#孝道

[mouniassn]

超度後的親人，還是會有業力討報

以下文章為一有緣人分享：

《阿伯的話－現場開示精華節錄》：「夢到亡者有幾種情況：其一、若尚未被超拔在地獄受苦，大多是來求你幫忙超度；其二、要去投胎了，來向你辭別；其三、家中有事，來提醒你；而尚有一種，則是干擾所化的。」

某一個晚上，我在夢境裡見到往生多年的外公，但兩年多前，我就已經超度外公到平民區了。夢境中，外公穿著破爛的衣服，從門口向我走過來，一副很寒酸、狼狽的模樣，祂似乎過得很不好���一瞬間我從夢境中驚醒，心想：「外公一定是在冥界過得不好，在向我發出求救的信號。」

去精舍請示：「近日夢到外公模樣狼狽，似乎過得不太好，請示是否有干擾？」佛菩薩慈悲開示：「有業障來找，導致超度資糧不足。《金剛經》、《藥師經》、《地藏經》三經各230遍，補超度到平民區的福德資糧。」真的很感恩佛菩薩的開示，我才能針對問題去處理，盡快誦經迴向圓滿，讓往生的外公到平民區，不再受苦。

外公託夢的事讓我又長了見識，原來不只陽世的人會有業力找上門，連往生多年的親人，也逃不過業力上門討報。所以人活著的時候，便要勤消業障，不要以為以後走了，業主菩薩找不到你。業障不消，走到哪裡都一樣，該還的還是要還。

阿伯說：「要盡孝道，慎終追遠，有祖先需超渡，係盡孝道，也是累積福德資糧的機會，越不計較越犧牲，就表示做得越好越有善德，上天與佛菩薩都看在眼裡，日後會有好的安排。『海納百川，量大福大』，事情不論對或錯，都要學習圓滿，且與祖先結下善緣，來世也會多一位貴人。今日助人離苦，他日有需要時，也會有貴人出手相助，助我們脫離困境。」

往生的親人過得不好，只能跟陽世的親眷求救。佛緣淺薄、業障深重、福報不足的人，就算遇到正信佛法，也是不會相信的，只能被干擾，折磨、痛苦一輩子，我身邊有太多這樣的人。

不相信因果的人太多了，這些人的日子過得太好，跟他們說有因果這件事，他們會說：「你太迷信了，好好的日子不過，幹嘛一天到晚這麼迷信！」只能說信者是緣，不信者也是緣。好好的活在當下，珍惜現在能消業力的每一次機會。

（分享結束）

修行、誦經、消業、積福，有人身才可以做，靈沒有肉體，無法靠自己唸經修行，更無法累積功德給自己，只能依靠陽世子孫們的超度。「孝道」是佛法的大根、大本，身為佛弟子，對佛菩薩最上等的供養，不是奇珍異寶，不是世間所有一切有形的物質，對佛菩薩最上等的供養，是「如說修行」。佛菩薩教導我們，孝道是性德的究竟圓滿，我們應當遵照佛菩薩的教誨，從孝順家中的長輩，從超度祖先開始做起。

世間的債務，除非後代子孫願意承擔，不然會隨著人走而被抹煞，但靈界的債務，可沒有「追討無門」這回事。有緣人的外公已經被超度到平民區，過著安穩的日子，日後只待因緣成熟，便能投胎轉世，不料外公有業力上門，在平民區安穩過日子的資糧不夠了，不得已只能託夢給有在修行誦經的有緣人，希望有緣人能再幫一次忙。

這裡有個問題：「如果有緣人不幫忙，外公會怎樣？」只能再度回到地府受刑。同樣道理，親人已經到天上享福，若被業力追討上門，在天上的資糧不夠了，會下來到平民區。除非陽世子孫願意再次超度，不然只能在平民區「待緣轉世」。至於等待的時間會多久？便未可知了。同理可推，親人往生到淨土，一樣會有業力討報，屆時若在淨土的資糧不夠，沒有第二句話可說，一樣得離開淨土，退回到天上。

所以，「消業」重要嗎？非常、非常、非常重要！業力不消，走到哪兒都無所遁形，即便已經到了淨土，依然無法擺脫業力的追討。雖然回到天上沒有受苦，但對於力求往生淨土的人來說，「天上」跟「淨土」是非常大的落差，好不容易到了淨土又下來，可謂功虧一簣。

所以，「不消業」嚴重嗎？非常、非常、非常嚴重！文中的外公有有緣人這位孝子賢孫幫忙，但未必每個人都有這樣好的福氣。況且真相是殘酷的，以後願意相信因果、願意超度祖先的人會越來越少，您當真確定，日後子孫會把您在地府受苦當一回事嗎？別傻了！求人不如求己，寧願現在起早摸黑、勤奮誦經消業，勝過日後叫天天不應，叫地地不靈，求救無門。

另外，有錢別再計算著都要留給子孫了，如林則徐的家訓名聯曰：「子孫若如我，留錢做什麼？賢而多財，則損其志；子孫不如我，留錢做什麼？愚而多財，益增其過。」妥善安排好自己的老後生活，也務必想遠些，多為自己往後的人生去處做打算。安置好生活，日子過得無虞了，請多行善布施，多多為自己累積功德。也可「先請示」以後往生到中天淨修院、聚善所，或者上等、中等、普通佛化家庭的福德資糧。這概念好比依照自己的經濟條件，預先替自己存���筆錢；只不過這筆錢的功用，遠比世間錢財的作��大多了。

孩子大了，有他們自己的路要走，沒有苦過、哭過，人不會成長，磨難都是他們該經歷的過程，要認清事實，不要再將自己的一顆心，掛在孩子的身上。歲月催人老，年紀大了，正是該為自己好好打算的時候了，認真消業和培福，日後才有好的人生去處。南無大願地藏王菩薩。

南無本師釋迦牟尼佛

南無藥師琉璃光如來

南無阿彌陀佛

南無大悲觀世音菩薩

南無大願地藏王菩薩

南無韋馱菩薩

南無伽藍菩薩

南無十方一切諸佛菩薩摩訶薩

[anamon-book]

馬券師街道　新橋遊吉 角川文庫 カバー＝小泉孝司

[shihlun]

Kôji Wakamatsu

- Sex Jack

1970

[fuckyeahmeikokaji]

Lobby card for One Hundred Gamblers: Chivalrous Path (Bakuto Hyakunin Ninkyodo, 博徒百人 任侠道), 1969, directed by Takashi Nomura (野村孝) and starring: Meiko Kaji (梶芽衣子) Michitaro Mizushima (水島道太郎) Toru Abe (安部徹) Hideki Takahashi (高桥英树) Jo Shishido (宍戸錠)

Scanned by me.

[kishinaito]

ヒプステ ヒロリン

映像出演あるとのことありがたすぎる…楽しみにしてます！

[tmmode]

今日は、『湯道』を鑑賞🎞 たわいのない映画だけど、お風呂に入りたくなりました😄 #湯道 #生田斗真 #濱田岳 #橋本環奈 #小日向文世 #天童よしみ #クリス・ハート #戸田恵子 #寺島進 #厚切りジェイソン #ウエンツ瑛士 #朝日奈央 #生見愛瑠 #吉田鋼太郎 #窪田正孝 #夏木マリ #角野卓造 #柄本明 #フジテレビ #東宝 #nbcユニバーサルエンターテイメント #jr東日本企画 #藤島ジュリー景子 (イオンシネマ板橋) https://www.instagram.com/p/CpHgzX0SyMr/?igshid=NGJjMDIxMWI=

[wanwanchanworld]

報道特集を見て立花孝志に怒ってる人ができること

[shinondo]

【春が来た！】 ツタンカーメンみたいな頭になってますが、、、笑 第2章へ！GO!! 去年の4/2から活動を始め 池川明先生 七田厚先生 福田光孝先生 を迎え 新たな出会い？！ 新たな出発を致しました♪ -未来の子ども達に〝愛〟の架け橋を- 是非ご応援下さい！ 子育て・育児・人間関係・パートナーシップ・食養・食育・身体の不調・心の不調etc... オーガニックなご提案や 漢方・自然食を含め 『三島から食養を広めよう』 はたまた あの七田式や胎内記憶や〇〇！ の講演活動☆ 皆さまに 〝笑顔〟や〝健幸〟をご提供できる 体制が整いつつあります♪ 今後の心音道の活動に ご期待ください☆ #池川明 #七田厚 #福田光孝 #食養 #食育 #三島市 #三島 #食養道学院 #胎内記憶 #七田式 #右脳教育 #子育て #育児 #パートナーシップ #健康 #オーガニック #健幸 #心音道 #みしまプラザホテル https://www.instagram.com/p/Coolcv4yaT3/?igshid=NGJjMDIxMWI=

[niteshade925]

April 20, Beijing, China, National Museum of China/中国国家博物馆 (Part 4 – Chinese Historical Fashion Exhibition continued):

Alrighty, Ming and Qing dynasty fashion, here we go! Sit tight because this is an extra long post that took me a long time to research

First is this marvel, a replica of the phoenix crown/fengguan/凤冠 of Empress Xiaoduanxian of Ming (明孝端显皇后). The real artifact is in this museum, but it's probably not exhibited much for conservation reasons.

Phoenix crowns are the formal headwear for empresses, which according to etiquette rules set at the beginning of Ming dynasty (1368 - 1644), must have 9 dragons and 4 phoenixes (btw the original Chinese term is fenghuang/凤凰, which is a different mythological creature from the phoenix, but "phoenix" is the commonly used translation now), but this crown has 9 dragons and 9 phoenixes, indicating that etiquette rules have loosened and shifted by late Ming.

The phoenixes on this crown are blue because they were actually made with the iridescent feathers of kingfishers in a process called diancui/点翠. All species of kingfishers are now legally protected animals in China, so when buying hanfu accessories, you may come across "imitation diancui"/仿点翠, these are usually either made with enamel or dyed chicken or goose feathers. Another thing to note is the appearance of the jewels on this crown. Ming-era people liked keeping the jewels in a "natural look", so these jewels had no facets.

Recreations of Ming-era hanfu. Left is the semi-formal outfit of aristocrat women in mid to late Ming dynasty. Right is the casual outfit of late Ming scholars and literati. The woman's cone-shaped hairstyle is called a diji/䯼髻, and the set of hairpins that goes on a diji is called toumian/头面. She's wearing a type of top called an ao/袄 and a skirt aka qun/��, specifically a mamianqun/马面裙, or "horse face skirt". Note that the bottom hem of an ao is not tucked into the skirt. The man is wearing a square-ish hat called a fangjin/方巾 and should also be wearing a wangjin/网巾 underneath (can be understood as a hairnet). He's wearing a daopao/道袍 and a hechang/鹤氅 on the outside.

Also I did make a mistake while dividing up the pictures for these two posts, some of the following artifacts are from earlier dynasties. Ugh if only I had time to take pictures of all the placards.

A pair of mojie/摩竭 shaped gold earrings from Liao dynasty (916 - 1125). Note that the placard says it's "摩羯形" or "Capricorn-shaped", but this apparently is sort of a misnomer? Sort of, because this representation should be of the makara (मकर; translated as 摩竭 in Chinese), a sea creature from Hindu mythology, but at the same time it is the equivalent of Capricorn in Hindu astrology. However since the name "Capricorn" stuck, it's now commonly referred to as "摩羯". 摩竭 and 摩羯 have the exact same pronunciation though.

A pair of phoenix (fenghuang) shaped gold hairpins from Liao dynasty:

After a lot of pulling my hair out researching, I finally found what time period this gold belt buckle came from. It's from Eastern Han dynasty (25 - 220 AD). The gold filigree and beads form the pattern known as panchiwen/蟠螭纹, where pan/蟠 and chi/螭 are both types of loong dragon in Chinese mythology.

The gold decoration on a xiapei/霞帔 (the V-shaped wide band in the diagram on the right) from Liao dynasty. Xiapei originated in Song dynasty (960 - 1279) as part of the formal attire of consorts, but later developed into a part of the formal attire for women in general. Xiapei also looked different at different time periods in history, but from Song-era to Ming-era, its structure didn't change by much.

Finally back to Ming dynasty. This is a gold cap inlaid with gems and pearls. From the size of this cap and the included hairpins, we can deduce that this cap is meant to encase the bun on the top of the head (the hairpins that go through the cap would hold it in place).

Like the gold cap above, the next few are all from the same tomb of a Ming dynasty noble, and they are all themed similarly--they all depict scenes in a heavenly palace. Of these, the first three that has miniature architecture in gold are parts of the toumian worn on a diji hairstyle. This first one is a pair of yanbin/掩鬓 (lit. "covering temples"), so called because they are worn on the sides, close to the temples.

This next one has some confusion regarding the naming. According to an article by the Chinese Academy of Social Sciences Institute of Archaeology, the top artifact is a fenxin/分心 and the bottom artifact is a tiaoxin/挑心, but according to 撷芳主人 (if you are a hanfu enthusiast you have probably heard of this person or seen their works, they are the one who drew the cute illustrations of Ming-era fashion), the top one may be a manguan/满冠, and the bottom one should be called fenxin/分心. Note that 撷芳主人's conclusion is mostly based on Ming-era records and novels. Regardless of the naming, the top one here should be worn on the base of the diji, and the bottom one should be worn at the front center of the diji.

This one also has some confusion in the naming, the Institute of Archaeology calls it a dingzan/顶簪, while 撷芳主人 calls it a tiaoxin/挑心. Again, regardless of the naming, this one is worn on the very top of the diji, so the hairstick portion goes straight down through the diji. If you look closely, you can even see people and animals in the details.

Left: a pair of gold phoenix (fenghuang) hairpins made in the 22nd year of the Yongle Emperor of Ming. Right: gold filigree bracelets inlaid with gemstones.

Ming-era portrait of a scholar official. Before cameras were introduced in late-Qing dynasty, portrait paintings were the most realistic depictions of what people looked like back then. Such portrait paintings mostly began in Song dynasty and continued through to Qing dynasty.

Illustrations of the different buzi/补子 (also known as "mandarin square") used by different ranks of officials in Ming dynasty. All ranks are organized from highest on the left to lowest on the right, top row is for civil officials, bottom row is for military officials, and bottom right is for nobility. All illustrations here come from the Ming-era illustrated encyclopedia Sancai Tuhui (《三才图会》). For those who are interested, a scan of Sancai Tuhui is available on Internet Archive for free (link goes to first chapter, most chapters are available).

Also from Sancai Tuhui Chapter 62 (all pictures here come from Ch. 62-64), illustrations of the twelve ornaments (called shierzhang/十二章) on a mianfu/冕服, which is the highest level of formal attire for an emperor in Ming dynasty. These twelve ornaments depict things including celestial bodies (note that sun contains the three-footed sun crow, and moon contains the moon rabbit), elements of nature, mythical creatures, and representations of life, and are supposed to represent the values and traits that an emperor should possess:

And wrapping up the section on Ming-era hanfu, here are the headwear of different classes of people in Ming dynasty, from commoners to the literati to important government officials.

Note the net-like hair accessory on the left. This is a wangjin/网巾 during Ming dynasty (illustration from Sancai Tuhui), and is worn by all men regardless of social class. However, wangjin is worn almost like an "undergarment", so it's almost always covered by something else. Which means all those historical cdramas set in Ming dynasty that have their characters wear only a wangjin in public are, in fact, inaccurate.

Some hats of commoners and scholars in Ming dynasty. Note the left one on the second row, that is the same hat worn by the Fox Scholar in the episode Goose Mountain of the animated series Yao Chinese Folktales (《中国奇谭》).

Some of the formal headwear of government officials in Ming dynasty. These are called liangguan/梁冠, lit. "beam crown", where the liang/"beam" refers to the metal arches that go over the top. The more liang there are on the hat, the higher the rank of the official.

And last but not least, Qing dynasty (1616 - 1911) fashion. Left is Qing-era men's outfit for horseback archery and hunting, called xingfu/行服. His hat is composed of two parts, the actual hat called dingdai/顶戴 (here it's specifically the winter version) and the back decoration made of horsehair and feathers that signifies status is called hualing/花翎. Back is the casual outfit of late-Qing Manchu noblewomen, with the characteristic hairstyle called dalachi/大拉翅, a vest called kanjian/坎肩, and a robe beneath called chenyi/衬衣. These are all considered part of qizhuang/旗装, or traditional Manchu clothing. On the right is the late-Qing casual outfit of upper class Han women, with an ao/袄 top and a langanqun/阑干裙 skirt (a type of mamianqun/马面裙), and a headband decorated with pearls called mo'e/抹额. Note that although the exact origin of the modern qipao/旗袍 is disputed, it definitely has elements from at least one of the following: the Manchu chenyi, the Han ao, and the late Qing and early Republic era men's changshan/长衫.

A little historical background on why this particular display is arranged in this way. In early Qing dynasty, the Manchu ruling class enforced the policy of 剃发易服 (lit. "shaving hair and changing clothing") specifically on Han men in order to force conformity to Manchu traditions in terms of hairstyle and clothing, but Han women were not included in this policy. So in early Qing, Han women still wore the same clothing as they did prior in late Ming, but over the time the fashion of Han women absorbed many elements of Manchu fashion. However, this wasn't a one-way influence. By late Qing, many elements of Han fashion were adopted by Manchu fashion as well, so this influence really went both ways. Today, Manchu people is one of the 56 officially recognized ethnicities in China (4th largest ethnicity by population), and the traditional fashion of Manchu people is a part of the diverse culture of modern China.

Below is a real example of a chenyi, chenyi were popular among Qing dynasty imperial consorts as informal dress:

The hairstyle of Manchu women (called qitou/旗头) at different times during Qing dynasty. The one at the far right was what early qitou looked like, while the one on the far left appeared in late-Qing. The two hairstyles on the left frequently appear in period dramas set in Qing dynasty.

A belt called jifudai/吉服带 with pouches and decorations. Jifudai is so named because it's supposed to be worn with the semi-formal jifu/吉服 outfit. This particular jifudai is yellow, a color reserved for the emperor.

Real examples of Qing-era Han women's outfit, with an ao on the left, and a langanqun on the right. Langanqun is a type of mamianqun, but the construction is different from Ming-era mamianqun, in that langanqun is made from numerous rectangular and trapezoidal pieces of fabric sewn together into two larger pieces, whereas Ming-era mamianqun are simply two large pleated pieces of fabric. The way these skirts are decorated are also somewhat different. Visually speaking, Qing-era langanqun have woven and/or embroidered patterns that are arranged vertically, creating a "paneled" look, whereas Ming-era mamianqun have woven and/or embroidered patterns that repeat and extend horizontally as to wrap around the entire skirt.

Aaaaand that's it for this exhibition! Phew. I highly recommend everyone go visit the free virtual exhibition (link here), partly because when I visited the National Museum of China, I was in a huge hurry (I only had one day to see everything), and so the task of taking pictures of the exhibition was split between me and a family member, but I'm not sure they understood how many pictures I wanted....so what's in my posts here are only a very small portion of the actual exhibition. The actual exhibition doesn't just have artifacts and replicas of artifacts, but also have paintings and real articles of clothing from Qing dynasty, which were all amazing to look at.

[mouniassn]

可以不要給我錢嗎？

以下一位有緣人分享，來文照登：

近期好一陣子沒回家，母親捎來訊息，說祖父很想我，三天兩頭一直唸著要我回去。我看母親講得很著急，趕緊找一天帶妻女回去。

一回去後，祖父要我去他房間，然後他就開始一直講，講的內容其實每次都差不多，但這次多提了他很後悔發財產給姑姑們的事情。接著，這次他找我講話時間也刷紀錄了，一口氣講了五十分鐘。

他提出許多觀點，我有在聽，雖然心裡沒有認同，但我也是看著他的眼睛聆聽，其實就算不認同，也不必回回去，人並不會因為幾句話，或是一堆話就改變，如果人這麼好渡，菩薩早把眾生都渡光了。他們需要的是傾聽，我就乖乖的坐著聽他講！好的、不好的，左耳進、右耳出。

過程中父親也進來了一趟，父親聽到覺得不是很對的觀念，就會勸祖父別這麼想，但父親持續地勸，祖父反而越講越大聲。這也再次告訴我們，對於不認同，不需要「反駁」，聊個天嘛！對方開心就好了，何必如此認真。

後來祖父開始提到，要把剩下的財產都給我，我聽了心裡很害怕！奇怪，應該是這種心態嗎？其實我看了牟尼精舍許多感應故事，有位師姊說：「她的父親給她一塊田，就會一直抽她的福報。」我的祖父也是。

其實祖父大限早就到了，都是抽我跟家人的福報，一直續命。對我來說，每次被他抽的感覺，就是腦袋空掉。我算是一個跑業務的人，腦袋空空的我，會想不出策略，會不曉得日子怎麼過呀！感覺就跟行屍走肉一樣。我其實很怕這種干擾，外靈干擾可以處理，業障干擾可以懺悔，祖父來抽呢？我實在無解。面對這種問題，我只能趕緊捐款，補一補福報，不然腦子真的不好使。

祖父這次說要把剩下一半的財產都給我，我越聽越害怕，連忙說財產要留在身邊啦！就算要給小孩，也應該是走了後再說！我看過許多例子，在現在這個時代，孩子往往錢拿了，父母就不顧了！當然我不會這樣。接著祖父拿出存摺，好在那天是星期天，銀行沒開，他說要跟我去銀行匯款，我連忙轉移話題，他才默默地收回存摺。

給你錢卻不拿嗎？不拿呀！當然不能拿。跟著精舍學了這麼多年，知道事事都有因果，要錢自己賺，直接拿對方的，就得承受許多無形的業債或干擾，甚至遙遠的未來，還是得要還錢呀！日子能過得去就好，何必結下這種樑子。這輩子遇到牟尼精舍，知道該怎麼還，但如果來世遇不到怎麼辦呢？那時才苦呢！

其實父親也在一旁說，要幫我出買新房子的頭期款，我也是跟他說不用了！這些都是他們省吃儉用的錢呀！人生，過得去就好了。

總之，這次回家，我嘗試了「聆聽」與「不反駁」的溝通方式，覺得很有效，讓我與長輩、朋友的溝通技巧升級。這次回家，我也感受到拿錢的可怕。感謝牟尼精舍的許多因果故事案例。不過說真的，我還是會尊重祖父的意願，他如果真的要給，我會把這些錢當成超度的功德資糧，他辛苦一輩子，也該用這些錢，讓他去該去的地方，好好過上一陣子吧！

(分享完畢)

這是一個孫子拒絕祖父財產贈予的故事。一般人通常都想努力獲得祖輩的遺產，為爭財產而與親人、兄弟姐妹撕破臉，以求少奮鬥二十年。但這位有緣人因為篤信因果業報，加上常常被祖父抽福報，所以面對祖父自動送上門的一半財產毫不動心，百般推辭祖父的好意。換作是您，會開心收下，還是跟有緣人一樣，拒絕祖父的錢呢？這篇文章有幾個值得學習的觀念：

一、禮物不會從天上掉下來，凡事皆有因果

有緣人先前與祖父相欠，所以祖父經常來抽他的福報，抽得很開心，這是因為兩人之間有因果存在，所以他只能被抽。但當有緣人圓滿與祖父之間的相欠因果，祖父還是持續抽他的福報。他雖然基於孝道，只好自己唸經或捐款布施補回來。但這些多抽的，有一天祖父還是要還給有緣人。

做人不要貪戀別人辛苦努力賺來的錢、成果或任何東西，包括福報。因果公平至正，凡是不屬於自己的、多拿的東西，總有一天要還回去。因此，有緣人一直跟祖父和父親強調，生活過得去就好，自己有能力可以好好賺錢。有緣人拒絕祖父和父親的好意，就是因為被抽福報真的會對生活造成很大的影響。

被抽過福報的人或是缺乏福德資糧的人，腦袋空空，像行屍走肉，毫不誇張。很多原本上手的事，會突然不知道該怎麼做，做了也是白做，就是一直在原地踏步，窮忙！賺到的都是累和操。

有沒有快速補福報的方法？有，唸經、捐款布施和印佛經。如果您認真地唸，唸經獲得的福報，不會慢於捐款布施和印經，還不用花您一毛錢。唸經除了可以增加福報，還有額外附加智慧、金光與功德護體，這是捐款布施不會有的哦！可以大大降低被外靈沖犯的機率。

二、與其坐享其成，不如自己打拼

若有緣人選擇拿祖父的財產，未來還是會被以其他形式討回去，而且是不知道會在哪一世的哪個時候，以什麼樣的形式被討回去。要是那時候有緣人還沒有開始唸經呢？這麼多的財產，可能一輩子作牛作馬都還不��啊！這情節光是用想，都覺得很可怕，還是老實一點，自己努力工作賺錢養家、買房，不欠任何人，心裡踏實、自在，無債一身輕啊！

如果生活中遇到難解的問題，來自業障干擾，真誠懺悔加唸經「因果債，功德還」就好。要是心中有什麼想達成的願望，也是靠唸經就可以達成：

自己唸經補福報，可以讓考試上榜、獲得好工作、讓工作順利、與他人關係更好、生聰慧孩子。只要努力不懈，諸事皆能心想事成。

有緣人很有智慧，不貪不求，知道精進唸經，勤消業障和補福報，生活、工作、待人處事用心經營，不必拿祖輩財產，可以好好過日子，也不必擔心哪天因為任何不確定的方式被討報。

這些雖然說得很簡單，但很難做到，因為貪是三毒中拉人進入六道輪迴的第一高手，不識因果、沒有足夠的修行又缺乏定力的人，是很難逃脫它的手掌心，這也是為何業力開示中，因「利益衝突」造下的業障，高居排行榜前位，也是為何修行人必考財與色，戒之！慎之！

三、改變不了的事，用別的方式轉化，莫執、莫辯

祖父堅持要給有緣人錢，有緣人使用「聆聽」與「不反駁」的方法，不跟祖父硬碰硬，才能跟祖父溝通順利。

每個人都有自己的觀點，有些人只想別人聆聽和接受他的想法，不想接受批評、建議和指導，尤其是長輩、長官、高名望或身分地位高的人。面對這些人，不要急著去反駁。當然不是所有人都這樣，不過如果對方沒有明確要您提供什麼想法，您只要同理對方，安靜專注聽對方講話即可。學佛先學做人，聽人說話，不插嘴、不反駁不能接受的觀點，也是一種忍辱的訓練。

多花時間聽別人講話，才知道對方在意的是什麼，渡眾亦是如此。透過聆聽，瞭解對方在意的是錢、工作、名譽、婚姻、外貌、健康......，或是什麼點，才知道如何恆順眾生，因勢利導，從對方喜歡、在意的事上，鼓勵對方唸經，對方才容易接受。有緣人也是因為這樣，才沒跟祖父起爭執。

有緣人與眾生分享不貪不求，可以避免攀緣、造下相欠業力。他也打算，如果阻止不了祖父的財產，就會把錢捐出，功德全數迴向超度祖父，讓他離世後快樂過生活。真是兩全其美、圓滿又有智慧的做法。相信我們努力唸經，跟佛菩薩學習，有一天也能如有緣人一樣，無欲無求、心性光明。南無大慈大悲觀世音菩薩摩訶薩！

南無本師釋迦牟尼佛

南無藥師琉璃光如來

南無阿彌陀佛

南無大悲觀世音菩薩

南無大願地藏王菩薩

南無韋馱菩薩

南無伽藍菩薩

南無十方一切諸佛菩薩摩訶薩

[chikuri]

繰り返しますけど、日本は移民拡大を曖昧な形で、促進しています。これは西欧、北欧が１９９０年代にやったことです。太陽光政策もそうですが、なんで２週遅れで２０年後に他国が失敗した政策を行うのが謎。シンガポールのような賢い国は繰り返さない。今止めなければという思いで私は報道中です

石井孝明（Ishii Takaaki） / X

[shihlun]

From left to right: Megumi Yoshizumi, Koji Wakamatsu, Shuya Akagawa, Hideo Ito, Michio Akiyama, Kazuo Komizu, 1969.

[fuckyeahmeikokaji]

Hideki Takahashi (高桥英树), Jo Shishido (宍戸錠) and Meiko Kaji (梶芽衣子) in One Hundred Gamblers: Chivalrous Path (Bakuto Hyakunin Ninkyodo, 博徒百人 任侠道), 1969, directed by Takashi Nomura (野村孝)

[nihongoseito]

vocab for going to bed at 10 pm on a friday (jst)

nouns:

身（み）バレ = being doxxed

零れ（こぼれ）話（ばなし） = tidbit, sidebar, digression

地獄耳（じごくみみ） = sharp ears

薬品（やくひん） = medicine, chemicals

器具（きぐ�� = tool, instrument, utensil

実務（じつむ） = practical business, business affairs

悪知恵（わるぢえ） = cunning, guile

悪意（あくい） = ill will, spite

損得勘定（そんとくかんじょう） = profit-and-loss arithmetic, mercenary point of view

打算（ださん） = self-interest, calculation

隔離（かくり） = isolation, quarantine

道楽（どうらく） = pastime, hobby

境目（さかいめ） = borderline, boundary

経過（けいか） = passage, elapsing (of time); progress, course (of events)

処方せん（しょほうせん） = prescription

接触感染（せっしょくかんせん） = infection through contact

ひた隠し（かくし） = desperate cover-up, hiding at all costs

出頭（しゅっとう） = turning oneself in, surrender (e.g., to police)

八方（はっぽう）塞がり（ふさがり） = blocked in every direction, cornered

親孝行（おやこうこう） = filial piety

余談（よだん） = digression

verbs:

負う（おう） = to be injured, incur (wound, damage)

つつく = to poke, nudge; to pick at (e.g., food); to peck at (e.g., someone’s faults)

委ねる（ゆだねる） = to entrust to; to leave to abandon oneself to (e.g., pleasure); to yield to (e.g., anger)

塞がる（ふさがる） = to be closed, healed (e.g., wound)

感染る／伝染る（うつる） = to be infected, contagious

突き放す（つきはなす） = to push away; to keep away from, abandon; to act coldly

弔う（とむらう） = to mourn for, grieve; to hold a funeral for

引き継ぐ（ひきつぐ） = to take over

生き（いき）ながらえる = to live long, survive

拒む（こばむ） = to refuse, decline; to prevent (from doing), deny (access)

尖る（とがる） = to be pointed, sharp; to be sour, touchy

はぐれる = to stray from, lose sight of (one’s companions)

adjectives:

理不尽（りふじん）な = unreasonable, outrageous, absurd

執拗（しつよう）な = persistent, tenacious, relentless

非現実的（ひげんじつてき）な = unrealistic

世渡り（よわたり）上手（じょうず）な = having worldly wisdom, cosmopolitan

邪悪（じゃあく）な = evil, wicked

有能（ゆうのう）な = able, capable, competent

心細い（こころぼそい） = hopeless, forlorn, discouraging

うやむやな = hazy, vague, undecided

興味本位（きょうみほんい）な = just out of curiosity; sensational

かなわない = unbearable; beyond one’s power

愛情深い（あいじょうぶかい） = loving, devoted

もどかしい = irritating, frustrating, feeling impatient

expressions:

無駄口（むだぐち）を叩く（たたく） = to chatter pointlessly, waste one’s breath

面倒（めんどう）を見る（みる） = to care for/look after someone

路頭（ろとう）に迷う（まよう） = to be down and out, rendered homeless

裏（うら）がある = to have an ulterior motive; to have a catch

天秤（てんびん）にかける = to compare and contrast, weigh (options); to try and have it both ways

[shoji]

高校時代、「進め!電波少年」（日本テレビ）をよく見ていて猿岩石のヒッチハイクの旅に憧れた。男なら死ぬまでに一度はヒッチハイクをやるべきと考え、高校3年生の夏休み1か月をかけてヒッチハイクの旅に出ることを決意。ギターを始めたばかりでもあり、当時大ファンだった音楽グループ19の出身地広島へ行き、19と同じストリートでライブをやってスキルを上げようと考えた。親からは反対されたが、朝食を食べた後、ギターを抱えて国道に飛びだして行き親指を突き立てた。すると一台目にトラックが停まってくれて「どこまででもいいから乗せて行ってほしい」と頼んだところ、奇しくもそのトラックは広島行きの長距離トラックで、広島に到着した。さらに運転手が優しい人で「広島で荷物を降ろしたら仙台に連れて帰ってやるよ」と言われ、仙台に帰って来ることができた

狩野英孝 - Wikipedia

[kennak]

オールドメディアのいやらしさはファクトチェックとは違うのですよね。巧妙に断言をしていなかったり、一番ずるいのは報道しない自由の発動。発信内容の偏りはファクトチェックではどうしようもない。なのでオールドメディアの偏向報道をネットでチェックする、という今の手法が結果的に現段階での最善策、となります。

斎藤知事のパワハラを断定、立花孝志氏のマスコミ叩きに便乗…デマを指摘する「ファクトチェック団体」の欠陥（プレジデントオンライン）のコメント一覧 - Yahoo!ニュース