生前為住屋問題煩，死後為骨灰龕煩。
本人決定，死後不排隊等上骨灰龕位。
把我的遺體火化成灰，撒入大海最好。
要不，當肥料撒入泥土中也不錯。
一直認為，拜山只是一種單方面的思念行為。
你掛念至親，覺得他去了，可是靈魂還在，因此會知道你去拜祭他、想念他，亦認為他會保護你。
但不是有說，人死如燈滅嗎？
信基督的話，人死後靈魂要不上天堂、要不下地獄，再來就是所謂的煉獄，甚至是靈薄獄limbo（Nolan 寫Inception 時的limbo 靈感我想根本就是來自神學）。
信佛的話，自然就是輪迴了。
可能你在那邊廂點香給他，他已經在地球另一個角落再世為人，當個幼稚園學生上學去。
其實，把骨灰留作來幹麼？只是為了安撫未亡人的心情吧。
不要為一個小小的龕位花十萬元了。不要讓發死人財的生意人賺錢。不要為已過去的人與事勞心勞力。
環保一點，撒下泥土，化作春泥，至少死後仍然這世界作出最後一分力。
4 則留言:
聽說,蒙古牧民的信仰中沒有像耶和華像穆罕默德像釋迦牟尼般的偶像,但他們心存敬畏,敬天敬地,因為天地養人...他們不重視人死後的軀體,死後軀殼只隨意埋掉,不選地不立碑,即使帝王亦如是...一個傳說,說道,他們會在埋葬先人的地方殺一只駱駝羔兒,讓血酒在那兒,一天當子孫思念先人希望拜祭時,會領著母駱駝四處尋找,當母駱駝嗅到羔兒的血酒過的地方時會悲鳴流淚,於是,子孫們便可以知所以拜祭,關鍵是,母駱駝死後,先人便真正可以麈歸塵土歸土了...一個洞悉的民族。
Frank
你寫了我一直想寫，但唔敢寫的東西，敬佩，敬佩! 同意同意!
frank，長知識了! 多謝
茶怪: 你寫的話應該比我寫得更好。 :)
看到妳的網誌緣於：
收到朋友傳來一輯Yann Arthus-Bertrand的攝影作品，很喜歡。事實上，在香港電視上，不時會有機會看到Yann Arthus-Bertrand的作品"6 billion others"，於我而言，是一個不可多得的節目，雖然每一段都很短，但感受很深 ...
... 5,000 interviews were filmed in 75 countries by 6 directors who went in search of the Others.
From a Brazilian fisherman to a Chinese shopkeeper, from a German performer to an Afghan farmer, all answered the same questions about their fears, dreams, ordeals, hopes ...
有關 6 billion others, Yann Arthus-Bertrand這樣說：
Everything began with a helicopter breakdown in Mali. While I was waiting for the pilot, I spent a whole day talking with one of the villagers. He spoke to me about his daily life, his hopes and fears: his sole ambition was to feed his children.
I suddenly found myself plunged into the most elemental of concerns. He looked me straight in the eyes, uncomplaining, asking for nothing, expressing no resentment or ill will.
Later, I dreamt of understanding their words, of feeling what linked us. Because, from up there, the Earth looks like an immense area to be shared. But as soon as I landed, problems emerged ...
至於 6 billion others 攝製的背後 ...
• A common questionnaire, to begin with. Forty or so questions, revised during the first interviews, begin with the things that affect the lives of all of us: family, love, happiness. But also the things that divide us: war, certain values or beliefs.
• Next, a common framework: each face is filmed in an identical manner: centred, vertical full frontal shots.
• A common approach: The equipment chosen is also relevant to our desire for intimacy. A light camera, a stand, two wired microphones: each reporter can manage the sound, image and conducting of the interview on his own. When filming, he tries to make the meeting as intimate and personal as possible, bringing out its unique character.
frank
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