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1898年,贤慧禅师等从缅甸返中国,途径星洲, 遇刘金榜挽留并献地38英亩, 留新创建双林寺。最初兴建的殿堂是后院的大法堂楼。
附立的珠琳庵, 则供其母慈妙法师,妹禅慧法师及表妹月光法师居住共修处。当时的工匠及石料均源于中国福建。木料则小部分运自中国,大部分采购于南阳一带。
1900年,刘金榜再献土地12英亩。贤慧禅师回中国为父传戒,后返双林寺。隔年,贤慧法师圆寂。由其弟性慧禅师担任第二任主持。
1902年性慧禅师也往生。其母慈妙法师因儿子贤慧,性慧禅师均已示寂,将务交托明光法师后,带领禅慧、月光法师返回中国福建。临行时立一石碑,撰刻【莲山双林禅寺缘起】,将创寺的经过及其出身,告知后人。同年,明光禅师成为第三任主持。
1903年刘金榜及诸董事在『叻报』刊登「续建双林禅寺布启」, 正式向大众募缘。 海内外华人也都热烈支持,共囊义举。 1904年, 大雄宝殿兴建。 敬亮法师接管寺务, 为第四任住持。同年 宰官林国清于荔月敬书『长者堂』匾额。1905年兴建天王殿和其他各殿堂。 1906年『天王殿』匾额为刘金榜所立,其上志明「丙午年蒲月」。 1907年,大雄宝殿落成。其余殿堂如钟楼、鼓楼、山门、伽蓝殿、祖师殿、方丈室、禅堂等也相续完工。 1908年,兴辉禅师接管寺务,为第五任主持,寺院建筑已大部分完工。 1909年兴辉禅师示寂,福慧禅师继承第六任主持。同年刘金榜也去世。双林寺自1898年创建,历时十一载才竣工,成为新加坡最宏伟的丛林寺院。
Let’s celebrate 30 years of ‘The Nara Document of Authenticity’ together!
Join us at the National Archives Singapore (Oldham Theatre) for a special event celebrating “The Nara Document of Authenticity (1994)” turning 30! This in-person symposium will feature speakers from Singapore, Taiwan, the United Kingdom, and the Philippines, highlighting the importance of this influential document in the field of architectural conservation. Don’t miss this opportunity to learn, connect, and celebrate with fellow enthusiasts!
The Nara Document has been instrumental in addressing the need for a broader understanding of cultural diversity and heritage. It expanded the 1964 Charter of Venice concept of respecting original material, thereby emphasising the retention of material fabric in its original state. The Nara Document’s “authenticity judgements … may include form and design, materials and substance, use and function, traditions and techniques, location and setting, and spirit and feeling, and other internal and external factors. The use of these sources permits [the] elaboration of the specific artistic, historic, social, and scientific dimensions of the cultural heritage being examined.”
Thirty years have passed since 1994. The world’s resources are getting scarce. With the challenges of the loss of certain materials (e.g. large-size timber), changes to use and function, declining craftsmanship, as well as changes to the setting, do we prioritise form and design and allow materials to be changed in an attempt to retain the spirit and feeling? Or are these futile efforts? How do we view authenticity?
Register at https://www.eventbrite.sg/e/the-nara-document-at-30-tickets-1086667163739