鑑真大和上
Ganjin Wajo
鑑真大師出生於唐朝揚州，14歲時出家，曾在洛陽和長安進行修行，於公元713年返回故鄉的大雲寺，被尊稱為江南第一大師。
天寶元年（742年），日本第九次遣唐使船抵達唐朝，隨行的留學僧榮叡和普照向鑑真大師傳達了日本朝廷希望其擔任「傳戒之師」的邀請。鑑真因此決意東渡日本。此後的12年間，他多次嘗試渡海，但前五次皆因各種原因失敗，並在這期間逐漸失去視力。然而，天平勝寶五年（753年），他第六次嘗試終於成功抵達日本。
在隨後的十年間，鑑真大師前五年在東大寺度過，其後五年則居於唐招提寺，期間為天皇以及許多信眾授戒，廣傳佛法。
其渡海的歷程被記錄於《東征傳繪卷》中（重要文化財）。
Born in Yangzhou during the Tang Dynasty, Master Jianzhen became a monk at the age of 14. He undertook rigorous Buddhist training in Luoyang and Chang’an before returning to his hometown's Daxunsi Temple in 713 CE, earning the title of the foremost master of Jiangnan.
In 742 CE (Tianbao 1), Jianzhen received an invitation from the Japanese court to serve as the "Master of Precepts Transmission" through Japanese monks Yōei and Fusho, who were visiting China as part of the 9th Japanese mission to Tang China. Resolving to travel to Japan, Jianzhen made five failed attempts over the next 12 years due to various obstacles. During this time, he gradually lost his eyesight. However, in 753 CE (Tenpyō Shōhō 5), on his sixth attempt, he finally succeeded in reaching Japan.
For the remaining 10 years of his life, until his passing at the age of 76, Jianzhen spent five years at Tōdai-ji and the latter five years at Tōshōdai-ji. During this time, he transmitted the Buddhist precepts to many, including the emperor and numerous disciples.
The arduous journey undertaken by Jianzhen is vividly depicted in the illustrated scroll Tōsei-den Emaki (Illustrated Biography of the Eastward Journey), which is designated an Important Cultural Property of Japan.
唐招提寺
公元759年（天平寶字三年）天武天皇的皇子新田部親王的舊宅邸地被賜予了鑑真並建成了唐招提寺。
「招提」意思是在佛身邊修行的道場，寺名寓意就是此寺廟是為唐朝來的鑑真和尚在此修行而建立的道場。
唐招提寺又稱建初律寺，這是因為日本佛教是以中國四分律的南山宗戒律為中心的，而該寺又是日本最初的律寺。時至今日依然被尊為日本律宗總本山。
In 759 CE (Tenpyō Hōjī 3), the former residence of Prince Nitabe, a son of Emperor Tenmu, was granted to Master Jianzhen, leading to the establishment of Tōshōdai-ji.
The term "Shōdai" refers to a sacred place for practicing near the Buddha. The temple's name symbolizes that it was constructed as a spiritual training site for Master Jianzhen, who traveled from Tang China.
Tōshōdai-ji is also known as Kenshō Ritsu-ji because Japanese Buddhism adopted the Nanshan sect's precepts based on the Four-Part Vinaya from China. This temple became Japan's first Ritsu temple and continues to be revered as the headquarters of Ritsu Buddhism to this day.
▲ 唐招提寺「創建於天平寶字3年（759年）」，金堂。歷盡滄桑，榮枯盛衰：有過方四町內那競相壯麗的美景，西山四十八院的輝煌以及鐮倉戒律復興時盟主覺盛和尚的中興，也經歷了近世（江戶時代）東塔及十多間堂社的衰落和廢佛毀釋運動的風暴。
現如今雖說比不上建成當初的輝煌，但依然保存了國寶十七件，重要文物二百多件，成為天平時代文化繁榮的有力見證。它們使人聯想起了為什麼這座寺院當初被稱作「海東無雙的大伽藍」、「絕塵名剎」。
月光灑招提，圓柱垂影時，跫音踏地靜，夜深共冥思。（林祁 譯）安置了本尊乾漆盧捨那佛、藥師如來、千手觀音、梵釋二天、四天王等創建以來的天平佛像的金堂內部充滿嚴肅的氣氛，彷彿雙目失明的大德鑑真和尚依然在此禮拜冥想。在這種環境之中不由讓人肅然起敬。
寺廟創立者鑑真（過海大師）原是唐朝揚州大明寺高僧，應日本國聖武天皇之邀前來授戒。從出發到754年（天平勝寶六年）到達日本為止共花費了十二年時間，儘管經歷了五次失敗但矢志不渝，到奈良時雙目都已失明。
Tōshōdai-ji, established in Tenpyō Hōjī 3 (759 CE), has stood the test of time with its Golden Hall as its centerpiece. Over the centuries, it has witnessed cycles of prosperity and decline: from the magnificent landscapes within its expansive grounds, the glory of the Forty-Eight Western Monastic Halls, and the revival of the precepts under the leadership of Monk Kakushō during the Kamakura period, to the decline of the East Pagoda and over a dozen temple buildings during the Edo period and the devastating wave of the anti-Buddhist movement. While it may no longer match its initial splendor, the temple still houses 17 national treasures and over 200 important cultural artifacts, serving as a powerful testament to the flourishing culture of the Tenpyō era. These treasures remind us why this temple was once called the "Unparalleled Great Monastery of the Eastern Seas" and the "Renowned Temple of Supreme Purity."
Moonlight bathes Tōshōdai-ji, casting shadows of its columns. Footsteps echo softly on the ground, and deep in the night, thoughts merge into silence. (Translated by Lin Qi)The Golden Hall enshrines the principal deity, the dry-lacquer Rushana Buddha, alongside statues of Yakushi Nyorai, Senju Kannon, Brahma, Indra, and the Four Heavenly Kings—masterpieces of Tenpyō Buddhist sculpture since the temple's founding. The solemn atmosphere within evokes a sense of reverence, as if Master Jianzhen, blind in his later years, were still present, worshiping and meditating in profound silence.
The founder of the temple, Master Jianzhen (also known as "The Master Who Crossed the Seas"), was a prominent monk from Daming Temple in Yangzhou, Tang China. He was invited to Japan by Emperor Shōmu to propagate the Buddhist precepts. Despite encountering five failed attempts to cross the sea, Jianzhen's determination never wavered. After a twelve-year journey, he finally arrived in Japan in 754 CE (Tenpyō Shōhō 6), having lost his eyesight during the arduous voyage. Upon reaching Nara, he fulfilled his mission with unwavering dedication, leaving an indelible mark on Japanese Buddhism and Tenpyō culture.
▲ 鑑真法師脫胎漆像，從東大寺戒律院退出之後建立了該寺，修行了四年於七六三年（天平寶字七年）五月六日圓寂，享年七十六歲。弟子們預知鑑真即將圓寂特製作了大師的生前肖像「乾漆・國寶」現安放在山內開山御影堂，每年六月六日忌辰前後大約一周時間對外開放，供人瞻仰。面對壽像俳聖芭蕉也對鑑真東渡的義舉感動不已，為此留下了佳句。大師的墓在御影堂東邊的小樹林中。佛教文化興盛的時代高僧輩出，史上留名的不在少數，但他們的墓除了偶然被發現的行基菩薩的墓地之外，無一被發現過。身後一千二百年香火不斷受人朝拜的只有鑑真一人。
The dry-lacquer statue of Master Jianzhen, a national treasure, was created by his disciples shortly before his passing. After leaving the Precept Academy of Tōdai-ji, Master Jianzhen founded Tōshōdai-ji and practiced there for four years until his death on May 6, 763 CE (Tenpyō Hōjī 7) at the age of 76. Anticipating his passing, his disciples crafted a life-like dry-lacquer effigy, which is now enshrined in the Founder’s Hall (Kaizan Mieidō) within the temple grounds. This statue is displayed to the public annually for about one week around June 6, the anniversary of his death, allowing devotees and visitors to pay their respects.
The poet Matsuo Bashō, deeply moved by Jianzhen's remarkable journey to Japan, penned verses in tribute to the master's determination and legacy. Jianzhen’s tomb lies in a serene grove east of the Founder’s Hall. Among the many renowned Buddhist monks of Japan's flourishing religious past, few burial sites have been conclusively identified—aside from the rare case of Gyōki Bosatsu. Remarkably, only Master Jianzhen’s tomb has remained a site of continuous worship for over 1,200 years, with offerings and prayers honoring his unparalleled contributions to Japanese Buddhism.
▲ 唐招提寺，戒壇遺址
天平勝寶六年正月(西元754年)，當鑑真大師歷盡磨難抵達奈良東大寺後，日本天皇即遣使於次年正月五日前來頒詔曰：「大德和上，遠涉滄波，來投此國，誠合我心，朕喜慰之情無以言表！朕建立此東大寺已逾十餘年，切盼能設立戒壇以傳戒律。此心日夜不忘，自今以後，受戒傳律等諸事一律委任大和上負責。」
同時，天皇賜鑑真以「傳燈大法師」之稱謂。這天也就成為了日本律宗的立教開山之日。
四月，於盧捨那佛殿前立戒壇，聖武太上天皇、光明太上皇后、孝謙天皇、皇后、太子及公卿以下受戒者達430余人，又有名僧80余人棄舊戒從鑑真重受新戒，這是日本佛教史上第一次正規的登壇受戒。
這些功績業已成為中學的教材內容之一，可以說鑑真東渡不僅對日本的佛教史，對整個天平文化也產生了無可估量的影響，對於日本而言他的確是有功之臣。
In the first month of Tenpyō Shōhō 6 (754 CE), after enduring numerous hardships, Master Jianzhen finally arrived at Tōdai-ji in Nara. The following year, on the fifth day of the first month, the Japanese emperor sent an envoy to deliver an imperial edict, which stated:
"Great Virtuous Monk, you have braved the vast seas to come to our land, aligning perfectly with my aspirations. Words cannot express the joy and gratitude I feel. It has been over a decade since I established Tōdai-ji, and I have longed to create a Precept Platform for the transmission of Buddhist precepts. This desire has consumed my thoughts day and night. From now on, all matters concerning ordination and the propagation of precepts are entrusted to you, Great Monk."
Simultaneously, the emperor conferred upon Jianzhen the title of "Great Dharma Master of the Lamp of Transmission" (Dentō Daibōshi). This day marked the formal founding of the Ritsu sect in Japan.
In April of the same year, a Precept Platform was constructed in front of the Great Buddha Hall (Rushana Hall) of Tōdai-ji. The retired Emperor Shōmu, Empress Kōmyō, Empress Kōken, and other members of the imperial family, along with over 430 officials and nobles, received the precepts. Additionally, more than 80 prominent monks abandoned their former vows and retook the precepts under Master Jianzhen. This event was the first properly organized ordination ceremony in the history of Japanese Buddhism.
These accomplishments have become a staple in Japanese educational curricula. Jianzhen’s voyage to Japan profoundly influenced not only the development of Japanese Buddhist history but also the broader Tenpyō culture. For Japan, his contributions were unquestionably monumental.
▲ 鼓樓，原是為了安放鑑真和尚帶來的三千佛舍利而建造，又稱舍利殿。仁治元年（1240年）建立，矗立於金堂與講堂之間的東側，是寺內唯一的多層建築。現每年五月十九日在此舉辦撒團扇的儀式（中興忌梵網會）。
The Drum Tower, originally constructed to house the 3,000 relics (śarīra) brought to Japan by Master Jianzhen, is also known as the Reliquary Hall (Shariden). Built in the first year of Ninji (1240 CE), it stands on the eastern side between the Golden Hall (Kondō) and the Lecture Hall (Kōdō). It is the only multi-story structure within the temple grounds.
Every year on May 19th, the temple holds a ritual called the Fan-Throwing Ceremony (Sasauchi no Gi) as part of the Chūkō Memorial Precepts Assembly (Chūkōki Bonmōe), commemorating the restoration of the Ritsu school.
▲ 鼓樓，撒團扇儀式「中興忌梵網會」The Drum Tower: The Fan-Throwing Ceremony (Sasauchi no Gi) held during the Chūkō Memorial Precepts Assembly(Chūkōki Bonmōe).
▲ 鼓樓名物，金龜舍利塔「國寶」，12-13世紀（日本平安至鐮倉時代），銅鎏金 唐招提寺藏。此塔是為供奉鑑真帶去日本的舍利而鑄造的容器。相傳鑑真東渡時不慎將舍利掉落海中，金龜背馱舍利浮出大海，故容器呈金龜背馱寶塔之狀。舍利塔銅鑄鎏金，塔頂屋檐等各部分均按照寶塔的建築結構製造。塔身採用透雕工藝刻畫藤蔓花紋，日本稱作「唐草文」，透過花紋可以看到存放舍利的唐代琉璃瓶，瓶中有鑑真帶去日本的舍利。
The Drum Tower’s Masterpiece: The Golden Turtle Reliquary Tower, designated a National Treasure, dates back to the 12th–13th centuries (spanning Japan’s Heian to Kamakura periods). Crafted in gilded bronze, it is housed in Tōshōdai-ji. This reliquary was created to enshrine the relics (śarīra) brought to Japan by Master Jianzhen. According to legend, during Jianzhen's journey across the sea, the relics were accidentally lost in the ocean. A golden turtle surfaced, carrying the relics on its back, inspiring the reliquary's unique design of a turtle supporting a treasure tower.
The tower's structure adheres to traditional pagoda architecture, with finely sculpted eaves and other components. The body of the reliquary is adorned with openwork carvings of vine and floral patterns, known in Japan as tangusa-mon (唐草文). Through these intricate carvings, one can see the Tang Dynasty glass vessel inside, which contains the relics Jianzhen brought to Japan.
▲ 鼓樓名物，琉璃舍利瓶「國寶」，唐代8世紀，鑑真持來 / The Drum Tower’s Treasure: The Glass Reliquary Bottle, designated a National Treasure, dates back to the 8th century Tang Dynasty. It was brought to Japan by Master Jianzhen.
▲ 鼓樓名物，方紋彩絲花綱「國寶」，唐代8世紀，用來包裹鑑真持來的舍利瓶。它是用深藍色，棕綠色，淺棕色和白色棕色等絲綢色紗編織而成的，形狀幾乎是圓形的，中間編織有方形圖案。唐時代高超技術製成，是同類中最古老的實例之一。
The Drum Tower’s Masterpiece: The Square-Patterned Silk Wrapping Cloth, designated a National Treasure, dates back to the 8th century Tang Dynasty. It was used to wrap the reliquary bottle brought to Japan by Master Jianzhen. The cloth is woven from deep blue, olive green, light brown, and white-brown silk threads, forming an almost circular shape with square patterns intricately woven into the center. This artifact showcases the advanced textile craftsmanship of the Tang era and is one of the oldest known examples of its kind.
▲ 鑑真和尚像，唐招提寺，國寶，奈良時代（８世紀） 脫胎乾漆（脫胎夾紵），高80.1cm。日本最古老的肖像彫刻，天平時代的彫刻代表作。
Portrait sculpture of Monk Jianzhen (Ganjin) Portrait sculpture of Monk Jianzhen (Ganjin) Japan, Nara, Tōshōdaiji Nara period (710–94), ca. 763 Hollow-core lacquer with pigment 79.4 cm (31.25 in) Yale University Library Visual Resource Collection
鑑真和尚肖像 鑒真和尚雕像 日本奈良，唐招提寺 奈良時代（710-794），約763年 上色脫胎漆藝 79.4 cm (31.25 in)
鑑真經過六次嘗試東渡最終到達日本，前五次均因政府干預或旅程中的意外而失敗。他在第六次成功的東渡旅途中失明，但仍然在奈良建立了唐招提寺。他被尊為日本律宗之始，以強調佛教戒規而聞名。
與鑑真一同東渡日本的中國藝術家們曾在唐招提寺和其他寺院進行創作。外國藝術家們也為脫胎漆雕的製作做出貢獻，例如唐招提寺內的大型大日如來雕像（Mahā-vairocana），奈良最著名的雕像之一。
Master Jianzhen made six attempts to cross the sea to Japan, ultimately succeeding on the sixth voyage after the first five were thwarted by government interventions or accidents during the journey. During his successful crossing, he lost his eyesight but went on to establish Tōshōdai-ji in Nara. He is revered as the founder of the Ritsu sect in Japan, known for emphasizing the importance of Buddhist precepts.
Chinese artists who accompanied Jianzhen to Japan contributed to the artistic creations at Tōshōdai-ji and other temples. Foreign artisans also played a role in the production of dry-lacquer sculptures, including the monumental statue of Mahā-vairocana (Dainichi Nyorai) at Tōshōdai-ji, one of Nara’s most renowned sculptures.
鑑真與唐招提寺常見問題解答
1. 鑑真是誰？他為何在歷史上具有重要意義？鑑真是一位唐朝時期受人尊敬的佛教高僧。他因不懈致力於在日本傳播佛教戒律（律宗）而聞名。在經歷重重困難並失去視力後，鑑真成功東渡日本，創立了律宗，並主持了日本首次正式的受戒儀式。他的努力對日本佛教以及整個天平文化產生了深遠影響。
2. 鑑真為什麼決定東渡日本？他面臨了哪些重大挑戰？鑑真受到第九次遣唐使團中的日本僧人榮叡和普照的邀請，為了將佛教戒律正統傳入日本而決意東渡。他的動機源於弘揚佛法的責任感和慈悲心。然而，他的旅程充滿挑戰，包括因政府干預、風暴和船難導致的五次失敗。他在這些磨難中逐漸失明，但依然在第六次嘗試時成功抵達日本。
3. 唐招提寺是什麼？它在日本佛教中的意義是什麼？唐招提寺是一座位於奈良的佛教寺院，由鑑真創立。該寺是日本律宗的總本山，「招提」意指在佛前修行的場所。唐招提寺以鑑真的修行地而建，並稱為「建初律寺」，是日本第一座律宗寺院，其戒律源於鑑真帶來的中國佛教戒律。
4. 律宗的核心思想是什麼？鑑真如何協助在日本建立律宗？律宗強調對佛教戒律（即僧侶規則，Vinaya）的嚴格遵守。鑑真應邀來日，為日本佛教建立正統的戒律傳承。他抵達日本後主持了多場正式的受戒儀式，其中包括天皇的參加，確立了律宗在日本佛教界的基礎，並為僧侶修行提供了規範。
5. 唐招提寺有哪些重要的文化和藝術珍品？唐招提寺收藏有17件國寶和超過200件重要文化財，展現了天平時代的文化繁榮。珍品包括鑑真的乾漆坐像（生前肖像）、金龜舍利塔、琉璃舍利瓶以及方紋彩絲花綱等。此外，寺內的金堂供奉著盧舍那佛（Rushana Buddha）、藥師如來和其他佛像。寺院的建築如鼓樓也被視為重要的歷史遺產。
6. 唐招提寺如何紀念鑑真？唐招提寺通過多種方式紀念鑑真大師。他的乾漆坐像被供奉於開山御影堂，每年在他圓寂的忌辰期間對外公開展示。此外，他的墓位於御影堂東側的樹林中，至今仍有信眾前往拜謁。寺內還舉辦中興忌梵網會（Chūkō Memorial Precepts Assembly）和撒團扇儀式等紀念活動，表達對鑑真貢獻的崇敬與懷念。
7. 外國藝術家在唐招提寺的藝術創作中有何貢獻？與鑑真一同東渡的中國藝術家對唐招提寺及其他寺院的藝術創作做出了重要貢獻。此外，外國藝術家也參與了乾漆雕塑的製作，例如著名的唐招提寺大日如來像，展現了當時國際合作的藝術成就。
8. 為什麼唐招提寺被視為「天平文化繁榮的見證」？唐招提寺被視為天平文化繁榮的見證，因為它收藏了大量天平時代的重要國寶和文化遺產。寺院的建築、雕塑和文物展現了當時的藝術與文化高度，反映了國際交流的影響與佛教的繁榮。唐招提寺作為天平文化的代表，充分體現了那一時代的卓越成就。
Frequently Asked Questions about Jianzhen and Tōshōdai-ji
Who was Jianzhen (Ganjin), and why is he historically significant?
Jianzhen was a highly esteemed Buddhist monk from the Tang Dynasty in China. He is significant for his unwavering dedication to propagating Buddhist precepts (the Vinaya) in Japan. Despite numerous obstacles and losing his eyesight, he successfully traveled to Japan, where he established the Ritsu school of Buddhism and conducted the first formal ordination ceremonies in the country. His efforts had a lasting impact on both Japanese Buddhism and the broader Tenpyō culture.
What motivated Jianzhen to travel to Japan, and what were the major challenges he faced?
Jianzhen was invited to Japan by Japanese monks who were part of the ninth Japanese mission to Tang China. They sought a master to properly transmit the Buddhist precepts. Jianzhen was motivated by his sense of duty and compassion to help spread the true Buddhist teachings to Japan. His journey was fraught with challenges, including repeated failed attempts at crossing the sea due to government interventions, storms, and shipwrecks. He also gradually lost his eyesight over the course of his arduous journey.
What is Tōshōdai-ji, and what is its significance in Japanese Buddhism?
Tōshōdai-ji is a Buddhist temple in Nara, Japan, founded by Jianzhen. It is significant as the headquarters of the Ritsu school of Buddhism in Japan. The term "Shōdai" signifies a place for practicing near the Buddha and the temple itself was built specifically as a training site for Jianzhen. It is also known as Kenshō Ritsu-ji, as it was the first Ritsu temple in Japan and based its rules on Chinese precepts brought by Jianzhen.
What does "Ritsu" Buddhism emphasize and how did Jianzhen help establish it in Japan?
"Ritsu" Buddhism emphasizes strict adherence to Buddhist precepts or monastic rules (Vinaya). Jianzhen was invited to Japan specifically to establish a proper lineage of these precepts. Upon his arrival, he conducted formal ordination ceremonies, including one that was attended by the emperor, establishing a foundation for the Ritsu school within Japan's Buddhist community. This ensured the proper transmission of rules of monastic life for Japanese Buddhism.
What are some of the important cultural and artistic treasures found at Tōshōdai-ji?
Tōshōdai-ji is home to 17 national treasures and over 200 important cultural properties, representing the flourishing Tenpyō era. These include the dry-lacquer statue of Jianzhen, a life-like portrait of the master, the Golden Turtle Reliquary Tower and glass reliquary bottle, both associated with his relics, as well as a square-patterned silk wrapping cloth. The temple's Golden Hall also houses significant statues of the Rushana Buddha, Yakushi Nyorai, and other Buddhist deities. The architecture of the temple itself, especially its multi-story Drum Tower, are important artifacts.
How is Jianzhen commemorated at Tōshōdai-ji?
Jianzhen is memorialized through several ways at Tōshōdai-ji. His life-like dry-lacquer statue is enshrined in the Founder's Hall and displayed annually around the anniversary of his death. His tomb lies in a grove to the east of this hall and remains a site of continuous worship. There is also an annual memorial service (Chūkō Memorial Precepts Assembly) held at the Drum Tower, and the fan-throwing ceremony are held in his honor. These practices show respect for his legacy and contributions to Buddhism in Japan.
What was the role of foreign artists in creating the art found at Tōshōdai-ji?
The text indicates that Chinese artists who accompanied Jianzhen to Japan contributed to the temple's artistic creations. Foreign artisans were also involved in the production of dry-lacquer sculptures, including the large Mahā-vairocana statue. This highlights the international collaboration that took place during the creation of important art of that era.
Why is Tōshōdai-ji considered to be "a testament to the flourishing culture of the Tenpyō era?"
Tōshōdai-ji is seen as a testament to the Tenpyō era due to its rich collection of national treasures and important cultural artifacts that were created during that time period. The temple's architecture, sculptures, and artifacts reflect the era's artistic and cultural sophistication. It also reflects the impact of international exchange and the flourishing of Buddhism, making the temple a key example of the cultural achievements of this important period in Japanese history.
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