At about 7
o'clock every day, the sun always punctually penetrates the gaps between the surrounding
high-rise buildings and projects to the triangular windows facing east in the
orange building. In the top small space at the end of the building is an
exquisite Buddha’s room, and gradually projected light wakes it up.
The
Buddha’s room is transformed from an old house that was originally a restaurant.
The original wooden roof truss is extended to the end of the building, and the
newly-born roof space happens to be a secret place in the city. Push the gate
of six meters high open, the steel staircase over the head slanting upward is
the entrance to the central Buddha’s room of the city from the exhibition hall.
Light
becomes the most important element in the Buddha’s room. The warm light belt is
arranged below the steps of the top European pine board all the way, forming a
strong display of the dark exhibition hall. Walk up the stairs of the light, at
the end is a bright triangular window, at the middle point of the ladder and
window, there stands a lotus flower statue of Avalokitesvara at ease. The ice-cracked
fence welded by the rebars tightly wraps the stairs into a white hollowed-out
barrier, which has cut the surrounding images into random fragments.
In terms
of the inheritance of Chinese Architecture, what can be seen now is mostly the example
related to religion and ritual. Since Buddhism entered China, it has also
blended a large number of elements of Chinese architecture, painting and life.
Therefore, the activation of Chinese traditional culture can not circumvent
many connotations and appearances of Buddhism. In Buddhist culture, the definition
of restraint, motivation, precepts, positive view, contemplating, grief and joy
are the guidelines for Chinese people's behavior over thousands of years. In a
sense, art can exist beyond religion, and the ultimate goal of the world is the
pursuit of truth, goodness and beauty. The Buddha’s room does not care about
luxurious, but cares about people's physical and mental feelings in it. We
should keep the inner peace in the busy and vulgar world.
Our
attitude toward the space of the Buddha’s room is innovative. Under the dark wooden grille
roof, there are free Avalokitesvara flowers blooming above the lotus flower. The
statues of Dizang pusa made of the rosewood stands in the 32 niches for the
Buddha on the ground, whose whole body is smooth and simple, with clothes
drooping naturally, wide and full face, and kind face. The lotus Avalokitesvara is sitting there, hugging his knees, behind
whom the lotuses flowers are in full bloom. Dizang pusa are stepping on the
throne of lotus, with a pearl in the left hand and a Buddhist monk's staff in
the right hand. Buddha statues have constituted the order in space.
The
lubrication of rosewood and the stability of teak veneer complement each other.
The strips of wood that pour down in space are smooth and natural. Uniform and
clean material processing makes this small space not feel depressed. The white
frosted glass of the triangular window filters the external light, and the
space is filled with soft and stable breath for a long time. In this complex
worldly world, a peace and quiet world of Buddha has been created.