Evan Thompson Professor of Philosophy, University of British Columbia in Vancouver. I am a philosopher who works in the fields of cognitive science, philosophy of mind, Phenomenology, and cross-cultural philosophy, especially Asian philosophy and contemporary Buddhist philosophy in dialogue with Western philosophy and science. In July 2013 I moved from the University of Toronto to the University of British Columbia in Vancouver, where I am Professor of Philosophy. In 2013 I was elected a Fellow of the Royal Society of Canada. I am the author of Waking, Dreaming, Being: Self and Consciousness in Neuroscience, Meditation, and Philosophy (Columbia University Press, 2015), Mind in Life: Biology, Phenomenology, and the Sciences of Mind (Harvard University Press, 2007), Colour Vision: A Study in Cognitive Science and the Philosophy of Perception (Routledge Press, 1995), and the co-author of The Embodied Mind: Cognitive Science and Human Experience (MIT Press, 1991; new expanded edition, 2015).

Edwyrd Burj11 months ago

He reiterates the need to extend scientific meditative research to the movement arts. He seems to suggest that movement mediation, which perhaps activating the same brain areas, means something very different via its enaction than sitting meditation. So it is not the same meta-cognitive experience with the two forms. Having done both kinds I find moving meditation activates and refines the spatial-temporal bodily image schema in a way that sitting meditation does not. In so doing it literally gives multiple views of objects within an immediate field of attention, thereby opening to multiple points of view rather than a fixed point of reference in sitting. However the attention in sitting meditation, while opening to whatever arises, be it a sound or a thought, or even by focusing one one object, is still within a fixed center or perspective, this notion of a bare attention that theoretically has no center or ego reference. But that rests on an assumption that bare attention itself is beyond reference or perspective, while moving meditation's sort of bare attention makes no such assumption given its ever shifting physical perspective. It seems that sitting mediation is literally fixated while moving meditation is multi-perspectival with no fixed center. Just some biased ruminations that are sure to fire up the sitters! Have at it.

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【藝述】專訪古琴藝術傳人蔡昌壽：「打工仔才彈得一手好琴」

形而

撰文：黃正軒

2018-06-10 14:00

最後更新日期：2018-06-22 13:59

國家文化和旅遊部上月公布「第五批國家級非物質文化遺產代表性傳承人」，香港古琴藝術傳人蔡昌壽成為本港第3名「非遺」傳承人。

現年85歲的古琴斲琴技藝傳人蔡昌壽為逾百年歷史的中外樂器製造廠「蔡福記」東主，師承浙派古琴演奏家徐文鏡，以古法斲（音啄，意解削切）琴數十年，琴人顧客遍佈香港和海外，當中有名士如國學家饒宗頤。至今他親手斲古琴200餘張，修復歷史老琴逾百張。此外，蔡氏亦精通製造多種華洋樂器。

攝影：黃寶瑩

經歷近代文化政治衝擊，古琴藝術一度於中國大陸息微，香港卻有徐文鏡—蔡昌壽一脈堅持傳統古琴修斲。1993年起，蔡昌壽開辦「斲琴研究班」收琴人為徒，累計逾50名來自中、港、澳三地的學徒，延續、宏揚琴人自斲琴器之傳統文化。

80年代饒宗頤題字的牌匾，加上滿室二胡、古琴、字畫等物，蔡福記猶如一個時間囊。

蔡福記早期曾製造二胡。

蔡昌壽為「蔡福記」第三代傳人，舖號前身為其祖父蔡春福在1904年於汕頭創辦的潮州樂器店。1935年蔡家移居香港，其父蔡維經再開設「香港蔡福記樂器製造廠」，傳統潮州和客家樂器外也兼造西洋樂器。「60年代左右，我們製造結他和Ukulele等。」蔡昌壽曉彈古琴、古箏、琵琶及小提琴等多種中外樂器，亦精通製造技術。唯有古琴使他全情投入，後來索成把蔡福記轉型為只做古琴的樂器店。

愛琴

古琴之音不瞭亮，勝在深沉脫俗。

上漆等待風乾的新古琴。

古琴有三千年以上的悠久歷史，亦是中國古代文化地位最崇高的樂器，位列四藝「琴棋書畫」之首，可見傳統知識份子和士大夫階層視之為高雅代表。「文人雅士專彈古琴而不彈古箏和琵琶，它是雅樂。」蔡昌壽說在現代社會，古琴變得流行，人人皆可彈，他的斲琴學徒便不乏醫生、律師和飛機師等專業人士。

或許古琴之雅不在於古時士人壟斷，而是在於其獨特音色，內斂而充滿餘韻，有其空靈之美：「古琴聲音好悶、偏沉，不同古箏般聲音響亮；古琴不動聽，但令人心靜。」蔡昌壽強調琴音治癒的力量。

學琴

徐文鏡。（蔡福記網站）

蔡昌壽約1950年起師從浙派琴家徐文鏡（1895至1975年）學習斲琴。徐文鏡斲琴技藝師承兄徐元白（1893至1957年）及蘇州天平山大休法師（1870至1932年），琴棋書畫皆精。50年代初，徐氏來港定居並治療眼患，時為蔡福記少東的蔡昌壽受父親之命，前往徐宅歸還修好的古琴。「徐老師乃文人，嗜好吟詩作對。」少年蔡昌壽經常逃學，潛入徐宅中觀賞雅興。及至徐文鏡晚年眼疾惡化失明，蔡昌壽充當購買日用品和斟茶遞水之「伴讀書僮」。殷勤照料的誠意打動下，徐文鏡遂收他為徒。

「老師說，做古琴不能講粗口。」蔡昌壽在徐文鏡指導下做了三張古琴，失敗次數也不少。他憶述恩師徐文鏡在1963年獨居於鄧寄塵別墅（鄧寄塵之子鄧兆華隨徐文鏡學彈琴），颱風溫黛襲港時大感驚恐；平日有時脾氣頗大，卻口硬心軟：「做錯了古琴會發脾氣，只因他很緊張。我試過有陣子無拜訪老師，他派工人前來送信，」「信中說：『得閒來坐』。」蔡昌壽笑說，這封信他保存至今。

斲琴

古木庫存，時代久遠、由清初至漢代都有。

據同場的學徒關嘉匯簡介，斲琴有「尋、斲、挖、鑲、合、灰、磨、漆、絃」九個步驟。第一步「尋」——尋找木材，卻是最關鍵。一張古琴音色好壞，一半取決於木材質素。古時「面桐底梓」一說傳承至今，蔡昌壽指古琴面板常以梧桐木或青桐木製作，底板則多用梓木。通常拆自古老建築的樑柱，可上溯數百甚至千年歷史；遇有白蟻蛀壞，也可切割完好部份來使用。為此，蔡昌壽師徒常四出尋寶。

「面桐底梓」選木方法除為了達致音色良佳，也考慮到古琴是漆器的本質。「古琴比一般樂器用多更多漆，」蔡昌壽解釋，上漆前面板上先要用漆灰作一層灰胎，而且是用鹿角霜和生漆調和而成的「鹿角灰」。「因為鹿角灰『實而鬆』，古琴有七條弦，操作時要琴面層漆要夠實淨。」

未經處理，和已上灰、上漆的琴面。

斲一古琴，自開木始，粗製濫造都起碼要200小時。皆因九個步驟中不少需經長時間重複以臻完美。可說斲琴並無真正完成一刻，琴人為尋求最喜歡或合適之音色和彈奏手感，會邊彈邊修補古琴，不斷探索揣摸斲琴技法，累積經驗做出心目中好琴。所以蔡昌壽只收琴人為徒，不懂彈古琴者不取。

「因為要『知音』，不知音就只能整出一件傢俬，而不是樂器；傢俬用木頭造，古琴又是用木頭造！」蔡昌壽妙語連連。1992年，他不幸罹患食道癌，需長期入院。治療養病一年，坐輪椅則十年，元氣大傷。徒弟勸他不要再斲琴，改為傳授手藝。「我不想老來坐在公園無所事事、數手指，」蔡昌壽坦言仍對古琴充滿熱情，不能繼續斲琴實屬無奈可惜。最後一次斲琴是在1995年：「不做新琴，全因以前做落的一些琴仍未上漆。」木工勞作對蔡昌壽來講不勝負荷。