佛教三大傳承，以獨特的修行方式與法器展現「覺性之光」——引導身心，破除無明，啟迪智慧。正如主展件佛顱曼荼羅所示，曼荼羅不僅是圖像，更是一座心中光明的宮殿。每一件展品都蘊含深刻宗教意涵，帶領我們由外而內，照見自性，成為自己的光。

曼荼羅作為佛教宇宙觀的核心象徵，不僅是圖像藝術，更是修行的精神地圖。它展現整體秩序、萬法交融與心性本淨的哲理：宇宙和人心彼此呼應，修行者在觀想與儀軌中，經驗淨化、圓滿與自在。佛顱曼荼羅正是這座光明宮殿的華美展現，引領我們領悟佛教將修行與宇宙真理融合的深邃智慧。

The Mandala World

The three major Buddhist legacies each reveal the “light of awakening” through their unique practices and ritual instruments—guiding body and mind, dispelling ignorance, and awakening wisdom. As exemplified by the central exhibit, the Buddhakapala Mandala, a mandala is not merely an image but a radiant palace in the heart. Every piece in the exhibition carries profound religious meaning, leading us from the outer world inward, to perceive our true nature and become our own source of light.

As a central symbol of Buddhist cosmology, mandala is not merely visual art—it is a spiritual map for practice. It embodies the philosophy of universal harmony, the interconnection of all phenomena, and the innate purity of the mind: the cosmos and the human heart mirror one another. Through visualization and ritual, practitioners experience purification, wholeness, and liberation. The Buddhakapala Mandala is a radiant manifestation of this luminous palace, guiding us to comprehend the profound wisdom by which Buddhism unites spiritual practice with cosmic truth.

佛顱曼荼羅
Buddhakapala Mandala

正面

背面

此件曼荼羅以「佛顱」為中央主尊，身深藍色，四臂分別手持：「鉞刀」斷煩惱、「顱器」盛智慧甘露、「天杖」降伏無明、「手鼓」喚醒覺性。曼荼羅展現「即身成佛」的修行道路：行者觀想自身與外境皆淨化為清淨壇城，將凡夫身心轉化為佛果的覺性。其幾何結構與色彩秩序隱喻內在佛性與外在法界的無二無別。

從外圍由智慧火焰與金剛杵構成的層層護輪，到壇城內放射光芒的諸尊，整座壇城即是覺性力量的顯現。對修行者而言，其目標在於證悟「光明」（淨光），即最深層的內在心性。曼荼羅即是指引此修行道路的地圖，透過將自身與外在的凡俗世界消融於此光明、音聲與形象的壇城中，修行者得以轉化自身的染汙意識，最終體悟到——自身本性，從無始以來即是此光明、喜樂的覺性。這是「成為你自己的光」的終極實踐。

This particular mandala features the “Buddha Skull” deity as the central figure, with a deep blue body and four arms holding:　a cleaver (to cut through delusions),　a skull cup (containing the nectar of wisdom),　a khāṭvāṅga staff (to subdue ignorance), and　a hand drum (to awaken innate awareness). The mandala represents the path of achieving Buddhahood within this very body and lifetime. Through visualization, the practitioner purifies both body and environment, transforming the ordinary into a pure mandala, thereby transmuting the defiled body and mind into the awakened state of Buddhahood. Its geometric structure and color arrangement metaphorically express the non-duality of inner Buddha-nature and the outer dharmadhātu (realm of phenomena).

Surrounding the mandala are layers of protective circles composed of wisdom flames and vajras (ritual thunderbolts), enclosing a sacred space in which radiant deities emanate light from within. The entire mandala is a manifestation of the power of awakened awareness. For the practitioner, the ultimate goal is to realize the “Clear Light”—the innermost nature of the mind. The mandala serves as a map guiding this path of practice, where the practitioner dissolves both the ordinary self and the mundane world into the luminous sound, light, and forms of the mandala. Through this process, the defiled consciousness is transformed, leading to the direct realization that one’s true nature has, from beginningless time, always been this luminous, blissful awareness. This is the ultimate practice of “becoming your own light.”

南傳佛教
Theravāda Buddhism

重視戒律與禪修。僧侶身著袈裟、持缽行乞，以簡樸生活淨化身心；專注於「止」的安定與「觀」的洞察，追求斷除煩惱與究竟解脫。經文多記於貝葉經，成為修行途中照亮方向的明燈。

Emphasizing discipline and meditation. Monastics wear robes and carry bowls to go alms-rounds, living a simple life to purify body and mind. Their practice focuses on samatha (calm abiding) and vipassanā (insight), aiming to eliminate afflictions and attain ultimate liberation. Scriptures are mostly recorded on palm-leaf manuscripts, serving as guiding lights along the path of practice.

釋迦三尊
Shakyamuni Triad

這組南傳佛教造像約製於18至19世紀，展現東南亞佛教美學的典型風格。中央主尊釋迦牟尼佛結跏趺安坐，左右侍者分別為迦葉與阿難，三者皆身披鑲嵌玻璃飾片的僧衣，工藝細緻，色彩華麗。侍者以恭敬姿態侍立佛前，象徵佛法的傳承與僧團戒、定、慧的修行典範。整體造型莊嚴安定，弟子形象彰顯對佛陀智慧的承受與弘揚，展現信仰中光明與智慧的傳遞。

This group of Theravāda Buddhist images, created around the 18th to 19th century, exemplifies the characteristic aesthetics of Southeast Asian Buddhism. At the center, Shakyamuni Buddha sits serenely in full lotus posture, flanked by two attendants—Kāśyapa and Ānanda—standing respectfully. All three figures wear monastic robes adorned with inlaid glass pieces, crafted with delicate craftsmanship and resplendent colors. The attendants, depicted in reverent poses before the Buddha, symbolize the transmission of the Dharma as well as the exemplary practice of discipline, concentration, and wisdom. The composition as a whole conveys solemnity and composure, while the disciples’ presence highlights their role in receiving and passing on the Buddha’s wisdom, embodying the radiance and continuity of faith.

貝葉經
Palm-Leaf Manuscript

此貝葉經為19世紀佛教經典，以緬文或巴利文刻於棕櫚葉上。葉片整齊疊放，以護經板固定，上中穿孔由木籤貫穿，綁繩更牢固束縛，外層包覆經布與飾帶。佛教起源於印度書寫尚未普及之時，最初以口傳方式維持教法。抄經被視為殊勝功德，貝葉經遂傳播於南亞及東南亞，成為佛陀智慧的直接載體。它被尊為修行者的「指路明燈」，引領信徒走出無明，承繼佛法永續傳承。

This 19th-century Buddhist scripture is inscribed in Burmese or Pali on palm leaves. The leaves are neatly stacked and secured by protective boards, with wooden pins piercing through central holes, and further bound tightly by cords. The entire bundle is wrapped in cloth and decorative straps. Buddhism originated in India before the widespread use of writing, with teachings initially preserved through oral transmission. Copying scriptures was regarded as a meritorious act, and palm-leaf manuscripts spread across South and Southeast Asia as direct carriers of the Buddha’s wisdom. Revered as a “guiding light” for practitioners, it leads followers out of ignorance and ensures the enduring transmission of the Dharma.

漢傳佛教
Chinese Buddhism

融合誦經、觀想與供養，強調慈悲與智慧並行。木魚聲匀速不息，如修行者穩健前行；大磬音清亮悠長，猶如智慧之響穿透無明。經聲、佛像與法器交相輝映，從音聲入心，啟發覺性，成就普渡眾生的大乘覺悟。

Integrating chanting, visualization, and offerings, it embodies the harmony of compassion and wisdom. The steady rhythm of the wooden fish’s tapping marks the practitioner’s unwavering progress, while the clear, resonant peal of the great bell pierces through ignorance like the voice of wisdom. Sutra recitation, Buddha images, and ritual instruments work in concert—sound enters the heart, awakening awareness and fulfilling the Mahāyāna vow to liberate all beings.

佛坐像
Seated Buddha

本尊佛像以砂岩雕成，造型端莊安定，面容圓潤，散發東魏時期特有的「娃形」氣韻。衣紋貼身勻稱，線條簡潔流暢，表面尚留彩繪痕跡。佛陀半結跏趺坐於禪定，左手自然置於膝上，右手施無畏印，象徵修行者內觀自心，熄滅煩惱。那份靜謐安然的神情，不僅傳遞佛教禪修的平和境界，也如同永恆的邀請，指引通往智慧之光的法門。

This Buddha is carved from sandstone, embodying a dignified and composed presence. The rounded, gentle face exudes the distinctive “baby-faced” charm of the Eastern Wei period. The drapery falls naturally over the body in harmonious proportions, rendered in simple, flowing lines. Traces of the original polychrome remain visible on the surface, hinting at its once vibrant appearance. The Buddha sits in meditation in a half-lotus posture, with the left hand resting comfortably on the knee and the right hand raised in the gesture of fearlessness (abhaya mudrā), symbolizing the practitioner’s inward contemplation and the extinguishing of afflictions. The serene and tranquil expression not only conveys the peaceful realm of Buddhist meditation but also serves as an eternal invitation, guiding the way toward the light of wisdom.

木魚與大磬
Wooden Fish and Standing Bell

木魚為佛教禪修中常用的打擊樂器，形狀似魚，象徵魚眼日夜不閉，勉勵修行者精進不懈。敲擊木魚有助持誦者保持節奏與專注，促進禪定與心念的集中。

大磬聲音清亮悠遠，能沈澱心境、淨化心靈。磬聲迴響時，其節奏引導修行者達致一心不亂、澄心通透的境界，亦象徵破除妄念、持守正念。磬面刻有《般若波羅蜜多心經》全文，呼應般若空性的深刻體悟。木魚與大磬所發的法音，如同光明破除無明，喚醒眾生走向清淨與覺悟之道。

The Wooden Fish is a percussion instrument commonly used in Buddhist meditation and chanting practices. Shaped like a fish, it symbolizes the ever-watchful fish whose eyes never close, serving as a reminder for practitioners to remain diligent and unwavering in their spiritual cultivation. Striking the wooden fish helps maintain rhythm and focus during chanting, supporting mental concentration and aiding in the deepening of meditative awareness.

The Standing Bell produces a clear and resonant sound that carries far, helping to calm the mind and purify the spirit. As its tones reverberate, the rhythm guides practitioners toward a state of unwavering focus and mental clarity, symbolizing the dispelling of delusive thoughts and the cultivation of right mindfulness. Engraved on the surface of the Standing Bell is the full text of the Heart Sutra, echoing the profound realization of emptiness at the heart of prajñā wisdom.

藏傳佛教
Tibetan Buddhism

以密法儀軌為核心，特別強調悲智雙運——慈悲的願力與空性的智慧同時運行。修持結合曼荼羅觀想、火供儀式、金剛鈴與金剛杵等法器，融顯密為一，以證悟內在純淨光明為目標。

Centering on Vajrayāna rituals, with a special focus on the union of compassion and wisdom—the power of altruistic intention and the insight into emptiness operating together. Practice combines mandala visualization, fire offerings, and ritualistic implements such as the vajra bell and scepter, merging the exoteric and esoteric into one path. The goal is to realize the inner radiance of pure awareness.

火供
Fire Offering Implements

火供最早源於古印度對火神的崇拜，後發展為藏傳佛教護摩儀式。修行者焚燒供品，藉火焰供養諸佛菩薩，祈求淨化煩惱、增長智慧，並達成息災、增福、廣結善緣、降伏障礙等功德。此組法器以長柄金剛杵為結構，便於高溫中操作；儀式時，右手持圓勺舀取酥油，左手以方形注油器緩緩注入火中。器身飾蓮花紋樣，象徵智慧綻放。火供過程中，火光與熱力展現淨化、轉化、照亮的力量，將供養之心傳達諸佛。

The fire offering originated in ancient India as a ritual worshipping the fire deity and later evolved into the homa practice of Tibetan Buddhism. During the ritual, practitioners burn offerings in consecrated flames, presenting them to Buddhas and Bodhisattvas. Through this act, they pray for the purification of afflictions, the cultivation of wisdom, and the accumulation of merit—seeking to avert calamities, increase blessings, foster harmony, and overcome obstacles. This set of ritual implements is constructed with long vajra-handled shafts, making them easier to use amid intense heat. During the ceremony, the practitioner holds the round ladle in the right hand to scoop ghee, while the left hand pours it gently into the fire using the square-shaped vessel. The bodies of the implements are decorated with lotus motifs, symbolizing the blossoming of wisdom. Throughout the fire offering, the light and heat of the flames embody the powers of purification, transformation, and illumination, conveying the practitioner’s heart of devotion to all Buddhas.

過去七佛圖軸
Seven Buddhas of Antiquity Hanging Scroll

此幅黑地描金「黑金唐卡」構圖細膩，以閃耀金線在深邃黑底上描繪人物和繁複紋飾，並輔以漢、蒙、藏等多民族文字，展現宗教藝術與文化交融的深度。黑色底蘊含空性與無明意象，金線自中綻放，呈現「光明從空性中顯現」的視覺隱喻，象徵以智慧破除無明、照耀眾生，並傳遞覺悟與慈悲之光。此作為清代乾隆皇帝於1777年下旨、宮廷與西藏班禪喇嘛合作的「過去七佛」組畫之一，由造辦處工匠以石刻拓本填金工藝，精心製成，四角署漢、滿、蒙、藏四體文字，是清宮皇家與藏傳佛教文化交流的珍貴見證。

This “black-gold thangka” presents a fine composition rendered in radiant gold lines against a deep black background. Figures and intricate motifs are delicately outlined, accompanied by inscriptions in Chinese, Mongolian, Tibetan, and Manchu languages, reflecting the profound cultural and religious synthesis of the period. The black ground evokes the imagery of emptiness and ignorance, while the glowing golden lines symbolize the emergence of light from void—a visual metaphor for wise dispelling of ignorance, illuminating all beings, and transmitting the light of enlightenment and compassion. Commissioned by the Qianlong Emperor in 1777, this scroll is one of a series depicting the Seven Buddhas of Antiquity, created through collaboration between the Qing imperial court and the Panchen Lama of Tibet. Crafted by imperial artisans using stone-rubbing techniques enhanced with gold pigment, this work features inscriptions in Chinese, Manchu, Mongolian, and Tibetan words—offering a rare testament to the cultural exchange between the Qing court and Tibetan Buddhism.