”之意涵－－以善财童子五十三参为主

［ 作者: 陈瑞熏 来自：硕博文库 已阅：2757 时间：2006-9-26 录入：gaoshentao


【资料形态】硕博文库|中国台湾
【文献属性】[台湾]华梵大学,东方人文研究所，2004年度，硕士学位论文
【出版年代】2005年
【文章标题】从“意义治疗”观点论“普贤行”之意涵－－以善财童子五十三参为主
【英文标题】An Analysis of “samanta-bhadra-carya-pranidhana” based on Logothreapy -- focus on “fifty-three visits of sudhana-sresthi-daraka”
【文章作者】陈瑞熏
【指导教师】郭朝顺
【文章页数】176页

【中文关键词】普贤菩萨|普贤行|傅朗克|意义治疗|十大愿王|善财童子|五十三参|善知识|菩提心。

【中文摘要】本研究从“普贤行”对自己生命内涵提升之帮助，以及对普世大众之影响，尝试以意义治疗为背景指针，将研究目标锁定于《华严经．入法界品》，以“对治”的角度探究善财童子参访过程中的表现，以及诸善知识所教授法门所显发之治疗意义，进而呈现佛教式意义治疗的可能面貌及特色。
本文共分六章：第壹章绪论，主要说明研究动机、范围、方法及目标。第貮章论述西方“意义治疗”之理论及“佛教意义治疗”的可能发展，主要介绍倡导者传朗克以及意义治疗之思想渊源、理论，其虽然不是本研究的重点，但诚然为论文开展的重要参考指标，以此为背景观察“佛教意义治疗”的可能发展。
　　第参章进入本研究的核心论点，探讨普贤菩萨之修行特色及“普贤行”，并提出“普贤行”为菩萨行的究极表现，并统摄十大愿王。
第肆章从善财童子为“普贤行”的实践者开场，介绍善财参访的动机，并尝试以“对治”的眼光解读善知识教导的法门，以此作为开启与西方意义治疗对话的凭借。
　　第伍章则将第参、肆章所讨论的结果作一统整的收摄，但在作此动作之前，首先回到研究动机上作更深刻的省思──观察“超越”在佛法的意义基础下，吾等可发觉普贤行、善财参访知识的表现，皆是精采的生命超越，企图从生命的实然中而有所“应然”之实际行动，赋予生命终极之目的。
第六章为本文结论。经过与西方意义治疗的对话，由五十三参中之普贤行显发“自度、化他”的大乘佛法精神，以智慧及深具华严深义的圆融眼光诠释世间种种现象，以精进积极的态度面对生命，以恢阔的格局包容所有的障碍阻逆，也广纳他人进入自己的生命领域并互为增上，依此建立一个动态、健全、自利、利他的生命观。


【英文摘要】The subject of this research is trying to find out all the possibilities and characteristics for developing the Logotherapy of Buddhism. We have taken Logotherapy by Viktor E. Frankl, as the background index and focused our research on the “gaNDavyUha-sUtra”. We have studied and analyzed the example of “fifty-three visits of sudhana-zreSThi dAraka”, strove to reach the pinnacle of “samanta-bhadra-caryA-praNidhAna”.The “samanta-bhadra-caryA-praNidhAna”, which enables samanta-bhadra-bodhisattva himself to grow enormously, has　influenced people all over the world, especially sudhana-zreSThi dAraka. sudhana-zreSThi wanted to follow the spirit of “samanta- bhadra-caryA-praNidhAna” and indeed finished his fifty-three visits. We try to explore the deep meaning of Logotherapy through sudhana-zreSThi dAraka visits as well as all kinds of friends that the saints, or devout worshippers of Buddha, have taught.
If we can start the dialog between Western Logotherapy and the Logotherapy of Buddhism, then no matter how one goes about the “samanta-bhadra-caryA-praNidhAna” or the “fifty- three visits of sudhana-zreSThi dAraka”, both can reveal the spirit of mahA-yAna, which means if we can help ourselves, then we can help other people. This will enable us to learn how to see various things in the world through the explanatory views of “Hua Yan”. It would also help us more easily and quickly make key decisions and choices on difficult matters in our lives. We also suggest that people face all of life obstacles by examining them through a broad range of perspectives befoe acting on them. We should try to invite more people into our lives and help each other improve our lives. In so doing, we believe that we can build up a vigorous, nergetic and healthy ,life view which will enable us to help ourselves and others.

【论文目次】


第壹章　绪论 1
第一节　研究动机与问题意识 1
一、个人动机──从个人安身立命谈起 1
二、学术动机与问题意识 2
第二节　研究范围 3
第三节　历来相关研究回顾 4
一、有关“意义治疗”之研究 5
二、“普贤行”及“善财童子参访”相关之研究 9
第四节　文献依据与研究方法 11
第五节　研究目标 13
第贰章　西方“意义治疗”之理论及“佛教意义治疗”的可能发展 15
第一节　西方“意义治疗”之思想源头 16
一、倡导者──傅朗克 16
二、“意义治疗”思想之滥觞及背景 18
第二节　“意义治疗”理论与特色 19
一、“意义治疗”之基本理论 20
（一）基本原理 21
（二）人生意义具有三种价值 21
（三）精神高度之生存意义探索 23
二、“意义治疗”之特色 24
（一）极度肯定人存在之独特性 24
（二）协助患者建立健全的生死观 24
（三）乐观的生命态度 25
（四）进入灵性之意义治疗 25
第三节　佛教意义治疗之可能发展 25
一、从观察、解决痛苦出发 26
（一）寻找对治之道──四圣谛的提示 27
（二）放下自我──观察五蕴 28
（三）浅尝即止──截断觉受的漫延 28
（四）道品增上──三十七道品的修学 29
（五）生命格局的开展──自利与利他 31
二、佛法救度学之意义 32
（一）逆境所显发之积极态度 32
（二）转凡成圣──圣贤与凡俗之交涉 33
三、佛教的终极关怀──积极进取、无限开展之生命观 34
第参章　普贤菩萨与“普贤行” 37
第一节　普贤菩萨之名 37
一、梵文意义之“普贤” 38
二、经论对“普贤”之定义 38
第二节　普贤菩萨的身分 41
一、诸佛之长子 41
二、近代学者之研究 42
第三节　“普贤行”中之十大愿王 43
一、普贤十大愿王 44
（一）礼敬诸佛 44
（二）称赞如来 46
（三）广修供养 46
（四）忏悔业障 47
（五）随喜功德 49
（六）请转法轮 50
（七）请佛住世 51
（八）常随佛学 52
（九）恒顺众生 53
（十）普皆回向 54
二、“普贤行”为菩萨行之基础与究极表现 56
（一）“普贤行”之意义 56
（二）“普贤行”为菩萨行之基础与究极表现 57
三、以十大愿王统摄“普贤行” 59
第四节 普贤菩萨修行之特色 61
一、他力、自力融摄之修行 61
二、精进不懈的精神 63
三、行愿相资 66
四、自在出入法界 67
五、无限格局为修行舞台 69
第肆章　“普贤行”与善财童子五十三参 71
第一节　善财童子与其参访之动机 71
一、善财童子──“普贤行”之实践者 71
二、善财参访善友之动机 72
（一）依发心而成就佛道 74
1、发菩提心因缘 75
2、菩提心之内涵 75
（二）显发善知识在修行引导的重要性 77
1、“善知识”之定义 77
2、“善知识”于佛法修行的意义 78
第二节　善知识与“普贤行”的关系 80
第三节　诸善知识及所教授的法门 82
一、诸善知识的真正身分 82
二、“法门”在佛法修行中的定义 83
三、诸善知识所教授之法门 84
（一）比丘、比丘尼组群 85
1、【1】德云比丘（《大正》10，页334上－334下） 86
2、【2】海云比丘（《大正》10，页335上－336中） 88
3、【3】善住比丘（《大正》10，页336中－337中） 89
4、【6】海幢比丘（《大正》10，页340中－342下） 90
5、【11】善见比丘（《大正》10，页349中－350中） 91
6、【24】师子频申比丘尼（《大正》10，页363上－365上） 92
组群小结 93
（二）长者组群 95
1、【5】解脱长者（《大正》10，页338中－340上） 95
2、【15】法宝髻长者（《大正》10，页353下－354中） 96
3、【16】普眼长者（《大正》10，页354中－355上） 98
4、【21】优钵罗华长者（《大正》10，页360下－361中） 98
5、【23】无上胜长者（《大正》10，页362中－363上） 100
6、【46】坚固解脱长者（《大正》10，页419上） 101
7、【47】妙月长者（《大正》10，页419上－419中） 102
8、【48】无胜军长者（《大正》10，页419中） 103
组群小结 104
（三）优婆夷组群 105
1、【7】休舍优婆夷（《大正》10，页343上－345上） 105
2、【13】具足优婆夷（《大正》10，页351中－352中） 106
3、【19】不动优婆夷（《大正》10，页358上－359下） 107
4、【45】贤胜优婆夷（《大正》10，页418下－419上） 108
组群小结 109
（四）居士组群 110
1、【14】明智居士（《大正》10，页352中－353中） 110
2、【26】鞞瑟胝罗居士（《大正》10，页366上－366下） 111
组群小结 111
（五）童子、童女组群 112
1、【10】慈行童女（《大正》10，页348上－349中） 112
2、【12】自在主童子（《大正》10，页350中－351上） 113
3、【44】善知众艺童子（《大正》10，页418上－418下） 113
4、【50】德生童子、有德童女（《大正》10，页419下－422中） 114
组群小结 115
（六）国王组群 117
1、【17】无厌足王（《大正》10，页355上－356上） 117
2、【18】大光王（《大正》10，页356上－358上） 118
组群小结 119
（七）菩萨组群 119
1、【27】观自在菩萨（《大正》10，页366下－367中） 119
2、【28】正趣菩萨（《大正》10，页367中－367下） 120
3、【51】弥勒菩萨（《大正》10，页422中－439上） 121
4、【52】文殊菩萨（《大正》10，页439中－440上） 122
5、【53】普贤菩萨（《大正》10，页440上－444下） 123
组群小结 124
（八）婆罗门、外道组群 125
1、【9】胜热婆罗门（《大正》10，页346上－348上） 125
2、【20】遍行出家外道（《大正》10，页360上－360下） 127
3、【49】最寂静婆罗门（《大正》10，页419中－419下） 128
组群小结 128
（九）天神等组群 129
1、【29】大天神（《大正》10，页367下－368中） 130
2、【30】安住主地神（《大正》10，页368上－368中） 130
3、【31】婆珊婆演底主夜神（《大正》10，页369上－371下） 131
4、【32】普德净光主夜神（《大正》10，页372上－372下） 132
5、【33】喜目观察众生夜神（《大正》10，页372下－378上） 132
6、【34】普救众生妙德夜神（《大正》10，页378上－384上） 132
7、【35】寂静音海主夜神（《大正》10，页384上－387下） 133
8、【36】守护一切城增长威力主夜神（《大正》10，页387下－390中） 133
9、【37】开敷一切树华主夜神（《大正》10，页390中－396上） 133
10、【38】大愿精进力救护一切众生夜神（《大正》10，页396中－401下） 133
11、【39】妙德圆满园神（《大正》10，页401下－405中） 134
组群小结 135
（十）释种女、摩耶夫人与天主光女 136
1、【40】瞿波释种女（《大正》10，页405下－412下） 136
2、【41】摩耶夫人（《大正》10，页412下－417中） 136
3、【42】天主光女（《大正》10，页417中－417下） 137
组群小结 137
（十一）其它组群 138
1、【4】弥伽人（《大正》10，页337中－338中） 138
2、【8】毘目瞿沙仙人（《大正》10，页345上－346上） 139
3、【22】婆施罗船师（《大正》10，页361中－362中） 140
4、【25】婆须蜜多女（《大正》10，页365上－366上） 141
5、【43】遍友童子师（《大正》10，页417下－418上） 142
组群小结 143
第伍章　善财童子五十三参之“普贤行”中的意义治疗 145
第一节　生命内涵 145
一、生命之“实然”与“应然” 145
二、生命之代谢与超越 146
第二节　“五十三参”所显发“佛教意义治疗”的内涵 150
一、善财童子为代表之“普贤行者”的生命观 150
（一）谦虚的求道精神 151
（二）积极进取的修行态度 151
（三）自度、化他的解脱观 151
二、五十三参中诸法门所展现之“佛教意义治疗” 152
（一）诸善知识之身分与法门之关系 152
（二）诸善友教导法门所展现之“佛教意义治疗” 154
1、“自度、化他”的意义治疗 154
2、“缘起”为基础的意义治疗 155
3、智慧为导的意义治疗 156
4、行愿为依的意义治疗 156
5、“华严式”的意义治疗 157
第三节　西方“意义治疗”与“佛法意义治疗”之比较 158
一、从痛苦中超拔而出的立场出发 158
二、生命层次与内涵的提升 159
三、“华严式”的诠解眼光 160
（一）圆融无碍的华严法界 161
（二）自度、化他融摄互资 162
第陆章 结论 163
第一节　研究成果 163
第二节　本研究的可能发展 164
参考书目 167
一、原典资料 167
二、中文数据 168
（一）图书 168
（二）博硕士学位论文 170
（三）期刊资料 171
（四）其它 172
三、外文资料 172
（一）日文专书与学术论文 172
（二）日文期刊 173
（三）英文专书 174
（四）英文期刊 175
四、工具书 176