「形而下」之聖域創造與觀音禪行——法鼓山三座觀音造像之考察=The Creation of the Sanctuary and the Guanyin Meditation –Taking the Three Guanyin Statues in Dharma Drum Mountain as an Example
「形而下」於本文之意義有二：一是取傳統「形上學」（metaphysics）抽象之哲學性的思惟。二、此處「形而下」之論述，是指從抽象到具體之漸行式的教學法，如佛教對「入流亡所」的論述，從抽象的義理思辨到具體的社會實踐，其操作次第與方法為何？本文以法鼓山世界佛教教育園區（Dharma Drum Mountain World Center for Buddhist Education）之三尊觀音造像為研究範圍，其作為「觀音信仰的命脈」與「一條垂直線」之觀音菩薩座像之地理佈局，其由中心向下發射，依序為是：最高的（center）「開山觀音」（Founding Guanyin）、中間的（media）「祈願觀音」（Wish Fulfilling Guanyin）與最貼近人間的（close）「來迎觀音」（Welcoming Guanyin）。作為軟體之觀音信仰、教理教義及修行次第，如何表現在硬體的宗教空間場域與觀音菩薩的座像秩序？
“Metaphysics and practices” have two meanings in this article: First, it takes abstract philosophical thinking. Second, practices discussion here refers to the gradual teaching method from abstract to concrete. This article takes the three Guanyin Statues in Dharma Drum Mountain World Center for Buddhist Education as my research subjects, which serve as the "lifeblood of Guanyin faith" and the geographic layout of the “a vertical line” of Guanyin Bodhisattva Statues: the highest “Founding Guanyin”, the middle “Wish Fulfilling Guanyin” and the closest to human kind “Welcoming Guanyin”. As a software philosophical thought and practice system, how can it be expressed in the religious space and the sense of order of the Bodhisattva Statues? This article’s purpose is to be an explanatory research: Once the hardware sanctuary space is combined with the software Guanyin faith, how the traditional Chinese Buddhism lineage construct modern Human Buddhism education?
