 亂世中的佛光 The Buddha's Light in Chaos 1439年，明英宗時期。北京西郊翠微山南麓，一座恢弘寺院正在宦官李童主持下興建。這是明初皇室崇佛的縮影——明成祖遷都北京后，宮廷畫院吸收元代遺風與藏傳佛教元素，形成獨特的'漢藏交融'風格。法海寺壁畫正是這種藝術交融的巔峰之作。歷經580年風雨，九幅主壁畫中，《水月觀音圖》以其驚人的完整度，成為明代宮廷繪畫的活化石。 In 1439, during the reign of Emperor Yingzong of the Ming Dynasty. At the southern foot of Cuiwei Mountain in the western suburbs of Beijing, a magnificent temple is being built under the leadership of eunuch Li Tong. This is a microcosm of the imperial worship of Buddhism in the early Ming Dynasty - after Emperor Chengzu moved the capital to Beijing, the palace painting academy absorbed the remnants of the Yuan Dynasty and elements of xizang Buddhism, forming a unique 'Han xizang fusion' style. The murals of Fahai Temple are the pinnacle of this artistic fusion. After 580 years of wind and rain, among the nine main wall paintings, the 'Water Moon Guanyin Painting' has become a living fossil of Ming Dynasty palace painting with its astonishing completeness.    壁畫分為三部分，第一部分在殿前部，共六組，分上、 中、下三層。上層為祥云，中間為佛國人物，下部為各種 花卉，面積60.72平方米。第二部分在三世佛像的背面， 分為三組，中間為水月觀音，兩邊是文殊菩和普賢菩薩，面積60.75平方米；第三部分在大雄寶殿北壁（后壁）東西兩側面上，即法海寺主體壁畫“帝釋梵天圖”，東側包括大梵天、捧盤三天女、持國天、增長天、大自在天及天女、咒師、日天、密跡金剛等；西側包括帝釋天及持花缽、多聞天、廣目天、菩提樹神及天女、辯才天、月天、風天、焰摩天，面積44.8平方米。 The mural is divided into three parts. The first part is located in the front of the hall, consisting of six groups and divided into three layers: upper, middle, and lower. The upper layer is auspicious clouds, the middle is Buddha figures, and the lower part is various flowers, covering an area of 60.72 square meters. The second part is on the back of the Three Kingdoms Buddha statue, divided into three groups, with the Water Moon Guanyin in the middle and Manjusri Bodhisattva and Samantabhadra Bodhisattva on both sides, covering an area of 60.75 square meters; The third part is on the east and west sides of the north wall (back wall) of the the Shakya ManiHall, that is, the main mural of the Fahai Temple, 'The Emperor's Interpretation of Brahma', and the east side includes the Brahma, the Three Heavenly Maiden in Holding Pan, the State holding Heaven, the Growth Heaven, the Great Self in Heaven and the Heavenly Maiden, the Charm Master, the Sun Heaven, and the Vajra Vajra; On the west side, there are Emperor Shitian and his flower bowl holder, Duowen Tian, Guangmu Tian, Bodhi Tree God and Heavenly Maiden, Biancai Tian, Yuetian, Fengtian, and Yantian Tian, with an area of 44.8 square meters. 創作意圖：空性與慈悲的具象化 The concretization of emptiness and compassion 水月觀音最早見于敦煌晚唐壁畫，其'觀水中月'意象出自《華嚴經》，象征'諸法如幻'。明代工匠突破傳統：不再強調苦修形象，轉而塑造充滿人間溫度的女相觀音。這種轉變暗合明初'三教合一'思潮——觀音既保持'照見五蘊皆空'的智慧，又以慈母般的形象拉近與信眾距離，體現佛教中國化進程中的審美嬗變。 The Water Moon Avalokitesvara was first seen in Dunhuang murals during the late Tang Dynasty. Its image of 'watching the moon in the water' comes from the 'Avatamsaka Sutra', symbolizing 'all phenomena are like illusions'. The craftsmen of the Ming Dynasty broke through tradition by no longer emphasizing the image of asceticism, but instead shaping a female Guanyin full of human warmth. This transformation is in line with the early Ming Dynasty's trend of 'three religions in one' - Guanyin not only maintains the wisdom of 'seeing the emptiness of the five aggregates', but also brings her closer to her followers with a motherly image, reflecting the aesthetic evolution in the process of sinicization of Buddhism.  這幅是其中的法海寺壁畫《水月觀音圖》，被宗教、美術界譽為觀世音菩薩造像之最。壁畫運用寶冠、瓔珞、天衣、紗幔、寶光等諸多佛教經典元素美化造像，將佛教故事中善財童子、韋馱天、金毛犼、鸚鵡，巧妙安排成對稱平衡布局；在浩淼的云水背景中，綴以祥云、紫竹林、紅牡丹、紅珊瑚、木蓮樹、桂木、蘭草、寶瓶、壽山福海、清泉流水等，烘云托月地描繪和渲染清凈殊勝，光明和諧之理想圣境，襯托出“諸天無實體，水月皆空虛”佛理；在傳承唐、宋時期各種觀音菩薩造像內涵基礎上，賦予觀音菩薩面目形象以人格的氣質特征和情感魅力，使造像具有溫暖人心之儀態，慈悲可親之情感和恬靜致遠之神韻，充分體現趨于精神超拔和生命解脫佛教宗旨。 This is one of the murals in Fahai Temple, titled 'Water Moon Guanyin', which is praised by the religious and art circles as the most iconic statue of Avalokitesvara Bodhisattva. The mural uses many Buddhist classic elements such as crowns, pendants, heavenly robes, gauze curtains, and precious lights to beautify the statues, cleverly arranging the stories of the Good Wealth Boy, Wei Tuotian, Golden Retriever, and Parrot in a symmetrical and balanced layout; In the vast cloud and water background, auspicious clouds, purple bamboo forests, red peonies, red corals, wood lotus trees, osmanthus trees, orchids, vases, Shoushan Fuhai, clear springs and flowing water are embellished to depict and render the ideal holy realm of purity, beauty, brightness and harmony, highlighting the Buddhist doctrine that 'all the heavens have no substance, and all the water and moon are empty'; On the basis of inheriting the connotations of various Guanyin Bodhisattva statues from the Tang and Song dynasties, the image of Guanyin Bodhisattva is endowed with personality traits and emotional charm, giving the statues a warm demeanor, compassionate and approachable emotions, and serene and far-reaching charm, fully reflecting the Buddhist purpose of spiritual transcendence and life liberation.  “水月觀音”僅是漢地的稱呼，在西藏被稱為“心性安息觀自在菩薩”所要表現的是慈悲的形象。觀音菩薩有三十三個不同形象的法身，其中坐觀水中月影狀的稱為水月觀音，在后來比喻人物的面貌俊美清秀。《水月觀音圖》是觀世音菩薩三十三身像之一，背景是浩瀚的云水、竹林、紅色的牡丹、流水。 The term 'Shuiyue Guanyin' is only used in Han China, and in xizang areas, it is referred to as the 'Bodhisattva of Peace and Freedom', which represents the image of compassion. Guanyin Bodhisattva has thirty-three different forms of Dharma bodies, among which the one who sits and observes the moon shadow in the water is called Shuiyue Guanyin, which later metaphorically referred to the handsome and clear appearance of characters.The 'Water Moon Guanyin Diagram' is one of the thirty-three statues of Avalokitesvara Bodhisattva, with a background of vast clouds, bamboo forests, red peonies, and flowing water. 流動的黃金與凝固的月光 Flowing gold and solidified moonlight 主尊儀態：觀音右腿屈起呈'自在坐'，左足踏水中金蓮。這種打破對稱的姿勢暗含禪宗'破執'思想，比傳統正襟危坐更顯靈動。 Master's demeanor: Guanyin bends her right leg and sits comfortably, with her left foot stepping on a golden lotus in the water. This posture that breaks the symmetry implies the Zen concept of 'breaking the grip', which is more dynamic than traditional upright sitting    《水月觀音圖》圖中鐵線描最精美有菩薩的面部、手用簡練流暢鐵線描的方式勾畫出來,在菩薩臉部的刻畫上,從顴骨往下行筆越來越提起來將鐵線描和高古游絲描緊密結合起來，使線條表現出一種虛實感，讓觀者感覺觀音的臉像少女的臉一樣圓潤光澤，充滿彈性,臉部對結構的刻畫精確無誤； The most exquisite iron wire drawing in the painting 'Water Moon Guanyin' features the face of a bodhisattva, which is depicted using a concise and smooth iron wire drawing method. In the depiction of the bodhisattva's face, the strokes are gradually lifted from the cheekbones downwards, tightly combining the iron wire drawing and the high ancient silk thread drawing, creating a sense of reality and virtuality in the lines, making viewers feel that Guanyin's face is as round and shiny as a girl's face, full of elasticity, and the structure of the face is accurately depicted;   手的表現手法有兩種類型，一種是豐腴型的，這種經常用來表現女性或是文人氣質的類型；另外一種是比較粗壯的類型，經常用來表現天王和兇神類的形象。從水月觀音的手可以看到她是偏向第一種豐腴型的，她的右手自然下垂，手掌線條柔和，并交代出手掌的結構，拇指的外部輪廓線一直連接到胳膊，其余四個手指用流暢的線平行畫出，對于指甲的描繪是較為尖銳的，刻畫出了觀音修長而豐腴的手掌。 There are two types of hand expression techniques, one is the voluptuous type, which is often used to express feminine or literary temperament; The other type is relatively robust, often used to depict images of heavenly kings and ferocious gods. From the hands of Shuiyue Guanyin, it can be seen that she leans towards the first plump shape. Her right hand naturally droops, and the palm lines are soft, indicating the structure of the palm. The outer contour of the thumb is connected to the arm, and the other four fingers are drawn parallel with smooth lines. The depiction of the nails is sharp, depicting Guanyin's slender and plump palm. 天衣密碼：透視處理讓6米長的薄紗產生隨風飄動錯覺。紗上綴滿44朵金線蓮花，每朵花瓣用'瀝粉堆金'技法凸起2毫米，至今仍可反射燭光。 Tianyi Code: Perspective processing creates an illusion of the 6-meter-long gauze swaying in the wind. The gauze is adorned with 44 golden lotus flowers, each petal raised by 2 millimeters using the technique of 'pouring powder and piling gold', which still reflects candlelight to this day. 在水月觀音的頭部戴有寶冠，寶冠里面有啊彌陀佛像，肩部披著一層薄薄的輕紗，自唐宋以來，經常在畫面中出現披紗的仕女，只有法海寺中水月觀音的薄紗面積巨大，是用線條勾勒完成。 On the head of Shuiyue Guanyin, there is a precious crown with an Amitabha Buddha statue inside. The shoulders are covered with a thin layer of gauze. Since the Tang and Song dynasties, it has been common to see women wearing gauze in paintings. Only in Fahai Temple does Shuiyue Guanyin have a huge area of gauze, which is outlined with Lines 薄紗上面是六棱花瓣的花紋，用白云母勾勒，在線的交點上用真金的金絲提花，每個花瓣均有7個點和48根線繪成，讓薄絲像蟬翼一樣輕盈。菩薩胸前戴著落櫻，觀音身上的瓔珞珠串共1400多個，都是用真實的藍綠寶石質感進行多次的積色， On top of the sheer fabric is a pattern of hexagonal petals, outlined with muscovite. At the intersection of the lines, real gold wire jacquard is used, and each petal has 7 points and 48 lines drawn, making the thin silk as light as cicada wings. The bodhisattva wears falling cherry blossoms on her chest, and the Avalokitesvara has over 1400 pearl pendants on her body, all of which have been colored multiple times with the texture of real blue-green gemstones, 頭冠玄機：化佛冠正中阿彌陀佛掐'禪定印'，兩側飛天手持的珊瑚、寶瓶，分別象征智慧與財富，體現明代佛教的世俗關懷。 The mystery of the crown: Amida Buddha pinched the 'meditation seal' in the center of the Buddha's crown, and the coral and treasure vases held by the flying heavens on both sides symbolize wisdom and wealth, reflecting the secular care of Buddhism in the Ming Dynasty. 環境敘事：背景中紫竹用'濕壁畫'技法呈現水墨韻味，靈鳥口銜佛珠盤旋，右下角善財童子合掌禮拜，共同構筑出'一真法界'的禪意空間。 Environmental narrative: In the background, the purple bamboo uses the technique of 'wet wall painting' to present the charm of ink painting. The spirit bird holds a Buddhist bead in its mouth and spirals around. The good fortune boy in the lower right corner prays with his hands together, creating a Zen space of 'One True Dharma Realm'. 韋馱位于水月觀音的右上部。佛寺的守護神，傳說又是觀音菩薩的護法神，體格魁梧，威武勇猛，面如童子，表示他不失赤子之心。據說，在釋迦佛入涅時，邪魔把佛的遺骨搶走，韋馱及時追趕，奮力奪回。因此佛教便把他作為驅除邪魔，保護佛法的天神。從宋代開始，中國寺廟中供奉韋馱，稱為韋馱菩薩，常站在彌勒佛像背后，面向大雄寶殿，護持佛法，護助出家人。 Weituo is located in the upper right corner of Shuiyue Guanyin. The guardian deity of the Buddhist temple, also known as the protector deity of Guanyin Bodhisattva, is said to have a strong physique, fierce and mighty spirit, and a childlike face, indicating that he has not lost his childlike heart. It is said that when Shakyamuni Buddha entered Nirvana, evil demons snatched away the Buddha's remains, and Wei Tuo chased after him in time and fought hard to retrieve them. Therefore, Buddhism regards him as a divine being who exorcises evil spirits and protects Buddhism. Since the Song Dynasty, Wei Tuo, known as Wei Tuo Bodhisattva, has been worshipped in Chinese temples, often standing behind the Maitreya Buddha statue, facing the the Shakya ManiHall, protecting Buddhism and helping monks. 鸚鵡位于水月觀音像左上部。佛經中關于鸚鵡傳說較多，如阿彌陀佛化為鸚鵡教化國人，再如山火燒林，鸚鵡思林恩，取水灑淋，天帝見而感之，降雨止火。在《阿彌陀經》中描述鸚鵡、頻迦鳥等鳥在極樂世界中歌誦贊嘆凈土的功德，使往生凈土的人得到利益。 The parrot is located in the upper left corner of the Water Moon Guanyin statue. There are many legends about parrots in Buddhist scriptures. For example, Amitabha Buddha turns into a parrot to educate countrymen people, and then a mountain fire burns the forest, parrots think of Lin En, take water and sprinkle water. The Emperor of Heaven sees it and feels it, and rain stops the fire. In the Amitabha Sutra, it is described that birds such as parrots and phoenixes sing and praise the merits of the Pure Land in the Pure Land, bringing benefits to those who have passed away. 金犼(hǒu)位于水月觀音像右下部。觀音的坐騎。金犼又叫金毛犼，似犬，兇猛異常，食人，每與龍斗，口中噴火數丈，龍往往不能取勝； Jin Ben is located in the lower right corner of the Water Moon Guanyin statue. Guanyin's mount. Jin Bing, also known as Jin Mao Bing, looks like a dog, extremely fierce, cannibalistic. Whenever it fights with a dragon, it spews flames of several zhang from its mouth, but the dragon often cannot win 善財童子位于水月觀音像左下部。當善財童子誕生時，有種種珍寶自然涌出，故名。善財童子五十三參，最后獲得正果，參拜的二十七位善知識是觀音菩薩，后成為觀音菩薩的脅侍。 The Good Wealth Boy is located in the lower left corner of the Water Moon Guanyin statue. When the Good Wealth Boy was born, various treasures naturally gushed out, hence the name. Fifty three children of good fortune participated in the ritual, and finally obtained the right fruit. The twenty-seven good knowledge worshippers were Guanyin Bodhisattva, who later became his attendants. 凝固的時光 Frozen Time 壁畫使用30余種天然礦物顏料：觀音面部朱砂歷經五個世紀依然明艷，裙裾青金石藍與孔雀石綠形成冷暖對比，月光用硨磲白營造出流動光暈。最震撼的是總計15平米的'描金'——這些金箔在幽暗殿宇中會隨光線角度明滅閃爍，恍如佛光顯現。 The mural uses more than 30 natural mineral pigments: the cinnabar on Guanyin's face remains bright after five centuries, the blue lapis lazuli and turquoise green on the skirt form a contrast of warmth and coldness, and the moonlight creates a flowing halo with clam white. The most stunning thing is the 15 square meters of 'gold foil' - these gold foils will flicker in the dark hall according to the angle of light, as if the Buddha's light appears. 法海寺壁畫作為宮廷所支持的壁畫作品，對于顏料的選用、色彩的搭配都有嚴謹的研究，大多運用朱砂、水晶、朱砂、石青、石綠等天然的礦物質顏料和植物顏料，因此法海寺內的壁畫至今都色彩層次鮮明。在《水月觀音圖》中，主體人物運用色彩華麗動人又不失典雅，在她的寶冠、耳環、飄帶、褲子等服飾上大量使用紅色系，經過層層暈染，讓色彩更加豐富變化。在寶冠、瓔珞、臂釧等裝飾物上用金色來暈染，更好的表現出珠寶的質地及光澤，金色與紅色搭配在一起形成強烈的對比，讓畫面華麗莊重。紅色與金色的運用與人物膚色及背景的石綠、赭石形成鮮明的亮暗對比，突出了畫面主體。在薄紗的處理上，運用金色一筆筆勾勒出紗的形狀，在畫面中若影若現，既不影響其主要的顏色又可以達到觀者視覺的沖擊。背景運用中灰明度的顏色，其中云紋選擇赭石、土黃為主要顏色，在云的表現上，用赭石作為底色，加上土黃、石黃、石綠的多次暈染，營造出一種安靜莊嚴仙境般的氛圍；山石選擇赭石，赭墨色、石青、石綠等顏色，打破了畫面主體紅色和金色的活潑，讓畫面上有一些層次的變化；花草大量運用石青、石綠、胭脂，這樣的色彩搭配更為立體凸顯出它的質感，讓花草與背景中其它物體色彩層次分明又洪然一體，達到恰到好處的效果，角落的金毛吼和鸚鵡都使用蛤粉，顯現出她們的圣潔以及不凡的氣質。 As a mural work supported by the court, the murals in Fahai Temple have undergone rigorous research on the selection of pigments and color matching. Most of them use natural mineral pigments such as cinnabar, crystal, cinnabar, stone blue, and stone green, as well as plant pigments. Therefore, the murals in Fahai Temple still have distinct color layers to this day. In the painting 'Water Moon Guanyin', the main character uses gorgeous and elegant colors, and extensively uses red colors on her jewelry such as crowns, earrings, ribbons, pants, etc. After layers of blending, the colors become more diverse and varied. Using gold to blend decorations such as crowns, pendants, and armbands better showcases the texture and luster of jewelry. The combination of gold and red creates a strong contrast, making the picture magnificent and solemn. The use of red and gold creates a sharp contrast between light and dark with the skin tone of the characters and the background of stone green and ochre, highlighting the main subject of the picture. In the treatment of thin gauze, using a golden pen to outline the shape of the gauze is like a shadow in the picture, which does not affect its main color but can achieve a visual impact on the viewer. The background uses colors with gray brightness, among which the cloud pattern selects ochre and earthy yellow as the main colors. In terms of cloud expression, ochre is used as the base color, and multiple blends of earthy yellow, stone yellow, and stone green are added to create a quiet and solemn fairyland like atmosphere; The selection of ochre, ochre, stone green, and other colors for mountain stones breaks the lively red and gold colors of the main body of the picture, creating some layered changes in the image; Flowers and plants use a large amount of stone green, stone green, and rouge, which highlights their texture in a more three-dimensional way, making the colors of flowers and plants distinct and integrated with other objects in the background, achieving the perfect effect. The golden roars and parrots in the corners are made of clam powder, showing their sanctity and extraordinary temperament. 超越宗教的藝術革命 The Art Revolution Beyond Religion 當我們在幽暗大殿用手電筒追光細看，會發現畫師在觀音左肩留下一個指紋。這個明代工匠的無心之舉，讓冰冷的神像突然充滿溫度。或許這正是《水月觀音圖》的終極密碼——它既是佛教義理的視覺詮釋，更是無數無名畫工用金箔與礦石寫就的人性詩篇。在觀音慈悲的注視下，宗教與藝術、神圣與世俗、永恒與剎那，都化作壁上那一抹永不褪色的微笑。 The Art Revolution Beyond Religion When we use a flashlight to catch the light in the dark hall and look closely, we will find that the painter has left a fingerprint on the left shoulder of Guanyin. The unintentional act of this Ming dynasty craftsman suddenly filled the cold statue with warmth. Perhaps this is the ultimate code behind the painting 'Water Moon Guanyin' - it is not only a visual interpretation of Buddhist principles, but also a human poem written by countless unknown artists using gold foil and minerals. Under the compassionate gaze of Guanyin, religion and art, sacredness and secularism, eternity and the moment, all transformed into an everlasting smile on the wall. 編輯：櫳浚 圖片：源網絡
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