「地獄空」攝影集即將在八月中元節前出版，由知名設計師與攝影家黃子欽設計，內附在下二位高徒精美繪製符咒、心經版畫書籤、愣嚴咒牌、尊勝咒語...等，感恩十方大德助印，希望疫情退散，平安喜樂，後記如下：

野放台灣五十餘年，貪狼獨坐，三方四正殺破狼格局，少年多舛，白手起家，隨展覽雲遊四海，如閒雲野鶴常持各類底片機流連廢墟、山川、宮廟忘返，遂設幻影堂自詡堂主，一日三省「凡所有相皆是虛妄」，常宅於暗房沖片放大通宵、鍾情黑白世界之單純，彩色照片俗世繽紛花俏做作甜美甚至比現實更現實故少拍也。知天命之年有餘，了悟人生一瞬、眨眼即逝，雖非仙人，亦無道骨，初聞離垢地生清淨心，但離華嚴「不動地」尚遠，待修持也。
2017年盛暑拍畢《巨神連線》，心律不整差點心肌梗塞向閻羅王報到，意識死神隨伺在側，人生苦短，如何了生脫死、盡斷煩惱、無所罣礙、遠離顛倒……總不得解，蒙釋迦摩尼佛開示飆淚三晝夜，聞佛法數載始知自我渺如塵埃，甚感慚愧。閒暇乃參訪名寺古剎，禮敬焚香佛陀菩薩羅漢諸神天仙王爺媽娘，台灣宮廟千奇百怪、宗派錯綜複雜（佛教、道教、一貫道、天主教、基督教、齋教、回教＆大同教、儒教鑾堂、天帝教＆天德教、慈惠堂＆勝安宮、軒轅教、道院、理教、萬國道德會、會靈山……）、神棍橫行（依人不依法、偶像崇拜、斂財、邪淫），因歷史變遷、社會動盪、政治鬥爭、意識形態等因素導致佛道混雜，但地獄造景稀少，後專注拍攝各殿閻王、判官、陰司、獄卒、七爺、八爺乃至一切罪人，各寺造景巧妙、耐人尋味，意境乖張溢於言表，造型扭曲非常人所能塑也，然匠心獨運、自成一格，專研西方藝術數十載方知真誠樸拙最美，絲毫不輸喬托（Giotto di Bondone，1267～1337）乃至米開朗基羅（Michelangelo Di lodovico Buonarroti Simoni 1475 ~ 1564）矣。

創立於1986年的石門金剛宮風景優美可眺望北濱，雖主祀四面佛，儒釋道眾神尊也不含糊，可過七星橋解厄、繞行五百黝黑羅漢敲鑼印心、跪拜亞洲最大臥佛涅槃像，安太歲自不在話下，甲子太歲爺雙眼長出手掌印象甚深，1994年經閻羅王指示廟公建造一條肚內設極樂世界及陰曹地府之神龍，行走暗黑通道觸動感應機關，只見面容猙獰受刑者呼天搶地喊冤、身邊盡是血肉糢糊殘肢敗屍腦漿塗地，十殿閻羅各司其職、威儀攝人。新北市林口區青嶺湖北文紫祥宮包公廟則以壁面彩塑地獄浮雕獨步全台，粉嫩色彩搭配卡漫風格，尤為造型簡直恐怖到可愛透頂，該廟主祀森羅殿閻羅天子包拯（包青天），陽世冤屈者可至此參拜祭解，求破懸案者眾，逢中元普渡皆以紙紮船渡亡魂至彼岸，全台唯一閻羅天子巨像籌備中，四周環繞墓地，適合修不淨觀也。台灣首尊彰化八卦山大佛旁南天宮（1971）地府則是首座電動地府，規模精小但驚嚇度破表，略顯破敗但五光十色仍蠻凶悍，出自已故台南大道長金登富之作，而電動神明起始可追溯至1960年代北港朝天宮。倒是嘉義水上鄉白人牙膏觀光工廠「戴相府」、「將軍府」設置十殿地府出乎意料之外，乾淨亮麗、ㄧ殿ㄧ間、簡單樸實。由高雄蓮潭龍虎塔龍口入內可見全臺唯一交趾陶地獄牆面，尊尊栩栩如生，續入龍身乃進聞聲救苦白衣觀音大士三十三化身浮雕隧道，造型設色甚為古錐。高雄大岡山超峰寺入口處「西方三聖蓮池海會」（阿彌陀佛、觀世音菩薩、大勢至菩薩巨像）旁設靜態十殿閻羅（1970年代初），雖略為陳舊然韻味猶存，續往上行可抵「證菩提道－釋迦如來應化事迹」雕塑園區，一攬世尊畢生精華。如來年邁時，琉璃國王為報長期被釋迦族輕蔑之傲慢心，世尊雖三次單獨伽跌坐 阻擋大軍進攻之路，但因緣果報無法逆轉，昔日婢女所生王子瞋恨無以復加，還是滅了祖國。自持神通第一目犍連不忍無辜百姓慘遭屠殺，遂以缽盛救度五百族人，最終卻化為血水，佛言神通廣大仍不敵千百劫業力，因緣果報屢試不爽。其母死後墜入餓鬼道飢餓難耐，目犍連遂展神通救渡，但所食尚未入口皆化為赤火，佛陀囑咐農曆七月十五日僧眾解安居自恣日，於盆中設甘露美食供養十方僧眾，因此超度亡母。後世「盂蘭盆法會」乃至「水懺法會」、「瑜珈焰口法會 」皆為消業障、斷塵垢之超渡儀軌，既渡亡魂也自懺悔。

台南麻豆代天府規模宏大、造型豔麗，不但可遊十八層地獄尚可逛天堂（1979年興建，1983年開放)，燈光絢爛、聲響駭人，獨自漫步宛如觀落陰、地獄走一回。先過「心頭山」、入「清心池」、進「陰陽界」、抵「交簿廳」、達「鬼門關」、遊「補經所」、探「枉死城」、行「奈何橋」，至ㄧ殿泰廣王照「孽鏡台」現造惡原形，睹抱柱、火床等小地獄。二殿楚江王開「陰查簿 」判案定奪，觀糞尿泥、餓鬼、舞池、寒冰、膿血、鞭韃、舌犁、劍葉、戟腹拋接、砧截……等小地獄。三殿宋帝王刑罰為倒吊、銅鐵刮臉、挖眼、搗樁、倒烤、吸血、穿肋、抽筋、蛆蛀等小地獄……兼遊「四生（胎、卵、濕、化）回魂府」。四殿五官王掌管腰斬、拔舌、沸湯、刺嘴、剝皮、箭樹、車崩、射眼……等十六小地獄。隨五殿森羅王豋「望鄉臺」回眸親人最終眼後觀擊膝、誅心、刀山、飛刀火石……小地獄。六殿卞城王別稱「大叫喚大地獄」，轄火牛、虎啖、噬腎、鉗嘴含鍼、釘喉、磨摧、砍頭……等小地獄。七殿泰山王為「熱惱大地獄」，窺烙手指、抽腸、頂石蹲身、油釜滾烹、割舌穿腮……等十六小地獄。八殿都市王掌管「大熱惱大地獄」兼火狗、鐵汁、鐵蛇、鋸劈斷肢、釘板、灸脊、鐵丸、磅秤……等小地獄。九殿平等王直轄十八層「阿鼻大地獄」，直透地心、內中陰森、不見五指、滿溢地漿，皆為極犯，另轄紫赤毒蛇鑽孔、夾頂、鐵鴉、針雨、蜂蠍……等小地獄。至十殿輪轉王上「觀生臺」、「轉劫所八司」（查驗司 、稽善司 、考過司 、恩怨司 、壽命司 、支配司、掌劫司 、授生司）後至「孟婆亭」飲「醧忘湯」忘盡前塵往事，依前世功德過金、銀、玉、石、木、竹六種橋樑至「轉輪臺（紫河車）」入六道輪迴轉生投胎。據《十八泥犁經》記載，人過世後七七四十九天為「中陰生」，經閻羅王審判善惡業力判定去留或懲罰百千萬劫，犯五逆重罪則墮入「無間地獄（阿鼻地獄）」永劫不復。地藏王乃幽冥教主，統轄十殿閻羅，逢三曹普渡便在各殿設「講道所」超度尚存善根之鬼魂。

人類居於五趣（阿修羅、人、傍生、餓鬼、地獄）雜居地五濁惡世之堪忍世界，犯十惡業（殺生、偷盜、邪淫、妄語、兩舌、惡口、綺語、貪慾、嗔恚、愚痴）者必墮三趣惡道。如何出「三界」（欲界、色界、無色界）二十八天？凡人無此意識，別說能破「十二因緣」（無明、行、識、名色、六入、觸、受、愛、取、有、生、老死）還滅門，更別想斷除「四聖諦」（苦、集、滅、道）集地八十一品見惑與八十八使思惑（五利使-身見、邊見、邪見、見取見、戒禁取見、五鈍使-貪、瞋、癡、慢、疑），了悟「五蘊」（色、受、想、行、識）本空、「十二入」（眼、耳、鼻、舌、意、色、聲、香、味、觸、法）空、「十八界」空，破俱生我執與分別我執、法執甚至空執，生十一處「善心所」（信、精進、慚、愧、無貪、無瞋、無痴、輕安、不放逸、行捨、不害），降二十六處「惡心所」（貪、瞋、癡、慢、疑、惡見、忿、恨、覆、惱、嫉、慳、誑、諂、害、憍、無慚、無愧、掉舉、惛沉、不信、懈怠、放逸、失念、散亂、不正知），須知善根斷盡則陷永劫輪迴、無垠轉世之苦。

地獄可能空滅嗎？若地獄空乏人間多鬼怪，地獄淨空世間何嘗非淨土？若能證空性何處現地獄？

地獄曠古來便廣泛流傳各部族間，老死生滅為自然運行之基礎、宇宙意識之核心，然今文明昌盛如咱城邦並非慾望消弭之所，惡性所及實無可根除，礙於憲法國家法律社會軍隊企業公司學校家庭團體之層層束縛不亞於十八層，乃遁於壓抑、束己情懷，暗埋心底、日久貪嗔痴慢疑怨噌會疊穢。而六塵未熄，心多妄念，妖魔鬼怪魑魅魍魎孤魂閃靈出沒於荒郊乃至人間，會靈於曠野密林以增性靈乃出世高人修煉之舉，我等凡人擅闖宛如迪士尼般之人造地獄，三魂七魄尚不足以出竅，驚邪恐怖淒厲猙獰倒滿足了自以為是的慚愧，豈不謬哉？

病毒肆虐年半有餘，全球確診者逼近一億八千萬，枉死者近四百萬，堪比戰爭規模，望眾生發慈悲心、令往生者安息、善待其他物種、平等有情眾生。地獄本空，唯妄念生起一切羨慕嫉妒恨而地獄現前。盡以此書作為世界新冷戰獨裁者、超限戰者、暗網駭客、陰險狡猾冷嘲熱諷落井下石者之良知備忘錄矣。

姚瑞中寫於2021年端午節

Postscript

I have been living recklessly in Taiwan for more than fifty years. According to Zi Wei Dou Shu (Purple Star Astrology), Tan Lang is the sole star in my house of Self. This star, which represents xxx, forms an equilateral triangle with that star Qi Sha and Po Jun on the square chart and constitutes a Sha Po Lang pattern. The pattern indicates a kind of turbulence and change, a life of wandering with ups and downs and it tells a lot about my life. After my ill-fated youth, I started from scratch and traveled around the world with exhibitions that I participated. Like a flaneur, I wandered around ruins, nature, and temples with every type of film camera obliviously. Thus, I founded the Hall of Illusion and claimed to be the master of the hall. Several times a day, I pondered a quote from the Diamond Sutra, “Everything with form is unreal.” In addition, I usually stayed in the darkroom developing film and enlarging those negatives overnight. However, I treasured the simplicity of the black and white world. The earthly, gaudy, garish, phony and pleasing qualities within colored photos make the images even more realistic than the real world. It is not my cup of tea, so I seldom took colored photos. In Confucian thought, the age of fifty marks the stage knowing the mandate of Heaven. I am now at my fifties and realize how ephemeral human life is. However, I am not an immortal, nor having sagelike characteristics. I just learned that the stage of stainless (the second bhūmi) and develop a pure mind that is free from doubt and defilement. However, I’m still far from the immovable state and need to practice.

In the summer of 2017, after filming the work Incarnation, I experienced a severe heart rhythm problem which almost triggered myocardial infarction and could have killed me. Consequently, I realized that death was waiting for me and the life is too short to figure out how I can liberate myself from the cycle of Birth and Death. I couldn’t comprehend how to be free from all afflictions and worries and how to avoid delusive ideas. I wept for three days and nights after being enlightened by Shakyamuni Buddha. Up to the moment, I felt ashamed that I failed to realize that the self is as insignificant as dust after these years learning and practicing Buddhism. Since then, I have visited famous temples and monasteries in my spare time, worshiping Buddha, Bodhisattvas, arhats, and all the deities and immortals. Taiwan’s temples are myriad with a enormous number of sects, including Buddhism, Taoism, Yiguandao, Catholicism, Christianity, Chinese religions of fasting, Islam& Baháʼí Faith, Confucianism, Tiandiism& Tian-De Teachings, Xiwangmu cult, Yellow Emperor Sect, Precosmic Salvationism, Liism, World Wide Ethical Society, séance cult, etc. Some people even claim that they can mediate communication between the deities or spirits of the dead with human beings, having their believer rely on themselves instead of the orthodox dharma or dogma and pay excessive respect and admiration for the mediums or objects, accumulating wealth through such an unfair means or even harassing their believer sexually. Due to Taiwan’s historical changes, social turbulence, political struggles, and ideological issues, Buddhism and Taoism are somehow mixed. However, there are few emphases on the concept of the hell. As I took photographs of Yama of each court, judges, wardens of the underworld, jailers, General Fan and Hsieh (the ghost escorts) and all sinners, I found few temples cleverly created hellish scenes that are intriguing, exaggerating, and extraordinary. However, the creations are unparalleled unique. I have been studying Western arts for decades and then I came to realize that simplicity makes the most beautiful works of art. These hellish scenes can even compete with works of Giotto di Bondone (1267-1337) and Michelangelo Di lodovico Buonarroti Simoni (1475-1564).

Jingang Temple Shimen District, founded in 1986, overlooks the beautiful North shore. Although the temple is mainly dedicated to Phra Phrom (the Thai representation of Mahabrahma), spirits of Confucianism, Buddhism, and Taoism can also be founded in the temple. The worshipper can go cross the Seven Star bridge to relieve bad luck, walk along the five hundred arhat statues and knock on the gong to affirm one’s Buddha nature. Furthermore, the worshipper can also prostrate themself before Asia’s largest statue of Buddha in Nirvana (the Reclining Buddha statue) and pacify the Taoist Tai Sui deity of the year. I was impressed by the Jia-Zi Tai Sui General that a pair of palms grow out of his eyes. In 1994, the biō-kong (the person taking charge of the temporal affairs of a temple) received a divine inspiration from Yama (the King of Hell) that he had to build a sacred hall in the shape of a divine dragon, with the interior designed according to the World of Ultimate Bliss and the Underworld. When the visitor walks in the dark hallway, they will see the tortured people (dioramas, of course) scrunching their faces and crying bitterly and loudly in excessive grief as the visitor triggers the mechanism. One will even find them in the midst of flesh, body liquid and blood, mutilated limbs, and rotten corpses. While each of the ten Yamas are focusing on their own duties, showing their sacred dignity that collect visitors’ attention. The Baogong Temple in Linkou District, New Taipei City exclusively features colorful depiction of hellish scenes in relief in Taiwan. With its pastel shades and cartoon-like style, the relief is both grotesque and adorable at the same time. This temple is dedicated to Bao Zhen (also known as Justice Bao) representing the incarnation of Yama. Living people who have been treated unjustly can come worshipping Bao Gong and receive exorcism. Therefore, many people come here for seeking to solve unsolved cases. In Zhongyuan Festival (the ghost festival), the temple will burn the Zhizha (paper craft) boat to ferry the ghosts to the other shore, which is the shore of enlightenment. The only giant statue of Yama in Taiwan is still in the making. The temple is surrounded by a cemetery, suitable for meditating on the loathsomeness and impurity. Nantian Temple (1971), located next to the Eight Trigram Mountains Buddha in Changhua, features the first animatronic underworld. Despite the small size, the animatronic underworld is intensely shocking. Though it’s slightly worn, the colorful dioramas are still brutally ferocious. The creator was the late venerable Dao Zhang (Taoist priest) Jing Deng-fu while the origin of animatronic deities can be traced back to the 1960s Beigang Chaotian Temple. On the contrary, the Whiteman Toothpaste Tourism Factory in Shuishang Township, Chiayi, features ten Yamas with individual booth. The place is unexpectedly clean and polished yet keeps a simple and modest tone. Then, the Dragon Pagoda of the Dragon and Tiger Pagodas at Lotus Lake in Zuoying, Kaohsiung, holds the only relief of hellish scenes made of Kochin ceramic. All the figures are vivid and life-like. If one goes further into the pagoda, they will see a relief tunnel of the thirty-three incarnations of the white-robed form of Guanyin (Avalokiteśvara) on a white lotus, with a lovely and interesting design. Another Hall of Yama is built in the 1970s next to the entrance of Dagangshan Chaofeng Temple, located in the Alian District of Kaohsiung. Visitors will also see three statues of the Three Holy Ones of the Western Pureland (Amitābha, Avalokiteśvara, Mahāsthāmaprāpta) which assemble at a lotus pond. Although the hellish scene looks somewhat antiquated, you may still find its previous charm. If one goes further, they will reach the sculptural garden of “Attaining the Bodhi Way: the Incarnation of Sakyamuni Buddha,” where the visitor can see the essence of Bhagavato’s (meaning the Blessed one, one of the common epithets for Buddha) life. When Tathāgata (another epithet for Buddha) was old, the king of Kosala wanted to avenge the arrogance of the tribe of Shakyas who had long despised him, regarding him as a son of a maiden. Although Buddha has sat in lotus position alone three times to stop the army from attacking his tribe. However, one can never reverse the cause and following karma. The prince born of a maiden was so furious that he eventually destroyed his homeland. Maudgalyāyana (one of the Buddha’s closest disciples), who is said to have had supernatural abilities that surpassed the other disciples, could not bear to see the slaughter of innocent people. Thus, he saved five hundred people of his tribe with a pātra (an eating utensil of Buddhist monks). Unfortunately, everything he did was in vain, those who were saved eventually turned into a puddle of blood. The Buddha said that the supernatural abilities cannot surpass the power of karma. The cause and effect work all the time. When Maudgalyāyana’s mother fell into the path of hungry ghost, he used his supernatural abilities to save his mother from hunger. However, all the food turned into fire before being fed to his mother. Later, the Buddha commanded the monks to put nectar and dishes in a basin on the 15th day of the seventh month in the lunar calendar for the monks from all directions to free his mother from reincarnation. In later times, the Ullambana Dharma Service, the Compassionate Samadhi Water Repentance, and the Yoga Collection for Feeding the Searing Mouths Dharma Service are rituals to eliminate karmic hindrance and to cease to worldly delusions. Through such practices, one can free the dead as well as confess their repentance.

Madou Daitian Temple is a magnificent and colorful temple in Tainan. Not only can the worshippers visit the eighteen levels of Hell but also the Heaven (it was built in 1979 and inaugurated in 1983) here. The lighting and sound effects are stunning and frightening. When walking alone in the space, one may feel like taking a Guan Luo Yin trip (a Taoist necromancy which leads people’s spirits to hell and communicate with the dead ones) to visit the underworld prison. Before arriving the first court of the underworld, the visitor will walk through the Mountain of Heart Summit, the Pure Heart Pond, the Frontier between the Living and the Dead Realms, the Soul Registry Hall, the Portico of Demons, the Center for Complementary Teaching of Canonical Books, the Citadel of Premature Death, and the Bridge of Vanity. When one arrives at the first court, they will see King Chin-guang, who is in charge of the court, using the Mirror of Retribution to show the earthly form of evil creatures and also witness the sub-hell of Pillar-Holding and Fire Bed, etc. At the second court, King Chu-jiang collates the register of sins the souls of the dead have committed to impose the punishments. Here, you will see the sub-hell of Excrement and Urine, Hungry Ghost, Burning Dance Floor, Ice, Pus and Blood, Whipping, Tongue-Raking, Sword Blade, Stomach-Piercing, Chopping, etc. Next, the dead at the third court, ruled by King Song-di, will receive the punishments including inversion tortures, face-skinning with steel and copper knife, eye-wrenching, pounding, blood-sucking, rib-piercing, roasting, tendon-taking, being eaten by maggots. The visitor can pay a visit to the Palace of Soul-Resuscitation for the Four Forms of Creatures (birth from an egg, birth from a womb, birth from moisture, and birth by transformation). King Wu-guan is in charge of the fourth court. There are sixteen sub-hells at the fourth court including Waist Chop, Tongue Removal, Boiling Pond, Mouth-stabbing, Skin-peeling, Sword Tree, Burning Wheels and Cart, Eye-shooting, etc. Next, at the fifth court, sinful souls are allowed to ascend the Tower of Hometown-Viewing to take a final look of their family. The visitor will witness sub-hells of Knee-striking, Heart-slicing, Blade Mountain, Flying Swords and Burning Stones, etc. The King of Bian City takes charge of the sixth court, which is also known as the “Great Hell of Screaming,” with sub-hells including Fire Cattle, Tiger-Biting, Kidney-Eating, Mouth-Poking, Throat-Nailing, Iron Mill, Decapitation, etc. The King of Tai-shan is in charge of the seventh court, the “Great Hell of Heat and Fire.” The sixteen sub-hells at this court include Finger-Searing, Bowel-Hauling, Stone-Bearing, Boiling Oil, Tongue-Removal and Cheek-Piercing, etc. Next, the King Du-shi is in charge of the eighth court, the “Great Hell of Intense Fire and Heat,” and the sub-hells including Fire Dogs, Molten Iron, Iron Snakes, Dismemberment, Steel Spikes, Burning-Marrow, Iron Ball, Scale, etc. The ninth court is ruled by the King Ping-deng. It is known as the biggest court, Avici Hell (the Hell of Incessant Suffering), which if the lowest level of the hell realm and the interior is gloomily and terrifyingly dark. Those who committed the most serious evil deed will be sent to the Avici Hell. Sub-hells such as Poisonous Snake, Brain-Removal, Crow-Gnawing, Raining Needles, Wasps and Scorpions are included at this court. After arriving the tenth court, ruled by the Great King of the Reincarnation Palace, one can visit the “Observatory of Life on earth” and the “eight bureaus of the Reincarnation Palace” (including the Bureau of Judicial Control, the Bureau of Good-Actions, the Bureau of Bad-Actions, the Bureau of Debts, Gratitude, and Vengeance, the Bureau of Longevity and Destiny, the Bureau of Familial Ties, the Bureau of the Reincarnated, and the Bureau of Birth). The sinful one will be sent to the Pavilion of Mengpo and made to drink the Soup of Forgetfulness to forget all past affairs. According to the sinful one’s merits of previous life, they will go across one of the six bridges (gold, silver, jade, stone, wood, bamboo) to the “Reincarnation-Wheel (Wheel on the Crimson River).” Finally, one is able to reborn in the six realms. According to the Aṣṭadaśa nāraka sutra ( the Eighteen Hells Sutra), after one passes away, they will enter an intermediate and transitional state between death and rebirth, known as antarābhava in Sanskrit, for forty-nine days. The being will be evaluated by Yama, who will decide if one should get reborn or get punished at the hell. Those who committed the Five Grave Offenses (killing one’s father, killing one’s mother, killing an Arhat, shedding the blood of a Buddha, and creating a schism within the community of Buddhist monks and nun who practice for attaining enlightenment.) will be sent to the Avici Hell and stay there eternally. Kṣitigarbha is the Lord of the Nether World, ruling the ten court of Hell. The lord will set up the “Hall of Teaching” at each court to salvage those sinful ones who still obtain few merits at the offering rituals.

Human beings live the Sahā world (sahāloka in Sanskrit, meaning “endurance of suffering,” a concept of mundane world in Mahāyāna Buddhism) where they share with other reincarnations (including beings of the hells, of the preta, and of malevolent nature spirits) with five turbidities (the Kalpa turbidity, the view turbidity, the affliction turbidity, the living beings turbidity, and the life turbidity). Those who commit the ten evil deeds (killing, stealing, adultery, lying, using immoral language, slandering, equivocating, coveting, anger, and false views) must fall into the three evil paths (animals, preta, and hell). However, how can one escape from the three realms/ twenty-eight heavens (including the six heavens of the desire realm, the eighteen heavens of the form realm, and the four heavens of the formless realm)? Worldly people who don’t have such an awareness cannot leave the cycle of the twelve nidanas (meaning causes or motivations), let alone eliminate the eighty-one afflictions (that have been produced due to misunderstanding regarding reality) and the eighty-eight illusions (including five afflictions of advanced practitioners, also known as five views: view of self, extreme view, evil view, view of attachment to views, and view of morality; and five unintelligent temptations: desire, anger, stupidity, arrogance, and doubt) of thought within the three realms and four Arya satyas (noble truths, including suffering, arising, ending, and path). They cannot realize that the essence of the five skandhas (referring to aggregates of clinging, including the matter of form, sensation, recognition, mental formation, and consciousness) , the twelve ayatana (meaning sense base, including six internal bases: eye, ear, nose, tongue, body, and mind and six external bases: visible objects, sound, odor, taste, touch, and mental objects), and the eighteen dhātavah (meaning compositional elements of human existence, including six consciousness, six faculties, and their objects) are the emptiness and the void. Furthermore, they cannot dispel the two reasons for clinging to the idea of the self and the attachment to elemental constructs and even believe in the two (false) tenets that that karma and nirvana are not real and that the ego and phenomena are real. As a consequence, they fail to develop the eleven wholesome mental factors (faith, energy, conscience, being ashamed, non-attachment, non-aggression, non-delusion, calmness, equanimity, conscientiousness, and non-injuriousness) and cease the sixteen unwholesome mental factors (desire, greed, anger, delusion, arrogance, doubt, wrong view, wrath, enmity, hypocrisy, vexation, jealousy, parsimony, deceit, flattery, harming, ambitiousness, stupidity, lacking of faith, idleness, being unrestrained, forgetting, distraction, non-discernment, ). One must bear in mind that once all our virtuous roots are discontinued, they will be trapped in the never-ending reincarnation and the suffering of infinite continuity.
Is it possible that the hell will be empty one day? If the beings in hell will become extinct while evil spirits inhabit the mundane world, the world could be considered as a pure land. If we could witness the nature of the void, then hell will exist no more.
Since ancient times, the concept of hell has been widely spread among all tribes. Aging, death, beginning, and end are the basis of nature and the core of cosmic consciousness. However, the prosperous civilization as our island is not a place where desire can be eliminated. It’s impossible to eradicate evil nature. Since fetters brought by the constitution, the state, the law, society, the military, corporations, schools, families, and groups are not less than the eighteen levels of hell, the mortals repress themselves, bury their feelings. Day after day, greed, anger, stupidity, arrogance, doubt, and resentment are stacking. However, since the six dust (visible objects, sound, odor, taste, touch, and mental objects) has not yet been extinguished, people in the mundane world are still full of delusions. The demons, devils, evil spirits, and the wondering dead exist in the wilderness, while only advanced practitioners with transcendent would attempt to make contact with the dead in the wasteland and forest. Worldly people like us trespass in Disneyland-like man-made hell. It is absurd and ridiculous that the hellish scenes cannot stop us from perpetrating evil deeds, but the horrific and cruel scenes yet satisfy our self-righteous shame.

The pandemic has been boiling over for more than a year and a half. The number of infected patients worldwide is nearly a hundred and eighty million, and the death toll has risen to four million, which is equivalent to a war crisis. I hope that we can all be compassionate, give peace to the dead, treat all sentient beings well and equally. The hell is innately empty; however, deluded and misleading thoughts would give rise to all jealousy and hatred and then manifest the hell before us. This book merely serves as a memorandum of conscience for dictators of the world’s new cold war, supporters of unrestrained warfare, dark web hackers, and those who are cunning and contemptuous and maltreat others when knowing they have problems.

June 2021,

Yao Jui-chung

《我的幸福5/2 週末》

*週日下午兩點誠品信義書店「廿世紀典範人物」新書分享會，我下午二時開始演講，離上次在台灣大學公開演説。快半年了！分享會報名一小時預告已額滿，但TVBS電視台慷慨的支持。派出SNG車，屆時TVBS文茜的世界周報YouTube 及世界周報Facebook 都將同步直播。

*新書分享會後我將直奔高雄衛武營，參加劉孟捷（李斯特巡禮之年）鋼琴獨奏會。這是劉孟捷回台，最重要的一場音樂會，我目睹他用盡了一切心力。過去即使21歲時在費城代打缺席大師的音樂會，劉孟捷都未曾如此緊張。他此次回台，手術前為了沒有遺憾，共舉行三場音樂會：其中4/17與5/30皆是與國家交響樂團NSO合作：530那一場指揮是呂紹嘉。但他告訴我，某些曲目對他而言，是Piece of Cake ：惟獨衞武營這一場，曲目由他自己決定，現場錄影，並且找了金曲獎錄音師同步錄音。

5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784

劉夢捷明白他即將面對一個大手術，手術風險之外，他的免疫系統疾病，將使他的康復之路更長。

沒有人可以預知未來，為了圓他的夢，醫院每天都要求他早上、晚上量血壓，報告直接傳給院長。振興醫院院長魏崢雖然是亞洲第一把心臟外科醫師，但也不敢大意。

畢竟這個人的生命那麼脆弱，他的心臟主動脈剝離，那是實質的「心碎」了：但他仍有詩，仍有音樂夢。在生命的交接處，在白日與黑夜的交义口，劉孟捷想為他的音樂生涯，留下最美好的紀錄。

他選擇了李斯特。

在這場音樂會前，他甚至以英文寫下了自己與音樂、疾病的半生回顧：如李斯特的巡禮，有仰望，有沉思，有失落，有幽微的疼痛。他以詩篇般的演奏模式，傾訴，詠嘆。他曾得到天賦，也走過死蔭的幽谷。命運是一層又一層的黑影逼近，老天爺隨時想帶走他。

而他已不再流淚，不再沉浸於悲愴告別：因為對他而言活著並不容易，他要讓自己更深刻的抓住每一分時光之美。

如果時間和空間，正如哲人們所形容的
都是不實際存在的東西：那從不感到衰敗的太陽，也不會比我們了不起多少！

他如艾略特的詩句中所形容的：我們為什麼要如此貪心總在祈禱，想活上整整一個世紀？

蝴蝶雖僅活了一天，已經歷了永恆。

當他的身軀如露水還在藤蔓顫抖時，他送給我們一場「完全浪漫又超技的李斯特」。

等音樂會結束了，至少有一張CD，一段YouTube 影像：不論孟捷代表生命的那朵鮮花是否枯萎，他彈奏如天使的音聲不會飛離，它會停留在那夜，繼續釋放芬芳。

這是盡生命之力、之情獨奏的音樂會。劉孟捷説：這樣當他走進手術室時，會少一點悲傷。

或許快樂的日子本來就不多，但讓這場「完全李斯特．完全劉孟捷」的獨奏會放出神聖的光彩吧！

我必將赴會，不會錯過！我知道此刻的獨奏會，很難複製，因為它綜合了太多的情感、愛念，釋放與生命的抒情。

*劉孟捷為此次獨奏會寫下的文字：This past year has seen some unprecedented changes in the world. Many lives have been lost and many have changed. The world has changed while many of us confront the uncertainty of the future.

For most musicians, life has changed. For months, we have been conducting our lessons online, and concerts have mostly stopped or become an online experience as well. More time has been spent learning how to improve the online teaching experience than one could have imagined. While I have felt the duty to continue teaching, the format the pandemic requires for teaching leaves me unwilling to spend more time than I have to.

And truly, I have had other things to deal with. When the pandemic started to worry the American public in March, I was in the middle of a tour with the String Quartet-in-Residence at Curtis, the Vera Quartet. However, our concerts were canceled, and everything came to a sudden halt.

I felt the universe had sent me an unexpected gift, as I had also just received some terrible news concerning my worsening aortic arches and a diagnosis of kidney cancer. The sudden halt in my professional schedule seemed perfect in its timing. I was able to settle into a monastic existence, to simply practice and attempt to heal.

I see many musicians itching to be concertizing again, and many stepped into new territory, performing on the internet. Many took time to develop new podcasts, and to write new materials for their art. Sadly, many have struggled as they have fallen into desperation without any concert incomes. Altogether the music industry seems to be in peril, and many worry about how music and musicians will survive.

However, I had my own survival to think about. Having been through many difficult experiences in my life, I knew this might be the most difficult I would encounter. My Doctors describe me as a walking time bomb. My condition could be lethal at any moment if my blood pressure gets out of control. So while others wrestle with the fate of the music industry, I’ve needed to face my own fate and mortality.

Playing concerts can mean many things to people. At different times throughout my life, I’ve felt the need to express different aspects of myself. When I was young, I wanted to embody the spirit of romanticism, playing lots of Chopin and Schumann. Then there was a period of time when I wanted to challenge myself by showing off pyrotechnics. I had a brooding period where I turned to the pathos of Rachmaninoff, and then felt the need to return to the purity of Schubert and nobility of Brahms. Throughout this pandemic, I wanted to play Bach. Through Bach’s music I found a kind of spiritual sanctuary.

In considering the program for this concert, I felt again the urge to play music that reflects my current feelings and state of mind. The title of today’s recital, “Years of Pilgrimage” seems to fit exactly what I am experiencing.

Liszt wrote several volumes of “Années de pèlerinage” throughout his life to reflect on thoughts he had during his travels. He links his philosophical thoughts to the scenery which inspired them. “Au Bord d’un Source” describes feelings of rejuvenation while standing next to a clear stream of water, a symbol and source of life and energy. It seems to say, when the stream is so pure, life can be so full of joy.

In the Les jeux d'eaux à la Villa d'Este (The Fountains of the Villa d'Este), the water has a magical and supernatural quality, as Liszt himself wrote in the inscription: "But the water that I shall give him shall become in him a well of water springing up into eternal life,"( from the Gospel of John.)

For me, I have never felt more connected to Liszt than when he looked upon the valley of Obermann and questioned the meaning of existence. At this moment in my life, I often find myself reflecting my experiences of what I see and read into philosophical musings. Perhaps many people come to a time when this is so.

In all this I have felt gratitude for the love stories and sonnets that one can romantically indulge in, and for storms so violent that they threaten to destroy one’s spirit, even the hell-bound journey which brings up questions about the purpose of life…

On this journey, I felt full and alive as a human being. Looking back on this journey, I am grateful for everything, whether happy or sad, to have made an impact, found and imparted meaning to this life.

The unusual time of this pandemic has marked a milestone for me. I have journeyed back home, and as it happened, this is the first time I have spent so much time in my hometown Kaohsiung in over 35 years. It’s particularly nostalgic to play these pieces as some of them were significant in my early musical career. Vallée d’Obermann was the piece I played in my first competition at the junior high school level, in which I won first prize on the national level, which allowed me to be qualified to apply for a special permission to study abroad. This meant my dream to be educated as a musician could be continued in an environment where I could develop fully. In the following year when I was 13, I won the first Asia-Pacific Youth PIano Competition with the Dante Sonata. The competition catapulted me into national attention as I was headlined in several newspapers, and especially since it was held in Kaohsiung, I became a local hero as well. During the same event, I had a fateful meeting with one of the important influences in my life, Mr. Gary Graffman, who then mentored me throughout not only the years when I was studying at Curtis, but throughout my illness and recovery as a pianist. Right before I departed to study in Philadelphia, I played my first solo recital throughout Taiwan, and along with the Dante Sonata, I also performed the three sonnets.

It’s perfect that now, back in Kaohsiung, all these memories have flooded back into my head. I feel so lucky to have been born here, and to have met my first teacher, Chin-Li Lee, who inspired me on the path to become a musician. Prof. Alexander Sung filled me with dreams of becoming an artist. I am grateful for his belief in my talent, when he chose to give a 12 year old such philosophical pieces to play.

Having once again spent some months in Kaohsiung, I can freshly appreciate the source of inspiration it once was for me. I have returned to the source to heal. Having already glimpsed hell’s gate several times, battered and weathered by the storms of life, I know there is a reason life is this way, and it all will be alright.

Meng-Chieh Liu
April, 2021

*劉孟捷衛武營《李斯特巡禮之年》演奏會中，包括李斯特以佩脫拉克三首情詩譜寫的鋼琴琴詩：這三首情詩是從大詩人佩脫拉克一百多首情詩挑出來的，詩本身就很優美，依此激發李斯特的浪漫主義創作靈感，成為琴藝上最困難演奏，但也特別細膩溫柔的琴詩。

這三首分別是：
〈佩脫拉克第47號十四行詩〉〈佩脫拉克第104號十四行詩〉及〈佩脫拉克第123號十四行詩〉。
Franz Liszt（1811-1886）: Sonetto 47 del Petrarca, Sonetto 104 del Petrarca, Sonetto 123 del Petrarca, from Années de pèlerinage, Deuxième année: Italie

李斯特於1846年先出版藝術歌曲《三首佩脫拉克十四行詩》（Tre sonetti del Petrarca），再改成鋼琴獨奏版。

三首佩脫拉克十四行詩
中譯：焦元溥（元溥也是友情贊助，特別準備音樂資料，周日南下，聆賞劉孟捷的樂曲，並且陪同他盯著錄音共三天）

〈第47〉
祝福每天、每月、每年，
所有片刻與鐘點、時間與季節，
在那美麗的原野，

我為一雙眼眸魂縈夢牽。

祝福初遇時的甜，
與愛同在、受苦不停歇，
如弓箭刺穿令我淌血，
傷口永留感動在我心間。

祝福一切我發出的聲音，
當呼喚著我深愛的女郎，
渴望、嘆息、淚濕滿襟。
祝福我寫下的文字遠揚，
歌頌她的芳名，萬古長新。
我心永屬於她，無人能闖。

〈第104〉
我找不到和平，也無意打仗，
我恐懼、我期望，燃燒又冰透。
我向天飛升，卻躺在地上，
我一無所有，卻又擁抱整個宇宙。

我身陷囹圄，監牢又開敞；
我不受囚禁，卻銬著鎖頭。
愛情不讓我死，也不讓我飛翔；
不要我活，也不准我逃離悲愁。

欲看卻無眼，啞口還在發言，
我甘心殞滅，卻仍高聲呼救，
我痛恨自己，但仍愛著他人。

憂傷滋潤我，淚水伴隨笑臉，
生命不足惜，死亡也不煩憂；
我淪落至此，都是妳啊，我的愛人！
〈第123〉

我在塵世見到仙子的美，

她天堂般優雅無與倫比。
想起她讓我悲傷又歡喜，
所見如幻夢迷霧與幽黑。

妳的可愛眼睛使我落淚，
多少次讓太陽也要妒忌。
我還聽到四周發出嘆息，
移動了山嶽停止了河水。

愛情智慧憐憫憂傷財富，
在淚水中形成甜美聲響，
奇妙和諧世上未曾目睹。
天堂追隨著音樂的流淌，
雖然枝上樹葉並未飛舞，
空氣與風息卻充滿芬芳。

5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784

#照顧者論壇劇場 淑儀媽媽（中）

這一年淑儀媽媽八十九歲，七年前確診患上認知障礙症，原本一直維持在初期，但突然中風，情況急轉直下，接著腳指壞死需要截肢。醫生特地來病床前解釋，媽媽聽畢回答：「這是醫學的講法。」
淑儀聽了一震，爸爸生前有糖尿病，醫生說要切掉兩個腳趾，媽媽也是說：「這是醫學的講法。」她天天替爸爸按摩，終於令腳趾好過來。淑儀也天天替媽媽治療，可是救不回來。

醫生還是說要切，淑儀於是爭取多兩星期，希望讓媽媽能接受。她每天都一邊替媽媽洗傷口，一邊抬起媽媽的腳，對她說：「爛了，要切掉，留不了。」
媽媽聽了，轉頭又忘記。截肢手術只是半身麻醉，媽媽醒來時也很愉快地說護士解釋得很清楚，可是過了幾個星期，淑儀看看媽媽傷口的包扎情況，媽媽說：「不要摸，我的腳板好痛！」
已經沒有腳板了啊。淑儀呆住。
手術後近兩個月，有天媽媽躺在床上，眼有淚光，想去摸腳板。淑儀上前摸摸媽媽的手，她發脾氣推開：「我唔幫你玩！」淑儀知道，媽媽終於面對失去腳板。
淑儀唯有不斷勸說：「等你有力可以再走路，我們可以用拐杖，甚至可以裝義肢，但你要有力走才行啊。」

媽媽還健康時，淑儀自覺是「外嫁女」，多年來忙著上班、照顧丈夫和兩個女兒，媽媽跟弟弟一家同住，以往淑儀總是過年過節、生日，才會跟媽媽碰面。媽媽確診患上認知障礙症，淑儀多了時間和媽媽相處，原本母女間亦有一些「情緒」心結，這段時間就有機會處理。
看著媽媽身體日漸衰敗，很難過，有一番話，在淑儀心裡想了很多遍，終於在截肢手術那天說出口：「媽媽如果你留下來，是為了教我某些東西，你不用留了，我會自己學。」
截肢手術後，媽媽在醫院很長時一段時間。有時親友來探，跟媽媽談話，媽媽不作聲。淑儀很難受，想起曾經被困集中營的奧地利心理治療大師Viktor Frankl，他的書《Man’s Search for Meaning》：改變不到處境，就要挑戰自己改變，最終每人都有自由去決定用什麼態度面對，這是the last of human freedoms。
她站在床邊，心裡對媽媽說：「你沒了腳，但仍然有the last of human freedoms，可以用不同的態度面對日後的生活。」
她一直想，媽媽轉過頭來看著她，眼神很堅定，像是收到她的說話，還要點了一下頭。
淑儀非常驚訝，沒預計媽媽接收到，並且是英語！「認知障礙症溝通不到，但原來還有心。心比腦，更有力量。」她說。

媽媽這次出院後，雖然仍然回到原先的日間中心，並且入住住宿的樓層，然而媽媽需要更多護理，還是搬去正式的護養院——沒想到，連串惡夢開始。

。
照顧者論壇劇場
視像演出分三場次，三個不同的劇場：場景依次為家居、院舍、醫院
第一場：2021年1月22日：晚上8時 【好想留在家】
第二場：2021年1月23日：上午11時 【三等老人院】
第三場：2021年1月23日：下午3時 【醫院嗌大交】
參與形式：視像直播
費用：免費
*演出約為一小時
*參加者透過視像一起討論，可以打電話給現場「替身」代為改變劇情
*參加者可透過網上投票，表達意見
*三場將會各開三個FB closed 群組
在演出前放上相關安老及醫護資料，演出後亦可繼續討論
*認知障礙症患者的照顧者可自行選擇會否入小組
由「照顧者大大聲」資深照顧者主持，平時whatsApp，每月見面，互相支持和交流
（葵青區居民優先）
.
報名: https://forms.gle/KDa9zDYNrAvJvRzh9
大銀及葵青區議會健康職安社區工作小組合辦
鳴謝葵青區區議會贊助

《Midnight Sun》
Cold Sun / 冽日
作詞 / Lyricist：aimerrhythm
作曲 / Composer：横山裕章
編曲 / Arranger：玉井健二、大西省吾
歌 / Singer：Aimer
翻譯：夏德爾
English Translation: Thaerin

背景 / Background - danse solitaire - Hiten:
https://www.pixiv.net/artworks/78391247

版權聲明:
本頻道不握有任何音樂所有權，亦無任何營利，一切僅為推廣用途。音樂所有權歸原始創作者所有。請支持正版。

Copyright Info:
Be aware this channel is for promotion purpose only without any illegal profit. All music's ownership belongs to the original creators.
Please support the original creator.

すべての権利は正当な所有者/作成者に帰属します。あなたがこの音楽（または画像）の作成者で、この動画に使用されたくない場合はメッセージまたはこのYoutubeチャンネルの概要のメールアドレスにご連絡ください。私はすぐに削除します。

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中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDet...

英文翻譯 / English Translation :
https://www.lyrical-nonsense.com/lyri...

日文歌詞 / Japanese Lyrics :
重ねた言葉は何を守るため?
強くなれるだけでいい　答えはもういらない
例えば心は傷を負うだけで
それだけのものだとしたら　悲しいね
それでも空を見上げてる

行き場をなくした月の影　勢いを増した向かい風
知らないどこかで手にした何かは
音を立て　すぐに消えた

そう　世界の片隅で
祈りとか誓いすら意味をなさない
居場所すら忘れ　歩き続けてく

かざした刃は誰を守るため?
強くなれるだけでいい　答えはもういらない
例えば心は傷を負うだけで
それだけのものだとしても　かまわない
それでも空を見上げてる

うつむいたままの景色まで　目に映るものは痛みだけ
知らない誰かに望んだ全ては　今はもう風に消えた

そう　世界はまわるだけ
残された期待なら意味をなさない
求めたものは捨て　歩き続けてく

重ねた言葉は何を守るため?
弱さと向き合うなら　涙はもういらない
「さよなら」「さよなら」くりかえすだけで
それだけの日々だとしたら　悲しいね
それでも空を見上げてる
いまでも星を探してる

夜明けを求めた旅人は
真夜中輝く　青い太陽
傷ついたこと　傷つけたこと
すべて体温(ねつ)にかえるまで　ずっと歩いてく

重ねた言葉は何を守るため?
強くなれるだけでいい　答えはもういらない
かざした刃は誰を守るため?
弱さと向き合うなら　涙はもういらない

心は 心は 傷を負うだけで
それだけのものだとしても　かまわない
それでも空を見上げてる

中文歌詞 / Chinese Lyrics :
那些持續說服自我的話語，是為了堅持什麼？
只要能變得更堅強就好，我們不需要知道那會有什麼結果
假如說，擁有心靈只會背負更多的傷痛
如果心靈真的僅是這樣的東西，那真是令人哀傷
但即使哀傷，我們仍只能仰望著這片天空

失去藏身之所的月影，昏暗的是漸漸加劇的逆風
在不知名的地方，落入手中的那些未知之物
也僅是留下聲音的殘影，轉瞬飛散了

是的，無論是祈禱甚至是誓言
在這角落的世界裡都沒有任何作用
而我們只能一面忘卻自己的棲身之所，一面持續向前

武裝了自己的信念，是為了守護什麼人？
只需變得堅強，答案什麼的就通通捨棄吧
假如說，擁有心靈也只會讓我們背負更多的傷痛
而就算心靈真的僅是這樣的東西，那也無所謂了
我們也僅是追尋著這片天空

從遠處一直到低頭、映入眼簾的都只有痛苦的風景
對著不知名的某人所渴求的那些願望，現在，也全消散在風中了

沒錯，這個世界僅是前進著
若是那些被遺留於身後的期望，那都已經失去意義
捨棄那些曾經追求過的東西，我們，僅須向前

持續鼓舞自己的話語，是為了堅持什麼？
若是要面對自己的懦弱，就捨棄我們的眼淚吧
僅是重複著「再見」與「再見」
若走過的日子僅有這些離別的話，那真是讓人感傷
但即使如此，我們仍追求著這片天空
如今，我們也仍在尋找著星斗

那些追尋黎明的旅人
是於午夜中燃燒青焰的烈日
無論是受了傷的過去，還是傷害了他人的過往
直至將這一切全化作自己的體內的炙熱，他們將一直、一直走下去

累積下來的千言萬語，究竟是為了堅持什麼？
只要能變得更堅強就好，堅強的結果是什麼我們並不需要知道
而武裝了自己的信念，到底是為了與什麼人抗衡？
若是要對抗自己的脆弱，眼淚什麼的我們也已經不再需要

就算，心靈的傷痕只會不斷、不停的增加
縱使心靈就是如此的東西，那都無足畏懼
因為無論如何，我們，都只會持續追尋著這片天空

英文歌詞 / English Lyrics :
Just what are the words I’ve piled up meant to protect?
I’d be satisfied with them merely making me stronger; I don’t need an answer anymore.
But if it were really nothing more,
Than something to cause me pain, it would be so sad;
Nonetheless, I’m still looking up to the sky.

Like the moon’s shadow when it has nowhere left to run, or a headwind increasing in strength,
An unknown thing obtained, in an unknown place, made an audible noise before vanishing.

That’s right: in the corners of the world, prayers and oaths exercise no meaning,
Forgetting where they belong only to walk on endlessly.

Just who is the blade we hold aloft meant to protect?
I’d be satisfied with it merely making me stronger; I don’t need an answer anymore.
But even if it was really nothing more,
Than something to cause me pain, I wouldn’t mind;
I’m still looking up to the sky.

Everything that reflects in my eyes is full of pain, even the scenery I see lying face down,
As the entirety of some unknown person’s desires gets carried away by the wind.

That’s right: just by the world spinning ’round, any hopes still left will exercise no meaning,
Leaving all who sought them to walk on endlessly.

Just what are the words I’ve piled up meant to protect?
If I can face my weaknesses, I’ll no longer have need for tears.
But if these days are to consist of nothing more,
Than repeating, “Farewell!”, “Farewell!”, it would be so sad;
Nonetheless, I’m still looking up to the sky.

Even now, I’m still searching for the stars.

The travelers who sought after the dawn,
Are a pale sun shining at midnight,
Walking on and on,
Until all the pain exchanged to and fro converts to heat.

Just what are the words I’ve piled up meant to protect?
I’d be satisfied with them merely making me stronger; I don’t need an answer anymore.
Just who is the blade we hold aloft meant to protect?
If I can face my weaknesses, I’ll no longer have need for tears.
Even if the only real purpose for this heart,
Is to be wounded, I wouldn’t mind;
I’m still looking up to the sky.

■ 更多林子安：
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各式工作演出邀約請私訊IG或臉書專頁
For business, please send private message to my Instagram or Facebook fan page.

■ 更多【Cover by AnViolin】：https://bit.ly/2vWVtF5

--

棉子《勇氣》小提琴版本 | Violin cover by Lin Tzu An of Courage by Mian Zi

這幾天台北天氣又轉涼了些，所以cover一首溫暖的曲子！
曲子旋律帶著純粹的感情悸動，獻給所有為自己所愛的人奮不顧身的人們～

希望大家都能察覺到愛的存在，也不要有太多保留，感覺到彼此有愛的時候，就有勇氣去愛吧！
留下來和離開同樣勇敢，行動和忍耐同樣勇敢，接受和改變也一樣勇敢。

如果正在傷心，也請珍惜自己，誰傷了你的心不重要。把重心放到那些期待著你的人身上！
在每一天好一點、壞一點的平衡中，只要有一點點幸運，就能提醒自己其實也有快樂的時候吧。
希望我的琴聲可以帶給大家一點點這種幸福的感覺～
記得這樣微小的感受，聽著歌，是不是好像就可以再繼續往前走了呢😊

希望我的琴弦旋律也能撥動大家的心弦，感染每一位有勇氣付出愛的人！
也獻給每一個即使心裡受了傷，還是懂得欣賞人生美好的片段；
在每次噙著淚水時，仍舊望著天空期盼找到出口的大家！

歡迎大家在沒有下雨的週末到信義區香堤大道，聽cover歌曲的live版！詳細演出相關資訊，我都會更新在我的Instagram 限時動態！

--

It's getting cooler these days in Taipei, so here comes a song with warm love.

With strong and sentimental theme, the song is dedicated to those been and are now in love regardless of all consequences.

I love you, meaning you inspire me. You are a horizon stretching over the ocean, where I have to swim for and a reminder of how far I can go. I love you meaning I want to go there with you.
Wait for someone whose kiss envelopes you like dawn stretching over the night sky.
One day there will be someone hugging you so tight that all of your broken pieces will stick back together. Wait for some one who will possess you like night and set you free like morning.

Enjoy the chords in your heart by the strings in my hands.

Should you have any request regarding cover songs, just comment below and let me know.
Also please share the video and subscribe to my channel https://bit.ly/2EsTGMQ.
Don't forget to click the 🔔 bell to be notified when my videos come out!

Visit me at Taipei Shin Kong Mitsukoshi Xinyi Plaza to enjoy more my live cover songs. Check it out details on my Instagram stories!

--

小提琴 Violin: 林子安 Lin Tzu An
攝影師剪接師 Photographer & Film editor: Santon.W
文字編輯 Social media editor/manager: Lily Wu

--

【Cover by AnViolin】每週上傳新的小提琴cover影片，
喜歡的話請訂閱我的頻道 https://bit.ly/2EsTGMQ
也記得開啟🔔訂閱通知，按讚留言分享給你家人朋友看喔！
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還想看子安cover什麼歌？留言跟我說 ！

--

#棉子
#勇氣
#棉子勇氣
#勇氣violin
#勇氣小提琴
#勇氣violincover
#AnViolin
#CoverSong
#ViolinCover
#CoverByAn
#林子安
#林子安小提琴

🎬🎬🎬作品介紹🎬🎬🎬
😎[團隊介紹]─
《台灣之光─萌戰隊》是張益彰A-King老師帶領台灣高雄「Monsda萌世代兒童舞蹈學苑」和「KDC金門流行舞蹈團」兩大街舞團所完成的「金門戰地文化街舞作品」。秉持著「愛，舞所不在」的精神，舞動和平旌旗、歌頌前人英雄。🙌🙌🙌

🌈[取景地點]─
金門擁有壯麗自然景觀及豐富戰爭遺址，飽受槍砲攻擊卻又仍屹立不搖，是臺灣最有故事的小島。「金門馬祖是防衛台澎的前哨，亦為自由世界鞏固西太平洋的生命線。」金門對於世界局勢的發展極為重要，且在種種戰役中，若當時金門沒守住，就不會有現在的台灣了！🌵🌵🌵

💗[核心理念]─
強調舞動金門生命力，讓世界看見台灣之美！全企劃以人道主義出發，包含五大核心：品格教育、文化傳承、軍隊故事、正能量、愛與關懷。使用創意舞蹈和電影特效，以潮流創新的方式，呈現「街舞融合軍事」的影像視覺饗宴。☀☀☀

🎈[舞作意象]─
一場戰爭，即為一個時代的濃縮。一支舞蹈，代表一個世代的和平。此舞作將金門飽受砲彈洗禮的累累傷疤轉換為美麗的印記，將過去戰爭中的砲彈轉換為藝術；除了象徵戰爭遠離，亦有邁向和平宣示之意涵；同時也讚頌與實踐和平價值之力量；重新闡揚並帶領大家共同探索和平的真諦。😇😇😇

💃[舞作內容]─
舞者們以高爆發力與節奏快速的舞步，呈現軍人訓練和作戰時的百樣風貌。動作上融合格鬥昇龍拳、如砲彈般的空翻、具有爆點的各式大招與組合技，以及各種創意動畫特效。在流行電子音樂與《黃埔軍魂》兩首新舊歌曲交融下，重新以這個世代的視角演繹「親愛精誠」此精神理念。舞者們精湛的舞技，不僅舞動金門進而舞動奇蹟，把金門「堅持到底」的作戰精神表現得淋漓盡致！💦💦💦

👼[目標起許]─
期待以歷史故事、創新話題、精湛舞技，來以舞會友、促進金門觀光、推動國軍招募、鼓勵民眾建立良好運動習慣；以及促使保存戰役史蹟、爭取申請世界遺址；回顧戰爭歷史，帶領民眾品味和思考戰爭背後和結果所帶來的價值與意義，進而反思和平的可貴，展現台灣人民希冀和平之善良美德。也有望更多國家政府單位、民間企業、新聞媒體，一同參與我們更多未來推廣夢想之企劃，一起讓「愛，舞所不在」！！❤❤❤



● [教室連結]─
1.Monsda萌世代兒童舞蹈學苑：https://goo.gl/LKmZja
2.KDC金門流行舞蹈團：https://goo.gl/caEAmY

●想了解更多秘辛「作品內幕」、賺人熱淚的「金門動人歷史故事」、和實地走訪的「觀光旅遊資訊」嗎？請點閱「金門故事觀光旅遊連結」：https://goo.gl/S91UzU


● [編創導演]─
A-King張益彰 : https://goo.gl/8rqN5T
----------------------------------------------------------------------------------------------

●The Glory of Taiwan – Team Sweet Warriors, a break dance performance celebrating Kinmen battlefield culture, has been released by Monsda and Kinmen Dance Crew.

●The production team for Dance Love Everywhere presents the performance with the humanitarian spirit of Taiwanese culture, which includes character education, cultural heritage, military story, positive energy, love and care.

●A-King, the director of the performance, celebrates past heroes with an innovative presentation through creative dancing and special effects. By gloriously implementing the warrior spirit, it transforms Kinmen’s war scars into beautiful marks, turning cannonballs into art – “fight ‘til the end!”

●Through historical stories, we wish to promote tourism in Kinmen, military recruitment, preservation of war sites and application for World Heritage. The review shows the virtue Taiwanese people anticipate and leads our audience to ponder what value and meaning wars create, reflecting how precious peace is.

●We hope there will be more public institutions, private enterprises and news media joining us to popularize our dream project – DANCE LOVE EVERYWHERE!


[Links]─
1. Kinmen County Government: https://goo.gl/llGziu
2. Monsda: https://goo.gl/LKmZja
3. Kinmen Dance Crew: https://goo.gl/caEAmY