鄭自隆博士 (Cheng Tzu-Leong Ph.D.)

About Cheng Tzu-Leong Ph.D.
Cheng Tzu-Leong Ph.D. holds bachelor’s, master’s, and doctoral degrees from the Department of Journalism, National Chengchi University. He has served as the director of the Advertising Department and professor of the School of Communication at National Chengchi University; Cheng once served as the chairman of the Radio and Television Fund of the Administrative Information Bureau and the chairman and general manager of China Television; 2021 Selected into the Taiwan Advertising Hall of Fame. He retired from National Chengchi University in 2014 and has authored more than 20 books on communication and advertising.
關於鄭自隆博士
國立政治大學新聞學系學士、碩士、博士,歷任政大廣告系主任、傳播學院教授;曾任行政案新聞局廣電基金董事長,中華電視公司董事長兼總經理;2021年獲選列名台灣廣告名人堂。2014年政大退休,著有傳播、廣告專書20餘本。
“When Confucius Meets Buddha:A Heart springs out of Non-utensil(當孔子遇到佛陀:不器而生其心)”
Cheng Tzu-Leong Ph.D.(鄭自隆博士)
Copy (復刻):Giclée Print on Washi Paper(藝術微噴 ∙ 和紙)
2025
Introduction:
《When Confucius Meets Buddha:A Heart springs out of Non-utensil》
Confucius, born in 551 B.C., was a Chinese philosopher; whereas Shakyamuni Buddha, whose birth year is not clear, was an Indian philosopher and the founder of the Buddhism. According to existing documents, Buddha might be born between 623 to 480 B.C., thus they might be contemporary or nearly a hundred years apart. Since they lived in totally different environments, with one from Chinese civilization and the other from Indian, what would happen if they had met each other?
Confucius said “a gentleman is not a utensil.” A utensil means something tangible, and in “The Analects of Confucius” is specified as a tool with limited function and application. Confucianism requires intellectuals to be versatile and multi-disciplinary, mastering both pen and sword, as we now described as omnipotent.
In《The Diamond Sutra》Buddha said ”Unmoor your mind for grander voyages.” As moor means attachment; unmoor means detached to any singular thought, ideology, or any form of ritual. “What is called Buddha Dharma is not Buddha Dharma,” one has to maintain critical thinking and retain his natural instincts, abolish obsessions to attain Buddha-nature.
“Non-utensil” and “unmoor” share the common idea of relieving oneself, unattached to any imagination. Combining Confucius’ “non-utensil” and Buddha’s “the heart is born,” there we get “Non-utensil with a Heart,” which means “relieving oneself with unchained imagination.” Buddhism entered China in the Han Dynasty (206 B.C. – A.D. 220) and was regarded as came from the West or Western Paradise. The mingling of Confucius and Buddhist ideas is like the fruition of the wisdoms form the East and the West.
As in the concept of mapping that stems from geometry, Confucian and Buddhism are both like a virtual line formed by its numeral philosophers’ “dots” of ideas and thoughts. Though the two lines don’t intersect, but the combination of the two terms amply reflects social changes with a new, contemporary perspective. Just like multiple intersecting straight lines form a circle, the world opens when the mind turns, then “the Heart spring out of Non-utensil.”
作品介紹:
《當孔子遇到佛陀:不器而生其心》
孔子是中土哲學家,出生於公元前551年,佛陀釋迦牟尼是印度哲學家,也是佛教創始者,出生年代不確定,據文獻可能介於公元前623至480年間,所以兩人年紀可能接近,也可能相差近百歲,但所處環境截然不同,一位是中華文明,一位是印度文明,假設兩人碰到了,會擦出甚麼樣的火花?
孔子說「君子不器」,「器」指有形的物體,在論語中更專指器物,器必有型,有型就侷限了使用範圍與功能,因此儒家要求知識分子不囿於一技一長,應多學多藝,有多樣專長,能為文賦詩,亦可彎弓騎射,套句現代話叫做「全方位」。
釋迦牟尼透過學生阿難寫的《金剛經》說「應無所住而生其心」,「住」就是執著,也就是不執著,不須有一元思想,不必有意識形態的堅持,不堅持儀式修行,更要有批判精神「所謂佛法者,即非佛法」,才見本性,也就是拋棄執念方能為「生」,找到「佛性」。
「器」和「住」,二者是相似概念,也就是「解放自我」,不受想像的拘束,所以把兩位哲人的話兜在一起,把孔子的「不器」串在釋迦牟尼的「而生其心」,成了「不器而生其心」,就是「自我解放,想像無限」;漢代傳入佛法,被認為來自西方或西天,所以孔子和佛陀理念的碰撞就是東西方智慧的火花。扇面文案:
子曰,君子不器
金剛經說,應無所住而生其心
器義同住
儒釋相通
說成
不器而生其心
亦是有趣
構圖概念來自幾何數學,儒家思想是一條虛擬的「線」,由孔孟個別論述的「點」所建構而成,佛學亦然,二者並不交集,但把二人的話頭尾串接,就成了可以反應社會變遷,呈現當代觀點的論述,其意義就如同以無數的直線交叉就可以建構成圓形一樣,概念一轉,海闊天空,當然就可以「不器而生其心」。
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更多先前展覽消息
- 西班牙伏林航空機上藝術展 (Vueling Onboart Exhibition)
Florence is a city with little color. Looking down from the top of the mountain, Piazza Michelangelo is either dark brown or light brown. We could add some color to this city. In the 1920s, the Chinese writer Xu Zhimo called Florence “Emerald Cold Cui” (cold and emerald green jade). The poet translated it very well. I used paint to make Florence a little cold and a little green.
佛羅倫斯是一個沒有甚麼顏色的城市,從山頂米開蘭基羅廣場往下看,不是深褐就是淺褐,或許我們應該為這個城市添點顏色。20年代,徐志摩把佛羅倫斯叫做「翡冷翠」,詩人翻譯真好,我就透過顏料,且讓佛羅倫斯有些冷、有些翠。

“Colored Florence”
Cheng Tzu-Leong Ph.D.(鄭自隆博士)
Soft Pastel on Paper (粉彩紙本)
18.5 x 14.2 cm
2002
Kasashima Editor
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