2019年3月28日星期四

大昭寺火劫一周年记:那烧了主殿和金顶的大火啊……(第五天)




2015年夏天刷爆微博、微信的这张图片引发批评如潮:两个游客,一男一女,摆出提笔给神圣的觉沃佛像刷金的POSS留影。那男子是名叫杨子的中国土豪,女的是其助理。当时我也留言:“被商业化席卷的拉萨,已成为专门提供给中国各地游客消费的展示‘拉萨最幸福’的主题公园,而所谓的‘八廓古城’被打造成了迎合游客的充斥异域景观的旅游景点。文革伤痕犹在的佛祖塑像,任由只要花钱就可以摆出上金状的游客蹬鼻子上脸。”


大昭寺火劫一周年记:那烧了主殿和金顶的大火啊……(第五天)


唯色


第五天:2018221日,藏历新年初六,星期三


藏学家Robert Barnett也转发了那张公安部文件图片。并写道:Jokhang fire news: An Internal Public Security Bureau (PSB) notice about the fire has been leaked (h/t @degewa)。自大昭寺发生火灾,Robert Barnett一直在推特上发布所汇集的各种讯息,广受媒体及藏学界关注。但公安部文件图片被质疑。有人以貌似内部人的口吻说“这个文件从行文到字体都不是政府的风格”。我只能说,行文还真的是中国政府的风格,字体是不是就不知道了。但以我个人在中国这样一种复杂环境中的生活经验而言,我不认为这是假文件。我试着想上公安部消防局官网,看看能不能找到消防局其他公开文件以做比较,但能找到网址却打不开。

当晚在脸书看到VOA藏语电视访谈原大昭寺僧人桑杰。现居瑞士的桑杰曾在大昭寺十几年,并在觉康主殿担任过五年香火僧。我认识他,电脑里还有十五年前的今日给他拍的照片。VOA采访他真是再合适不过。在被许多人观看的网络直播中,神情忧虑的桑杰急切说道:据现场视频、照片及了解到的,觉康及上方金顶被火烧着是百分之百了,只是不知道毁损程度。还说,在佛陀12岁等身像后出现大幅黄色帷幔是从未有过的事情,这更是证明觉康百分之百出事了。而这也印证了我18日初见火灾之后的照片时,对那帷幔的怀疑和判断。

而那些在火灾发生之时,未做仔细了解和分析,就忙不迭跑出来“辟谣”或报平安的人,实质上都是有意无意的洗地者。而平日里或长篇大论,或微博微信,不停灌心灵鸡汤的活佛啊高僧啊等等,相信基本上都去过祖拉康给觉沃佛上金什么的,这时候一片鸦雀无声,难道真的是修炼出了四大皆空的境界?

更多的反应是沉默。友人说:“对于这件事,大部分藏人自觉性地保持沉默,这比火灾本身更令人惊奇。”与其说自觉沉默,不如说习惯沉默,原因自然在于深不见底的恐惧。需要补充的是,这普遍的沉默尤其表现在社交媒体上,而私底下的场合,比如在茶馆、饭馆等,人们却交头接耳,议论纷纷似乎是一夜之间都变成了分析案情的侦探,而这正是因为讯息不透明所致。不过在拉萨,愈是靠近火灾的中心,愈是避而不谈,就像是没有发生过一样。

也有佛信徒只是念诵这段经文以求平安:“地水火风空障纷起时,虚假幻身危亡极怖畏,恭敬祈请心中勿疑惧,邬金四大空行天女众,四大自然调顺无疑惧,祈请邬金莲花生大士,如意加持意乐乃成就。”而我的看法是,念经与求真相是可以并行不悖的,我们既向古汝仁波切祈愿求助,也要在世间意义上追求事物、事件的真相。光念经而不行动,只是一个懒惰的人。一个真正的佛弟子,应该懂得:无缘大慈,同体大悲。其实我都不想说这样的话:身为现代意义的知识分子,同理心应该是最起码的具备。

比如有些人摆出了只要觉沃佛像“完好无损”就万事大吉的姿态,似乎是,哪怕这整座始于一千三百年前的古寺毁尽,废墟中仅余存一座觉沃佛像,也会做出幸莫大焉的样子。然而什么是“完好无损”?文革时砍在觉沃佛像左腿上的洞孔犹在,那不叫“损”又是什么?何况觉康佛殿里除了觉沃佛像,环绕周遭的有多达二十多尊佛像,难道他们都是泥土,任火烧水冲,残缺不全,全都不足为惜?

还有人套用时下流行的话讥讽道:觉沃佛像不过是某些藏族人“巨婴的奶嘴”,然而这貌似尖锐的批评却透着世故的算计,因为他并不敢对真正的强势有半句直言。而这也正是体制内许多人的表现:看上去有思想、有见地,也总是乐于怼宗教人士或藏人的丑陋性之类,但一旦触及权力立即噤声,实在是个个人精,应该以同样是流行的这句话相赠:不要为自己的苟且而得意洋洋,不要嘲讽那些比自己更勇敢、更有热量的人们,可以卑微如尘土,不可扭曲如蛆虫。

还有人对执着于事实者说风凉话,轻松甚至轻浮地说“俺们最大的一个悲哀在于不管我佛讲什么经,就管我佛穿什么衣。要是释尊在世,谁敢说他还在乎穿什么?”我眼前浮现出其实一个唯利是图的空心人,每次从祖拉康跟前走过,可能连目光都不会在那耀眼的金顶上多停留一秒,就轻快地直奔他的店而去,可能还吹着口哨,那曲调大概是“藏族和汉族是一个妈妈的女儿”。

昨日因,今日果。如友人所言:这些都是随心及愿力显现,福泽消退的时代,我们的共业。就像有句拉萨谚语:拉萨嬷啦朝拜祖拉康,却看不见觉沃释迦牟尼。虽说谚语指的是大经堂与二层之间的檐下悬挂的小佛龛内所供的觉沃佛像,却也可以视为一种对现实的比喻。据说18日那天排了数公里长队流泪朝拜的信众里面,拉萨人是少之又少。固然更多的是出于恐惧而不敢来,如英国作家巴恩斯在《时间的噪音》中所写:“在权力的压迫下,自我破碎了,分裂了。公开的怯懦和私下的英勇共生。或反之亦然。或者,更常见的是,公开的怯懦和私下的怯懦共生。”

想起一桩与觉沃佛像相关的事。是2015年夏天刷爆微博、微信的两张图片:两个游客,一男一女,摆出提笔给神圣的觉沃佛像刷金的POSS留影。那男子是开影视传媒公司卖天珠包女明星的中国土豪杨子,女的是其助理。当时我在博客上发帖问道:大昭寺的管家喇嘛们,有了钱真的什么都可以吗?僧人的份内事,就这么慷慨地转让了?!是为了吸引更多游客上金么?这也是旅游节目之一吗?

当时有个藏人大学生伤心地写道:

“拥挤的大昭寺里,一家家的乡下藏人,穿着油腻的藏装,恭恭敬敬地把怀里的钱交给负责的管家喇嘛,喇嘛取出金,溶于水,寺院绘画才能最好的僧人,站在只有古修啦本人可以踩上的佛像左侧的台梯上,耐心而细致地用软毛刷划过佛像的脸庞和身体。而藏人们,就远远站在地上,满足而幸福地仰望着自己的供养实实在在地划过了佛像的脸庞,身体。那样的幸福感觉是无法言说的。上完金后,藏人绕佛三圈,把自己的衣角,哈达,念珠恭敬地放置在佛座的四周。再获得古修啦专门准备的哈达,满心欢喜地离开。最后再不舍地看看,看看自己上过金的地方。

“撇开外貌,民族,撇开性别,撇开宗教,这奉行了千百年的仪轨,怎么可以这样随随便便地就改变了呢?我亲眼看到一个康巴乡下藏人把自己准备的酥油倒入觉仁波切(觉沃佛像)前的一盏小小的酥油灯中,被站在梯台上的古修啦一巴掌打懵了。他受伤又惊恐的黝黑的脸庞我永远无法忘怀,他羞愧地低下了满脸通红地向古修啦道歉,他的家人也在一边责怪他任意给佛前的酥油灯添加酥油。而这个图片中的人,竟然连口罩都不戴,而世世代代,古修啦都是戴着厚厚的口罩,怕自己呼出的浊气玷污了佛祖而在上金的啊!!!

“其实大昭寺曾经就倒掉过,还一度沦为猪圈,整个寺院只有觉仁波切一尊佛像留下,还难逃红卫兵的殴打,腿部至今还留有当时打成的孔洞痕迹。但那个时候,大昭寺是倒在了暴力之下,如今则是倒在了金钱之下。

“只怕,哪一天,驴友们在微博朋友圈晒和觉仁波切的自拍,而这一项也将成为某种出手阔绰的优待或者‘大昭寺旅游景点项目之一’。”

但当时也有人辩护说,给觉沃佛像刷金的中国土豪供养了价值上千万的九眼天珠,意思是他因此有权这么做。我驳道:“多少年来,供养天珠的藏人信徒多的是,修建寺院、塑造佛像的藏人信徒多的是,没有哪个俗家弟子像他这样获得提笔给觉仁波切刷金并摆造型的优待特权吧?而且,信仰的标准是在于供养的多少吗?……就在几天前,是全藏最神圣的寺庙——大昭寺遭遇文革被砸四十九周年。当时,至为神圣的佛祖释迦牟尼塑像,遭‘破四旧’的红卫兵用十字镐砍出一个深深的洞穴,至今可见。而在大昭寺被砸四十九年后的今日,被商业化席卷的拉萨,已成为专门提供给中国各地游客消费的展示‘拉萨最幸福’的主题公园,而所谓的‘八廓古城’被打造成了迎合游客的充斥异域景观的旅游景点。文革伤痕犹在的佛祖塑像,任由只要花钱就可以摆出上金状的游客蹬鼻子上脸。”

17日的大火似乎是这样的隐喻:我们不配拥有如此出世间的无价珍宝!

听说大昭寺内增加了多辆沙车和翻斗车。当局是在加班加点地修复吗?然而这么突击性地修复是为什么?如果事发意外,水火无情是天理,完全可以对外告知真相,对内认真修复,哪怕花上数年、数十年都可以等的,何必匆匆忙忙地去弥补呢?这样难免不会是豆腐渣工程啊。

(本文为自由亚洲特约评论:https://www.rfa.org/mandarin/pinglun/weise/ws-03142019125859.html

2019年3月27日星期三

大昭寺火劫一周年记:那烧了主殿和金顶的大火啊……(第三、四天)

多年前在暮晚时分拍摄的大昭寺金顶群 (唯色摄影)


大昭寺火劫一周年记:那烧了主殿和金顶的大火啊……(第三、四天)


唯色


第三天:2018219日,藏历新年初四,星期一


查阅有关大昭寺的书籍。一本是《拉萨历史城市地图集:传统西藏建筑与城市景观》,含中文与藏文两种译文,作者是两位挪威建筑师,从事西藏建筑研究多年。我经常翻阅这本书,是因为我一直想写一本基于各种新旧地图和资料、脚踏实地的访谈和回忆而构成类似于拉萨地方志那样的书。然而我徒有自不量力的野心,迄今未完成。


此书绪论即言:“作为古代西藏的首府,在尚存不多的几个传统藏族城市中,拉萨……多彩绚烂的建筑群是布达拉宫(达赖喇嘛的所在地)和藏传佛教最神圣的建筑——大昭寺。许多小庙、寺院、神殿和纪念馆,与现存的、出色的世俗建筑结构形式形成互补。总之,藏族建筑艺术总体上在伟大的世界建筑文明中的确占有一席之地。”

在大昭寺这部分写道:大昭寺建筑群(Tsuglhakang),圣殿建筑群,建于七世纪后。位于八廓地区中心位置的大昭寺,是西藏的第一座寺院,也是最神圣的寺院。正是围绕着这所建筑,拉萨发展起来。7世纪以后,它分几个时期建造,主要的重建和扩建是在17~18世纪。它的主建筑物,约四层高,采用传统的建造方式,凸起的屋顶镀铜铸造。”

“释迦牟尼12岁等身像(Jowo),这座藏传佛教最神圣的塑像,将大昭寺确立为来自西藏和周边佛教地区朝圣者的第一个圣地和目的地。……因为有节制的规模、悠久的历史、精彩的细部和价值连城的壁画相结合,大昭寺具有最高秩序特征的氛围和深度。2000年,联合国教科文组织扩展了布达拉宫的世界遗产注册范围,它囊括了大昭寺和八廓街的中心区域。

并附有专业而细致的建筑绘图如平面图、剖面图。照片多张,最晚照片拍摄于2000年,记录了从外入内的寺院风景,包括从囊廓转经道至金顶群,从无数盏酥油供灯至一幅精美无比的壁画。我被这句话打动:“在镏金屋顶下的屋梁之间画着的数以百计的微型度母(慈悲女神),是整个大昭寺可见到的最丰富精致的装饰艺术的明证,然而人们很难注意到这些。”

还有一本图文书也很重要。是德国建筑师安德烈•亚历山大(André Alexander)著述及摄影的《The Temples of LHASA》。他最早来拉萨是1987年,对西藏建筑产生兴趣。1993年与朋友制作拉萨现存的有历史意义的建筑物名录,记录了超过400幢的老建筑。1996年与朋友创立西藏文化发展公益基金会THF),工作重点“主要是研究和保护历史名城拉萨”。至2002年,被誉为拉萨老城保护者的他及THF在被当局驱逐出拉萨之前,拯救并修复了拉萨城内以及附近地区76座历史性的传统建筑,包括大昭寺。2007年我在北京见到他时,得到了他送的这本书。我也像朋友们一样,称他安追。

第四天:2018220日,藏历新年初五,星期二


从百度文库找到一篇2013年发表在《中国消防》第7期的文章:《浅谈西藏大昭寺古建筑火灾预防》,作者次仁旺久。立即截图。然后细读,并摘录其中重要的技术分析和警示如下:

“大昭寺建筑材料主要为土木结构,而且柱、梁、屋顶大多以木材料为承重构件……耐火等级低下……极易燃烧。大昭寺建筑结构是大木柱支撑大屋顶,屋顶是平屋顶,由大量木材加工成的梁、檩、斗拱等组成,整个结构就像一个架满柴火的灶膛……建筑屋顶采用的阿嘎土非常坚实,发生火灾时不易散热,使热量积聚,容易发生‘轰燃’现象。

“……大量的可燃织物和木质材料使大昭寺建筑的火灾荷载是现代建筑的5~8倍,一旦发生火灾,发展迅速,难以控制。

“大昭寺一旦发生火灾,燃烧速度快、温度积聚迅速。在起火以后,必须在1520分钟内实施有效施救,否则会出现大面积燃烧,最高温度可达800°C1000°C。同时,大昭寺大殿内部屋顶宽大而坚实,不易通风,如果发生火灾,屋顶内部的烟雾和热量不易散发,温度容易积聚,导致‘轰燃’现象,使火灾难以扑救。

文章提到了火灾的隐患,包括殿堂内酥油供灯多,信众手持燃灯朝佛,每日信徒和游客平均达到4000多人,“而且大昭寺内的电器设施设备管理不善,违章用电现象仍然存在,部分电线老化、绝缘层破损,私拉私接的现象时有发生,还存在使用超负荷大功率电器,导致发生电线短路的现象,而随意更换的大功率照明灯具,其表面温度高,经幡、幕布等易燃物靠近机易引起火灾。”

读完更添忧虑。17日那场火,仅从几个视频看,那似乎从觉康金顶的各个方向喷出的熊熊烈焰,是否“轰燃”现象?更要命的是,大火烧了岂止“1520分钟”,至少长达一个多小时或者更长。当晚官方那极其简短的报道只说了起火时间是“1840分”,却不说火灭的时间而只是以“火灾已迅速扑灭”一言以蔽之,这是为什么?

还找到一篇文章,《浅谈寺庙古建筑存在的火灾危险性及消防安全监管对策》,201511月发表于《工程建设标准化》,作者是拉萨市公安消防支队的杨玉霞。其中列举了几次火灾事例,如“19846172330分左右,布达拉宫强巴佛殿因电气线路老化,绝缘层破损引起短路发生火灾,造成了不可估价的经济损失”,提出了如何加强寺庙消防安全监管对策等等,然而似乎是纸上谈兵。

当晚在推特上意外看到网友转发的图片,显示是公安部“公消[2018]30号”文件,标题是“关于吸取西藏拉萨大昭寺火灾教训 切实加强宗教寺庙场所火灾防控工作的通知”。只有一页,准确地说,是大半页,称171906分拉萨市公安消防支队接到报警后,“立即调派37辆消防车、200余名官兵赶赴现场扑救”,而1907分在现场执勤的消防官兵已在“大昭寺主殿”灭火,并“抢救疏散文物”,至“2005分火被扑灭,过火面积约50平方米”,经初步调查,“起火部位位于大昭寺主殿、金顶”。

有关起火部位的这13个字如同火星飞溅,烫伤了我的眼睛。望着窗外幽深的北京夜空,我泣不成声!居然真的烧了有觉沃佛像的主殿!

但还是心有疑虑,担心文件是造假。万一是别有用心之人挖的坑呢?但又万一是事实呢?毕竟转发者,从他的推文看,是一个关心人权的普通中国人。思来想去,我还是转发了这条推文,很快被很多人注意到。有一个人的留言给那半页文件提供了真实性:“过火面积大小关系到责任大小认定,50平米是它们的安全值。就像很多导致重大死亡的事故,最多都只报导37人一样。”

我立即询问是否有其他类似案例?回复:“有。在深圳工作时,我一个客户工厂着火,过火面积超过两千,街道办最后上报50。火场死亡的几个人最后变成一个,还是在医院‘不治身亡’的!因为如实上报的话,不仅是主管领导, 街道书记都会丢官。


(本文为自由亚洲特约评论:https://www.rfa.org/mandarin/pinglun/weise/woeser-03062019105025.html

2019年3月10日星期日

长诗及英译:空,或者不空(Empty, or Not Empty)——献给嘉瓦仁波切及六十周年流亡纪念日




空,或者不空(献给嘉瓦仁波切及六十周年流亡纪念日)


唯色


1、空法座:修赤

修赤的意思是法座
林卡的意思是林苑
修赤林卡[1]在颇章布达拉的前面
往昔葱茏,簇拥着虬枝左旋的老树,水塘和小桥
稍远有一座方柱形的石碑[2],记载千年前的帝国事迹
那法座,应该是用尽量平整的石块垒成,从缝隙间长出
参差不齐的草,也会开花,而更多的花朵
是远近走过的人们每日供放,香气四溢
这一切都出自我的想象
却也大致符合老人们的回忆。数年前
有过俊美容貌但福报甚浅的贵胄公子,将我引至此处
从他微微颤抖的手指望去,已荡然无存,更名为广场
因此布满这样的标配:红灯笼、升旗台、纪念碑……
正播放着一首首赞歌的大喇叭、小喇叭……
赞歌:旋律如昨,却更换了歌词

那尊原本于19593月之前存在的
法座是如何消失的?那尊
在树木与花丛中的,总是虚位以待的
法座有着怎样的故事?我问过许多人:你听说过
修赤林卡吗?在电视台工作过的退休干部突然失声哭泣
他说,你懂得怀念的感觉吗?你尝过心碎的滋味吗?
而当年,他是调皮少年,随渴求祝福的人们由此经过
不禁仰头,望见盘坐的嘉瓦仁波切多么年轻,笑靥如花
他再也无法忘记。一生不会忘记。
我继续低声询问:你知道修赤林卡吗?
遇见一位青年[3],他出生于伟大赞普[4]故乡附近的农户家中
天赋画才,善于描绘不曾见过的失乐园
其中一幅,是的,那幅画,在他不幸丧生前完成
翠绿的山峦重叠,洁白的云朵翻卷,但房屋已变样
空空的法座设于正中,装饰华美,等待的心愿如气球飘飘欲飞

2、空房间:甚穹

五支百合在深夜怒放
必须是深夜,才能及时目睹最美的瞬间
而我祈愿这是一种奉献:虽然这百合
只能放入简单的玻璃器皿,供在一张照片前
有的房间,不,有许多房间,甚至连这张照片
都不容许出现。真奇怪,这世上,会有人
连一张照片都害怕。他们是什么样的人呢?
强悍的唯物主义者不是无所畏惧吗?
百合的盛开化作慰藉。香气氤氲,我伏身敬拜
至少这个房间不再空无

我见过多个空的房间
在大昭寺,在罗布林卡,在布达拉宫……
敬语称为甚穹[5]。有一天,我找到一位结识多年的僧人
他又从一大串钥匙中找到一把做了记号的钥匙
四顾无人,低头走入黄色窗幔遮蔽的房间
梵香浓郁,似乎掩护着另一种芬芳
我竭力分辨,如同寻觅往昔那不堪重负的纤细身影
沉默的僧人将我拉回现实,以眼神示意
那绘有菩萨和众生的墙上,布满刺刀凶狠的划痕[6]……
空空的法座前,哈达洁白,几张完整的章噶纸币[7]意味深长

前些日子,传来两个安多青年唱的歌[8]
“阳光下,活蹦乱跳的,昨天的那个孩子,
把成群的行星磨成粉末,用彩粉绘写出明天,他把所有的
问题都抛向别人,可世界又聋又哑,默不作声……”
我想起康区北部的一座有名的寺院
打开不为他人所知的门,所见到的,你会泪下:
精雕细琢的檀木长椅上,仿若真人的照片
各种供奉,皆是精心挑选。而里面的那间
水晶灯散发着温馨的光
一双金色的拖鞋摆放在纯白的浴缸前……

3、空城:拉萨

站在这里。每一次站在这里,会
“被一种奇异而衰颓的风景包围”[9],内心
就有个声音在拒绝,在反抗,要尽快去做
去实现一个个逆缘的转变,不然真的来不及了

想起那年深秋时,哦不,是初冬时节
带上几串经幡和一小包叫做桑的植物碎末、
一些刚磨好的糌粑、一小瓶用青稞酿成的酒
缓缓走上四千多米的山脊,心跳加快
这是因为临行前,堪布仁波切的叮嘱:
“勿要说话、叫喊。要坐下,祈祷,就能看见未来。”

一面是阳坡,阳光照耀,赐予些许温暖
一面是阴坡,被浅浅的白雪覆盖
那状如佛冠的圣湖,拉姆拉措[10],恰在不远的凹形之处
像明镜,像幻境,像所有不真切的真切,充满力量
周围无人。只有我和爱人。
先向班丹拉姆[11]奉献桑的香味、糌粑与酒的美味
再将经幡系在石块之间,以示一种代言
分开坐下,互不干扰,其实我已有几分急切
尽量专注地凝视着:“请指给我看命运的样貌。”

两只鸦倏忽而至
一只落在我的右边,一只落在他的左边
用不似鸦的叫声使我回眸:有着黑色的羽毛、红色的嘴与双足……
“鸦是松玛的使者,不是凶兆是吉兆。”我似乎听得有人说
鸦在踱步。间或鸣叫。那么继续凝视,一幅画面从湖水渐渐呈现:
那是坚热斯[12]在人世间的形象,熟悉的笑容寄予某个意义
就像一个奇迹多么明亮,一切尽在不言中

天色将晚,携手返回那座已空了几十年的城
途中,两只鹿轻盈跑过,犹如去往时轮金刚的坛城
是这个寓意吗?无论如何,与许多归来的族人一样
内心不空,倾注了爱与希望。


201774-5日写,76日改,于北京


[1]修赤,བཞུགས་ཁྲི། 法王宝座;林卡,་གླིང་ཁ། 园林。
[2]石碑,即达扎鲁恭记功碑,ཞོལ་རྡོ་རིངས་ཕྱི་མ་ 立于公元八世纪,记载吐蕃帝国时代的事迹。
[3]他是西藏当代艺术家曲尼江白,拉萨墨竹工卡县日多小学老师,2011329日车祸遇难,年仅30岁。
[4] 指松赞干布,སྲོང་བཙན་སྒམ་པོ། 公元7世纪人物,吐蕃(图伯特)帝国时代第三十三代赞普,他以建立吐蕃帝国并将佛教引入图伯特而著称。
[5] 甚穹:敬语,གཟིམ་ཆུང་ 寝宫。
[6] 在拉萨大昭寺,往昔尊者达赖喇嘛在新年法会期间住过的日光殿(藏语称甚穹),文革期间被红卫兵、造反派和解放军所占。墙上壁画被刀刃乱划,至今留有痕迹。
[7]章噶纸币: ཊམ་ཀ། 公元1911年,图伯特噶厦政府即甘丹颇章政权所印制和发行的纸币。其他还有金币、银币和铜币。
[8]两个安多青年唱的歌:即西藏病人乐队的歌曲《空房间》。
[9]这是雷蒙德·卡佛(Raymond Carver的诗《为了今天的埃及币,阿登,谢谢你》中的一句。
[10]拉姆拉措:ལྷ་མོའི་བླ་མཚོ། 图伯特最为神圣的湖,为寻访达赖喇嘛转世的观相湖,被认为是图伯特、拉萨及达赖喇嘛的护法神班丹拉姆的魂湖,位在今西藏自治区山南地区加查县境内。
[11] 班丹拉姆:དཔལ་ལྡན་ལྷ་མོ吉祥天女,是藏传佛教万神殿众护法神中最主要之一,图伯特、拉萨及尊者达赖喇嘛的护法神。
[12]坚热斯,སྤྱན་རས་གཟིགས། 观世音菩萨,尊者达赖喇嘛被认为是观世音菩萨的化身。



Empty, or Not Empty

TRANSLATIONS
The Dalai Lama's dharma-throne—the Potala Palace. The date of this photograph is unknown, sometime between 1900–1940. During this period, there were Russians, British, Germans, Austrians, etc. who took photos in Lhasa.
[This poem is published on the occasion of the 60th anniversary of the Tibetan uprising, March 10, 1959.]

Empty, or Not Empty

          —dedicated to the Dalai Lama on his 82nd birthday
1. The Empty Dharma-Throne: Shukti
Have you heard of the Shukti Lingka?
Shukti means ‘dharma-throne’;
and lingka means ‘park’.[1]
In the past, the Shukti Lingka spread out
before the Potala Palace, lush and verdant,
filled with ancient trees whose branches twisted
counterclockwise like dragons
and mirrored in the ponds crossed by small bridges.
A little ways away stood a stele,
the Lhasa Zhöl Pillar,[2] a tall, square column
recording imperial deeds of a thousand years ago.
The dharma-throne in this park
must have been made with layers
of the flattest possible stone.
There would have been tufts of grass growing
from the crevices, and flowers would have bloomed,
and then even more bouquets of flowers
would have been left on the seat by visitors
who came from near and far,
the fragrance permeating every corner.
This vision, from my own imagination,
matches the memories of the older generation.
A few years ago, I was brought to this spot
by a son of old Lhasa royalty, a handsome man
with a shallow karmic reward.
He couldn’t bear the sight, covering his eyes,
he looked out through his trembling fingers
pointing through tears to where the throne had stood.
All vestiges of that park had been obliterated.
What had been a park was now a “square,”[3]
concrete paved and filled
with red lanterns, flagpoles, memorial monuments….
And loudspeakers, large and small, blared
songs of propaganda. The melodies were old,
but the lyrics had been changed.
That honorable dharma-throne, which existed before March 1959—
How did it disappear? What kind of story did that throne have,
always left vacant to wait among the trees and flowers?
I have asked so many people: Have you heard of the Shukti Lingka?
A retired official from the local television station burst into tears
He asked, Can you understand what it feels like
to miss your cherished memory?
Have you tasted the flavor of heartbreak?
And he told me this memory from before the occupation:
In those years, His Holiness was a mischievous teenager.
People eager for a blessing would pass by
and could not help but raise their heads,
and see the young Gyalwa Rinpoche[4] sitting on the throne,
so young, his face like a smiling flower.
There is no way he could forget this sight,
one could not forget over the course of an entire lifetime.
I continue to ask in a low whisper: Have you heard of the Shukti Lingka?
I met a young man named Choenyi Jampel, [5]
who was born in a farmer’s house
near the hometown of the great Songtsen Gampo.[6]
He had a great talent for painting,
and was able to depict our lost paradise
in ways I’ve never seen before.
Among his paintings, one stood out: one of the last
paintings he completed just before his unfortunate death:
Layers of emerald green mountains, rolling
white clouds, a few houses that no longer survive,
and there, right in the center,
sat the completely empty dharma-throne,
richly decorated, the heart’s dream waiting
like a balloon floating through desire.
Description
This is the Dalai Lama’s dharma-throne in the Norbulinka. Woeser took this photograph on July 6, 2018, the Dalai Lama’s 83rd birthday. In 1957, the most important organization of Tibetans rebelling against the Chinese Communist Party was a group of guerrilla fighters called the Chushi Gangdruk. To celebrate the Dalai Lama’s 23rd birthday, they called out for all the people to dedicate gold and jewels to His Holiness to make a golden dharma-throne. People from all over made offerings and the dharma-throne was completed in just over a month and demonstrates the unity and piety of the Tibetan people.

2. The Empty Room: Gzim Chung
Five lilies bloom in the middle of the night.
At this late hour, when one is able to witness
the most beautiful moments,
I want to make this offering:
lilies in a simple glass vase placed in front of a photograph.
There are some rooms, no, there are many rooms,
where even this photo is not allowed.
So strange.
In this world there are people who are afraid
of a photograph. What kind of people are they?
Aren’t the intrepid materialists fearless?
The blooming lilies brings comfort.
In their dense fragrance,
I prostrate myself in prayer.
At least this room is no longer empty.
I have seen many empty rooms
in the Jokhang, in the Norbulinka, in the Potala Palace.
The honorific word for one of these rooms is: Gzim Chung.[7]
One day, I encountered a monk I had known for many years.
He showed me a single key with a mark on it
attached to a large ring of keys.
Looking around and seeing no one,
we lowered our heads and entered a room
covered with yellow curtains.
The smell of incense was thick, as though covering up another fragrance.
I did my best to identify it, as if searching the past
for a silhouette of one who could not bear a heavy burden.
The silent monk pulled me back to reality, and with his eyes indicated
a wall painted with images of bodhisattvas and other beings.
The images were written over
by the fierce scratches of a bayonet.[8]
In front of the empty dharma-throne, a white khata
and a few complete Kashag banknotes.[9]
A few days ago I was sent a song
sung by two Amdo youth[10] that goes:
“Under the sun, the child of yesterday leaps and frisks about.
He grinds groups of planets into pigment,
and uses the pigment to draw tomorrow—
he takes all of his problems and casts them to other people,
but the world is deaf and mute, it doesn’t make a sound…”
I think of a famous temple in the northern district of Kang.
If you open that door that is not known to others,
you will shed tears at everything you see:
on a beautifully carved sandalwood bench,
all kinds of offerings, each carefully selected.
And inside that room, in the warm light of a crystal lamp,
a pair of golden slippers in front of a pure white bathtub.
This is a view of Lhamo Lhatso, the most sacred lake in Tibet. It is considered to be the soul lake of the goddess Palden Lhamo, the protectress of Tibet, Lhasa, and the Dalai Lama. This photo was taken by Wang Lixiong on December 2, 2005.
3. The Empty City: Lhasa
Stand right here.
Every time I stand here,
I am “surrounded by a strange fading landscape”[11]
in my innermost heart
there is a voice that refuses, that rebels.
If we are to achieve a reverse of course,
we must do it as soon as possible,
otherwise it will truly be too late.
I think of the deep autumn of that year.
Wait—no, it must have been early winter.
We carried a few strands of prayer flags,
a bag of powdered bsang to burn like incense,
some freshly ground barley, a bottle of barley wine.
We walk slowly along a ridge 4000 meters high,
our hearts beat faster and faster.
Before the Rinpoche left, he exhorted:
You must not talk, must not yell.
Sit down, pray that you may see the future.
To one side is the sunny slope, where sunlight bestows a little warmth;
the other slope is shady, covered with a shallow snow.
Lhamo Latso.[12] This holy lake is the crown of the Buddha,
a pure mirror held by this U-shaped valley.
Filled with power, it’s so vivid it seems unreal.
Not a soul around its edges. Only me and my lover.
First, I offer the bsang and barley wine to Palden Lhamo.[13]
Then I tie prayer flags between the stones
which convey our wishes and our prayers.
We sit down, separate from each other,
not interfering. I focus my mind and gaze at the lake:
“Please grant me a vision of my fate.”
The two ravens suddenly appear.
One lands to my right, one to my left:
black feathers, black feet, red mouth.
I glance back toward an un-ravenlike cry
and a voice within the vision says,
“The raven is a messenger of the srung ma,[14]
not a bad omen.” The ravens pace back and forth.
They caw occasionally while I continue to gaze.
Gradually, an image emerges from the lake,
                                                 it’s Chenrézik,[15]
her smile is familiar in its compassion:
a vivid miracle, outside the realm of words.
When the sky grew dark, we returned hand in hand
to that city which has been empty for decades.
Along the way, two deer ran lightly by
as though we were within the Kalachakra mandala.
Could this be the case?
Like so many of my people who have returned—
my heart is not empty. It is filled with love and hope.
—Woeser, July 4-5, 2017, edited July 6, 2017, Beijing
    Translated by Ian Boyden, March 9, 2019
Endnotes:
[1] Shukti Lingka (བཞུགས་ཁྲི། གླིང་ག)
[2] The Lhasa Zhol Pillar (ཞོལ་རྡོ་རིངས་ཕྱི་མ་) was erected in the late eighth century and describes deeds of the Tibetan Empire. It is also one of the oldest surviving examples of Tibetan script, a writing system attributed to Thonmi Sambhota, who was a minister to the founder of the Tibetan Empire Songtsen Gampo who is mentioned later in the poem (see note 6).
[3] The Shukti Linka was destroyed in 1965. The park and its wetlands were drained and filled, then covered with concrete and becoming what what was then known as the People’s Cultural Palace Square (人民文化宫广场). This square was subsequently renovated in 1999 and renamed as Potala Square. In 2002, it became the site of the monstrous Monument to the Peaceful Liberation of Tibet, a 37-meter high structure commemorating the PLA liberation of Tibet in 1951. And in 2005, it was once again renovated to its current state.
[4] Gyalwa Rinpoche is one of the honorific names of the Dalai Lama.
[5] Choenyi Jampel was a very promising young artist in Lhasa. He was tragically killed in a car accident on March 29, 2011. He was only 30 years old.
[6] Songtsen Gampo (སྲོང་བཙན་སྒམ་པོ) was an early 7th century king.He is credited with founding the Tibetan Empire and introducing Buddhism toTibet.
[7] Gzim Chung (གཟིམ་ཆུང་)
[8] In the past, the Dalai Lama would stay at the Jokhang during the Buddhist ceremonies celebrating the New Year. He had a special room, which was known as Gzim Chung. During the Cultural Revolution, this room was occupied by Red Guards, members of the Opposition Party, and the People’s Liberation Army. During this time, the murals in this room were scratched by bayonets, and these scars exist to this day.
[9] In 1911, the Tibetan government printed and distributed Kashag banknotes. They also minted gold, silver, and copper coins.
[10] The song is titled “Empty Room” and is sung by the Tibetan Patient Band (西藏病人乐队).
[11] This is a line from the poem “For the Egyptian Coin Today, Arden, Thank You" by Raymond Carver.
[12] Lhamo Latso (ལྷ་མོའི་བླ་མཚོ།) is the most sacred lake in Tibet. This is the lake where visions are sought for the reincarnation of the Dalai Lama and is presided over by the the Dalai Lama’s guardian goddess Palden Lhamo. It is located Gyaca County, Lhokha Province to the southeast of Lhasa.
[13] Palden Lhamo (དཔལ་ལྡན་ལྷ་མོ།) is the primary goddess of protection in the Tibetan Buddhist Pantheon and is the guardian god of Tibet, Lhasa, and the Dalai Lama.
[14] Srungma (སྲུང་མ། ) are protectors of the dharma, also known as dharmapālas.
[15] Chenrézik (སྤྱན་རས་གཟིགས།) is the Tibetan name for the bodhisattva Avalokiteśvara.

Constellations of Humanity

Each luminous dot on this map represents one reader of this poem. As the number of readers increases, the stars begin to cluster and form an increasingly detailed constellation. My intent is to show how brightly a poem glows across our world. I welcome your light.