阿弥陀佛四十八大愿

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阿弥陀佛四十八大愿出自《佛说无量寿经》。“阿弥陀”为梵语，在梵文中“阿”包含了无量、无限、空、清净等意；“弥”是指时间、寿命无尽止的延续、伸展；“陀”即无限光明之意，所以阿弥陀佛又称为无量光佛、无量寿佛。《佛说无量寿经》为净土修持法门所依据的主要经典之一，四十八大愿是阿弥陀佛在因地所发，亦是阿弥陀佛以同体大慈悲心所兴起的圆顿妙法，依经言十方诸佛皆弘扬宣说西方阿弥陀佛净土法门之圆满殊胜。

10月28日，空间站将迎来艺术家曾扬的第三次个展，而此次展出的作品是继《无量寿世界》展览之后创作风格的延续，同时也是记录了曾扬在佛法修行上又一个时期的递进。与上次作品不同的是，曾扬将艺术创作与佛教经典更加紧密的结合在一起，因此作品的气势更加磅礴大气，画中的内容也更加具体，以四十八幅作品分别描绘出阿弥陀佛的四十八大愿。“阿弥陀”包含了无量美好殊胜的时间与空间，在这次展览的作品中能够强烈地感受到曾扬力求将阿弥陀佛的愿景以及诸佛性光、尽虚空遍法界的殊胜境界在有限的画面上最大化的加以呈现。如果说艺术家潜心研究绘画技法是为创作服务，那么曾扬在这方面更像是佛法修行中的发愿行愿。

曾扬的父亲也是一位知名的艺术家，在绘画方面可谓家学渊源，秉承了云南艺术家一贯的执拗、认真，在架上坚韧的实验自己的思想。但与其他艺术家不同是，佛教的熏习对曾扬产生了深远的影响，从而也竖立了他创作的唯一脉络。从最早期的《回头是岸》系列作品皆以“我”为中心，用日记的形式描绘出每天自己的所行所想，即便在那段时期已显露出对信仰的思考，但在寻找的道路上似乎还未看到过多的确定性；直至近期的金箔佛像系列不再有“我”的出现，当作品中完全削减掉了琐碎片段式的个人符号时，一种笃定的气息扑面而来。准确来说，佛教揭示了宇宙万物万缘的真相而并非一般意义上的宗教。也正是基于此，曾扬在不懈的探知中找到了属于自己的绘画语言，而无论从个人心态或是艺术创作上都是一次较大的更迭。我们能从他现在的作品中看到敦煌写经的笔意，亦如同佛教造像中的工匠，锥笔刻画之下的线条流畅自然不刻意造作精巧，心无旁骛。宗教题材的内容配之金箔的材质两者相得益彰，画风整体借鉴了隋唐时期其细密精致而臻丽的特点，亦古亦今，这使得他的作品中有一种突破维度空间的完满与神秘色彩。但凡涉及到佛像绘画的作品，无论当代还是传统大多离不开仿制古人，曾扬希望通过技法和材料上的突破，在精美的画面中唤起观者对西方极乐世界的向往，赏心悦目之中埋下一颗善的种子。所有美妙境域并非遥不可及，佛法即心法，心念当下一转，便会是另外一番境界。也正是缘于这个创作初衷，使得我们在这次的新作中看到了曾扬更为娴熟的绘画技巧。

阿弥陀佛虽为净土持名念佛法门，却也是大秘密的法门。看似简单的一个名号，却于我们的身心内外无所不在，承载着不容乎视的重量。正如白居易的诗倡所说：“坐也阿弥陀，行也阿弥陀，纵使忙似箭，还是阿弥陀。”在这个物欲横流的快餐式时代，如能做到净念相续，系心一缘的确不易。曾扬能够在当下的这种环境中一直不遗余力的创作佛教题材的作品也实属难得。愿所闻见者，皆能皈依三宝，净念相继，一心不乱，往生净土，这或许也是艺术家曾扬的愿望。

文／艾艾

The 48 Vows of Amitabha comes from the “Infinite Life Sutra.” The word Amitabha derives from Sanskrit. “Ami” means immeasurable, infinite, empty, and clean, in addition to other meanings. “Ta” alludes to time and everlasting life. “Bha” means infinite light, thus Amitabha is known as the Buddha of Immeasurable Life and Light. The “Infinite Life Sutra” is one of the most important texts of the Pure Land Buddhist dharmic practice. The 48 vows made by Amitabha, whose compassion saw the rise of the Yuandun lotus. According to Buddhist declaration, this is the most profound succession of the Amitabha Buddha of Western Pure Land Buddhism.

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On October 28, Space Station will exhibit the artist Zeng Yang’s work for the third time. The work in this exhibition follows the creative style of the last exhibition, “The World of Infinite Life.” At the same time, it records the progression of the artist’s Buddhist practice. The difference between work featured in this exhibition and that of the last one is that Zeng Yang’s has integrated his artistic practice with Buddhist scriptures to a much more intimate degree, allowing the work to be far more majestic. The works depict specific events, drawn from Buddhist scriptures. For example, the exhibition features forty-eight works, which depict the fort-eight vows of Amitabha. “Amitabha” contains the immeasurable glory of time and space. Amitabha’s vision and presence as the Buddha of Light are both elements sought by the artist are strongly felt within the works included in this exhibition, whose spiritual dimension exudes in all directions. If we say that the artist’s painstaking research of painting methods is to create a service, then Zeng Yang, within this regard, is making a dharmic vow in his own right.

Zeng Yang’s father is an artist. Painting is a part of his family’s history. Through persistence, seriousness and tenacity, this artist from Yunnan has always relied on experimentation based on his own ideas. What makes him different from other artists is the profound impact that the essence of Buddhism has made on Zeng Yang, which has allowed him to create works of unparalleled proportions. Evident his early “Repent” series, the concept of “I” remained at the center of his work. The artists employed personal narrative forms to illustrate his own modes of thinking. Even at that time, his thoughts on faith were revealed.  But as the artist continues down his creative path, he has yet to encounter certainty. In the artist’s recent gold leaf Buddhist series, “I” no longer appears. The work has been completely severed from any trivial fragmented personal symbols, allowing for a more relaxed atmosphere to naturally arise. It is accurate to say that Buddhism reveals the truth of the universe rather than functioning as a generalized religion.

It is also based on this that Zeng Yang finds his own painting language through relentless discovery. Regardless of the artist’s personal attitude of artistic creation, both are great changes. Through his current works, we are able to see the Dunhuang Manuscripts among others. Also, similar to the Buddhist sculpture artisans, the artist’s engraves onto the painting’s surface, executing smooth tapered lines of meticulous sophistication. The content of the religious themes compliments the gold foil material. The overall style of the works reflect the fine and delicate Zhen Li characteristics found within Sui and Tang Dynasty period paintings. Ancient, while modern at the same time, the artist’s works successfully breakthrough understood dimensions of space, while also remaining mysterious in nature. However, as with most Buddhist works of art, regardless of whether contemporary or traditional, almost all of them copy the ancients. Breaking through techniques and materials, Zeng Yang hopes to arouse the viewer’s yearning for the Buddhist Western Paradise. The Splendid Realm is not far away. The Heart of Dharma and the transformation within one’s mind will lead to a greater state of being. Through this creative state of mind, we are able to be more adept in our understanding of Zeng Yang’s painting skills.

While the key to Pure Land Buddhism, Amitabha is also the key to a larger secret. A seemingly simple name, but is everywhere within the hearts and minds believers. The weight it bears cannot be ignored. As noted in the poems of Bai Juyi, “Amitabha is idle, Amitabha is moving, even while Amitabha is busy like an arrow.” Within this materialistic fast-food age, devout practice is indeed not easy.  However, within this environment, Zeng Yang spares no effort to create Buddhist themes unlike any one else. Opening himself up, converting to Sanbao, and continuing in practice wholeheartedly, to be reborn again in the Pure Land, these are perhaps the aspirations of Zeng Yang.

By／AiAi