སྒོམ་ཞྭ། 直贡禅帽 | The Drigung Meditation Hat-直贡噶举-八卦帝

སྒོམ་ཞྭ། 直贡禅帽 | The Drigung Meditation Hat

直贡噶举欧美女星 2018-08-03 09:36:30 1052

创作不易，用心坚持，欢迎请BaGua喝几杯爱心咖啡！

The Drigung Meditation Hat

Recent Drigung Kagyu publications from Tibet present a few important portraits of Jigten Sumgon and his legendary hat. In them we find the founder of Drigung wearing a red gomsha. Typically the hat featured a cluster of flaming jewels in the middle of its front panel. In some older paintings the central symbol is more subtle, as if woven into the design of the cloth. In these two recent versions, however, the jewels blaze like a glittering gold emblem attached to the hat.

直贡禅帽

近期，来自西藏的直贡噶举出版物展示了吉天颂恭和他传奇帽子的一些重要肖像。其中我们发现，创始人戴着红色的禅帽（gomsha སྒོམ་ཞྭ།）。在帽子的前面板中间，具有代表性的嵌有一簇燃烧状的如意宝。在一些古老的绘画中，中央符号更精细，仿佛设计成布料编织的纹理。然而，在这两个新近的版本中，如意宝像一闪闪发光的金徽，附在帽子上。

图4.4B和4.4C（Figures 4.4b and 4.4c）

Figures 4.4b and 4.4c depict what is now his standard red correct hat. The flaming jewel (nor bu me 'bar) emblem was thus an essential part of the great founder's meditation hat. (His name as a bodhisattva was, after all, Rinchen Pal,"Jewel Luster.") The front emblem typically consisted of six flaming jewels clustered together and standing upon an elegant base of lotus petals, either with three distinct petals (Fig. 4.4d) or a curved line of seven smaller petals (Fig. 4.4e). To the right and left are Clouds.

图4.4B和4.4C描绘了现在标准的红色禅帽。燃烧的如意宝徽饰是伟大的法脉奠基人的禅帽的重要组成部分。（别忘了，他作为菩萨的名字是，仁钦贝，“如意宝之光”）。前面的徽饰通常由六个燃烧的如意宝组成，聚集在一个优雅的莲花花座上，有三个不同的花瓣（图4.4d）或七个小花瓣的曲线（图4.4e）。向右和向左是祥云图案。

图4.4D (Fig. 4.4d)

图4.4E (Fig. 4.4e)

Rase Konchok Gyatsho devoted an article to the gomsha of Jigten Sumgon and his followers. According to it Jigten Sumgon as a mature teacher gave “hat teachings”(zhwa chos) as recorded in his Profound Teachings (Zab chos). This extraodinary hat, which was called by Rase Konchok Gyatsho a “meditation hat that liberates through being seen” (mthong grol gyi sgom zhwa), was said by Jigten Sumgon to possess many excellent qualities. That master also stressed that it should be preserved and its practice should not be allowed to die out. He bestowed such hats several times upon his disciples and stressed their importance, as was mentioned several times in his writings.

惹萨·贡觉嘉措给祖师吉天颂恭和他的追随者们做了一篇文章。根据其内容，作为一位成熟的导师，吉天颂恭给出了《有关帽子的教法》(zhwa chos ཞྭ་ཆོས། )，正如他的《甚深教法》(Zab chos ཟབ་ཆོས།) 所记载的。这顶奇特的帽子，被惹萨·贡觉嘉措称为“见即解脱的禅帽”，被吉天颂恭赋予许多优秀品质。大师还强调应该保护它，不允许它绝迹。他多次把这些禅帽赐给门徒，并强调了它们的重要性，正如在他的著作中多次提到的那样。

In his Profound Teachings Jigten Sumgon enumerates three hats that are beneficial to Dharma and three that harm by it. The three helpful ones were: 1. the "long-eared" hat of Jowo Je (Atisa) (rna ring ma); 2. the "hat with umbrella spokes" (gdugs rlsibs ma) of Panchen Sakyasribhadra; and 3. his own extraordinary meditation hat (sgom zizwa).

在他的《甚深教法》（Zab chos ཟབ་ཆོས།）中，吉天颂恭列举了三种对佛法有益的帽子，以及三种对佛法有害的帽子。三种有益的是：1、阿底峡尊者 (Atisa)的“长尖顶帽” (rna ring ma རྣ་རིང་ཞྭ།)；2、班钦夏迦师利的“带伞辐条的帽子”(gdugs rlsibs ma གདུགས་རྩིབ་མའི་ཞྭ། )；3、他自己独特的冥想帽(sgom zizwa སྒོམ་ཞྭ།)。

According to the text, this kind of hat had its own correct shape and proportions. People should not make such a hat of cotton or silk brocade; it should be made exclusively of woven woolen cloth of U Province (dbusphrug). It should contain footprints of the guru. Some people criticized Jigten Sumgon's employment of and worship of the guru's footprints in this context, but he reminded them that footprints were venerated in India already in the Lord Buddha's time. In his own lineage, the previous guru Marpa had worshiped the footprints of his guru, the Indian adept Naropa, and Milarepa was also known to have venerated guru footprints.

根据文本，这种帽子有其正确的形状和比例。人们不应该做棉布或丝绸锦缎帽子，它应该是由卫藏织造的羊毛织物制成。它应该容纳上师的脚印。有人批评吉天颂恭在这一背景下使用和崇拜上师的脚印，但他提醒他们，在早在佛陀时代，印度人就的崇拜上师的脚印。在他自己的法统中，以前的一位上师玛尔巴崇拜他的印度上师那洛巴的脚印，密勒日巴也以崇拜上师的脚印为人们熟知。

Jigten Sumgon further explained that his gomsha should be red in color, one of the three colors allowed to monks by the Buddhist Discipline (Vinaya). In those scriptures the technical words for that red was "red ochre color" (btsag mdog). Red is also taught by Tantric scriptures to be the color of power.

吉天颂恭进一步解释说，他的禅帽应该是红色的，是佛教僧侣（戒律）开许的三种颜色之一。在那些经文中，那种红色的专业用语是“红赭石颜色”。红色也被密宗（坦陀罗）经典教导为代表力量。

The front of the hat should have the image of a jewel, he said, while to its right and left should appear depictions of clouds. The jewel symbolized the guru as the Tantric "lord of the lineage” (rigs kyi bdag po). Sutra scriptures also teach that a religious teacher is like a jewel. The two clouds symbolize the enlightened gurus being purposely reborn in the world in order to benefit the Buddhist teachings and living beings, as a result of their previous resolutions made after attaining buddhahood.

他说，帽子的正面应该有一颗如意宝的形象，而在它的左右两侧应该会出现祥云图案。如意宝象征着上师是密宗“法统之主” 。佛教经典也教导宗教上师就像如意宝一样。两朵祥云象征着开悟的上师们在世界上有目的地转世，以造福佛教教义和众生，这缘于他们在成佛之后所做出的决定。

Such a sacred hat was not to be wore by sinful people or by lay people, he taught. If one made a new hat, it was Meritorious, like building a new temple. To destroy one was sinful, like destroying a temple. Such hats were wondrous behold and planted the seed of buddhahood in all who saw it. Therefore Jigten Sumgon taught all his close disciples to make such a hat and wear it on it heads.

他教导，这样一顶神圣的帽子是不应该被罪恶的人或世俗的人所佩戴的。如果有人做了一顶新帽子，是值得称道的，就像建造一座新寺院。而毁灭一顶是有罪的，就像毁坏一座寺院。这样的帽子是奇妙的，在所有看到它的人身上都种下了成佛的种子。因此，吉天颂恭教导他所有僧徒都做一顶这样的帽子，戴在头上。

本文英文版选自《直贡噶举绘画传统》P62-63

图书推介 Book Recommendation

THOUGH THE DRIGUNG KAGYU was one of the most prominent and powerful schools of Tibetan Buddhism during its early period (twelfth_Fourteenth century), its art is still relatively poorly known, even among Tibetans. With its main monastery destroyed twice, once in the late thirteenth century and again during the Great Cultural Revolution, much of the art was lost or dispersed. In this publication the iconography of the Drigung School is examined with regard to its three main periods-early, middle, and late-in combination with the distinctive influences of the Sharri, Khyenri, and Driri Styles. Styles of Drigung aims elucidate to the painting traditions of the Drigung Kagyu School and investigate lineage depictions and methods of dating, while referring to previously overlooked Tibetan sources, both ancient and modern. This publication and related exhibition also explore the beneficial quality ascribed to the works of art and the elements they contain.

尽管在早期(公元12至14世纪)，直贡噶举是藏传佛教中最著名和最有影响力的流派之一，但它的艺术仍然相对鲜为人知，甚至在藏人当中也是如此。它的主要寺院被毁两次，一次是在13世纪末，另一次是在文化大革命期间，大部分的艺术已被遗散。在这本书中，直贡派的肖像学结合了Sharri、Khyenri和Driri风格的独特影响，考察了它的三个主要时期：早期、中期和晚期。直贡风格的目的是阐明直贡噶举派的绘画传统，并调查法统描述和年代测定的方法，同时参考以前被忽视的古代和现代的藏文资料。本出版物及相关展览也探讨了归属于艺术作品的有益品质及其所包含的元素。

本文作者 The Author

DAVID P. JACKSON is the author of Palron and Painter: Situ Panchen and the Revival of the Encampment Style, A History of Painting, The Nepalese Legacy in Tibetan Painting, Mirror of the Buddha: Early portraits from Tibet, and The Place of Provenance: Regional Styles in Tibelan Painting. He is a curatorial consultant for the Rubin Museum of Art. Formerly professor of Tibetan at Hamburg University, he lives on Whidbey Island, Washington.

大卫·杰克逊(DAVID P. JACKSON)著有《帕隆和画师:原地潘臣和营地风格的复兴》、《绘画史》、《藏画中的尼泊尔遗存》、《佛之镜:西藏早期画像》、《起源地:西藏绘画的地域风格》等著作。他是鲁宾艺术博物馆的策展顾问，曾任汉堡大学的藏学教授，现居华盛顿的惠德贝岛。