Recommend to see the film "A Bright Moon" by Master Hongyi

推荐看看弘一法师的电影《一轮明月》

amitabha. Dharma is great wisdom that allows people to find a way to live a happy life.

----Zhuge Changqing

amitabha.

The world is rolling with material desires.

Greed, hatred, ignorance, suspicion, murder, theft, and lust for liquor, entangle people's souls, and make the secular people miserable.

As the son of a rich man, as an outstanding painter and talent, Li Shutong, a genius of a generation, saw through the world of mortals, sacrificed his life to become a monk, and found a way to relieve troubles for mankind.

There is a film "A Bright Moon" that shows the life of Master Hongyi.

Pu Cunxin plays the role of Master Hongyi in the film "A Bright Moon".

A Bright Moon tells the legendary life of Master Hongyi (Li Shutong).

When Zhuge Changqing saw the film, he was touched by the compassion of Master Hongyi several times.

I recommend this moving film to those who like Chinese culture and Buddhism.

Let's share the great Hongyi Dharma Master's heart of Dharma promotion and compassion.

You can search for "A Round of Bright Moon". I believe you will have different feelings after reading it.

A Bright Moon Watch on Tudou.com: http://www.tudou.com/programs/view/8dqSL6a6FaI/

After watching the movie "A Round of Bright Moon", Supercnman commented that:

Rational understanding of career and love, life and practice. As we all know, Master Hongyi is a famous dramatist, musician, calligrapher, painter, writer and art educator in modern China. In the literary and artistic circles, Li Shutong has long been known as the most important. Songs such as Farewell, which he wrote in his early years, have been popular for nearly a hundred years and are still sung by people today. In the middle of his life, when his art career was booming, he was in the middle age of his family and children, and he was happy and happy, but he suddenly disappeared into the void and became one of the leading monks of Zhongxing Nanshan Law School in the Republic of China. He spent the rest of his life studying Buddhist precepts, and was honored as the 11th generation founder of Nanshan Law School by future generations. What inspiration can this legendary life experience give us. Let's look at it in detail.

1、 It directly shows the deep meaning of "reincarnation". The movie "A Bright Moon" strongly suggests that life is a process of reincarnation, and then goes deep into the essence of life. At the beginning of the film, there is a spinning top and a child (Li Shutong in his childhood) playing with it. In the film, Master Hongyi's rich Buddhist and secular career for more than 60 years is described in detail. At the end of the film, at the end of the whole film, Master Hongyi saw another child playing with the top, repeating his childhood story. These plots are telling about the reincarnation of life. In our life, everything related to us... the spring flowers and autumn moon of the four seasons, the alternation of time and space, the past, present and future of society, the birth, aging, illness and death of life, and so on. What do we feel in our life, which is not so clear about reincarnation? And where is the way of liberation in this process of reincarnation? There is clear enlightenment in the film, which depends on whether the audience can understand. Zhuge Changqing, Master Hongyi reminded the world to wake up early and not indulge in the world of mortals.

2、 Reveal the deep meaning of "impermanence". The voice-over at the beginning of the film "A Round of Bright Moon" - "Time flies, like a dream, and life is only in the breath." Under the background of a well-born family, returning from overseas study (which can be regarded as the most qualified returnee school in the 20th century), a successful career, and a loving wife, why did Mr. Li Shutong choose to resolutely abandon his family and become an ascetic monk in the Buddhism's most difficult law school. Does this dramatic change imply the understanding of "impermanence of life"? The answer is yes. In modern society, for various reasons, ordinary people often misunderstand becoming a monk and think that becoming a monk is a disgrace. Mistakenly believing that becoming a monk is an unavoidable choice after social or emotional or career failure. However, the true meaning of becoming a monk is a brand new process of transcending illusory reincarnation and exploring the real value of life. The key turning point between ordinary life and monastic practice is the understanding of the truth of "impermanence"! Moreover, the deeper the understanding of "impermanence", the more profound the gratitude of Buddhism, the integration into practice, and the liberation of reincarnation. Ignoring the most terrible impermanence of life, chasing illusory fame and wealth in the light of fire and lightning, and ultimately ignorant of life and the way back, which is the psychological basis of all ordinary life and secular career. Zhuge Changqing, Amitabha, things are impermanent. How many people disappear instantly and how many people change instantly. Only by stopping evil and doing good, benefiting the common people, and realizing life, can we get out of the predicament of life.

3、 Discuss the true meaning of "love". In the film, after becoming a monk, Mr. Li Shutong deeply loves his Japanese wife and is deeply sad. At the last meeting with Master Hongyi, she asked, "Master Hongyi, please tell me what is love?" Master Hongyi replied, "Love is compassion." This answer is profound! In our opinion, a man of practice is not without a lover. However, what is the relationship between the feelings of ordinary people and the great love of saints? The great love of saints is selfless (because of equality), lustless (because of purity), and more fearless (because of selflessness). It can be called true compassion, and it can really be called unconditional and pure "love". But the children of ordinary people are selfish, have desire, and are inevitably afraid after all. In fact, it is a kind of private affair. Compassion means liberation, while ordinary love never means liberation. Zhuge Changqing: Amitabha. It is amazing that Master Hongyi's great love has spread compassion to the world of ten methods.

The picture of this plot in the film is also very beautiful. Master Hongyi chose to meet his secular wife in two opposite boats for the last time. The lake, the boat and the two people all have profound implications. The plot is full of meaning: life and death are originally an unfathomable endless sea (the symbol of the lake); The boat is our fragile phantom body floating in the sea of life and death; And the people in the boat are the lives of those who have no final destination in reincarnation. In the sea of reincarnation, where are we going?

4、 Show the importance of precepts in the promotion of modern Buddhism. This is reflected in the dialogue between Master Hongyi and Master Taixu. Master Taixu was a great eminent monk in the 20th century, a reformist in Buddhism, and an advocate of life Buddhism. His thoughts have a profound influence on the development direction of modern Buddhism. However, Master Hongyi is a disciple who inherits the laws of Nanshan and emphasizes that practitioners should strictly return to the traditional precepts. In essence, this is the unity of a man of practice in the two aspects of keeping precepts and controlling others. Zhuge Changqing: Master Hongyi studies the precepts and reminds people that only by observing the precepts can we make a leap.

To be specific, first, Buddhism should spread all sentient beings and adapt to the times. Second, how to ensure that practitioners themselves do not degenerate and effectively improve their personal morality and practice as disciples of Buddha. Are these two contradictory? The lines of Master Hongyi in the film give us the answer: these are two roads with the same destination. Or, from another perspective, this is the problem that every practitioner in modern society must seriously face at any moment - how to take precepts as the fundamental basis for establishing oneself, and then carry out all the undertakings of cultivating the public and promoting the Dharma and benefiting life.

5、 Explore the relationship between discipline, wisdom and practice and the breadth of sentient beings. This question follows the above topic. Modern society is diverse and complex. People in this era are faced with more choices and temptations, but also full of deeper confusion and wandering. In this era, if a Buddhist disciple wants to spend all sentient beings, he must first highly enrich and improve himself. Both the practice of Buddhist precepts and wisdom and the attention to social dynamics and living conditions of all living beings require considerable depth and transparency. Otherwise, in modern society, self-interest and self-interest are often just empty words. In addition, for ordinary people, we must first go deep into the practical study of precepts and wisdom, and lay the foundation of wisdom, which is the foundation of true Taoism in the modern environment. Only in this way can we ensure that the process of benefiting all living beings is truly benefiting all living beings and transforming society, rather than being consumed and commercialized by all living beings. Shortly after becoming a monk in the film, Master Hongyi closed his door for four years and devoted himself to studying the precepts. After becoming a monk, he practiced hard all his life and did not eat at noon. As for the plot of learning how Master Yinguang rinsed a bowl of water after dinner and strictly refused to change the bedding for him by Master Tan Xu, these are all profoundly enlightening!

amitabha. Zhuge Changqing: Only continuous improvement can make a leap. If you fish for three days and bask in the net for two days, you will never get ahead.

6、 The symbolic meaning of the title "a bright moon". Mr. Feng Zikai, a famous modern painter and student of Mr. Li Shutong, once wrote a passage about Master Hongyi's becoming a monk. The excerpt is as follows:

I think human life can be divided into three levels:

The first is material life, the second is spiritual life, and the third is spiritual life.

Material life is food and clothing. The spiritual life is academic literature and art. Soul life is religion.

"Life" is such a three-story building. Those who are too lazy (or unable) to walk the stairs will live on the first floor, that is, they will make a good material life, live in luxury, honor and wealth, and be filial to their children and grandchildren. This is also a philosophy of life. People with such outlook on life are the majority in the world. Secondly, those who are happy (or powerful) to take the stairs will climb up the second floor to play, or stay in it for a long time. This is the person who focuses on academic literature and art. They devote all their efforts to the study of knowledge and to the creation and appreciation of literature and art. There are also many such people in the world, namely "scholars", "artists". There is another kind of people who are not satisfied with the second floor, so they take the stairs again and climb up the third floor. This is the religious disciple. They are serious in life. It is not enough to satisfy the "material desire", and it is not enough to satisfy the "spiritual desire". They must explore the truth of life. They think that property and offspring are external things, academic literature and art are temporary beauty, and even their own bodies are illusory existence. They do not want to be slaves of instinct. They must investigate the source of soul and the essence of the universe, which can satisfy their "desire for life". This is the religious disciple.

The above three levels of analysis of the meaning of life are appropriate. The film "A Bright Moon" also narrates the rich and wonderful life of Master Hongyi according to the clues of the above three floors. In his early years, he was filial to his mother, loved his wife, and lived in the first floor. In middle age, if you concentrate on studying art and give full play to various talents, you will move to the second floor. After middle age, he was no longer satisfied with the second floor, so he climbed up the third floor to become a monk, cultivate the Pure Land, and study the precepts, which is of course. In this way, this film not only shows the love, family, career, and even artistic career that most people pursue in their life, but also comprehensively discusses the deep value and significance of all living beings, and the ultimate destination of life. This is the naming basis of the title "A Bright Moon". "A bright moon" is a symbol of the pursuit of the ultimate meaning of life. Zhuge Changqing: Mr. Feng Zikai's theory of three floors is refreshing. Yes, life mostly goes in and out along these three floors. You should be a person of soul life, so you can make a direct leap.

7、 The perfect combination of artistry and ideology. Thank you very much. The film about Buddhist characters shot by ordinary people in the society can be produced to such an excellent degree that it basically achieves the true reproduction of the great life of a generation of eminent monk Hongyi. The lines in the film are very exquisite and artistic. In terms of music, it also fully cooperates to show the profound and unspeakable artistic conception of Master Hongyi's life. The singing of Master Hongyi's songs in the film is very touching. What's more, its ideological nature is quite profound. This film is of great significance to inspire ordinary people to think deeply about the true meaning of career and love, life and life, as well as to Buddhist practitioners to have a high understanding of the value of discipline and correctly understand the relationship between self-discipline and others. Therefore, I recommend that you can see this film, and welcome you to discuss its enlightening value in depth

8、 Introduction of Master Hongyi.

Master Hongyi, commonly known as Li Shutong, was born in a wealthy family in Tianjin. He has profound attainments and talents in music, poetry, seal cutting, calligraphy, painting and performance. Li Shutong was admitted to Shanghai Nanyang Public School, and was educated by Cai Yuanpei. He studied group science and law. Organize mutual learning with Huang Yanpei to promote Step thought. After the death of his mother, he returned to Tianjin with spirits, fought against stereotypes, adopted Western-style funerals, played the piano and sang mournful songs, which were deeply moving and sensational.

Li Shutong traveled east to Japan, studied oil painting, and engaged in music and drama creation Music magazine, initiated and organized the Spring Willow Society to perform the drama "Lady of Camellia". Meanwhile, she fell in love with Japanese girl Xuezi and married.

He returned to the motherland where he had been away for six years, edited the supplement of the Pacific News, and then the newspaper stopped publishing. Li Shutong moved to the first division in Hangzhou and Zhejiang. He created a number of excellent songs represented by Farewell, introduced the Western painting system into the art class, and cultivated a number of excellent students such as Feng Zikai and Liu Zhi. During this period, he made friends with Xia Beggar Zun and Ma Yifu as his teacher. He deliberately cultivated himself and became interested in Buddhism. After 17 days of fasting at Hupao Temple, he became spiritualized and was born. Li Shutong said good-bye to his friends, students and wife, and went into hiding under the name of Hongyi.

Hongyi closed the door to practice the law, and wrote the "Record of the Precepts of the Four-Part Law Biqiu" several years ago. Hongyi is self-disciplined and diligent, and travels everywhere. On October 13, 1942, the great patriot, the pioneer of modern Chinese culture and art, and the 11th generation founder of Nanshan Law School, Master Hongyi, gathered at the intersection of grief and happiness, auspicious and prosperous.

After becoming a monk, Li Shutong became a famous Hongyi mage.

Master Hongyi, commonly known as Li Shutong (October 23, 1880 to October 13, 1942), has a pedigree name of Wentao, a young name of Chengqi, a scientific name of Guanghou, a name of Xishuang, and another name of gargle; After becoming a monk on August 19, 1918, he performed the sound of the Dharma name, that is, the famous Hongyi Master in Buddhism, and the evening number was the old man of the evening. He was born in Tianjin and his ancestral home was Hongdong, Shanxi. He moved to Tianjin at the beginning of the Ming Dynasty. Because his mother was a farm girl in Pinghu, Zhejiang Province, Li Shutong later moved south to Shanghai with his mother. He often speaks to himself from Pinghu, Zhejiang Province, to commemorate his mother. Proficient in painting, music, drama, calligraphy, seal cutting and poetry, he is a famous artist and art educator in modern China, a famous Buddhist monk, and a famous Buddhist monk. On October 13, 1942, it passed away at the Kaiyuan Temple in Quanzhou, Fujian Province.

Li Shutong is a master of "twenty articles startle the sea". He combines poetry, poetry, calligraphy and painting, seal cutting, music, drama, and literature, and has pioneered the splendid Chinese culture and art in many fields. He pushed the art of ancient Chinese calligraphy to the extreme, "simple and complete, as powerful as nature", and Lu Xun, Guo Moruo and other modern cultural celebrities took it as the supreme honor to get a master's calligraphy. He was the first pioneer to spread western music to China, and his "Farewell Song", which has been sung for decades, has become a classic and famous song.

With outstanding artistic attainments, Feng Zikai, a famous painter, and Liu Zhi, a musician, have successively cultivated some cultural celebrities. He painstakingly worshipped the Buddha, did not eat at noon, studied law, promoted Buddhism, and saved all living beings from suffering. He was regarded as the eleventh generation of the ancestor of the law by Buddhist disciples. He left an endless spiritual wealth for the world, and his life was full of legend. He was a typical figure in China who was gorgeous to the extreme. Master Taixu once gave a gift of Buddhist scripture: to teach the mind, to discipline the body, to be clean inside and outside, and to be the cause of Bodhi. Mr. Zhao Puchu commented on the master's life as "endless treasures for the eyes of the world, and a full moon shines in the heart of heaven."

Master Hongyi, commonly known as Li Shutong, was born on September 20 of the lunar calendar in the sixth year of the reign of Emperor Guangxu of the Qing Dynasty (1880) at the home of a rich businessman and an official in Tianjin. He died in Quanzhou on the fourth day of September 1942. He is the forerunner of China's new cultural movement, an outstanding artist, educator, thinker and innovator, an outstanding representative of the combination of traditional Chinese culture and Buddhist culture, the most outstanding monk in the history of modern Chinese Buddhism, and a well-known person with a high reputation in the world. He has made creative development in music, art, poetry, seal cutting, epigraphy, calligraphy, education, philosophy, law, Chinese character science, sociology, advertising, publishing, environmental and animal and plant protection, and human fasting experiment. As an eminent monk's calligraphy, Hongyi is different from some monks and artists in history, such as Zhiyong and Huaisu. Although wearing cassocks, it seems that their life has not been aimed at firm Buddhist belief and sincere and practical Buddhist practice. They are just artists living in the Zen Academy, "crazy to light the world, drunk to get true knowledge", which is completely the temperament and romance of artists. The irony of the image of the white-eyed starling in the paintings of Badashan people is obvious. His paintings are really a kind of catharsis, and are not detached from the world. Compared with them, Hongyi escaped from Zen more thoroughly. He converted to his own heart and was detached from the world. He wanted to dedicate himself to the cultivation of Buddhism, which is the law of Buddhism. He is a pure Buddhist master.

Li Shutong, originally from Pinghu, Zhejiang, moved to Tianjin from his ancestors.

His father, Li Xiaolou, was a Jinshi of the Japanese clown division in the fourth year of Tongzhi (1865). He served as the chief of the Ministry of Public Affairs, and then resigned from his office to do business. He successively founded several shops, such as "Tongda", and earned a huge share of his family, known as "Tongda Li Family". What is particularly commendable is that he is philanthropic, sets up a private school (providing free education), establishes a "charity society", specializes in relieving the poor and widows, and gives food, clothing and coffins, which has the reputation of "Li Shanren". In his later years, Li Xiaolou was fond of Buddhist scriptures, especially Zen. Obviously, his words and deeds have a great impact on his children (especially Li Shutong). In his childhood, Li Shutong, a common monk, came to his home to chant sutras and confess, that is, his nephew Li Shengzhang, who was about the same age, used a bedspread as a cassock, dressed as a monk, and recited Buddhist names.

Zhuge Changqing: Amitabha. Li Shutong's father did good deeds and accumulated good fortune.

His childhood education largely benefited from a nursing mother surnamed Liu. She often taught Li Shutong to recite the aphorism poem in the Collection of Famous Men, such as "a white horse with a high head is worth ten thousand taels of gold. It is not to ask for a marriage in person. Once the horse dies, the gold is exhausted, and the relatives are like strangers". Although he was only eight or nine years old, he could understand that the end of Ronghua was sad. Li Shutong lost his parents at the age of five (his father died). At the age of eighteen, he obeyed his mother's order to marry Yu (the daughter of Jinmen tea merchant). During the 100-day reform, he agreed with Kang and Liang that "the old China cannot survive without reform", and had a private seal: "Kang Jun of the South China Sea is my teacher". Therefore, in the eyes of the authorities, Li Shutong is an unfaithful member of the party. He was forced to take care of his mother and avoid disaster in Shanghai.

He entered Nanyang Public School in 1901 and was employed by Cai Yuanpei. However, due to the fierce conflict between the old and the new ideas in the school, the school banned students from reading some magazines and newspapers, which aroused students' anger and caused conflicts with the school. Mr. Cai Yuanpei stood on the side of learning from Li Shutong, but it was ineffective, so he led students and active teachers to resolutely leave Nanyang Public School, and Li Shutong was also among the students who left. In 1905, he went to Japan to study abroad, studied oil painting at the Tokyo Academy of Fine Arts, and studied music at the same time. He founded the "Chunliu Drama Club" with Zeng Xiaogu, Ouyang Yuqian, Xie Hangbai and others who studied in Japan, and performed the plays "The Lady of Camellia", "The Record of the Black Slave and the Dream of the New Butterfly". He is one of the founders of the Chinese drama movement.

In 1910, Li Shutong returned to China and served as the chief teacher of the Pattern Section of Tianjin Beiyang Higher Technical College. In the following year, she served as a music teacher of the Shanghai Chengdong Women's School. In 1912, he served as the literary and artistic editor of the Pacific News, concurrently in charge of the supplement and advertisement, and initiated the organization of the Literary and Artistic Association with Liu Yazi, and edited the Literary and Artistic Magazine. In October of the same year, the Pacific News ceased publishing and was employed as a teacher of music and pictures in Zhejiang Normal School. In 1915, he served as the art director of Nanjing Normal University. In his teaching, he advocated sketching from life, began to use mannequins, and organized foreign painting research association, Leshi Society and Ning Society among students to advocate aesthetic education. On August 19, 1918, he shaved and became a monk at the Hupao Temple in Hangzhou, traveled to Wenzhou, Beishan, Putuo, Xiamen, Quanzhou, Zhangzhou and other places to preach the law, and engaged in the writing of the law of Nanshan Buddhism. According to Yu Qiuyu's Temple, Li Shutong once lived in the Wulei Temple. After the outbreak of the War of Resistance Against Japan, the slogan "Remember to save the country while chanting Buddha" was put forward for many times, saying that "We eat the millet of China, drink the water of Wenling, and as a Buddha, we can't help ourselves in case of difficulties at this time" and other words, which showed deep patriotism.

Li Shutong is versatile, capable of poetry, lyrics, drama, painting, calligraphy and seal cutting. He is good at charcoal sketch, oil painting, watercolor painting, Chinese painting, advertising, woodcarving, etc. He is one of the pioneers of Chinese oil painting, advertising painting and woodcarving. His painting creation was mainly before becoming a monk; Later, he wrote more calligraphy. Because of the war, most of the works were lost. It can be seen from the preserved Self-Portrait, Sketch Head, Watercolor and Buddha Painting. It is estimated that the self-portrait was painted before going abroad. The style of painting is exquisite and meticulous, and the expression description is meticulous. It is similar to the court portrait of the late Qing Dynasty, which combines Chinese and Western painting, and has a high realistic ability. "Sketch Head" is a charcoal painting with simple and pungent techniques.

Calligraphy is a lifelong hobby of Li Shutong, and he devoted himself to facing tablets when he was young. His calligraphic works include "Entertainment", "Brave and Progressive", etc. The calligraphy before becoming a monk is beautiful, vigorous and unrestrained; After becoming a monk, it gradually became elegant and refined. In his later years, his works became more cautious, clear, simple and peaceful. Li Shutong's art of seal cutting has caught up with the Qin and Han dynasties, and has recently learned from the Anhui School, the Zhejiang School, the Xiling Eight Schools and the Wu Xizai School. It has an ancient and thick flavor, diluted and simple, and has created a new way. There are "Li Lu Yin Pu" and "Late Emptying Yin Ju". Li Shutong's "Farewell" is also widely sung.

In the history of China's cultural development for nearly one hundred years, Hongyi Master Li Shutong is a recognized generalist and prodigy in the academic world. As the pioneer of China's new cultural movement, he was the first to introduce western oil painting, piano, drama, etc. into China, and is famous for his good calligraphy, poetry, painting, rhythm, fine stone, and performing arts. He was regarded as the eleventh generation of the patriarch of the law by Buddhist disciples. He left an endless spiritual wealth for the world, and his life was full of legend. He was a typical figure in China who was gorgeous to the extreme. Master Taixu once gave a gift of Buddhist scripture: to teach the mind, to discipline the body, to be clean inside and outside, and to be the cause of Bodhi. Mr. Zhao Puchu commented on the master's life as "endless treasures for the eyes of the world. A full moon shines in the heart of heaven."

Founder of Chinese drama

Li Shutong is the pioneer of Chinese drama movement and the founder of Chinese drama. He is a major member of the "Spring Willow Society", China's first drama group. In the 33rd year of Guangxu's reign in the Qing Dynasty (1907), the Spring Festival performance of "The Lady of Camellia" was the first play played by Li Shutong, who played the heroine Margaret. Later, he also starred in the one-act drama "Life in Compassion", "The Painter and His Sister" and the drama "The Black Slave's Crying Record" adapted from the novel "Uncle Tom's Cabin". Li Shutong's performance has great repercussions in society. Although Li Shutong's dramatic activities were like a flash of stars, they lit up the path of the development of Chinese drama and opened the curtain of Chinese drama. Especially in many artistic aspects such as the set design, makeup, clothing, props, lighting and so on, it has played a pioneering role in the enlightenment.

In terms of music, Li Shutong is a master of lyric and composition, and also the first person who has made great achievements and far-reaching influence in music creation in China. He edited China's first music magazine, Music Magazine. He was also the first person in China to compose music with staff. He was the first to promote the Western "King of Music" piano in China. He explained harmony and counterpoint in the first division of Zhejiang Province. He was the first person to introduce western music theory into China and one of the earliest promoters of "school music". In the thirty-first year of Guangxu's reign in the Qing Dynasty (1905), he edited and published the "Collection of Songs of National Studies", which was taken as a textbook by primary and secondary schools at that time. The songs he created were extensive in content and varied in form, and were mainly divided into three categories. First, patriotic songs, such as "Song of the motherland", "My country", "Sorrow for the motherland", "Great China", etc; The second is lyric songs, such as "Dwelling in seclusion", "Spring outing", "Early Autumn", "West Lake", "Farewell", etc; The third is philosophical songs, such as "Falling Flowers", "Sad Autumn", "Evening Bell", "Moon", etc. Most of Li Shutong's songs have beautiful tunes and lyrics, which are easy to use. Therefore, they are widely spread and have great influence.

He is the earliest creator and advocate of modern Chinese print art.

He widely introduced western art schools and trends of thought, and organized the Western Painting Research Association. His works such as "History of Western Art", "Overview of European Literature", "Usage of Plaster Model", etc., all set the first place in Chinese research at the same time. In his school art class, he spared no effort to introduce the history of western art development and representative painters, so that Chinese artists had a comprehensive and systematic understanding of the world art scene for the first time. As an art educator, he taught in the first division of Zhejiang Province using modern education methods, and cultivated a group of famous painters and musicians such as Feng Zikai, Pan Tianshou, Liu Zhiping, Wu Mengfei, etc. The Collection of Life Care Paintings cooperated with disciple Feng Zikai is praised by the world for its combination of poetry and painting, rich in pictures and texts.

Calligraphy has made great achievements.

Li Shutong's achievements in the art of calligraphy have attracted worldwide attention. His calligraphy was born out of the Wei stele in the early stage, and the pen style was open and flexible. In the later stage, it becomes a whole, diluting the simplicity and wildness, and gentle and clear. Especially after becoming a monk, his works are full of extraordinary tranquility and cloud-like remoteness. This is the most gorgeous insipid, the quiet after vigorous, the naive after mature, just as he said himself: "What is shown by the word of immortal is the result of insipidity, tranquility and ease."

His calligraphy is like pure gold and jade, cool and dusty, refined and refined, elegant and elegant, full of musical sense, simple and simple, and able to see the style, and prepared for all kinds of postures with no state. It contains the modesty of Confucianism, the nature of Taoism, and the silence of Buddhism in the calligraphy art, and the words are like the Buddha's law. Those who love and treasure are immediately happy, and the winner is as precious as the arched wall, which can be called the masterpiece of Chinese calligraphy in the past dynasties. Hongyi and his calligraphy are also called the treasure of the country and the light of China.

After Master Hongyi abandoned all kinds of arts and worldly possessions in his middle age and retreated into the void, he only wrote the Buddhist language without embellishment, formed a wide range of good karma, saved all living beings, and adhered to the principle of "literature and art should be passed on by people, not by literature and art." The master's death nearly 70 years ago, his good words and deeds have been recorded in the history of China and become a generation of eminent monks admired by later generations. I praise Hongyi Dharma Master, who has never been before, and who has never been before. As for this praise, the international Chinese singer Teresa Teng is similar to the master. "There is no permanent thing in life, and the blue leaves the feather", as the master said, there is no tile in life, but what is left behind is a rich and breathtaking spiritual heritage, which makes the posterity build memorial halls for him in beautiful places in various cities in China for people to admire. Madam Sheng, how can anyone be recorded in the history of Chinese culture, art, education and religion with more than ten firsts in his life, so that future generations will admire, admire and admire him?! Master Hongyi is not only a talented art educator, but also a generation of eminent monks and a master of "20 articles shocked the sea". He pushed the art of ancient Chinese calligraphy to the extreme, "simple and complete, as powerful as nature", and Lu Xun, Guo Moruo and other modern cultural celebrities took it as the supreme honor to get a master's calligraphy.

Seal cutting is unique.

Li Shutong's seal cutting is unique. In his early years, he started from the Qin and Han dynasties and also attacked the Zhejiang School. At the age of 35, he joined the "Xiling Seal Engraving Society". Before becoming a monk at Hupao Dinghui Temple in Hangzhou at the age of 39, he gave his life's seal cutting works and Tibetan seals to "Xiling Seal Engraving Society". The society built a "graveyard" and erected a monument to record its events. It is a habit that he has never given up in his life to govern Britain, appreciate Britain and discuss India. In his letter to a friend, he said: "The end of the knife is flat and pointed, and flat and flat like a cone, which is created by the immortal himself. The cone knife can only carve white text, such as writing with an iron pen. The flat and pointed knife can carve red text, but it can not avoid carving marks. It can not be natural to carve white text with a cone knife." Li Shutong's contribution to seal science is also reflected in his promotion of modern seal cutting. He personally initiated the establishment of another group of seals after the "Xiling Seal Engraving Society" - Leshi Society, which regularly collected works and compiled historical materials of the Seal Engraving Society. This is also the leading thing in the history of modern seal cutting.

The poetry is amazing.

Li Shutong's poems also occupy a place in the history of modern Chinese literature. When he was young, he attracted the attention of the literary world with his talent. When he was living in Shanghai, he recorded his poems in the past into the "First Collection of Poetry Bell Collection", which was circulated among the members of the "Chengnan Literature Society", and then collected the "Li Lu Poetry Bell". On the eve of becoming a monk, he wrote more than 20 poems from the twenty-sixth to thirty-third years of Guangxu's reign in the Qing Dynasty (1900-1907) into a book. Among them, there are many praiseworthy masterpieces such as "Farewell to the Motherland and Present to Students" and "Sorrow for the Death of the People", which show the author's deep concern about the fate of the country and the suffering of the people. In the five or six years before becoming a monk, he had more than 30 lyrics. These works, which express people's thoughts and emotions in the same circumstances through artistic means, have been popular for a while, and some have become immortal works.

Joint language

Master Hongyi also has a strong interest in couplets and has a high level of appreciation and creation. Especially after becoming a monk, the master wrote many inlaid couplets for monasteries and Zuosu in various places, which showed his fantastic ideas and profound artistic skills. He used the form of couplets as an ingenious means of persuading people to do good in the process of publicizing Buddhism and guiding lifelong Buddha. The famous couplets written by him with profound content and profound philosophy have also become a valuable cultural and artistic wealth to warn future generations.

Make contributions to the dissemination of Buddhism.

Master Hongyi's contribution to Buddhism is mainly reflected in his research and promotion of the law. In order to revitalize the law, Master Hongyi braved difficulties, studied deeply, devoted himself to the discipline, wrote books, said and practiced. He is a respected master of the law sect in the modern Buddhist world, and also a famous eminent monk in the Buddhist world at home and abroad.

In the early days of Master Hongyi's entry into Buddhism, in addition to reading the classics that monks must read, he learned extensively and widely. Besides, he was a serious and thorough person who did everything unless he didn't do it. As a monk, in terms of Buddhist thought, we must naturally make our own characteristics. In response, Lin Ziqing summed up: "Master Hongyi's Buddhist thought system is based on Huayan as the mirror, the four-part rule as the line, and the return to the Pure Land as the result. That is to say, he studies Huayan, practices and promotes the law, and believes in the Pure Land method. He has a profound study of the Huayan Sutra translated by the Jin and Tang dynasties. He once wrote the" Huayan Collection of Three Hundred ", which can reveal a hint of his intentions." Master Hongyi strictly abided by the laws and disciplines of the law school all his life, He is merciful and always shakes before sitting on the cane chair every time in his life to prevent the insects hidden in it from being crushed to death. When he died, he asked his disciples to put four bowls of water on the foot of the niche to prevent the ants from climbing onto the body and being accidentally burned to death. His kindness can be seen.

There are four major laws in the translation of Chinese Buddhist law, namely, "Ten Recitation Laws", "Four Divisions Laws", "Moha Borrowing Only Laws" and "Five Divisions Laws". In order to promote the law, Master Hongyi spent four years studying the Quadrant Law, and wrote the Quadrant Law Picchu Rong Xiang Ji. This book and "A Brief Review of Nanshan Laws at Home", which he wrote in his later years, are two masterpieces of elaborate writing.

Li Shutong's Farewell:

Outside the pavilion, beside the ancient road, the grass is green and green.

The evening wind blows the willow flute, and the sunset is beyond the mountains.

At the end of the world, at the corner of the earth, there are half a few friends.

A cup of turbid wine makes me happy. Don't dream cold tonight.

The tune of "Farewell" is taken from the American song "Dreamer and Mother" composed by John P. Audrey. When Li Shutong was studying in Japan, the Japanese lyric writer Kutong Qiuki filled in a song called "Travel Sorrow" using the melody of "Dream of Home and Mother". Li Shutong's "Farewell" is based on the "Travel Sorrow" of the dog boy Qiu Xi. Farewell does not involve enlightenment and has a long meaning. The combination of music and literature is perfect. The lyrics are written in long and short sentences, with concise language, sincere feelings and profound artistic conception. The song is a single trilogy structure, and each segment is composed of two phrases. The first and third segments are identical, and the music undulates gently, depicting the evening scenery of the pavilion, the ancient road, the sunset, and the sound of the flute, setting off a quiet and desolate atmosphere. The first sentence of the second paragraph is in sharp contrast with the previous one, and the emotion turns into excitement, which seems to be a deep sigh. The second sentence reproduces the second sentence of the first paragraph with a slight change, and appropriately expresses the sadness of parting from friends. These similar and even repeated phrases in the song do not give people the impression of being tedious and verbose, but strengthen the integrity and unity of the work and give it a special aesthetic feeling. "Outside the long pavilion, beside the ancient road, the grass is green and the sky is blue. The evening wind blows the willows and the flute sound remains, and the sunset is beyond the mountains..." The faint flute sound blows out the sadness of separation, and the beautiful lyrics write the farewell, which makes people feel mixed. Echoing from the beginning to the end, the poet's sentiment is to see through the world of mortals.

This widely sung song is the representative work of Li Shutong and is known as the most beautiful lyrics of the 20th century.

Farewell - Behind the Story

When Li Shutong wrote the lyric "Farewell", there was a moving story. When Master Hongyi was in the secular world, one of the "Five Friends of the World" was called Xu Fanyuan; In the winter of one year, there was heavy snow, and the old Shanghai was desolate at that time; Xu Xiangyuan stood outside the door and shouted out Li Shutong and Miss Ye, saying, "Brother Shutong, my family is bankrupt, and we will see you later." After that, he waved away in tears, and didn't even enter his friend's home. Li Shutong looked at the back of his former friend and stood in the snow for a whole hour. Even Miss Ye's repeated cries seemed not to be heard. Then, Li Shutong returned to the house, closed the door, and asked Miss Ye to play the piano. He wrote in tears: outside the pavilion, beside the ancient road, the grass is green and blue... He asked you when you came here, and when you came, don't wander.

The word "Farewell" describes the feelings of parting in the world, describes the beautiful fate in the world, and constructs the natural landscape of life. From the lines of the lyrics, we also realize that everything in the world is impermanent. Flowers bloom and fall, life and death are uncertain, let alone parting! In the beautiful sentence of this poem of the Qing Dynasty, there is Zen meaning. It is a vivid and moving picture. The work is filled with immortal true feelings, touching yourself, and also touching familiar and unfamiliar people. Among the many works of Master Hongyi, they also reflect the meaning and spirit of Chinese culture from another perspective. "When a sound comes into your ears, everything is centrifugal". Master Hongyi's works are full of philosophy of life, contain Zen, enlighten, quiet and elegant. Dharma master's words are like a cup of fragrant tea. They are light and pure.

From Li Shutong's works in different periods, we can see that the pursuit of a complete state of life and a sense of responsibility to the society, which is fully illustrated by his final "sad and happy combination"; Li Shutong had three processes in his life: knowing himself, surpassing himself, and improving himself.

For his life, the scholar Zhao Puchu has a poem as evidence:

Deeply sad that the Camellia Girl appeared early and won the wish to become an ascetic monk,

Infinite treasures are for the eyes of the world, and a full moon shines in the heart of the sky.

Modern Song History

Li Shutong is an enlightening pioneer in the history of modern Chinese songs. Having accepted European music culture, Li Shutong brought some ready-made tunes of European songs and filled in new words by himself. These songs have been widely spread throughout the country. The melody has a strong foreign color, and the lyrics have a strong rhythm of old poetry. This is the first song, and also the song that announces the arrival of a new era. Li Shutong completed the historical task of the enlightenment with such songs.

Li Shutong is not only the most outstanding author of "school songs" in China, but also paid attention to the traditional national cultural heritage as the theme of school songs. In 1905, he compiled and published the Collection of Chinese Songs for school teaching, which was composed of 13 pieces selected from the Book of Songs, the Songs of Chu and ancient poems, accompanied by Western and Japanese tunes, and the translated scores of two Kunqu Opera. Among them, "The Song of the Motherland" was a school song with a small number of Chinese folk tunes, which inspired students' patriotic enthusiasm. Soon he traveled to Japan to study western music, art and drama theory, focusing on piano. He once founded China's first music magazine, "Music Magazine", and vigorously advocated the social education function of music "to ponder morality, promote social integrity, cultivate temperament, and feel the essence of spirit". At the same time, he published music songs such as "My Country", "Sui Diliu", and so on.

Li Shutong has retained more than 70 musical works in his life. The composition of the songs inherits the fine tradition of Chinese classical poetry, and most of them are lyrical works based on the scenery. The words filled in are beautiful forever, the voice is rhythmic, and the artistic conception is profound and full of charm. In addition, he has a relatively comprehensive cultural cultivation of Chinese and Western music, and mostly selects popular and famous music from European and American countries. The melody is beautiful and moving, fresh and smooth, and the combination of words and music is appropriate and smooth, complementing each other, reaching a high artistic level. Therefore, his musical works are widely loved by young students and intellectuals, such as "Farewell", "Memories of Childhood", "Dream", "West Lake", etc., especially "Farewell", which has been successfully selected as an interlude or theme song by the films "Early Spring February" and "Old Stories in the South of the City".

Music works

1. Farewell

Words: Li Shutong Song: John P. Audewey

Outside the long pavilion, beside the ancient road, the grass is green and the sky is blue, the evening wind blows the willows and the flute sounds, and the sunset is beyond the mountains. At the end of the world, at the corner of the earth, there are half a few friends. A pot of turbid wine makes me happy. Don't dream cold tonight.

Outside the pavilion, beside the ancient road, the grass is green and green. The evening wind blows the willow flute, and the sunset is beyond the mountains.

2. Three Treasure Songs

Ci: Shi Taixu Qu: Shi Hongyi

The sky is long and the universe is dark. Who can inspire light? Three realms of fire house, all the people are suffering, who can give peace? Great compassion, great wisdom and great power. There is no Buddha in the south! Buddha! There are all kinds of people in the hall, and no one can be brilliant in merit and virtue. This is the only place where we really belong. To live as long as you can, to give your life, to believe, to accept and to follow diligently!

The two principles should be followed, the three learning should be improved, and the body of Dharma should be restored; It is pure and round. It is so quiet that it can wander the Nirvana City! There is no Dharma in the south! Damoye! The reason is clear, the cover is clear and bright. Now I know that this is the only place where I really belong. To live as long as you can, to give your life, to believe, to accept and to follow diligently!

According to the law of purity, it becomes a wonderful harmony, and the Lingshan remains a fragrant type: the fruit of practice, the promotion of the Dharma and the benefit of the world, the flame of the Buddha and the light of the light, and the three saints and sages who help! Nanwu Sangaya! Sangha! Take charge of the public, everything is all right, and live in Zhengfa City. Now I know that this is the only place where I really belong. To live as long as you can, to give your life, to believe, to accept and to follow diligently!

3. Spring outing

Ci and Song: Li Shutong

The spring breeze blows the face thinner than the yarn, and the spring makeup is lighter than the painting. Spring tourists walk in the picture, and thousands of flowers dance in the spring. Pear flowers are pale and cabbage flowers are yellow. Willow flowers are fragrant with mustard flowers. The warbler sings and the stranger returns, and the sparse bell outside the flower sends the sunset.

4. Dream

Words: Li Shutong Song: Stephen C. Foster

The sad wanderer is at the end of the world. But the night is long and I sleep alone, and sometimes I am in a trance. Luo is crouching in the cradle and laughing like a baby. My mother feeds me with cheese and powder bait, and my father wears colored clothes. The moon is falling and the crows are crowing. The shadow of the dream is faint. Do you know the past? Half a life of sorrow and music has gone. The kindness of feeling close will last forever.

The pathetic wanderer is pathetical and self-pity, and his shadow is sad. But the night is long and I sleep alone, and sometimes I am in a trance. Dreams leave their parents in tears and sigh for parting. My father said that I should cherish my sleep and food, and my mother tongue is to return early. Do you know the past? After half a life of sorrow and music, I feel the kindness of my family.

5. Cool

Words: Shi Hongyi Song: Yu Futang

The cool moon is bright and bright in the sky. Now sing a cool song and smile with a bright heart! The cool wind has no trace to relieve the heat. Now sing a cool song to eliminate the heat and annoyance of everything! Cool water, clear water, a channel to clean up all kinds of filth. Now sing a cool song, how about the music without dirt in body and mind! cool and refreshing! cool and refreshing! How often is the supreme!

6. Fragrance of Flowers

Words: Shi Hongyi Song: Xu Xiyi

The lilies in the court are blooming, and the fragrance is as light as in the day. When it comes into the night, the fragrance is strong. The nose is one, why is there a difference between the day and night? All the noise and bustle in the white, all the worldly affairs are glorious. The power of seeing color, listening to sound, and looking at the nose is divided into the power of eyes and ears. The heart is clear and smells sweet. No matter what you want to do, you should concentrate on God. The ancient precepts are easy to read.

7. World Dream

Ci: Shi Hongyi Song: Tang Xueyong

To come and see the world is like a dream. Life is small and strong, strong and old, old and dead, born in the womb, born in the womb, born in the womb, born in the womb, born out of the womb, born out of the womb, born out of the womb, born out of the womb, born out of the womb, born out of the darkness, born in the dark, born out of the darkness, born out of the darkness, born of the darkness, born of the darkness, born of the darkness, born of the darkness, is not a true dream? Sleeping on the pillow for a while, I traveled thousands of miles south of the Yangtze River. Now greedy for fame and wealth, why should I sleep on the ladder to sail! Zhuang Sheng dreams of butterflies, Confucius dreams of Duke of Zhou. When he dreams, it is a dream. What is it when he wakes up? The vast number of robberies have been dreaming every moment. You are a man who wakes up from a dream! Such is the supreme name!

8. Returning to the Swallow

Ci and Song: Li Shutong

A few days ago, the east wind passed through the cold food, the flowers in autumn had been rotten, the sparse forest was silent and turned into a swallow flying, and murmured softly. Whisper. Diaoliang Spring has gone to dream like smoke, the green yard has stopped singing strings, and Wuyi Gate Lane has donated autumn fans. The setting sun on the trees is faint and I want to sleep. It's better to return to the old mountain. So the mountain is faint and long. Whispering, I don't know how to return to the old mountain.

9. Song of the Night: Li Shutong. Time is like running water. After a while, we came back from school after class. We thought carefully for a while. Did we understand today's homework? Did the teacher ever violate what he said? Our parents wanted to return, so we should not wander along the way. In the future, it is all up to us to govern the country and level the world. Let's work hard, students. See you tomorrow

Personal works

The Intersection of Sadness and Joy

"The Intersection of Sorrow and Joy", written by Chen Huijian and illustrated by Feng Zikai, describes the legendary life of Li Shutong from a romantic scholar to a generation of masters.

Episodes 1 and 2 of "Life Care Painting"

The first and second episodes of the Collection of Paintings for the Protection of Life, painted by Feng Zikai, and written by Hongyi Dharma Master.

Character evaluation

Lin Yutang: "Li Shutong is one of the most talented talents in our era, the most peculiar person, and the most surviving and independent person."

Zhang Ailing: "Don't think I'm a proud person. I've never been. At least, I'm so humble outside the wall of Hongyi Monastery."

Xia Zun: "All my life, I am a beautiful young man, a passionate man of lofty ideals, a talented artist, a serious educator, and a strict disciplinarian. I am devoted to the West Pole, and I am lucky to die."

Mr. Li Shutong was born in troubled times. After experiencing hundreds of calamities, he finally became a monk at the Dinghui Temple in Hupao, Hangzhou, on August 19, 1918, at the age of 39. Since then, he has entered the third stage of his life, which is what Mr. Feng Zikai called "climbing three floors". As soon as he became a monk, he said goodbye to all the red tape in the world and vowed: "Do not read, do, or speak unless the Buddhist scriptures". After receiving the precepts, Li Shutong held the law very strictly, and completely followed the precepts of Nanshan Law School: he did not act as a host, did not open a large seat, refused all fame and benefits, took the precepts as his teacher, ate a simple meal, did not eat at noon, and lived a life of cloud and water like a lone cloud, wild crane. Or, as the friend Xia Beggar Zun described it, it changed from "a beautiful young man of the world" to "the head of strict discipline". This kind of change seems incredible to ordinary people, and even unbearable psychologically. However, Li Shutong completed the transformation naturally with a calm mind and became a Hongyi mage.

After becoming a monk, Mr. Li Shutong chose "Nanshan Law School" as the "Round School" of the religious system, with the "mind method" as the precept. After receiving the precepts, we should be strict with the law, protect the students from killing, and promote the Dharma. He chose the most important law of Buddhism. He not only studied deeply, but also practiced. In fact, he did this to the greatest extent. Therefore, when looking at his life's activities, whether it is making friends, pursuing studies, educating people, or even one of his major, he will devote himself to doing the best as soon as he gets involved. It can be seen that he is really serious and serious in his life - what he wants to learn is the same, and what he does is the same. Mr. Li Shutong has been a monk for 24 years. With the publication of his Buddhist classics and the spread of his good words and deeds, his reputation in the religious world has been growing, and he has stepped into the forest of eminent monks step by step. From an international student, to an art educator, and finally to a great master Hongyi, who became an eminent monk of the law school, he is a typical person who is "gorgeous, but dull".

Therefore, for Li Shutong's becoming a monk, as Feng Zikai said in the article "My Teacher Li Shutong", "Mr. Li's abandoning education and art to practice Buddhism is like moving to arbor out of a valley. It is not a pity, it is just a celebration." Because, no matter where he is. He himself is a cluster of chrysanthemums, a cloud and a moon. In January, thousands of pools were printed together to clarify and settle the situation. His lifelong friendship was a great book of philosophy, a book without words, and an unpublished book. His poems, arts, thoughts and Buddhist scriptures left to later generations, such as the jade of Lantian and the yarn of ramie, are firmer and whiter as they are honed by time and washed by sewage. Although Li Shutong and Master Hongyi are two completely different images, the two images are not completely separated. What he deserves our respect and study is his versatile and serious spirit. He is serious and serious in his life. He should be like what he wants to learn and what he wants to do. The ancients said, "Becoming a monk is a matter of great husband, not what the general can do". Ma Yifu once wrote a poem to remind him: "The first priority of asceticism is the highest priority, and the last is the art of meditation. He knows that his heart is Buddha, and he often takes precepts as his teacher". Reading this can be said to be like seeing him.

When Mr. A left, his personality charm was still there, as clear as the moon and the wind.

Chronology of Master Hongyi

He was born at Li Zhai, the former residence of Dizangqian, Hebei District, Tianjin, on October 23, 1880 (the sixth anniversary of Guangxu's reign) (the 20th day of September of the lunar calendar). Zu Lirui, originally from Pinghu, Zhejiang Province, and registered in Tianjin, is engaged in salt industry and silver industry. His father, Li Shizhen, was named Xiaolou. He was a Jinshi in the fourth year of Tongzhi in the Qing Dynasty. He was once the chief of the official department. Later, he resigned and inherited his father's work and became a rich man in Jinmen. Third in the ranks, the young name has become a new one, the scientific name is Wentao, and the word is Shutong.

In 1884 (the tenth year of Guangxu's reign), he was 5 years old in Tianjin. On August 5, my father died of illness at the age of 72. It was my father who was on the verge of the end of the day, and when the eminent monk Yan recited the Vajra Sutra, I met the monk for the first time. Since that year, Wang's mother has recited famous poems and maxims.

In 1885 (the second anniversary of the eleventh year of Guangxu's reign), he received the enlightenment education from Brother Zhong Wenxi at the age of 6.

In 1886 (Bingxu in the 12th year of Guangxu's reign), at the age of 7, he studied the "Hundred Filial Pieties", "Return to Nature", "Couple of Mottoes" and literary selections from Wenxi.

In 1887 (Ding Hai in the 13th year of Guangxu's reign), he was employed from the Changyun Manor at the age of 8, specializing in Selected Works, Filial Piety and Mao Poems. About the year, he learned books from Xu Yaoting, the housekeeper and accountant, and first came to Shi Gu Wen.

In 1892 (Renchen in the 18th year of Guangxu), he read Erya and Shuowen at the age of 13, and began to study exegesis. The calligraphy of each dynasty is mainly written in Wei Dynasty, and the title of the book was first heard in the village.

In 1894 (the first day of the 20th year of the reign of Emperor Guangxu), he read Zuo Zhuan and essence of Han History at the age of 15. It was the year when the sentence "Life is like the West Mountain Day, and wealth and honor are like frost on the grass" was recited.

In 1895 (the second half of the 21st year of Guangxu's reign), Li Shutong, the assistant of Shangchang Academy, was admitted at the age of 16

Li Shutong

Academy, learn to make arts. It also extended the teaching of English and arithmetic.

In 1896 (the 22nd year of the reign of the Emperor Guangxu in Bingshen), at the age of 17, Xia produced 24 frames of the original volume, and asked Tang Jing to write eight copies of the official seal for Zhong Ding. In autumn, he learned poetry from Zhao Youmei, a famous scholar in Tianjin. I like to read poems of the Tang and Five Dynasties, especially Wang Wei's poems. He also learned seal calligraphy and seal printing from Tang Jingyan, a famous calligrapher in Jinmen, and made friends with famous scholars in Jinmen.

In 1897 (the 23rd year of the reign of Emperor Guangxu of Ding You), he married Yu at the age of 18. In the same year, he took the examination of Tianjin County School as a child student, with the scientific name of Li Wentao.

In 1898 (the 24th year of the reign of Emperor Guangxu in 1898), at the age of 19, Li Shutong was engraved with the seal of "Kangjun of the South China Sea is my teacher", expressing his support for Kang Youwei and Liang Qichao's reform. In the late autumn, my mother and her family moved to Shanghai. In October, he joined the "Chengnan Literary Society" and was ranked first in the monthly meeting of the Literary Society with the title of "Song Yu Xiaoyan Fu".

In 1899 (the 25th year of the reign of Emperor Guangxu of 1911), at the age of 20, he moved to the "South of the City Thatched Cottage" of Xu Youyuan's home in the spring. The friendship with Yuan Xilian, Xu Fanyuan, Cai Xiaoxiang and Zhang Xiaolou is known as "Five Friends in the World".

In 1900 (the 26th year of the reign of Emperor Guangxu of the Gengzi), the son of Li Zhunsheng was born on September 19th (November 10th) of the lunar calendar at the age of 21. In the same year, Li Lu's Poetry Bell and Li Lu's Stamping were published. The "Shanghai Calligraphy and Painting Association" was established with the painter Ren Bonian. A pictorial paper is published every week and distributed by the Chinese and foreign daily newspapers.

In 1901 (the 27th year of Guangxu's reign in Xinchou), at the age of 22, he wrote an inscription and postscript to the "Notes of the South of the City Thatched Cottage" written by Xu Youyuan. In spring, he returned to Tianjin and planned to visit his brother in Henan, but failed for some reason, so he returned to Shanghai. In the autumn of that year, I entered Nanyang Public School (Shanghai Jiaotong University) to study in the special course of economics, and I studied with Cai Yuanpei as well as Huang Yanpei, Shao Lizi and Xie Wuliang.

In 1902 (the 28th year of Renyin Guangxu's reign), at the age of 23, all provinces completed the provincial examination of Gengzi and Xinchou Enzheng, and Shutong applied for the provincial examination successively as a supervisor in Henan Province, and applied for the examination as a supervisor in Pinghu County, Jiaxing Prefecture, all of which failed. Return to Nanyang Public School. In November, there was a student strike at Nanyang Public School (Shanghai Jiaotong University). Cai Yuanpei sympathized with the students' resignation, and Li Shutong and others dropped out of school.

In 1903 (the 29th year of Guimao Guangxu's reign), a 24-year-old and retired scholar added a tutorial course in the Shanghai "Shanghai Society" and often held speeches. Translated under the name of "Li Guangping", the two books of "The Guide to Law" and "Private International Law" were successively published by Shanghai Kaiming Bookstore.

In 1904 (the thirtieth year of the reign of Emperor Jiachen Guangxu), at the age of 25, in March, he wrote a preface to Li Pingxiang, a biographical work of "Shuo Shi Lang" (Zhang Shizhao), and signed it "Xishuang". He often goes back with artists such as gelang and famous prostitutes. He made his debut in Shanghai and participated in the performance of Beijing opera "Insect Paraffin Temple", "White Water Beach", "Yellow Bull", etc. On December 9 (the third day of November in the lunar calendar), son Li Duansheng.

In 1905 (the 31st year of the reign of Emperor Yisi Guangxu), the birth mother Wang died on March 10 at the age of 26. Bring the coffin back to Tianjin.

He published the Collection of Chinese Traditional Singing. In the autumn of this year, I went to Japan to study. Before the departure, there is "The Golden Hazel: Farewell to the Motherland and Present to Students". In Tokyo, he wrote "The Art of Painting" and "A Brief Introduction to Watercolor Painting" for "Lion Awakening" magazine.

In 1906 (the 32nd year of the reign of Emperor Guangxu in the third lunar month of the third lunar month), he edited the "Music Magazine" in Tokyo. On July 1, he participated in the first gathering of Japanese celebrities' organization "Sui Ou Yin Society" in Tokyo in the name of "Li Ai". On September 29, he registered under the name of "Li An" and was admitted to the Oil Painting Department of the Tokyo Academy of Fine Arts. Zeng Yannian (Xiaogu) and his classmates organized the "Spring Willow Society", which is the first drama group in China. The acting technique of the new play was studied from Erlang Kawakami and Erlang Akazawa, and the stage name was "Nishuang". I returned to Tianjin in the same year, and I was impressed by the word "Drinking Fire Order".

In 1907 (the 33rd year of Ding Wei Guangxu's reign), the "Spring Willow Society" premiered "The Lady of Camellia" at the age of 28 in February, and Li Shutong played the role of the Lady of Camellia. This is the first step in the practice of Chinese drama. In July, he played the role of Emily, the wife of the American gentleman Xie Erpei, and also made a guest appearance as a male lame drunk. During my stay in Japan, I had feelings with the art model (whose name is unknown) and then returned home with him.

In 1908 (the 34th year of the reign of Emperor Guangxu of Wushen), he left the Chunliu Society at the age of 29 and concentrated on Li Shutong

Li Shutong

Dedicated to painting and music.

In 1911 (the second year of Xuantong in the Qing Dynasty of 1911), at the age of 32, he created a self-portrait of graduation. In March, he graduated from the Tokyo Fine Arts School, returned to Shanghai with his Japanese wife, and worked as a picture teacher at the Zhili Model Industrial School. In the same year, the family was in decline.

In 1912 (the first year of the Republic of China), at the age of 33, Renzi returned to Shanghai from Tianjin and taught literature and music at the Chengdong Women's School, where Yang Baimin was the principal. In the same year, he joined the "Southern News Agency" and was employed as the chief editor of the "Pacific News", and edited advertisements and literary supplements. He and Liu Yazi founded the Wenmei Society and edited Wenmei Magazine. In the autumn, the Pacific News was closed. At the invitation of Hengyi, he went to Hangzhou and worked as a teacher of music and pictures in Zhejiang Normal School.

In 1913 (the second year of the Republic of China in Guichou), at the age of 34, Zhejiang Normal School was renamed as Zhejiang Provincial First Normal School. In May, the Alumni Association issued the magazine "Baiyang", designed the cover of the first issue, and all the words were also written in stone by Li Shutong.

In 1914 (the third year of Jiayin's Republic of China), when he was 35 years old, he joined the Xileng Printing Society and had frequent contacts with Wu Changshuo, a master of epigraphy and painting. After class, gather friends and students to organize "Leshi Society" to engage in the research and creation of gold and stone.

In 1915 (the fourth year of Yimao's Republic of China), at the age of 36, he was hired by the principal Jiang Qian (Yi Yuan) and concurrently served as the picture music teacher of Nanjing Normal University. He advocated the establishment of the "Ning Society" of the Jinshi Calligraphy and Painting Organization on holidays, and displayed ancient books, calligraphy and paintings, and stone and gold in the Buddhist temple. Twenty-four years later, Master Jiang Qian, the principal of Nanjing Normal University, said in a poem on the 60th Sunday: "The reading hall at the foot of Jiming Mountain has been forgotten at the end of the Jinling Dream for 20 years. The Ningshe enjoys the taste of vegetables and bamboo shoots, and has received the Buddha's light that year." This summer, he went to Japan for summer vacation. He returned to China in September. In autumn, he wrote poems such as Early Autumn, Sad Autumn and Farewell.

In 1916 (the fifth year of Bingchen's Republic of China), at the age of 37, the Japanese magazine introduced the method of "fasting" to cultivate the body and mind, so he was born into the idea of fasting in the mountains. In winter, I entered the Dinghui Temple of Hupao in Hangzhou and tested the fasting on the 17th. There is a detailed record of the fasting diary. Before entering the mountain, he wrote a poem, saying, "A flower and a leaf make you pure. The faint waves are not stained, and you can achieve wisdom." After returning to school, he began to vegetarian. At that time, under the influence of Ma Yifu, he "gradually understood" Buddhism.

In 1918 (the seventh year of the Republic of China in the Wuwu Festival), he spent the 39-year-old Spring Festival at Hupao Temple and worshipped the monk Wu as his disciple at home. He was named Yingyin and called Hongyi. On July 13 of the lunar calendar, he entered the Dinghui Temple of Hupao and became a monk. Before becoming a monk, he gave the seal he collected to Xiling Seal Engraving Society. The president of the society, Ye Zhou, collected the seal for the carved niche, and had a "seal collection" inscription: "Uncle Li of the same society, sent the blessing into the mountain, and transferred the seal to the society. The same person used the meaning of the" poem niche "and" book collection "of the past people, chiseled the wall to collect the seal, and the common people and the lake and mountain were together with Yongyuner. Ye Zhou knew each other in the summer of the Wuwu Festival." In September, he entered the Lingyin Temple and was admonished by the monks. In October, I went to Jiaxing Jingyan Temple to stay. At the end of the year, at the call of Ma Yifu, he went to Hangzhou Haichao Temple to play seven games.

In 1919 (the eighth year of the Republic of China), at the age of 40, he lived in Jingting Nunnery outside the Genshan Gate in Hangzhou, and then moved to Qinglian Temple in Yuquan. Summer Juhu runs to Dinghui Temple, and autumn to Lingyin Temple, specializing in studying Buddhism.

In 1920 (the ninth year of the Republic of China in the Gengshen era), at the age of 41, he lived in Yuquan Temple and wrote the inscription and preface for the "Engraving Monk's Note". It is called "the article of the elderly, such as the calendar day, the common candle group". In June, he went to Xindengbei Mountain in Zhejiang Province to study law. In autumn, leave Beishan to Quzhou and stay at the Lotus Temple.

In 1921 (the tenth year of the Xinyou Republic of China), at the age of 42, he returned to Hangzhou from the new boarding, lived in the Yuquan Temple, and began to look at the work of all the predecessors. In spring, he lived in the Fengsheng Temple in Zhakou, and Feng Zikai went to say goodbye on the eve of his study tour in Japan. In March, I went to Wenzhou from Hangzhou to Juqingfu Temple. Write "Xie Ke Qi" to cover the customs and rule. In June, the first draft of the Quadruple Rhythm Picchu Jiexiangji was completed.

In 1922 (the 11th year of the Republic of China in Renxu), on the third day of the 43-year-old first month, his wife (Yu's) died at home in Tianjin. The layman brother Wenxi wrote to him to return to Tianjin once, but he failed to make the trip for some reason. He still lives in Qingfu Temple.

In 1923 (the 12th year of the Republic of China in Guihai), at the age of 44, in February, he co-wrote "The Merit and Virtue of Printing and Making Sutra Images" with Jushi Youxiyin in Shanghai. On the way to Shanghai, I stopped at Shangyu Baima Lake, Shaoxing, Hangzhou and other places. In June, he carved stones for a volume of the "Sutra of Amitabha" of Hangzhou Xileng Printing Society. In September, he returned to Quzhou and lived in Lotus Temple.

In 1924 (the 13th year of the Republic of China), at the age of 45, he moved from Lotus Temple to Sanzang Temple. Soon, they arrived in Wenzhou via Songyang and Qingtian. In May, at Mount Putuo, we will pay tribute to the most admired master of Indian Light in contemporary good knowledge. In June, he returned to Wenzhou to sort out the Quadrant Law, which was completed in August. In Hangzhou, due to the traffic jam, I temporarily stopped in Ningbo and stayed at the Seven Pagoda Temple. At the request of Xia Beggar, I went to Baima Lake in Shangyu to stay. Return to Wenzhou in October.

In 1925 (the 14th year of the Republic of China), at the age of 46, he visited the Qita Temple in Ningbo, the Mituo Temple in Hangzhou and the Dinghui Temple. At the request of Xia Beggar, I went to Baima Lake in Shangyu to stay. Return to Qingfu Temple in Wenzhou soon.

In 1926 (the 15th year of the Republic of China), at the age of 47, he lived in Zhaoxian Temple from Wenzhou to Hangzhou and engaged in the review, repair and proofreading of Huayan Shuqian. Xia Zun and Feng Zikai made a special visit from Shanghai to Hangzhou. At the beginning of summer, I went to Lushan with Master Hongsan to participate in the Golden Light Dharma. When passing through Shanghai, I visited the former residence, such as the South Thatched Cottage, with disciple Feng Ziai and others. At the beginning of winter, return to Hangzhou from Lushan, pass through Shanghai, stay at Fengzi Ai's home, and then return to Hangzhou.

In 1927 (the 16th year of the Republic of China), at the age of 48, he lived in Changjinguang Temple in Wushan, Hangzhou. In July, he moved to Lingyin Houshan Benlai Temple. In autumn, when you come to Shanghai, you will live in Fengzi's home in Jiangwan. Presided over the ceremony of Feng Ziai's conversion to the Three Treasures. During the period, we jointly agreed with Fengzi Ai on the plan of compiling the "Collection of Life Care Paintings". In the spring of that year, Feng Ziai and others compiled and published "Fifty Chinese Famous Songs", which included 13 songs of Li Shutong in the popular era. Feng Zikai said in the preface: "Mr. Li has a deep heart and has both literary and musical talents. As far as we know, Mr. Li is the only one who composes and composes songs in China."

In 1928 (the 17th year of the Republic of China at the age of 49), he sat in meditation at Daluo Mountain in Wenzhou. In the autumn of Shanghai, I worked with Feng Ziai and Li Yuanjing to compile the Collection of Life Care Paintings. In winter, Liu Zhiping, Xia Beggar Zun, Feng Ziai, Jing Hengyi and others jointly raised funds to build the "Sunshine Mountain House" in Baima Lake for the master to live in.

In 1929 (the 18th year of the Republic of China), at the age of 50, he lived in Minnan Buddhist College from Xiaoxuefeng in Nan'an to Nanputuo Temple in Xiamen, and participated in the rectification of college education. In the spring, after returning to Wenzhou and passing through Fuzhou, I found the edition of "Compilation of Huayan Sutra" in the Sutra Pavilion of Yongquan Temple in Gushan. I exclaimed that it was rare and wished to print it. In September, I stayed in the "Sunshine Mountain House", and returned to Xiamen and Nan'an in October. I spent my new year at Xiaoxuefeng Temple with Master Taixu, and cooperated with "Three Treasure Songs". In February of that year, the first edition of "Life Care Painting Collection" was published by Shanghai Kaiming Bookstore. The 50 paintings of health care were composed and inscribed by the master. In the postscript, the master said, "I write poetry in vernacular according to the meaning of painting; I intend to guide the vulgar, but not to respect the literary words. I wish all living beings to inherit the merit and virtue; I will send Bodhi together, and I will live happily in the country." And he said, "The cover is art for convenience, and humanitarianism is the religious interest." That year, Xia Beggar Zun published all kinds of steles that the master had when he was in the vulgar, called Li Xiweng's Ancient Dharma Book (Shanghai Kaiming Bookstore). In that year, Brother Zhong Li Wenxi died at the age of 62.

In 1930 (the 19th year of the Republic of China at the age of 51), he gathered with the Sex Wish Master from Xiaoxuefeng to Chengtian Temple in Quanzhou. In April, I went to Wenzhou and then to the "Sunshine Mountain House" in Baima Lake. In autumn, I went to the Jinxian Temple in Cixi to preach the law twice. Go to Qingfu Temple in Wenzhou in November. At that time, Master Hongyi was called Lone Clouds and Wild Cranes. In 1931 (the 20th year of Xinwei's Republic of China), at the age of 52, he passed Ningbo from Wenzhou to Fajie Temple in Hengtang Town, Baima Lake. He made a vow to abandon the existing laws and study Nanshan. From then on, the new law family became the old law family. In September, Master Guangcha sent a letter inviting the master to Xiamen. In the same month, he sang "cool songs" in Jinxian Temple. At the end of the year, spend the year at the Fulong Temple in Zhenhai.

In 1932 (the 21st year of Renshen's Republic of China), at the age of 53, he wrote calligraphy for Liu Zhiping at the Fulong Temple in Longshan, Zhenhai. At the end of the year, in Xiamen, I lived in the rock beside the mountain (Longevity Rock) and spoke "The Last of Life" at Miaoshu Temple.

In 1933 (the 22nd year of the Guiyou Republic of China), at the age of 54, he went to Xiamen in early February and returned to Miaoshu Temple. In the same year, the lecture on the experience of reform was held at Miaoshu Temple, and the lecture on Random Capricorn was held at Wanshouyan, and the warning instructions of Master Ouyi were rewritten as the "Cold Eggplant Collection". In Kaiyuan Temple, circle the "Notes on the Law of the Southern Mountains" and in Chengtian Temple, talk about "Always Follow Buddhism".

In 1934 (the 23rd year of the Republic of China in 1898), he went to the Nanputuo Temple in Xiamen to preach laws at the age of 55 in February. Assist President Chang Xing in rectifying Minnan Buddhist Academy. The trainee monks relaxed their discipline, determined that the opportunity was not ripe, and advocated the establishment of a Buddhist sanatorium. In the same year, he wrote "A Dream of Man Yan" and wrote "A Sketch of Lawyer's Footwork in the Moon" on Baohua Mountain. Winter moved to Longevity Rock and talked about the Amitabha Sutra. He also compiled the "Extract of the Notes of the Amitabha Sutra".

In 1935 (the 24th year of the Republic of China in Yihai), at the age of 56, he wrote the "Identification of Pure Religion" in Wanshouyan. In March, I went to Kaiyuan Temple in Quanzhou to talk about "A Dream of Manyan". After arriving at Jingfeng Temple in May, at the request of Chengtian Temple in Quanzhou, he told the "Law Essentials" during the warning period.

In 1936 (the twenty-fifth year of the Republic of China), at the age of 57, he was in a sickroom in the spring, and it took several months to recover. In May, he lived in Riguangyan, Gulangyu. He moved to Nanputuo Temple at the end of the year. In that year, the Collection of Cool Songs was published by Shanghai Kaiming Bookstore.

In 1937, Ding Chou (the 26th year of the Republic of China) taught "Random Capricorn" in Nanputuo Temple at the age of 58. In February, he gave a lecture on "The Dream of Ten Years in Southern Fujian" at the Buddhist Yangzheng Hospital. In March, he sang the song for the first Xiamen Sports Congress. He was invited to Qingdao to lecture in May and returned to Xiamen in October. At the end of the year, I went to Quanzhou Caojian.

In 1938 (the 27th year of the Republic of China of Wu Yin), at the age of 59, on January 31, he spoke in a monastery about the "Avatamsaka Sutra and the Prophet's Prayer". Enter Quanzhou on February 19. Lecture at Chengtian Temple on March 2. Then he went to Meishi Academy, Kaiyuan Temple, Qingchen Hall, Hui'an, Xiamen and other places to give lectures. On May 4, a few days before the fall of Xiamen, we left Xiamen to the Nanshan Temple in Zhangzhou. At the beginning of winter, he arrived at Chengtian Temple in Quanzhou and later moved to Wenling Nursing Home.

In 1939 (the 28th year of the Republic of China), at the age of 60, he entered the Puji Temple at Pokpi Peak for a closed meditation in April. He wrote "A Brief Review of Nanshan Law at Home" and other books. In September, Macao's "Jueyin Monthly" and Shangjiao's "Buddhist Semimonthly" both published the "Special Issue for the Commemoration of the Sixth Rank of Hongyi Dharma Master". At the end of autumn, he wrote an inscription and a postscript for the "Collection of Paintings of Survivors".

In 1940 (the 29th year of the Republic of China), at the age of 61, he closed Yongchun Pengshan, declined all exchanges and wrote a book. In October, please go to Lingying Temple in Nan'an to promote Dharma.

In 1941 (the thirtieth year of Xinsi's Republic of China), at the age of 62, in April, he left Lingying Temple and went to Jinjiang Fulin Temple to settle down in summer. He also talked about the "Legal Notes" and compiled the "Legal Notes". In winter, I moved to the Baiyuan Temple in Quanzhou and then moved to Kaiyuan Temple. Return to Fulin Temple at the end of the year.

In 1942 (the 31st year of the Republic of China in Renwu), he went to Lingrui Mountain to lecture at the age of 63 in February. But Hongyi proposed three covenants: one is not to welcome, two is not to send, and three is not to invite fast. In March, he returned to Baiyuan Temple in Quanzhou, and then lived in Wenling Nursing Home. In July, Zhu Zi taught the ceremony of becoming a monk and shaving at the "Guohua Pavilion". In August, the "Eight Adults' Awareness Sutra" was taught at Kaiyuan Temple. On the afternoon of October 2, the body was feverish and gradually showed slight illness. On October 7, Master Miaolian was summoned to the bedroom to write a will. On the afternoon of October 10, write the words "intersection of sadness and happiness" and hand it to Master Miaolian. At 7:45 p.m. on October 13, he was short of breath, and died peacefully in the west at 8:00 p.m., and died in the sunset room of Wenling Nursing Home at the Buer Temple in Quanzhou.

Quotations of Master Hongyi

He who has no heart is public, and he who has no ego is wise.

Since ancient times, people with lofty ideals have been wise and accessible.

Make friends with light words and stop slander with deaf words; Blame yourself with lettering and resist aggression with weak words.

Don't do all you can and don't say all you can.

Learn to concede a point and get a cheap one; One point for sharing, one point for blessing.

We are afraid of gaining before losing, and we are afraid of loosening before tightening.

Be tolerant to others and be indifferent to the world.

There must be tolerance, and virtue is great; There must be patience, but things are easy.

Nourish the mind with emptiness, nourish the body with virtue, nourish all things in the world with benevolence and righteousness, and nourish all the world with Tao.

What is not moved by external things is static, and what is not realized by external things is virtual. Liu Niantai said: "Self-discipline, all have a slow word, all words and actions."

When you receive things, you often feel that you have leisure in your heart.

Adversity and prosperity look at the breadth of mind, and happiness and anger look at self-control.

The most unfortunate thing in life is that when I make a mistake, I can't afford to make a mistake; Once I lose my plan, I succeed; Occasionally, I get a small profit by acting arbitrarily. After that, it was regarded as the past, but it was not easy. Then the greatest disaster will come from here.

In doing things, you must be self-conscious and cautious, and achieve the utmost. In life, we should abstain from luxury and keep everything simple.

Those who do not respect themselves will be humiliated, and those who do not fear themselves will cause disaster.

Things should be changed when they are happy, and words should be kept when they are happy.

We should avoid all things, all things, and all people.

If you encourage yourself with the spirit of ice and frost, you will enjoy a high quality; With the volume of the vault to accommodate people, Germany and Japan will be vast; If you make friends with the friendship of learning, you will learn more; If you take prudent actions to benefit your life, the road will be far away

阿弥陀佛。佛法是大智慧，让人们找到快乐人生的方法。

---- 诸葛长青

   阿弥陀佛。

   滚滚红尘，物欲横流。

   贪嗔痴慢疑、杀盗妄淫酒，纠缠人们的灵魂，让世俗的人们痛苦不堪。

   作为富翁的公子，作为杰出的画家、才子，一代天才李叔同，看破红尘，舍身出家，为人类找寻解除烦恼的方法。

   有一部电影《一轮明月》展示了弘一法师的一生。

    《一轮明月》影片由濮存昕主演弘一法师。

   《一轮明月》讲述了弘一法师（李叔同）传奇的一生。

   当诸葛长青看完这部影片，曾几度为弘一法师慈悲心感动的泪满衣衫。

    把这部感动人心的影片推荐过喜欢国学、喜欢佛学的有缘者。

    让我们一起分享伟大的弘一法师的弘法之心、慈悲之心......。

    大家可以搜索看看《一轮明月》，相信大家看了会有不同感受。

         《一轮明月》土豆网观看： http://www.tudou.com/programs/view/8dqSL6a6FaI/

        善知识supercnman看了《一轮明月》电影后，这样评价说：

    理性读解事业与爱情、生命与修行。众所周知，弘一大师是中国近代著名的戏剧家、音乐家、书画家、文学家、艺术教育家。其在文艺界，早以‘李叔同’之名为世所重。他早年创作的《送别》等歌曲，流传近百年，至今仍为人们传唱。在他人生生涯的中途，正当艺术事业蒸蒸日上之际，正在家庭妻儿和美安乐的中年，却一举遁入空门，成为民国时期中兴南山律学之一代高僧。他以后半生全部生命专研佛教戒律，被后代人誉为南山律宗第11代祖师。这传奇般的人生经历，到底能给我们什么启发呢。下面我们具体来看看。

    一、直示“轮回”深义。《一轮明月》影片强烈暗示生命是一个轮回的过程，进而深入追问生命的真谛。片头，是一只旋转的陀螺、一个小孩子（少儿时期的李叔同）在玩耍这只旋转的陀螺。在片中，具体讲述了弘一大师六十余年极其丰富的僧俗生涯。而在片尾，全部影片结束时，弘一大师又看到一个玩陀螺的小孩子，正在重复着他童年的故事。这些情节，正是在诉说生命的轮回。在我们的生命中，与我们相关的一切……四季的春花秋月，时空的日夜交替，社会的过去现在未来、生命的生老病死，等等等等，我们生命所感受到的一切切，哪一样不正是如此昭示着轮回呢？而这个轮回过程的解脱之路又何在呢？片中有明白启示，端看观众能否悟出。诸葛长青，弘一法师提醒世人，早入觉醒，不要沉迷在红尘之中。

   二、揭示“无常”深义。《一轮明月》片头话外音——“岁月荏苒，如梦似幻，人生一世，只在呼吸之间。”李叔同先生在家庭出生优厚、留学海外归来（可算是20世纪最老资格的海归派）、事业圆满、妻子相爱的背景下，为何选择毅然决然抛家别妻，成为佛门最难修学的律宗中的一位苦行僧。这个戏剧性的转变，是否暗含对“生命无常”体悟这个原因？回答是肯定的。在现代社会，由于种种原因，普通人往往误解出家，以为出家是很丢脸的事情。误认为出家，都是在社会上或感情或事业失败之后的不得已选择。殊不知，真正意义的出家，正是一个全新的超越虚幻轮回、开拓生命真实价值的过程。而这个凡夫生活与出家修行的关键转戾点，正是对“无常”真相的认识！而且，对“无常”体悟越深，才越能深刻的感恩佛法、契入修行、解脱轮回。而漠视最可怕的生命无常，于石火电光中追逐虚幻名利情爱，终归懵懂一生、不知归途，这正是一切凡夫生活及其世俗事业的心理基础。诸葛长青，阿弥陀佛，世事无常啊，多少人瞬间消失，多少人瞬间变化。唯有止恶行善、造福苍生、顿悟人生，才会走出人生困境。

   三、探讨“爱”的真谛。片中，李叔同先生出家后，深爱他的日本妻子无限悲伤。在与弘一大师最后一次见面时，她问道：“弘一法师，请告诉我，什么叫爱？” 弘一大师答：“爱，就是慈悲。”此答，深义无穷！我们觉得，修行人诚然不是无情人。但，凡夫“情”怀与圣人大“爱”，二者的关系到底如何？圣人之大爱，具有无私（平等故）、无欲（清净故）、更无畏(无我故)，堪称真正意义的慈悲,也才真正堪称无条件的清净的“爱”。而普通人之儿女私情，有私、有欲、终归难免有畏，其实说到底那是一种私情。慈悲意味着解脱，而凡情绝不意味着解脱。诸葛长青：阿弥陀佛。弘一法师提出的大爱无疆，把慈悲心普及到十方法界，令人赞叹啊。

   片中这段情节的画面也非常精美，弘一大师选择在两只相反方向的小船中，与深深爱他的俗家妻子见最后一面。湖水、小船、两人，都各有深刻寓意。这个情节大有文章：生死，本来就是一条深不可测之无尽大海（湖的象征）；小船，就是我们飘摇于这生死巨海中的危脆幻躯；而船中之人，正是轮回中永无归宿之期的一个个生命。轮回爱海中，我们到底何去何从？

    四、表现戒律在现代佛法弘扬中的重要性。这表现在弘一大师与太虚大师的对话中。太虚大师乃20世纪伟大的高僧，佛教界革新派、人生佛教思想倡导者。其思想对现代佛教的发展方向影响极其深远。而弘一大师却是一位继承南山律，强调修行人严格回归传统戒律的律宗行者。这实质就是一个修行人在持戒与度众这两个方面的统一性问题。诸葛长青：弘一法师研究戒律，提醒人们，遵守戒律才会飞跃。

   具体说来，其一，佛教应该广度众生、适应时代。其二，如何保证修行人自己不变质、且切实提升自己作为佛弟子之个人戒德、实修。这二者矛盾吗？片中弘一大师的台词，给了我们答案：这是两条有着同一终点的路。或者，从另一个角度来说，这正是现代社会每个修行人，在任何一个时刻，都必须认真面对的的问题——如何做到以戒律为立身之根本基础，进而展开一切修行度众、弘法利生的事业。

   五、探索戒定慧实修与广度众生的关系。这个问题，紧接着这上面这个话题而来。现代社会纷纭复杂，这个时代的人们，面对着更多的选择、诱惑，也同时充满着更深刻的迷茫与徘徊。在这个时代背景下，一个佛弟子要想度众生，首先必须高度充实与提升自己。无论是佛法戒定慧的实修上，还是对社会动态与众生生存状态的关注上，都要求有相当的深入与通透。否则，在现代社会下，自利与利人，往往都可能只是一句空话。而且，对于普通行者，还务必先要在戒定慧的实际学修上扎实深入，奠定根本智慧，这是现代环境下真正道人之弘法本钱。这才能保证度众生的过程，是真正的在度众生、在化社会，而不是相反的，被众生度、被商业化。片中弘一大师出家后不久，就闭关四年一心研学戒律，且出家后终身苦行、过午不食，乃至于学习印光大师喝饭后涮碗水、严格拒绝倓虚法师为其换被褥的情节，这些都具深刻启发！

阿弥陀佛。诸葛长青：只有持续精进，才能飞跃。如果三天打鱼两天晒网，那么永无出头之日。

   六、片题“一轮明月”的象征意义。近代著名画家、李叔同先生的学生丰子凯先生，曾经有段文字讲述弘一大师之出家，摘录如下：

    我以为人的生活，可以分作三层：

   一是物质生活，二是精神生活，三是灵魂生活。

   物质生活就是衣食。精神生活就是学术文艺。灵魂生活就是宗教。

  “人生”就是这样的一个三层楼。懒得(或无力)走楼梯的，就住在第一层，即把物质生活弄得很好，锦衣玉食，尊荣富贵，孝子慈孙，这样就满足了。这也是一种人生观。抱这样的人生观的人，在世间占大多数。其次，高兴(或有力)走楼梯的，就爬上二层楼去玩玩，或者久居在里头。这就是专心学术文艺的人。他们把全力贡献于学问的研究，把全心寄托于文艺的创作和欣赏。这样的人，在世间也很多，即所谓 “学者”，“艺术家，”。还有一种人，对二层楼还不满足，就再走楼梯，爬上三层楼去。这就是宗教徒了。他们做人很认真，满足了“物质欲”还不够，满足了“精神欲”还不够，必须探求人生的究竟。他们以为财产子孙都是身外之物，学术文艺都是暂时的美景，连自己的身体都是虚幻的存在。他们不肯做本能的奴隶，必须追究灵魂的来源，宇宙的根本，这才能满足他们的“人生欲”。这就是宗教徒。

    上述人生意义三种层次的分析，恰如其分。影片《一轮明月》，也正是按照上述三层楼的线索，叙述弘一大师丰富精彩的一生。他早年对母尽孝，对妻子尽爱，安住在第一层楼中。中年专心研究艺术，发挥多方面的天才，便是迁居在二层楼了。中年之后，不再满足于二层楼，于是爬上三层楼去，做和尚，修净土，研戒律，这是当然的事。如此看来，这部影片不仅像一般电影一样，展现了多数人一生中追求的爱情、家庭、事业，乃至艺术生涯，更对于一切众生,其生命之深层次价值与意义，对于人生的究竟归宿，作了全面探讨。这便是片题“一轮明月”的命名基础。“一轮明月”正象征着对生命终极意义的追求。诸葛长青：丰子恺先生的三层楼理论，令人耳目一新，是啊，人生多是 沿着这三层楼出出入入，要做灵魂生活之人，这样才会直接飞跃啊。

   七、艺术性与思想性的完美融合。很感谢，由社会普通人士拍摄的佛门人物题材影片，能够制作到如此精良的程度，基本达到了对一代高僧弘一大师伟大人生原貌的如实再现。片中句句台词都可谓非常精到，艺术性俱足。音乐方面，也充分配合展现出了弘一大师高深难言的人生意境，片中弘一大师歌曲的吟唱，都非常感人动听。而且更难得的，其思想性相当深邃。这部影片，无论是对于启发普通人深入思考事业与爱情、人生与生命的真谛，还是对于佛门修行人高度认识戒律价值、正确认识自度度人的关系等方面，都有很大意义。因此，我推荐大家都能够看看这部影片，并欢迎大家就此片的启发价值深入探讨......

   八、弘一法师有关简介资料。

   弘一法师俗名李叔同，出生于天津豪门富户，在音乐、诗词歌赋、篆刻、书法、绘画、表演诸方面造诣颇深，才华横溢。李叔同考取上海南洋公学，受业于蔡元培，邃觅群科，钻研法学。与黄炎培组织互学会，宣讲进...步思想。母亲去世，他运灵回津，反陈规陋习，采西式丧礼，自弹钢琴，唱悼歌，感人至深，轰动津门。　　

   李叔同东渡日本，学习油画，从事音乐、戏剧创作。...音乐杂志》，发起组织春柳社，演出话剧《茶花女》。其间与日本姑娘雪子相恋结婚。　　

   他回到阔别六年的祖国，主编《太平洋报》副刊，后报社停刊，李叔同移席杭州浙江一师，创作了以《送别》为代表的一批优秀歌曲，在美术课中引入西画系统，培养出丰子恺、刘质平等一批优秀学生。其间与夏丐尊为友，马一浮为师，刻意于自身修养，对佛学产生浓厚兴趣。于虎跑寺断食17天，身心灵化，飘然出世。李叔同告别好友、门生和妻子，遁入空门，法号弘一。　　

    弘一闭关修律，数年写成《四分律比丘戒相表记》。弘一律己至严，治学至勤，云游四方。1942年10月13日，伟大的爱国者、中国近代文化艺术先驱、南山律宗第十一代祖师弘一大师，在悲欣交集中吉祥升西。

   李叔同出家后，就是著名的弘一法师。

   弘一法师，俗名李叔同（1880年10月23日－1942年10月13日），谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒；1918年8月19日出家后法名演音，即佛教中赫赫有名的弘一大师，晚号晚晴老人。他生于天津，祖籍山西洪洞，明初迁到天津，因其生母本为浙江平湖农家女，故后来李叔同奉母南迁上海，每每自言浙江平湖人，以纪念其先母。精通绘画、音乐、戏剧、书法、篆刻和诗词，为现代中国著名艺术家、艺术教育家，中兴佛教南山律宗，为著名的佛教僧侣。1942年10月13日在福建泉州开元寺圆寂。

  李叔同是“二十文章惊海内”的大师，集诗、词、书画、篆刻、音乐、戏剧、文学于一身，在多个领域，开中华灿烂文化艺术之先河。他把中国古代的书法艺术推向了极致，“朴拙圆满，浑若天成”，鲁迅、郭沫若等现代文化名人以得到大师一幅字为无上荣耀。他是第一个向中国传播西方音乐的先驱者，所创作的《送别歌》，历经几十年传唱经久不衰，成为经典名曲。

 卓越的艺术造诣，先后培养出了名画家丰子恺、音乐家刘质平等一些文化名人。他苦心向佛，过午不食，精研律学，弘扬佛法，普渡众生出苦海，被佛门弟子奉为律宗第十一代世祖。他为世人留下了咀嚼不尽的精神财富，他的一生充满了传奇色彩，他是中国绚丽至极归于平淡的典型人物。太虚大师曾为赠偈：以教印心，以律严身，内外清净，菩提之因。赵朴初先生评价大师的一生为：“无尽奇珍供世眼，一轮圆月耀天心。”

   弘一法师，俗名李叔同，清光绪六年（1880年）阴历九月二十生于天津官宦富商之家，1942年九月初四圆寂于泉州。他是中国新文化运动的前驱，卓越的艺术家、教育家、思想家、革新家，是中国传统文化与佛教文化相结合的优秀代表，是中国近现代佛教史上最杰出的一位高僧，又是国际上声誉甚高的知名人士。他在音乐、美术、诗词、篆刻、金石、书法、教育、哲学、法学、汉字学、社会学、广告学、出版学、环境与动植物保护、人体断食实验诸方面均有创造性发展。作为高僧书法，弘一与历史上的一些僧人艺术家存有差异，如智永和怀素，尽管身披袈裟，但似乎他们的一生并未以坚定的佛教信仰和恳切实际的佛教修行为目的，他们不过是寄身于禅院的艺术家，“狂来轻世界，醉里得真知”，这完全是艺术家的气质与浪漫。八大山人笔下的白眼八哥形象，讽刺的意味是显而易见的，他的画作实在是一种发泄，是入世的，并未超然。比之他们，弘一逃禅来得彻底，他皈依自心，超然尘外，要为律宗的即修为佛而献身，是一名纯粹的佛教大家。

   李叔同，原籍浙江平湖，从祖辈起移居天津。

   其父李筱楼是同治四年（1865年）乙丑科的进士，当过吏部主事，后辞官经商，先后创办了“桐达”等几家钱铺，挣得偌大一份家业，被人称为“桐达李家”。尤其难能可贵的是，他乐善好施，设立义塾（提供免费教育），创立“备济社”，专事赈恤贫寒孤寡之人，施舍衣食棺木，有“李善人”的口碑。李筱楼晚年喜好内典（佛经），尤其耽爱禅。很显然，他的言传身教对儿辈（尤其是李叔同）影响极大。童年时，李叔同常见僧人来家中诵经和拜忏，即与年纪相仿的侄儿李圣章以床罩做袈裟，扮成和尚，口诵佛号。

    诸葛长青：阿弥陀佛。李叔同父亲行善积德，积累了大福报。

   他儿时的教育在很大程度上得益于一位姓刘的乳母，她常教李叔同背诵《名贤集》中的格言诗，如“高头白马万两金，不是亲来强求亲。一朝马死黄金尽，亲者如同陌路人”。虽只有八九岁光景，他居然能理解荣华尽头是悲哀的意思。李叔同五岁失怙（父亲去世），十八岁时遵奉母命与俞氏（津门茶商之女）结婚。百日维新时，他赞同康、梁“老大中华非变法无以图存”的主张，曾私刻一印：“南海康君是吾师”。因此在当局者眼中李叔同乃是不折不扣的逆党中人，他被迫携眷奉母，避祸于沪上。

    1901年入南洋公学，受业于蔡元培。但由于校内新旧思想相争激烈，校方禁止学生阅读莫部分杂志、报纸，激起学生的愤怒，与校方发生了冲突，蔡元培先生站在学李叔同生一边据理力争，但无效果，于是带领学生和积极教师毅然离开南洋公学，李叔同也在离开的学生之中。1905年东渡日本留学，在东京美术学校攻油画，同时学习音乐，并与留日的曾孝谷、欧阳予倩、谢杭白等创办“春柳剧社”，演出话剧《茶花女》、《黑奴吁天录》、《新蝶梦》等，是中国话剧运动创始人之一。
    1910年李叔同回国，任天津北洋高等工业专门学校图案科主任教员。翌年任上海城东女学音乐教员。1912年任《太平洋报》文艺编辑，兼管副刊及广告，并同柳亚子发起组织文美会，主编《文美杂志》。同年10月《太平洋报》停刊，应聘任浙江两级师范学校音乐图画教师。1915年任南京高等师范美术主任教习。在教学中他提倡写生，开始使用人体模特，并在学生中组织洋画研究会、乐石社、宁社，倡导美育。1918年8月19日，在杭州虎跑寺剃度为僧，云游温州、新城贝山、普陀、厦门、泉州、漳州等地讲律，并从事佛学南山律的撰著，另据余秋雨《庙宇》，李叔同曾经居于五磊寺。抗日战争爆发后，多次提出“念佛不忘救国、救国必须念佛”的口号，说“吾人所吃的是中华之粟，所饮的是温陵之水，身为佛子，于此之时不能共纾困难于万一”等语，表现了深厚的爱国情怀。
    李叔同多才多艺，诗文、词曲、话剧、绘画、书法、篆刻无所不能。绘画上擅长木炭素描、油画、水彩画、中国画、广告、木刻等。他是中国油画、广告画和木刻的先驱之一。他的绘画创作主要在出家以前；其后多作书法。由于战乱，作品大多散失。从留存的《自画像》、《素描头像》以及《水彩》、《佛画》等可窥见一斑。《自画像》估计是出国前所绘，画风细腻缜密，表情描写细致入微，类似清末融合中西的宫廷肖像画，有较高的写实能力。《素描头像》是木炭画，手法简练而泼辣。
    书法是李叔同毕生的爱好，青年时致力于临碑。他的书法作品有《游艺》、《勇猛精进》等。出家前的书体秀丽、挺健而潇洒；出家后则渐变为超逸、淡冶，晚年之作，愈加谨严、明净、平易、安详。李叔同的篆刻艺术，上追秦汉，近学皖派、浙派、西泠八家和吴熙载等，气息古厚，冲淡质朴，自辟蹊径。有《李庐印谱》、《晚清空印聚》存世。李叔同创作的《送别》也广为传唱。
    在中国近百年文化发展史中，弘一大师李叔同是学术界公认的通才和奇才，作为中国新文化运动的先驱者，他最早将西方油画、钢琴、话剧等引入国内，且以擅书法、工诗词、通丹青、达音律、精金石、善演艺而驰名于世。被佛门弟子奉为律宗第十一代世祖。他为世人留下了咀嚼不尽的精神财富，他的一生充满了传奇色彩，他是中国绚丽至极归于平淡的典型人物。太虚大师曾为赠偈：以教印心，以律严身，内外清净，菩提之因。赵朴初先生评价大师的一生为：“无尽奇珍供世眼一轮圆月耀天心。”
   中国话剧奠基人
   李叔同是中国话剧运动的先驱、中国话剧的奠基人。他是中国第一个话剧团体“春柳社”的主要成员。清光绪三十三年（1907年）春节演出的那扯《茶花女》，是国人上李叔同演的第一部话剧，李叔同在剧中扮演女主角玛格丽特。后来，他还曾主演独幕剧《生相怜》、《画家与其妹》和改编自小说《汤姆叔叔的小屋》的话剧《黑奴吁天录》。李叔同的演出在社会上反响极大。李叔同的戏剧活动虽如星光一闪，却照亮了中国话剧发展的道路，开启了中国话剧的帷幕。特别是在话剧的布景设计、化妆、服装、道具、灯光等许多艺术方面，更是起到了开风气之先的启蒙作用。
    在音乐方面，李叔同是作词、作曲的大家，也是国内最早从事乐歌创作取得丰硕成果并有深远影响的人。他主编了中国第一本音乐期刊《音乐小杂志》。国内第一个用五线谱作曲的也是他。他在国内最早推广西方“音乐之王”钢琴。他在浙江一师讲解和声、对位，是西方乐理传入中国的第一人，还是“学堂乐歌”的最早推动者之一。清光绪三十一年（1905年），他编辑出版的《国学唱歌集》，被当时的中小学取为教材，他创作的歌曲内容广泛，形式多样，主要分三类。一是爱国歌曲，如《祖国歌》、《我的国》、《哀祖国》、《大中华》等；二是抒情歌曲，如《幽居》、《春游》、《早秋》、《西湖》、《送别》等；三是哲理歌曲，如《落花》、《悲秋》、《晚钟》、《月》等。李叔同的歌曲大多曲调优美，歌词琅琅，易于上口，因此传布很广，影响极大。
   他是中国现代版画艺术的最早创作者和倡导者。

   他广泛引进西方的美术派别和艺术思潮，组织西洋画研究会，其撰写的《西洋美术史》、《欧洲文学之概观》、《石膏模型用法》等著述，皆创下同时期国人研究之第一。他在学校美术课中不遗余力地介绍西方美术发展史和代表性画家，使中国美术家第一次全面系统地了解了世界美术大观。作为艺术教育家，他在浙江一师授课采用现代教育法，培养出丰子恺、潘天寿、刘质平、吴梦非等一批负有盛名的画家、音乐家。与弟子丰子恺合作的《护生画集》，诗画合璧，图文并茂，为世人所称道。
   书法成就斐然。
   李叔同在书法艺术上的成就为世人所瞩目。他的书法早期脱胎魏碑，笔势开张，逸宕灵动。后期则自成一体，冲淡朴野，温婉清拔。特别是出家后的作品，更充满了超凡的宁静和云鹤般的淡远。这是绚烂至极的平淡、雄健过后的文静、老成之后的稚朴，恰如他自我表白的那样：“朽人之字所示者，平淡、恬静、冲逸之致也。”
    他的书法犹如浑金璞玉，清凉超尘，精严净妙，闲雅冲逸、富有乐感，朴拙中见风骨，以无态备万态，将儒家的谦恭、道家的自然、释家的静穆蕴涵书艺之中，闻字犹闻佛法，爱而宝之者顿生欢喜心，得者珍如拱壁，堪称中国历代书法中的逸品。弘一和他的书法亦谓国之至宝，华夏之光。
   弘一法师临近中年放弃诸艺和身外之物遁入空门后，惟书法不缀，书写佛语，广结善缘，普度众生，秉持文艺应“以人传文艺，不以文艺传人。”大师圆寂近70周年，嘉言懿行早已载入中华史册, 成为后人景仰的一代高僧。吾颂弘一法师前无古人,后无来者,无人可超。谓此赞誉，国际华人歌后邓丽君与大师有相类比之处。“寿事无长物，丹青片羽留”，如大师所言，生前了无片瓦，身后却留给人们的是一笔笔丰富的、叹为观止的精神遗产，令后众在国内各城市环境优美的地方为他建立纪念馆堂供人瞻仰。夫人生几何，当有何人能以一生十多个第一载入中国文化艺术、教育、宗教之史册，让后人仰慕、敬佩、赞叹?！弘一法师既是才气横溢的艺术教育家，也是一代高僧，“二十文章惊海内”的大师。他将中国古代的书法艺术推向了极至，“朴拙圆满，浑若天成”，鲁迅、郭沫若等现代文化名人以得到大师一幅字为无上荣耀。

   篆刻独树一帜。

   李叔同的篆刻可谓独树一帜。他早年治印从秦汉入手，兼攻浙派。35岁那年入“西泠印社”。39岁在杭州虎跑定慧寺出家前，将平生篆刻作品和藏印赠与“西泠印社”。该社为之筑“印冢”并立碑以记其事。治英赏英论印，是终其一生未曾放弃的癖好。他在给友人的信中提道：“刀尾扁尖而平齐若锥状者，为朽人自意所创。锥形之刀，仅能刻白文，如以铁笔写字也。扁尖形之刀可刻朱文，终不免雕琢之痕，不若以锥形刀刻白文能自然之天趣也。”李叔同对印学的贡献还体现在他对近代篆刻事业的弘扬上。他亲自发起成立了继“西泠印社”之后的又一印学团体——乐石社，定期雅集，并编印印社作品集和史料汇编。这也是在近代篆刻史上领风气之先之事。
   诗词令人惊叹。

   李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。
   联语
   弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。
   对佛学传播做出贡献。
   弘一大师对佛学的贡献，主要体现在他对律宗的研究与弘扬上。弘一大师为振兴律学，不畏艰难，深入研修，潜心戒律，著书说法，实践躬行。他是近世佛教界倍受尊敬的律宗大师，也是国内外佛教界著名的高僧。
   弘一大师入佛初期，除了阅读僧人必读的经典，其进修博览而广纳。何况，他原是个对任何事情，除非不做，做就要做得认真彻底的人。做了和尚，在佛学思想方面，自然也得做出自己的特色。对此，林子青概括说：“弘一大师的佛学思想体系，是以华严为镜，四分律为行，导归净土为果的。也就是说，他研究的是华严，修持弘扬的是律行，崇信的是净土法门。他对晋唐诸译的华严经都有精深的研究。曾著有《华严集联三百》，可以窥见其用心之一斑。”弘一法师一生严守律宗戒律，悲天悯人，生前每次在坐藤椅之前总是先摇一下，以免藏身其中的小虫被压死，其临终时曾要求弟子在龛脚垫上四碗水，以免蚂蚁爬上尸身被不小心烧死，其善心可见一斑。
     中国佛教律学，故译有四大律，即《十诵律》、《四分律》、《摹诃借祗律》、《五分律》。为弘扬律学，弘一大师穷研《四分律》，花了4年时间，著成《四分律比丘戎相表记》。此书和他晚年所撰的《南山律在家备览略篇》，合为精心撰述的两大名著。

     李叔同的《送别》：
   长亭外，古道边，芳草碧连天。
   晚风拂柳笛声残，夕阳山外山。
   天之涯，地之角，知交半零落。
   一瓢浊酒尽余欢，今宵别梦寒。
    《送别》曲调取自约翰·p·奥德威作曲的美国歌曲《梦见家和母亲》。李叔同在日本留学时，日本歌词作家犬童球溪采用《梦见家和母亲》的旋律填写了一首名为《旅愁》的歌词。而李叔同作的《送别》，则取调于犬童球溪的《旅愁》。《送别》不涉教化，意蕴悠长，音乐与文学的结合堪称完美。歌词以长短句结构写成，语言精练，感情真挚，意境深邃。歌曲为单三部曲式结构，每个乐段由两个乐句构成。第一、三乐段完全相同，音乐起伏平缓，描绘了长亭、古道、夕阳、笛声等晚景，衬托出寂静冷落的气氛。第二乐段第一乐句与前形成鲜明对比，情绪变成激动，似为深沉的感叹。第二乐句略有变化地再现了第一乐段的第二乐句，恰当地表现了告别友人的离愁情绪。这些相近甚至重复的乐句在歌曲中并未给人以繁琐、絮叨的印象，反而加强了作品的完整性和统一性，赋予它一种特别的美感。“长亭外，古道边，芳草碧连天。晚风拂柳笛声残，夕阳山外山……”淡淡的笛音吹出了离愁，幽美的歌词写出了别绪，听来让人百感交集。首尾呼应，诗人的感悟：看破红尘。
    这首广为传唱的歌曲就是李叔同的代表作，被誉为20世纪最优美的歌词。
   《送别》-背后故事
   李叔同在写《送别》这首歌词时，还有一段动人故事。弘一法师在俗时，“天涯五好友”中有位叫许幻园的；有年冬天，大雪纷飞，当时旧上海是一片凄凉；许幻园站在门外喊出李叔同和叶子小姐，说：“叔同兄，我家破产了，咱们后会有期。”说完，挥泪而别，连好友的家门也没进去。李叔同看着昔日好友远去的背影，在雪里站了整整一个小时，连叶子小姐多次的叫声，仿佛也没听见。随后，李叔同返身回到屋内，把门一关，让叶子小姐弹琴，他便含泪写下：长亭外，古道边，芳草碧连天……问君此去几时来，来时莫徘徊的传世佳作。
    《送别》一词写的是人间的离别之情，述的是人间美好之缘，构筑的却是人生的天问风景。从歌词的字里行间，我们也感悟到人间事事本无常的道理。花开花落，生死无常，何况离别呢！在这首清词的丽句中，蕴藏着禅意，是一幅生动感人的画面，作品中充溢着不朽的真情，感动着自己，也感动着熟悉的陌生的人们。在弘一法师的众多作品里，从另外一个角度也体现了中国文化的意蕴和精神。“一音入耳来，万事离心去”。弘一法师的作品充满了人生哲理，蕴藏着禅意，给人启迪，宁静淡雅。法师的词象一杯清香的茶，清淡纯净，淡中知真味。
    从李叔同在不同时期的作品中可以看出，追求人生的圆满境界和对社会的责任感，他的临终绝笔“悲欣交集”充分说明了这一事实；李叔同一生有三个过程：认识自我，超越自我，完善自我。
   对他的一生，赵朴初居士有诗为证：
   深悲早现茶花女，胜愿终成苦行僧，
   无尽奇珍供世眼，一轮圆月耀天心。
   现代歌史
   李叔同是中国现代歌史的启蒙先驱。接受了欧洲音乐文化的李叔同，把一些欧洲歌曲的现成曲调拿来，由他自己填写了新词。这些歌曾在全国范围内广为传播。曲调带着强烈的外来色彩，歌词带着浓重的旧体诗词的韵调，这便是最初的，也是宣告一个新的时代已经到来的歌。李叔同用这样的歌完成了启蒙者的历史任务。
    李叔同不仅是中国“学堂乐歌”最为杰出的作者，而且较早注意将民族传统文化遗产作为学堂乐歌的题材。他于1905年编印出版的供学校教学用的《国学唱歌集》，即从《诗经》、《楚辞》和古诗词中选出13篇，配以西洋和日本曲调，连同两首昆曲的译谱合集而成的。其中的《祖国歌》，还是当时为数较少、以中国民间曲调来填词的一首学堂乐歌，激发了学生的爱国热情。不久他东渡日本，学习西方音乐、美术、戏剧理论，主攻钢琴。曾创办中国第一部音乐刊物《音乐小杂志》，竭力提倡音乐“琢磨道德，促社会之健全，陶冶性情，感精神之粹美”的社会教育功能。同时发表了《我的国》、《隋堤柳》等怀国忧民的乐歌。
    李叔同一生迄今留存的乐歌作品70余首。编作的乐歌继承了中国古典诗词的优良传统，大多为借景抒情之作，填配的文辞依永秀丽，声辙抑扬顿挫有致，意境深远而富于韵味。加上他具有较为全面的中西音乐文化修养，选用的多为欧美各国的通俗名曲，曲调优美动人，清新流畅，词曲的结合贴切顺达，相得益彰，达到了很高的艺术水平。因此，他的乐歌作品广为青年学生和知识分子喜爱，像《送别》、《忆儿时》、《梦》、《西湖》等，特别是《送别》，先后被电影《早春二月》、《城南旧事》成功地选作插曲或主题歌。
   音乐作品
  1、《送别》
词：李叔同　曲：约翰·P·奥德威
长亭外，古道边，芳草碧连天，晚风拂柳笛声残，夕阳山外山。天之涯，地之角，知交半零落。一壶浊酒尽余欢，今宵别梦寒。
长亭外，古道边，芳草碧连天。晚风拂柳笛声残，夕阳山外山。
2、《三宝歌》
词：释太虚曲：释弘一
人天长夜，宇宙黯暗，谁启以光明？三界火宅，众苦煎*，谁济以安宁？大悲大智大雄力，南无佛佗耶！佛佗耶！昭朗万有，任席众生，功德莫能明。今乃知，唯此是，真正归依处。尽形寿，献身命，信受勤奉行！
二谛总持，三学增上，恢恢法界身；净得既圆，染患斯寂，荡荡涅磐城！众缘性空唯识现，南无达摩耶！达摩耶！理无不彰，蔽无不解，焕乎其大明。今乃知：唯此是，真正归依处。尽形寿，献身命，信受勤奉行！
依净律仪，成妙和合，灵山遗芳型：修行证果，弘法利世，焰绩佛灯明，三乘圣贤何济济！南无僧伽耶！僧伽耶！统理大众，一切无碍，住持正法城。今乃知：唯此是，真正归依处。尽形寿，献身命，信受勤奉行！
3、《春游》
词曲：李叔同
春风吹面薄於纱，春人妆束淡於画。游春人在画中行，万花飞舞春人下。梨花淡白菜花黄。柳花委地芥花香。莺啼陌上人归去，花外疏钟送夕阳。
4、《梦》
词：李叔同　曲：斯蒂芬·C·福斯特
哀游子茕茕其无依兮，在天之涯。惟长夜漫漫而独寐兮，时恍惚以魂驰。萝偃卧摇篮以啼笑兮，似婴儿时。母食我甘酪兴粉饵兮，父衣我以彩衣。月落乌啼，梦影依稀，往事知不知？汩半生哀乐之长逝兮。感亲之恩其永垂。
哀游子怆怆而自怜兮，吊形影悲。惟长夜漫漫而独寐兮，时恍惚以魂驰。梦挥泪出门辞父母兮，叹生别离。父语我眠食宜珍重兮，母语我以早归。日落乌啼，梦影依稀，往事知不知？汩半生哀乐之长逝兮，感亲之恩其永垂。　
5、《清凉》
词：释弘一　曲：俞绂堂
清凉月，月到天心光明殊皎洁。今唱清凉歌，心地光明一笑呵！清凉风，凉风解愠暑气已无踪。今唱清凉歌，热恼消除万物和！清凉水，清水一渠涤荡诸污秽。今唱清凉歌，身心无垢乐如何！清凉！清凉！无上究竟真常！　
6、《花香》
词：释弘一　曲：徐希一
庭中百合花开，昼有香、香淡如，入夜来，香乃烈。鼻观是一，何以昼夜浓淡有殊别？白尽众喧动，纷纷俗务荣。目视色，耳听声，鼻观之力分于耳目丧其灵。心清闻妙香。用志不分，乃凝于神，古训好参详。　
7、《世梦》
词：释弘一　曲：唐学咏
欲来观世间，犹如梦中事，人生自少而壮，自壮而老，自老而死，俄入胞胎，俄出胞胎，又入又出无穷已，生不知来，死不知去，蒙蒙然，冥冥然，千生万劫不自知，非真梦欤？枕上片时春梦中，行尽江南数千里。今贪名利，梯出航海岂必枕上尔！庄生梦蝴蝶，孔子梦周公，梦时固是梦，醒时何非梦？广大劫来，一时一刻皆梦中。破尽无明，大觉能仁，如是乃为梦醒汉！如是乃名无上尊！　
8、《归燕》
词曲：李叔同
几日东风过寒食，秋来花事已烂珊，疏林寂寂变燕飞，低徊软语语呢喃。呢喃呢喃。雕梁春去梦如烟，绿芜庭院罢歌弦，乌衣门巷捐秋扇。树杪斜阳淡欲眠，天涯芳草离亭晚。不如归去归故山。故山隐约苍漫漫。呢喃呢喃，不知归去归故山。

9、《夕歌》词曲：李叔同。光阴似流水。不一会，课毕放学归，我们仔细想一会，今天功课明白未，老师讲的话，可曾有违背，父母望儿归，我们一路莫徘徊。将来治国平天下，全靠吾辈，大家努力呀，同学们，明天再会
 个人著作
《悲欣交集》
《悲欣交集》，陈慧剑著，丰子恺插图，记述了李叔同从风流才子到一代大师的传奇一生。
《护生画集》第一、二集
《护生画集》第一、二集，丰子恺画，弘一法师书。
   人物评价
   林语堂：“李叔同是我们时代里最有才华的几位天才之一，也是最奇特的一个人，最遗世而独立的一个人。”
   张爱玲：“不要认为我是个高傲的人，我从来不是的，至少，在弘一法师寺院转围墙外面，我是如此的谦卑。”
   夏丏尊：“综师一生，为翩翩之佳公子，为激昂之志士，为多才之艺人，为严肃之教育者，为戒律精严之头陀，而以倾心西极，吉祥善逝。”
   李叔同先生生当乱世，在他历尽百劫之后，终于在1918年8月19日，在杭州虎跑定慧寺出家当了和尚，时年三十九岁。从此进入了他人生的第三阶段，就是丰子恺先生所说的“爬上三层楼”的阶段。他一出家即告别尘世的一切繁文缛节，并发誓：“非佛经不书，非佛事不做，非佛语不说”。李叔同受戒后持律极严，完全按照南山律宗的戒规：不作主持，不开大座，谢绝一切名闻利养，以戒为师，粗茶淡饭，过午不食，过起了孤云野鹤般的云水生涯。或如好友夏丐尊所形容的，从“翩翩浊世佳公子”，一变而为“戒律精严之头陀”。这种变化，在常人看来觉得不可思议，甚至在心理上难以承受，而李叔同却以平常心澹定自然地完成转化，成了弘一法师。
   李叔同先生出家后，选《南山律宗》作为化教制教的《圆教宗》，以“心法”为戒体。受戒后持律精严，护生戒杀，正行弘法。他选择了佛教宗派中最重修持的律宗。他不但深入研究，而且实践躬行，事实上他也最大程度地做到了这一点。所以，观他一生行藏，无论是在俗时的交友，治学，育人，乃至他所从事的某一项专业，一经涉足便全身心投入，力求做得最好。可见，他一生做人的确是凡事认真而严肃的——他要学一样就像一样，做什么就像什么。李叔同先生僧腊二十四年，随着他佛教典籍的问世和嘉言懿行的传播，在宗教界声誉日隆，一步一个脚印地步入了高僧之林。他从留学生、而艺术教育家、最后成为律宗高僧的弘一大师，其为人可谓“绚烂之极，归于平淡”的典型。
    所以，对于李叔同的出家，正如丰子恺在《我的老师李叔同》一文中所说“李先生的放弃教育与艺术而修佛法，好比出于幽谷，迁于乔木，不是可惜的，正是可庆的。”因为，无论他是所在。他自己就是一丛菊，一片霞，一轮月。一月当空，千潭齐印，澄淆定荡，各应其机，他的一生行谊，就是一部哲学大书，无字之经，不刊之典。他给后世留下的诗文、艺术、思想和佛典，就如蓝田之玉和苎罗之纱，越是经过时间的磨砺越坚实，越是经过污水的冲刷越洁白。虽然李叔同与弘一法师，是两个完全不同的形象，但两个形象并不是截然断开。他值得我们尊敬和学习的，是他的多才多艺和认真的精神。他一生做人确是凡事认真而严肃的。他要学一样就要像一样，要做什么就要像什么。古人有话说：“出家乃大丈夫事，非将相之所能为”。马一浮曾有诗挽他说：“苦行头陀重，遗风艺苑思。自知心是佛，常以戒为师”，读此可谓如见其人。
   先生走了，他的人格魅力还在，如风常拂，如月明澈。
   弘一法师大事年表
1880年（光绪六年庚辰)10月23日（农历九月二十日）辰时生于天津河北区地藏前故居李宅。祖李锐，原籍浙江平湖，寄籍天津，经营盐业与银钱业。父李世珍，字筱楼，清同治四年进士，曾官吏部主事，后辞官承父业而为津门巨富。行列第三，幼名成蹊，学名文涛，字叔同。
1884年（光绪十年甲申）5岁在天津。8月5日，父病逝，终年72岁。乃父临终日，延高僧诵《金刚经》，时，初见僧人。是年起从母王氏诵名诗格言。
1885年（光绪十一年乙酉）6岁从仲兄文熙受启蒙教育。
1886年（光绪十二年丙戌）7岁从文熙学《百孝图》、《返性篇》、《格言联璧》及文选等。
1887年（光绪十三年丁亥）8岁从常云庄家馆受业，攻《文选》、《孝经》、《毛诗》等。约是年，又从管家、帐房徐耀庭学书，初临《石鼓文》等。
1892年（光绪十八年壬辰）13岁读《尔雅》、《说文》等，始习训诂之学。攻各朝书法，以魏书为主，书名初闻于乡。
1894年（光绪二十年甲午）15岁读《左传》、《汉史精华录》等。是年诵有“人生犹似西山日，富贵终如草上霜”句。
1895年（光绪二十一年乙未）16岁考上文昌院辅仁李叔同
李叔同
书院，习制艺。又延馆教学英文、算术等。
1896年（丙申光绪二十二年)17岁夏，出素册廿四帧，请唐敬严师为钟鼎篆隶八分书。秋，从天津名士赵幼梅学诗文。喜读唐五代诗词，尤爱读王维诗。又从津门书印名家唐静岩学篆书及治印，并与津门同辈名士交游。
1897年（丁酉光绪二十三年）18岁与俞氏（时年二十）完婚。同年，以童生资格应试天津县学，学名李文涛。
1898年（戊戌光绪二十四年）19岁传李叔同刻有“南海康君是吾师”一印，表示对康有为、梁启超维新变法的支持。暮秋，奉母携眷迁居上海。十月加入“城南文社”，曾以《拟宋玉小言赋》，名列文社月会第一。
1899年（己亥光绪二十五年）20岁是年春迁居许幼园家的“城南草堂”。与袁希濂、许幻园、蔡小香、张小楼结金兰之谊，号称“天涯五友”。
1900年（庚子光绪二十六年）21岁农历九月十九日（11月10日），子李准生。是年出版《李庐诗钟》、《李庐印谱》。与画家任伯年等设立“上海书画公会”。每星期出书画报一纸，由中外日报社随报发行。
1901年（辛丑光绪二十七年）22岁正月，为许幼园所撰《城南草堂笔记》题跋。春，曾回天津，拟赴河南探视其兄，后因故未果，遂返沪。是年秋，入南洋公学（上海交通大学）就读经济特科班，与黄炎培、邵力子、谢无量等同从学于蔡元培。
1902年（壬寅光绪二十八年）23岁各省补行庚子、辛丑恩正并科乡试，叔同先后以河南纳监应乡试，以嘉兴府平湖县监生资格报名应试，均未中。仍回南洋公学。11月，南洋公学（上海交通大学）发生学生罢课风潮。蔡元培同情学生辞职，李叔同等继而退学。
1903年（癸卯光绪二十九年）24岁与退学者在上海“沪学会”内增设补习科，常举行演说会。以“李广平”之名翻译《法学门径书》及《国际私法》二书由上海开明书店相继出版。

1904年（甲辰光绪三十年）25岁三月，曾为“铄镂十一郎”（张士钊）传记著作《李苹香》撰序，署名“惜霜”。常与歌郎、名妓等艺事往还。在上海粉墨登场，参加演出京剧《虫八蜡庙》、《白水滩》、《黄天霸》等。12月9日（农历十一月初三）子李端生。
1905年（乙巳光绪三十一年）26岁3月10日，生母王氏病逝。携眷护柩回津。
出版《国学唱歌集》。是年秋，东渡日本留学。行前有《金缕曲·留别祖国并呈同学诸子》。在东京为《醒狮》杂志撰写《图画修得法》与《水彩画法说略》。
1906年（丙午光绪三十二年）27岁正月，在东京编辑《音乐小杂志》。7月1日，首以“李哀”之名在东京首次参与日本名士组织“随鸥吟社”之雅集。9月29日，以“李岸”之名注册，考入东京美术学校油画科。与同学曾延年（孝谷）等组织“春柳社”，此乃中国第一个话剧团体。从川上音二郎和藻泽栈二朗研究新剧演技，艺名“息霜”。是年曾回天津，有《喝火令》一词记己感慨。
1907年（丁未光绪三十三年）28岁2月“春柳社”首演《茶花女》，李叔同饰茶花女一角。此为中国话剧实践第一步。7月再演《黑奴吁天录》，饰美洲绅士解尔培的夫人爱密柳同时客串男跛醉客。留日期间，因与美术模特（姓名不详）产生感情，后随同回国。
1908年（戊申光绪三十四年）29岁退出春柳社，专心李叔同
李叔同
致力于绘画和音乐。
1911年（辛亥清宣统二年）32岁春，创作毕业自画像。3月，毕业于东京美术学校，偕日妻回国抵沪，在直隶模范工业学堂任图画教员。同年家道中落。
1912年（壬子民国元年）33岁春，自津返沪，在杨白民任校长的城东女学任教，授文学和音乐课。是年加入“南社”，被聘为《太平洋报》主笔，并编辑广告及文艺副刊。与柳亚子创办文美会，主编《文美杂志》。秋，《太平洋报》停刊。应经亨颐之聘赴杭州，在浙江两级师范学校任音乐、图画课教师。
1913年（癸丑民国二年）34岁浙江两级师范学校改名为浙江省立第一师范学校。5月，校友会发行《白阳》杂志，设计创刊号封面，全部文字亦由李叔同亲手书写石印。
1914年（甲寅民国三年）35岁是年加入西冷印社，与金石书画大家吴昌硕时有往来。课后集合友生组织“乐石社”，从事金石研究与创作。
1915年（乙卯民国四年）36岁应校长江谦（易圆）之聘，兼任南京高等师范学校图画音乐教员，在假日倡立金石书画组织“宁社”，借佛寺陈列古书、字画、金石。二十四年后，南京高师校长江谦大师六十周日甲诗云：“鸡鸣山下读书堂，廿载金陵梦末忘。宁社恣尝蔬笋味，当年已接佛陀光。”是年夏，曾赴日本避暑。9月回国。秋，先后作诗词《早秋》、《悲秋》、《送别》等。
1916年（丙辰民国五年）37岁因日本杂志介绍“断食”以修养身心之方法，遂生入山断食之念。冬，入杭州虎跑定慧寺，试验断食17日，有《断食日志》详记。入山前，作词曰：“一花一叶，孤芳致洁。昏波不染，成就慧业。”返校后，开始素食。时，受马一浮之熏陶，于佛教“渐有所悟”。
1918年（戊午民国七年）39岁春节期间在虎跑寺度过，并拜了悟和尚为其在家弟子，取名演音，号弘一。农历七月十三日，入虎跑定慧寺，正式出家。出家前，将所藏印章赠西泠印社，该社社长叶舟为凿龛庋藏，并有“印藏”题记：“同社李君叔同，将祝发入山，出其印章移储社中。同人用昔人‘诗龛’、‘书藏’遗意，凿壁庋藏，庶与湖山并永云尔。戊午夏叶舟识。”九月，入灵隐寺受比丘戒。十月，赴嘉兴精严寺小住。年底应马一浮之召至杭州海潮寺打七。
1919年（己未民国八年）40岁春，小住杭州艮山门外井亭庵，后移居玉泉清涟寺。夏居虎跑定慧寺，秋至灵隐寺，专事研佛。
1920年（庚申民国九年）41岁春，居玉泉寺，为《印光法师文钞》题词并序。称“老人之文，如日历天，普烛群品”。6月，赴浙江新登贝山闭关，研究律学。秋，离贝山赴衢州，客居莲花寺。
1921年（辛酉民国十年）42岁正月，自新登返杭州，居玉泉寺，披寻《四分律》，始览诸先师之作。春，曾在闸口凤生寺小住，丰子恺游学日本前夕曾前往话别。3月，自杭州赴温州，居庆福寺。撰《谢客启》，掩关治律。6月，所撰《四分律比丘戒相表记》初稿成。
1922年（壬戌民国十一年）43岁正月初三，在家发妻（俞氏）病故于天津本宅，俗家仲兄文熙来信嘱其返津一次，因故未成行。仍居庆福寺。
1923年（癸亥民国十二年）44岁2月，在上海与尤惜阴居士合撰《印造经像之功德》。赴上海途中曾在上虞白马湖、绍兴、杭州等地停留。6月，为杭州西冷印社《弥陀经》一卷刻石。9月重至衢州，居莲花寺。
1924年（甲子民国十三年）45岁4月，由莲花寺移居三藏寺。不久，取道松阳、青田抵温州。5月，至普陀山，参礼当代善知识中最膺服之印光大师。6月，返温州整理《四分律》，8月完稿。赴杭州，因交通有阻，暂止宁波，居七塔寺。应夏丐尊之请，至上虞白马湖小住。10月返温州。
1925年（乙丑民国十四年）46岁春，云游宁波七塔寺、杭州弥陀寺、定慧寺。应夏丐尊之请，至上虞白马湖小住。不久返温州庆福寺。
1926年(丙寅民国十五年）47岁春，自温州至杭州，居招贤寺，从事《华严疏钞》之厘会、修补与校点。夏丏尊、丰子恺曾自沪至杭专程拜访。夏初，与弘伞法师同赴庐山，参加金光明法会。路经上海时曾与弟子丰子皑等访旧居城南草堂等处。冬初，由庐山返杭州，经上海，在丰子皑家小住，后返杭州。
1927年（丁卯民国十六年）48岁春，居杭州吴山常寂光寺。7月移居灵隐后山本来寺。秋，至上海，居江湾丰子皑家。主持丰子皑皈依三宝仪式。期间与丰子皑共同商定编《护生画集》计划。是年春，丰子皑等编《中文名歌五十曲》出版，内收李叔同在俗时歌曲13首。丰子恺在序言中说：“李先生有深大的心灵，又兼备文才与乐才。据我们所知，中国作曲作歌的只有李先生一人。”
1928年（戊辰民国十七年)49岁春夏之间，在温州大罗山诛茆坐禅。秋至上海，与丰子皑、李圆净具体商编《护生画集》。冬，刘质平、夏丐尊、丰子皑、经亨颐等共同集资在白马湖筑“晚晴山房”，供大师居住。

1929年（己巳民国十八年）50岁正月，自南安小雪峰至厦门南普陀寺，居闽南佛学院，参与整顿学院教育。春，返温州，途经福州，在鼓山涌泉寺藏经阁发现《华严经疏论纂要》刻本，叹为稀有，发愿刊印。9月，在“晚晴山房”小住，10月重至厦门、南安，与太虚法师在小雪峰寺度岁，并合作《三宝歌》。是年2月，《护生画集》第一份由上海开明书店出版。50幅护生画皆由大师配诗并题写。大师在跋中曰：“我依画意，为白话诗；意在导俗，不尚文词。普愿众生，承斯功德；同发菩提，往生乐国。”并云：“盖以艺术作方便，人道主义为宗趣。”是年，夏丐尊将所藏大师在俗时所临各种碑帖出版，名《李息翁临古法书》（上海开明书店）。是年，仲兄李文熙卒，年62岁。
1930年（庚午民国十九年）51岁正月，自小雪峰至泉州承天寺，与性愿法师相聚。4月赴温州，后至白马湖“晚晴山房”。秋赴慈溪金仙寺，讲律两次。11月赴温州庆福寺。时人称弘一大师为孤云野鹤，弘法四方。1931年（辛未民国二十年）52岁2月，自温州过宁波，旋赴白马湖横塘镇法界寺。发愿弃舍有部律，专学南山，从此由新律家变为旧律家。9月，广洽法师函邀大师赴厦门。同月在金仙寺作“清凉歌”。岁末在镇海伏龙寺度岁。

1932年（壬申民国二十一年）53岁是年在镇海龙山伏龙寺为刘质平作书法。年底，至厦门，住山边岩（即万寿岩），在妙释寺讲《人生之最后》。
1933年（癸酉民国二十二年）54岁2月初曾赴厦门，旋返妙释寺。是年在妙释寺讲《改过经验谈》，在万寿岩开讲《随机羯磨》，重编蕅益大师警训为《寒茄集》。在开元寺圈点《南山律钞记》，在承天寺讲《常随佛学》。
l934年（甲戌民国二十三年）55岁2月，至厦门南普陀寺讲律。协助常惺院长整顿闽南佛学院。见学僧纪律松弛，认定机缘未熟，倡办佛教养正院。是年，跋《一梦漫言》，作宝华山《见月律师行脚略图》。冬移居万寿岩，讲《阿弥陀经》。又编《弥陀经义疏撷录》。
1935年（乙亥民国二十四年）56岁正月在万寿岩撰《净宗问辨》。3月，至泉州开元寺讲《一梦漫言》。5月抵净峰寺，后应泉州承天寺之请，于戒期中讲《律学要略》。
1936年（丙子民国二十五年）57岁春，卧病草庵，数月方愈。5月居鼓浪屿日光岩。年末移居南普陀寺。是年，《清凉歌集》由上海开明书店出版。
1937年丁丑民国二十六年）58岁年初在南普陀寺讲《随机羯磨》。2月在佛教养正院讲《南闽十年之梦影》。3月为厦门市第一届运动大会作会歌。5月应邀至青岛讲律，10月返厦门。岁末赴泉州草庵。
1938年（戊寅民国二十七年）59岁1月31日在草庵讲《华严经普贤行愿品》。2月19日入泉州。3月2日讲经于承天寺。后赴梅石书院、开元寺、清尘堂及惠安、厦门等处讲经。5月4日，即厦门陷落前数日离厦门至漳州南山寺。冬初至泉州承天寺，后移居温陵养老院。
1939年（己卯民国二十八年）60岁4月入蓬壶毗峰普济寺闭门静修。著《南山律在家备览略篇》等书。9月，澳门《觉音月刊》和上诲《佛学半月刊》均出版《弘一法师六秩纪念专刊》。秋末，为《续护生画集》题字并作跋。
1940年（庚辰民国二十九年）61岁春，闭关永春蓬山，谢绝一切往来，专事著述。10月，应请赴南安灵应寺弘法。
1941年（辛巳民国三十年）62岁4月，离灵应寺赴晋江福林寺结夏安居，并讲《律钞宗要》，编《律钞宗要随讲别录》。冬，入泉州百原寺小住，后移居开元寺。岁末返福林寺度岁。
1942年（壬午民国三十一年）63岁2月赴灵瑞山讲经。但弘一提出三约：一不迎，二不送，三不请斋。3月回泉州百原寺，后居温陵养老院。7月，在朱子“过化亭”教演出家剃度仪式。8月在开元寺讲《八大人觉经》。10月2日下午身体发热，渐示微疾。10月7日唤妙莲法师抵卧室写遗嘱。10月10日下午写“悲欣交集”4字交妙莲法师。10月13日晚7时45分呼吸急促，8时安详西逝，圆寂于泉州不二祠温陵养老院晚晴室。
  弘一法师语录
无心者公，无我者明。
自古仁人志士，以儒济世、以道修身、以佛治心，可谓是智慧通达。
以淡字交友，以聋字止谤；以刻字责己，以弱字御侮。
事不可做尽，言不可道尽。
学一分退让，讨一分便宜；增一分享用，减一分福泽。
恩怕先益后损，威怕先松后紧。
涵容以待人，恬淡以处世。
必有容，德乃大；必有忍，事乃济。
以虚养心，以德养身，以仁义养天下万物，以道养天下万世。
不为外物所动之谓静，不为外物所实之谓虚。刘念台云：“涵养，全得一缓字，凡言语、动作皆是。”
应事接物，常觉得心中有从容闲暇时，才见涵养。
逆境顺境看襟度，临喜临怒看涵养。
人生最不幸处，是偶一失言，而祸不及；偶一失谋，而事幸成；偶一恣行，而获小利。后乃视为故常，而恬不为意。则莫大之患，由此生矣。
于作事，必克己谨严，要做到极致。于生活，应戒绝奢华，一切从简。
不自重者取辱，不自畏者招祸。
事当快意处须转，言到快意处须住。
物忌全胜，事忌全美，人忌全盛。

以冰霜之操自励，则品日清高；以穹窿之量容人，则德日广大；以切磋之谊取友，则学问日精；以慎重之行利生，则道风日远

What are the acts of abstaining from killing and releasing

 戒杀与放生的行为包括哪些

 1. Do not kill a living being with your own hands.

　　2. Do not abet others to kill.

　　3. Do not help others to kill.

　　4. Abstain from eating meat.

　　5. Do not engage in trades related to killing.

　　6、Whenever there is worship, regardless of what is being worshipped, use vegetarian dishes, flowers and fruit, not animal gifts.

　　7. If you see someone killing a human being, you should discourage them or buy the animal to be slaughtered with money and release it. If this does not work, or if the person does not sell the animal, then you should have compassion for the slaughtered animal, and even better if you can recite the Buddha's name or mantra for it.

　　8. Do not abuse the animal.

　　9、Other actions that are contrary to killing.

　　10. Abstain from killing and releasing animals yourself, and advise others to do the same. 

   1、不亲手杀生。

　　2、不教唆别人杀生。

　　3、不帮助别人杀生。

　　4、戒除肉食。

　　5、不从事与杀生有关的行业。

　　6、凡有祭拜，不管拜的是什么，一律用素菜、鲜花、水果，不用牲礼。

　　7、见人杀生，应加劝阻，或用钱将临宰之动物买而放之。若劝阻无效，或他不卖，则应对被杀之动物起同情心，若能为它念佛号或往生咒更好。

　　8、不虐待动物。

　　9、其他与杀生行为相反之行为。

　　10、自己戒杀放生，也劝别人戒杀放生。 

(This article is an original article by Zhuge Changqing, and the pictures are selected from the Internet. Welcome to forward it, and please indicate the source for forwarding)

Introduction to Zhuge Changqing: Zhuge Changqing, the inheritor and promoter of traditional Chinese culture, is willing to "learn from sages, promote virtue, revitalize China and benefit the world" together with people with the same ideals in the world.

(Zhuge Changqing: zhuge8031@163.com ）

Zhuge Changqing mailbox：

zhuge8031@163.com

Zhuge Changqing's Chinese Dream

Learn from sages and carry forward virtue

Revitalizing China for the benefit of the world

 （本文是诸葛长青原创文章，图片选自网络。欢迎转发，转发引用请注明出处）

诸葛长青简介：诸葛长青，中国国学传统文化传承弘扬者，愿与天下志同道合者一起“学习圣贤、弘扬善德、振兴中华、造福世界”。

（诸葛长青：zhuge8031@163.com）

Zhuge Changqing mailbox：

zhuge8031@163.com

  诸葛长青中国梦  

学习圣贤 弘扬善德

振兴中华 造福世界

Selected Articles in Previous Periods

Click the article title to view

往期精选文章

点击文章标题查看

1The wisdom of traditional Chinese culture changes the destiny: filial piety to parents+five in one+self-improvement

1 国学智慧改命运：孝敬父母+五合一+自强不息

2Zhuge Changqing's Three Golden Keys to Changing Destiny

2诸葛长青改命运三把金钥匙诸葛长青施食仪轨 （十五步简洁版）

3Zhuge Changqing's Greeting Ritual (15 Steps Concise Version)

3 诸葛长青施食仪轨 （十五步简洁版）

4How to repent: the ritual of repentance and the method of repentance (full version)

4   如何忏悔：忏悔仪轨忏悔方法（完整版）

5How to read the Dizang Sutra: Methods for reciting Dizang Sutra (complete version)

5 如何念地藏经：念地藏经仪轨方法（完整版）

6How to release? The ritual of releasing life

6怎样放生？放生仪轨

7Zhuge Changqing's Repentance Culture: A Case Study of Repentance Methods for Changing Destiny

7诸葛长青忏悔文化：改变命运忏悔方法案例

8Free Life Culture: Free Life Culture in Ancient China

8放生文化：中国古代的放生文化

9Shocking photo of feeding: Buddha, Bodhisattva and Dharma Protector come to the scene

9施食震撼照片：佛菩萨护法神亲临现场

10Feeding Rite Return: the return is changed to simple return

10施食仪轨回向：回向修改为简洁回向