最近一个月真是过得平淡，读书，做设计，窝在学校方圆500m的地方生活，囧。读完数本古老的文献之后， 终于动笔写Independent Studies的论文，头一个研究对象是爪哇岛的婆罗浮屠（Barabudur），想好了用缘起论来下笔，在这里先把已经写好的贴上来，争取在复活节结束 前搞定他，然后就可以去面见Dr Wong了，hiahia。希望xz的人们克制一点，不要丢掉了佛陀伟大的教导。
When Barabudur was rediscovered in central Java under layers of volcanic ash and jungle growth, nobody can recognize its identity, history and religious belongings. Though Buddhism has faded away centuries ago, it never been totally erased by time stream. As the Earth Goddess being witness of Prince Siddhartha’s way of Bodhisattva, Barabudur evidentially becomes a magnificent monument of the golden age of Buddhism. After a chronical archeology research, several basic architectural and historical evidences emerged from plies of sketches and Javanese literatures. There is no unambiguous written record of its intended purpose. However, according to two inscriptions of the time and found locally, one which seems to be intentionally divided into ten paragraphs, mentioned about the King Samaratungga decided to construct a religious architecture. Scholars figure out it has something related with ten stages of Bodhisattva. And the other one states that Queen Sri Kahulunan distributed the tax revenue to a shrine named Bhumisambhara, which means “Mountain of the accumulation of virtue in passing through stages.” Barabudur is built on a bedrock hill, and when viewed from above takes the form of a giant Buddhist mandala. The foundation is a square, approximately 118 meters on each side. It has nine platforms, of which the lower six are square and the upper three are circular. The upper platform features seventy-two small stupas surrounding one large central stupa. Each stupa is bell-shaped and pierced by numerous decorative openings. Statues of the Buddha sit inside the pierced enclosures.
The discrepancies between the statues are in mudras. On the four lower walls the mudras of the statues on each face differ: on the east, bhumisparsa-mudra(觸地印); south, varada-mudra(與願印); west, dhyana-mudra(禪定印); and on the north, abhaya-mudra(施無畏印). The sixty-four Buddhas of the fifth wall, above the fourth gallery, are all in vitarka-mudra(覺觀印). In the latticed stupas of the circular platforms, the seventy-two Buddhas are all in dharmcakra-mudra(轉法輪印). The unfinished Buddha found in the central stupa, finally, is in bhumisparsa -mudra(觸地印).