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近代高僧印光法师(1861—1940),是净土宗第十三祖,俗姓赵,字绍伊,出家后法名圣量,字印光,陕西邰阳(今合阳)县人。光绪七年(1881)在南五台的莲花洞寺出家,之后三十多年,一直过着隐修生活。印光大师勤于笔耕,著述颇丰,他的作品涉及教育、家庭、医学、史地、社会等诸多领域,内容广泛,主题突出。作为“人间佛教”早期倡导者的代表,印光法师对该思想的弘扬和实践做出了积极贡献。本文试分析印光法师对女性问题的态度,以期探视其“人间佛教”思想的一个方面。总的来说,印光法师的女性观可以概括为以下三个方面: 相似文献
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青原山位于江西省吉安市青原区境内,又名安隐山,从邻县吉水的嵩华山发脉,与天玉、芙蓉、黄源诸岭紧密聚结,蜿蜒起伏,面积约45.5万平米,海拔76~154米,全国重点保护寺庙之一的净居寺即坐落于此。据《青原山志》记载,唐中宗神龙元年(705年),这里便傍山立庙,初名安隐寺,北宋崇宁三年(1104年)敕赐"净居禅寺",遂改名净居寺。唐玄宗开元二年(714年),佛教南宗六祖慧能的弟子刘行思到此开辟佛堂,广收僧徒, 相似文献
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在上海西端刚刚进入江苏省的版图,淀山湖畔坐落着一个水乡古镇─—周庄。从上海驱车去周在仅一个半小时的路程。沿着整洁的乡间公路疾驶,路边的绿树,田野,叨年代新建的现代化工厂和座座别墅交错而过。醒目的大横幅“上海后花园欢迎你”的确地表明了这里在农业、工业和居住方面都是上海的大后方。过了青浦县看到茫茫的淀山湖,古镇就在眼前。小镇建在水里,南临南湖。荡舟南湖,享誉“水中怫国”的全福寺映入眼帘,雄伟壮观,是古镇的标志。春秋战国时期这军称“摇城”。元佑元年(108年)周迪功“舍宅为专”建了全福寺,改称周在。元代… 相似文献
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在韩国,流浪艺人集团以他们浓郁、传统的乡土味表演占有自己的市场,拥有众多的观众.这些流浪艺人集团就是有名的“男寺党”.他们在各地的乡村小镇表演歌舞杂技,给人们带来喜悦和欢乐.关于“男寺党”的起源,目前尚无确切考证.但在1300多年前新罗统一三国的文献中,有一段提及流浪艺人的简单记载.可见流浪艺人集团的历史远远超过130O年.朝鲜古代崇尚儒教、抵制佛教,流浪艺人以演戏获得的报酬资助贫困的佛寺,并跟特定的寺庙联系,出售寺庙所画的符咒,把一部份收入奉献给寺庙.因此,这些流浪艺人集团后来被人们称为“寺党派”.最初,“寺党派”主要成员是女性,表演的节目主要是音乐和舞蹈.以后逐渐出现了由单身 相似文献
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承认佛教艺术通过滇缅南方丝绸之路传入中国,是近10年来学术界对南方丝绸之路“佛教南传系统”研究的成果①。学术界认为,佛教传入中国的时间是东汉永平年间(公元58—75年)。《三国志·吴志·刘繇传》云:丹阳人刘英、笮融等把佛教艺术带过长江,并且“大起浮图... 相似文献
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Li Guoping Xiao Mei 《中外文化交流(英文版)》2009,(8):12-14
He is an ordinary Chinese artist but his creations stunned former British Prime Minister Thatcher and Danish Queen Margaret Ⅱ, He was invited to many countries like USA, Japan, South Korea, Italy , Spain and Canada, His artistic career was covered by such prestigious International media as CCTV, Washington Post and BBC. AS a young artist, he was granted the title of "Chinese Folk Affist" by UNESCO. He was hailed as "Chinese Plcasso " by Western art critics. His name is Gao Dongsheng. 相似文献
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Visits to museums have been studied as hedonic and utilitarian forms of cultural consumption, though limited attention has been given to the access of museum collections online. We perform a unique historic analysis of the visibility of collections in a museum of ethnographic collections and compare 100 years of onsite visits to 5 years online visits. We find two main results: first, access to collections increased substantially online. From a selection of objects available both onsite and online, access grew from an average of 156,000 onsite visits per year to over 1.5 million views online per year. Onsite, the museum received 15.5 million visits in a span of a century while online, collections were viewed 7.9 million times in only the last 5 years. Second, we find a difference in consumer preference for type of object, favouring 3D onsite and 2D online (photographs of objects, particularly when showing them being used). Results support understanding of online heritage consumption and emerging dynamics, particularly outside of an institutional environment, such as Wikipedia. 相似文献
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