關於 art house film ，我們在網路上蒐集到這些相關的討論、資訊與評價

Selamat Hari Kebangsaan! This was one of the toughest brainstorm sessions we had to go through to come up with this idea. To come up with an inspiring story, when we were so uninspired, as our country was going through such an unstable period.

But eventually we noticed, it was always during difficult times, we see real heroes from your everyday people - that's the beauty of Malaysia. Despite all the negativity we hear everyday, the beauty of Malaysia is that Kita Jaga Kita, Rakyat Jaga Rakyat. So yeah, at the end of the day, I know we'll come out of this dark period stronger, because we got each other. Enjoy the video.

Client: Taylors (Jeremy Teo)
Production House: Imagineers Film
Creatives: Reuben Kang, Daniel Mok, Koh Chien Han
Writer: Daniel Mok
Producer: Irwin Oon
Line Producer: Sara Chew

Animation: Two People Studio
Animation Producer: Aster
Creative Director: Rong
Art Director: Matthew
Illustration & Animation: Rong, Matthew, Elaine, Soon, Jo
3D Flag Animation: Jayson

Voice Talent: Lez Ann
Music Composition: Nick Davis
Sound Design & Final Mix: Fuse Adventures in Audio
Editor: Koh Chien Han

「原来时间能让
我们从陌生到熟悉
再从熟悉变得陌生」
TofuTv 首部爱情微电影［最爱陌生人］
让我们一起加入-周四月-作战大计
［我想用七天的时间爱上你］
号外号外 🎉
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就有机会赢取 Escapades At Midhill 两天一夜的住宿
截止日期为24.7.2021
记得要like Tofu TV 和 Escapades At Midhill 的page哟！
最爱陌生人
Cast
April 周雪婷
Chia 黄亮嘉
Special performance
Ah Cai 健文
Production
Producer： Emiko Ten
Screenplay ： Emiko Ten
Acting Coach： Emiko Ten
Film Director ： Cj Ng
Ass Director： Emiko Ten | May Sing
DOP ： Cj Ng
Camera Asst : Mark Wong Wai Jie
Gaffer： Cj Ng｜ Mark Wong Wai Jie
Audioman ： JIan Wen ｜ Mark Wong Wai Jie
Art Dept： Emiko Ten
Wardrobe： Emiko Ten ｜ May Sing
Editor： Cj Ng
Communication And Promotion： Kuanyung Lee｜ Mango How
Marketing ： Aderson Ten
Theatre Version
DOP : 神拍Yuki Eyok拍拍拍
Camera Asst ： Sean Loke Chun Fei
Gaffer : Lai Wei Lun
Best Boy : Winnie Tin
MUA ：Cayreen Wong
Audioman : 林建臣
Special Thanks
Escapades At Midhill
E House Theatre And Production
Feed2U_healthy meal
Lavigato Haircare
Sulusso
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「地獄空」攝影集即將在八月中元節前出版，由知名設計師與攝影家黃子欽設計，內附在下二位高徒精美繪製符咒、心經版畫書籤、愣嚴咒牌、尊勝咒語...等，感恩十方大德助印，希望疫情退散，平安喜樂，後記如下：

野放台灣五十餘年，貪狼獨坐，三方四正殺破狼格局，少年多舛，白手起家，隨展覽雲遊四海，如閒雲野鶴常持各類底片機流連廢墟、山川、宮廟忘返，遂設幻影堂自詡堂主，一日三省「凡所有相皆是虛妄」，常宅於暗房沖片放大通宵、鍾情黑白世界之單純，彩色照片俗世繽紛花俏做作甜美甚至比現實更現實故少拍也。知天命之年有餘，了悟人生一瞬、眨眼即逝，雖非仙人，亦無道骨，初聞離垢地生清淨心，但離華嚴「不動地」尚遠，待修持也。
2017年盛暑拍畢《巨神連線》，心律不整差點心肌梗塞向閻羅王報到，意識死神隨伺在側，人生苦短，如何了生脫死、盡斷煩惱、無所罣礙、遠離顛倒……總不得解，蒙釋迦摩尼佛開示飆淚三晝夜，聞佛法數載始知自我渺如塵埃，甚感慚愧。閒暇乃參訪名寺古剎，禮敬焚香佛陀菩薩羅漢諸神天仙王爺媽娘，台灣宮廟千奇百怪、宗派錯綜複雜（佛教、道教、一貫道、天主教、基督教、齋教、回教＆大同教、儒教鑾堂、天帝教＆天德教、慈惠堂＆勝安宮、軒轅教、道院、理教、萬國道德會、會靈山……）、神棍橫行（依人不依法、偶像崇拜、斂財、邪淫），因歷史變遷、社會動盪、政治鬥爭、意識形態等因素導致佛道混雜，但地獄造景稀少，後專注拍攝各殿閻王、判官、陰司、獄卒、七爺、八爺乃至一切罪人，各寺造景巧妙、耐人尋味，意境乖張溢於言表，造型扭曲非常人所能塑也，然匠心獨運、自成一格，專研西方藝術數十載方知真誠樸拙最美，絲毫不輸喬托（Giotto di Bondone，1267～1337）乃至米開朗基羅（Michelangelo Di lodovico Buonarroti Simoni 1475 ~ 1564）矣。

創立於1986年的石門金剛宮風景優美可眺望北濱，雖主祀四面佛，儒釋道眾神尊也不含糊，可過七星橋解厄、繞行五百黝黑羅漢敲鑼印心、跪拜亞洲最大臥佛涅槃像，安太歲自不在話下，甲子太歲爺雙眼長出手掌印象甚深，1994年經閻羅王指示廟公建造一條肚內設極樂世界及陰曹地府之神龍，行走暗黑通道觸動感應機關，只見面容猙獰受刑者呼天搶地喊冤、身邊盡是血肉糢糊殘肢敗屍腦漿塗地，十殿閻羅各司其職、威儀攝人。新北市林口區青嶺湖北文紫祥宮包公廟則以壁面彩塑地獄浮雕獨步全台，粉嫩色彩搭配卡漫風格，尤為造型簡直恐怖到可愛透頂，該廟主祀森羅殿閻羅天子包拯（包青天），陽世冤屈者可至此參拜祭解，求破懸案者眾，逢中元普渡皆以紙紮船渡亡魂至彼岸，全台唯一閻羅天子巨像籌備中，四周環繞墓地，適合修不淨觀也。台灣首尊彰化八卦山大佛旁南天宮（1971）地府則是首座電動地府，規模精小但驚嚇度破表，略顯破敗但五光十色仍蠻凶悍，出自已故台南大道長金登富之作，而電動神明起始可追溯至1960年代北港朝天宮。倒是嘉義水上鄉白人牙膏觀光工廠「戴相府」、「將軍府」設置十殿地府出乎意料之外，乾淨亮麗、ㄧ殿ㄧ間、簡單樸實。由高雄蓮潭龍虎塔龍口入內可見全臺唯一交趾陶地獄牆面，尊尊栩栩如生，續入龍身乃進聞聲救苦白衣觀音大士三十三化身浮雕隧道，造型設色甚為古錐。高雄大岡山超峰寺入口處「西方三聖蓮池海會」（阿彌陀佛、觀世音菩薩、大勢至菩薩巨像）旁設靜態十殿閻羅（1970年代初），雖略為陳舊然韻味猶存，續往上行可抵「證菩提道－釋迦如來應化事迹」雕塑園區，一攬世尊畢生精華。如來年邁時，琉璃國王為報長期被釋迦族輕蔑之傲慢心，世尊雖三次單獨伽跌坐 阻擋大軍進攻之路，但因緣果報無法逆轉，昔日婢女所生王子瞋恨無以復加，還是滅了祖國。自持神通第一目犍連不忍無辜百姓慘遭屠殺，遂以缽盛救度五百族人，最終卻化為血水，佛言神通廣大仍不敵千百劫業力，因緣果報屢試不爽。其母死後墜入餓鬼道飢餓難耐，目犍連遂展神通救渡，但所食尚未入口皆化為赤火，佛陀囑咐農曆七月十五日僧眾解安居自恣日，於盆中設甘露美食供養十方僧眾，因此超度亡母。後世「盂蘭盆法會」乃至「水懺法會」、「瑜珈焰口法會 」皆為消業障、斷塵垢之超渡儀軌，既渡亡魂也自懺悔。

台南麻豆代天府規模宏大、造型豔麗，不但可遊十八層地獄尚可逛天堂（1979年興建，1983年開放)，燈光絢爛、聲響駭人，獨自漫步宛如觀落陰、地獄走一回。先過「心頭山」、入「清心池」、進「陰陽界」、抵「交簿廳」、達「鬼門關」、遊「補經所」、探「枉死城」、行「奈何橋」，至ㄧ殿泰廣王照「孽鏡台」現造惡原形，睹抱柱、火床等小地獄。二殿楚江王開「陰查簿 」判案定奪，觀糞尿泥、餓鬼、舞池、寒冰、膿血、鞭韃、舌犁、劍葉、戟腹拋接、砧截……等小地獄。三殿宋帝王刑罰為倒吊、銅鐵刮臉、挖眼、搗樁、倒烤、吸血、穿肋、抽筋、蛆蛀等小地獄……兼遊「四生（胎、卵、濕、化）回魂府」。四殿五官王掌管腰斬、拔舌、沸湯、刺嘴、剝皮、箭樹、車崩、射眼……等十六小地獄。隨五殿森羅王豋「望鄉臺」回眸親人最終眼後觀擊膝、誅心、刀山、飛刀火石……小地獄。六殿卞城王別稱「大叫喚大地獄」，轄火牛、虎啖、噬腎、鉗嘴含鍼、釘喉、磨摧、砍頭……等小地獄。七殿泰山王為「熱惱大地獄」，窺烙手指、抽腸、頂石蹲身、油釜滾烹、割舌穿腮……等十六小地獄。八殿都市王掌管「大熱惱大地獄」兼火狗、鐵汁、鐵蛇、鋸劈斷肢、釘板、灸脊、鐵丸、磅秤……等小地獄。九殿平等王直轄十八層「阿鼻大地獄」，直透地心、內中陰森、不見五指、滿溢地漿，皆為極犯，另轄紫赤毒蛇鑽孔、夾頂、鐵鴉、針雨、蜂蠍……等小地獄。至十殿輪轉王上「觀生臺」、「轉劫所八司」（查驗司 、稽善司 、考過司 、恩怨司 、壽命司 、支配司、掌劫司 、授生司）後至「孟婆亭」飲「醧忘湯」忘盡前塵往事，依前世功德過金、銀、玉、石、木、竹六種橋樑至「轉輪臺（紫河車）」入六道輪迴轉生投胎。據《十八泥犁經》記載，人過世後七七四十九天為「中陰生」，經閻羅王審判善惡業力判定去留或懲罰百千萬劫，犯五逆重罪則墮入「無間地獄（阿鼻地獄）」永劫不復。地藏王乃幽冥教主，統轄十殿閻羅，逢三曹普渡便在各殿設「講道所」超度尚存善根之鬼魂。

人類居於五趣（阿修羅、人、傍生、餓鬼、地獄）雜居地五濁惡世之堪忍世界，犯十惡業（殺生、偷盜、邪淫、妄語、兩舌、惡口、綺語、貪慾、嗔恚、愚痴）者必墮三趣惡道。如何出「三界」（欲界、色界、無色界）二十八天？凡人無此意識，別說能破「十二因緣」（無明、行、識、名色、六入、觸、受、愛、取、有、生、老死）還滅門，更別想斷除「四聖諦」（苦、集、滅、道）集地八十一品見惑與八十八使思惑（五利使-身見、邊見、邪見、見取見、戒禁取見、五鈍使-貪、瞋、癡、慢、疑），了悟「五蘊」（色、受、想、行、識）本空、「十二入」（眼、耳、鼻、舌、意、色、聲、香、味、觸、法）空、「十八界」空，破俱生我執與分別我執、法執甚至空執，生十一處「善心所」（信、精進、慚、愧、無貪、無瞋、無痴、輕安、不放逸、行捨、不害），降二十六處「惡心所」（貪、瞋、癡、慢、疑、惡見、忿、恨、覆、惱、嫉、慳、誑、諂、害、憍、無慚、無愧、掉舉、惛沉、不信、懈怠、放逸、失念、散亂、不正知），須知善根斷盡則陷永劫輪迴、無垠轉世之苦。

地獄可能空滅嗎？若地獄空乏人間多鬼怪，地獄淨空世間何嘗非淨土？若能證空性何處現地獄？

地獄曠古來便廣泛流傳各部族間，老死生滅為自然運行之基礎、宇宙意識之核心，然今文明昌盛如咱城邦並非慾望消弭之所，惡性所及實無可根除，礙於憲法國家法律社會軍隊企業公司學校家庭團體之層層束縛不亞於十八層，乃遁於壓抑、束己情懷，暗埋心底、日久貪嗔痴慢疑怨噌會疊穢。而六塵未熄，心多妄念，妖魔鬼怪魑魅魍魎孤魂閃靈出沒於荒郊乃至人間，會靈於曠野密林以增性靈乃出世高人修煉之舉，我等凡人擅闖宛如迪士尼般之人造地獄，三魂七魄尚不足以出竅，驚邪恐怖淒厲猙獰倒滿足了自以為是的慚愧，豈不謬哉？

病毒肆虐年半有餘，全球確診者逼近一億八千萬，枉死者近四百萬，堪比戰爭規模，望眾生發慈悲心、令往生者安息、善待其他物種、平等有情眾生。地獄本空，唯妄念生起一切羨慕嫉妒恨而地獄現前。盡以此書作為世界新冷戰獨裁者、超限戰者、暗網駭客、陰險狡猾冷嘲熱諷落井下石者之良知備忘錄矣。

姚瑞中寫於2021年端午節

Postscript

I have been living recklessly in Taiwan for more than fifty years. According to Zi Wei Dou Shu (Purple Star Astrology), Tan Lang is the sole star in my house of Self. This star, which represents xxx, forms an equilateral triangle with that star Qi Sha and Po Jun on the square chart and constitutes a Sha Po Lang pattern. The pattern indicates a kind of turbulence and change, a life of wandering with ups and downs and it tells a lot about my life. After my ill-fated youth, I started from scratch and traveled around the world with exhibitions that I participated. Like a flaneur, I wandered around ruins, nature, and temples with every type of film camera obliviously. Thus, I founded the Hall of Illusion and claimed to be the master of the hall. Several times a day, I pondered a quote from the Diamond Sutra, “Everything with form is unreal.” In addition, I usually stayed in the darkroom developing film and enlarging those negatives overnight. However, I treasured the simplicity of the black and white world. The earthly, gaudy, garish, phony and pleasing qualities within colored photos make the images even more realistic than the real world. It is not my cup of tea, so I seldom took colored photos. In Confucian thought, the age of fifty marks the stage knowing the mandate of Heaven. I am now at my fifties and realize how ephemeral human life is. However, I am not an immortal, nor having sagelike characteristics. I just learned that the stage of stainless (the second bhūmi) and develop a pure mind that is free from doubt and defilement. However, I’m still far from the immovable state and need to practice.

In the summer of 2017, after filming the work Incarnation, I experienced a severe heart rhythm problem which almost triggered myocardial infarction and could have killed me. Consequently, I realized that death was waiting for me and the life is too short to figure out how I can liberate myself from the cycle of Birth and Death. I couldn’t comprehend how to be free from all afflictions and worries and how to avoid delusive ideas. I wept for three days and nights after being enlightened by Shakyamuni Buddha. Up to the moment, I felt ashamed that I failed to realize that the self is as insignificant as dust after these years learning and practicing Buddhism. Since then, I have visited famous temples and monasteries in my spare time, worshiping Buddha, Bodhisattvas, arhats, and all the deities and immortals. Taiwan’s temples are myriad with a enormous number of sects, including Buddhism, Taoism, Yiguandao, Catholicism, Christianity, Chinese religions of fasting, Islam& Baháʼí Faith, Confucianism, Tiandiism& Tian-De Teachings, Xiwangmu cult, Yellow Emperor Sect, Precosmic Salvationism, Liism, World Wide Ethical Society, séance cult, etc. Some people even claim that they can mediate communication between the deities or spirits of the dead with human beings, having their believer rely on themselves instead of the orthodox dharma or dogma and pay excessive respect and admiration for the mediums or objects, accumulating wealth through such an unfair means or even harassing their believer sexually. Due to Taiwan’s historical changes, social turbulence, political struggles, and ideological issues, Buddhism and Taoism are somehow mixed. However, there are few emphases on the concept of the hell. As I took photographs of Yama of each court, judges, wardens of the underworld, jailers, General Fan and Hsieh (the ghost escorts) and all sinners, I found few temples cleverly created hellish scenes that are intriguing, exaggerating, and extraordinary. However, the creations are unparalleled unique. I have been studying Western arts for decades and then I came to realize that simplicity makes the most beautiful works of art. These hellish scenes can even compete with works of Giotto di Bondone (1267-1337) and Michelangelo Di lodovico Buonarroti Simoni (1475-1564).

Jingang Temple Shimen District, founded in 1986, overlooks the beautiful North shore. Although the temple is mainly dedicated to Phra Phrom (the Thai representation of Mahabrahma), spirits of Confucianism, Buddhism, and Taoism can also be founded in the temple. The worshipper can go cross the Seven Star bridge to relieve bad luck, walk along the five hundred arhat statues and knock on the gong to affirm one’s Buddha nature. Furthermore, the worshipper can also prostrate themself before Asia’s largest statue of Buddha in Nirvana (the Reclining Buddha statue) and pacify the Taoist Tai Sui deity of the year. I was impressed by the Jia-Zi Tai Sui General that a pair of palms grow out of his eyes. In 1994, the biō-kong (the person taking charge of the temporal affairs of a temple) received a divine inspiration from Yama (the King of Hell) that he had to build a sacred hall in the shape of a divine dragon, with the interior designed according to the World of Ultimate Bliss and the Underworld. When the visitor walks in the dark hallway, they will see the tortured people (dioramas, of course) scrunching their faces and crying bitterly and loudly in excessive grief as the visitor triggers the mechanism. One will even find them in the midst of flesh, body liquid and blood, mutilated limbs, and rotten corpses. While each of the ten Yamas are focusing on their own duties, showing their sacred dignity that collect visitors’ attention. The Baogong Temple in Linkou District, New Taipei City exclusively features colorful depiction of hellish scenes in relief in Taiwan. With its pastel shades and cartoon-like style, the relief is both grotesque and adorable at the same time. This temple is dedicated to Bao Zhen (also known as Justice Bao) representing the incarnation of Yama. Living people who have been treated unjustly can come worshipping Bao Gong and receive exorcism. Therefore, many people come here for seeking to solve unsolved cases. In Zhongyuan Festival (the ghost festival), the temple will burn the Zhizha (paper craft) boat to ferry the ghosts to the other shore, which is the shore of enlightenment. The only giant statue of Yama in Taiwan is still in the making. The temple is surrounded by a cemetery, suitable for meditating on the loathsomeness and impurity. Nantian Temple (1971), located next to the Eight Trigram Mountains Buddha in Changhua, features the first animatronic underworld. Despite the small size, the animatronic underworld is intensely shocking. Though it’s slightly worn, the colorful dioramas are still brutally ferocious. The creator was the late venerable Dao Zhang (Taoist priest) Jing Deng-fu while the origin of animatronic deities can be traced back to the 1960s Beigang Chaotian Temple. On the contrary, the Whiteman Toothpaste Tourism Factory in Shuishang Township, Chiayi, features ten Yamas with individual booth. The place is unexpectedly clean and polished yet keeps a simple and modest tone. Then, the Dragon Pagoda of the Dragon and Tiger Pagodas at Lotus Lake in Zuoying, Kaohsiung, holds the only relief of hellish scenes made of Kochin ceramic. All the figures are vivid and life-like. If one goes further into the pagoda, they will see a relief tunnel of the thirty-three incarnations of the white-robed form of Guanyin (Avalokiteśvara) on a white lotus, with a lovely and interesting design. Another Hall of Yama is built in the 1970s next to the entrance of Dagangshan Chaofeng Temple, located in the Alian District of Kaohsiung. Visitors will also see three statues of the Three Holy Ones of the Western Pureland (Amitābha, Avalokiteśvara, Mahāsthāmaprāpta) which assemble at a lotus pond. Although the hellish scene looks somewhat antiquated, you may still find its previous charm. If one goes further, they will reach the sculptural garden of “Attaining the Bodhi Way: the Incarnation of Sakyamuni Buddha,” where the visitor can see the essence of Bhagavato’s (meaning the Blessed one, one of the common epithets for Buddha) life. When Tathāgata (another epithet for Buddha) was old, the king of Kosala wanted to avenge the arrogance of the tribe of Shakyas who had long despised him, regarding him as a son of a maiden. Although Buddha has sat in lotus position alone three times to stop the army from attacking his tribe. However, one can never reverse the cause and following karma. The prince born of a maiden was so furious that he eventually destroyed his homeland. Maudgalyāyana (one of the Buddha’s closest disciples), who is said to have had supernatural abilities that surpassed the other disciples, could not bear to see the slaughter of innocent people. Thus, he saved five hundred people of his tribe with a pātra (an eating utensil of Buddhist monks). Unfortunately, everything he did was in vain, those who were saved eventually turned into a puddle of blood. The Buddha said that the supernatural abilities cannot surpass the power of karma. The cause and effect work all the time. When Maudgalyāyana’s mother fell into the path of hungry ghost, he used his supernatural abilities to save his mother from hunger. However, all the food turned into fire before being fed to his mother. Later, the Buddha commanded the monks to put nectar and dishes in a basin on the 15th day of the seventh month in the lunar calendar for the monks from all directions to free his mother from reincarnation. In later times, the Ullambana Dharma Service, the Compassionate Samadhi Water Repentance, and the Yoga Collection for Feeding the Searing Mouths Dharma Service are rituals to eliminate karmic hindrance and to cease to worldly delusions. Through such practices, one can free the dead as well as confess their repentance.

Madou Daitian Temple is a magnificent and colorful temple in Tainan. Not only can the worshippers visit the eighteen levels of Hell but also the Heaven (it was built in 1979 and inaugurated in 1983) here. The lighting and sound effects are stunning and frightening. When walking alone in the space, one may feel like taking a Guan Luo Yin trip (a Taoist necromancy which leads people’s spirits to hell and communicate with the dead ones) to visit the underworld prison. Before arriving the first court of the underworld, the visitor will walk through the Mountain of Heart Summit, the Pure Heart Pond, the Frontier between the Living and the Dead Realms, the Soul Registry Hall, the Portico of Demons, the Center for Complementary Teaching of Canonical Books, the Citadel of Premature Death, and the Bridge of Vanity. When one arrives at the first court, they will see King Chin-guang, who is in charge of the court, using the Mirror of Retribution to show the earthly form of evil creatures and also witness the sub-hell of Pillar-Holding and Fire Bed, etc. At the second court, King Chu-jiang collates the register of sins the souls of the dead have committed to impose the punishments. Here, you will see the sub-hell of Excrement and Urine, Hungry Ghost, Burning Dance Floor, Ice, Pus and Blood, Whipping, Tongue-Raking, Sword Blade, Stomach-Piercing, Chopping, etc. Next, the dead at the third court, ruled by King Song-di, will receive the punishments including inversion tortures, face-skinning with steel and copper knife, eye-wrenching, pounding, blood-sucking, rib-piercing, roasting, tendon-taking, being eaten by maggots. The visitor can pay a visit to the Palace of Soul-Resuscitation for the Four Forms of Creatures (birth from an egg, birth from a womb, birth from moisture, and birth by transformation). King Wu-guan is in charge of the fourth court. There are sixteen sub-hells at the fourth court including Waist Chop, Tongue Removal, Boiling Pond, Mouth-stabbing, Skin-peeling, Sword Tree, Burning Wheels and Cart, Eye-shooting, etc. Next, at the fifth court, sinful souls are allowed to ascend the Tower of Hometown-Viewing to take a final look of their family. The visitor will witness sub-hells of Knee-striking, Heart-slicing, Blade Mountain, Flying Swords and Burning Stones, etc. The King of Bian City takes charge of the sixth court, which is also known as the “Great Hell of Screaming,” with sub-hells including Fire Cattle, Tiger-Biting, Kidney-Eating, Mouth-Poking, Throat-Nailing, Iron Mill, Decapitation, etc. The King of Tai-shan is in charge of the seventh court, the “Great Hell of Heat and Fire.” The sixteen sub-hells at this court include Finger-Searing, Bowel-Hauling, Stone-Bearing, Boiling Oil, Tongue-Removal and Cheek-Piercing, etc. Next, the King Du-shi is in charge of the eighth court, the “Great Hell of Intense Fire and Heat,” and the sub-hells including Fire Dogs, Molten Iron, Iron Snakes, Dismemberment, Steel Spikes, Burning-Marrow, Iron Ball, Scale, etc. The ninth court is ruled by the King Ping-deng. It is known as the biggest court, Avici Hell (the Hell of Incessant Suffering), which if the lowest level of the hell realm and the interior is gloomily and terrifyingly dark. Those who committed the most serious evil deed will be sent to the Avici Hell. Sub-hells such as Poisonous Snake, Brain-Removal, Crow-Gnawing, Raining Needles, Wasps and Scorpions are included at this court. After arriving the tenth court, ruled by the Great King of the Reincarnation Palace, one can visit the “Observatory of Life on earth” and the “eight bureaus of the Reincarnation Palace” (including the Bureau of Judicial Control, the Bureau of Good-Actions, the Bureau of Bad-Actions, the Bureau of Debts, Gratitude, and Vengeance, the Bureau of Longevity and Destiny, the Bureau of Familial Ties, the Bureau of the Reincarnated, and the Bureau of Birth). The sinful one will be sent to the Pavilion of Mengpo and made to drink the Soup of Forgetfulness to forget all past affairs. According to the sinful one’s merits of previous life, they will go across one of the six bridges (gold, silver, jade, stone, wood, bamboo) to the “Reincarnation-Wheel (Wheel on the Crimson River).” Finally, one is able to reborn in the six realms. According to the Aṣṭadaśa nāraka sutra ( the Eighteen Hells Sutra), after one passes away, they will enter an intermediate and transitional state between death and rebirth, known as antarābhava in Sanskrit, for forty-nine days. The being will be evaluated by Yama, who will decide if one should get reborn or get punished at the hell. Those who committed the Five Grave Offenses (killing one’s father, killing one’s mother, killing an Arhat, shedding the blood of a Buddha, and creating a schism within the community of Buddhist monks and nun who practice for attaining enlightenment.) will be sent to the Avici Hell and stay there eternally. Kṣitigarbha is the Lord of the Nether World, ruling the ten court of Hell. The lord will set up the “Hall of Teaching” at each court to salvage those sinful ones who still obtain few merits at the offering rituals.

Human beings live the Sahā world (sahāloka in Sanskrit, meaning “endurance of suffering,” a concept of mundane world in Mahāyāna Buddhism) where they share with other reincarnations (including beings of the hells, of the preta, and of malevolent nature spirits) with five turbidities (the Kalpa turbidity, the view turbidity, the affliction turbidity, the living beings turbidity, and the life turbidity). Those who commit the ten evil deeds (killing, stealing, adultery, lying, using immoral language, slandering, equivocating, coveting, anger, and false views) must fall into the three evil paths (animals, preta, and hell). However, how can one escape from the three realms/ twenty-eight heavens (including the six heavens of the desire realm, the eighteen heavens of the form realm, and the four heavens of the formless realm)? Worldly people who don’t have such an awareness cannot leave the cycle of the twelve nidanas (meaning causes or motivations), let alone eliminate the eighty-one afflictions (that have been produced due to misunderstanding regarding reality) and the eighty-eight illusions (including five afflictions of advanced practitioners, also known as five views: view of self, extreme view, evil view, view of attachment to views, and view of morality; and five unintelligent temptations: desire, anger, stupidity, arrogance, and doubt) of thought within the three realms and four Arya satyas (noble truths, including suffering, arising, ending, and path). They cannot realize that the essence of the five skandhas (referring to aggregates of clinging, including the matter of form, sensation, recognition, mental formation, and consciousness) , the twelve ayatana (meaning sense base, including six internal bases: eye, ear, nose, tongue, body, and mind and six external bases: visible objects, sound, odor, taste, touch, and mental objects), and the eighteen dhātavah (meaning compositional elements of human existence, including six consciousness, six faculties, and their objects) are the emptiness and the void. Furthermore, they cannot dispel the two reasons for clinging to the idea of the self and the attachment to elemental constructs and even believe in the two (false) tenets that that karma and nirvana are not real and that the ego and phenomena are real. As a consequence, they fail to develop the eleven wholesome mental factors (faith, energy, conscience, being ashamed, non-attachment, non-aggression, non-delusion, calmness, equanimity, conscientiousness, and non-injuriousness) and cease the sixteen unwholesome mental factors (desire, greed, anger, delusion, arrogance, doubt, wrong view, wrath, enmity, hypocrisy, vexation, jealousy, parsimony, deceit, flattery, harming, ambitiousness, stupidity, lacking of faith, idleness, being unrestrained, forgetting, distraction, non-discernment, ). One must bear in mind that once all our virtuous roots are discontinued, they will be trapped in the never-ending reincarnation and the suffering of infinite continuity.
Is it possible that the hell will be empty one day? If the beings in hell will become extinct while evil spirits inhabit the mundane world, the world could be considered as a pure land. If we could witness the nature of the void, then hell will exist no more.
Since ancient times, the concept of hell has been widely spread among all tribes. Aging, death, beginning, and end are the basis of nature and the core of cosmic consciousness. However, the prosperous civilization as our island is not a place where desire can be eliminated. It’s impossible to eradicate evil nature. Since fetters brought by the constitution, the state, the law, society, the military, corporations, schools, families, and groups are not less than the eighteen levels of hell, the mortals repress themselves, bury their feelings. Day after day, greed, anger, stupidity, arrogance, doubt, and resentment are stacking. However, since the six dust (visible objects, sound, odor, taste, touch, and mental objects) has not yet been extinguished, people in the mundane world are still full of delusions. The demons, devils, evil spirits, and the wondering dead exist in the wilderness, while only advanced practitioners with transcendent would attempt to make contact with the dead in the wasteland and forest. Worldly people like us trespass in Disneyland-like man-made hell. It is absurd and ridiculous that the hellish scenes cannot stop us from perpetrating evil deeds, but the horrific and cruel scenes yet satisfy our self-righteous shame.

The pandemic has been boiling over for more than a year and a half. The number of infected patients worldwide is nearly a hundred and eighty million, and the death toll has risen to four million, which is equivalent to a war crisis. I hope that we can all be compassionate, give peace to the dead, treat all sentient beings well and equally. The hell is innately empty; however, deluded and misleading thoughts would give rise to all jealousy and hatred and then manifest the hell before us. This book merely serves as a memorandum of conscience for dictators of the world’s new cold war, supporters of unrestrained warfare, dark web hackers, and those who are cunning and contemptuous and maltreat others when knowing they have problems.

June 2021,

Yao Jui-chung

光良首部執導MV作品

. ...- . .-. -.--

遺失了自己，要到哪裡去找回那個「我」？

如同被世界遺棄。
因為每一個「我」，即是世界的起點。

將「勇敢」裝入行囊，出發一趟，素顏修行的孤獨旅程。

-.-. .... .. .-.. -..

光良 x 李欣芸 x 鄭興
鍍金團隊量身打造 突破框架全新光良

金馬金曲雙金製作人李欣芸，詞曲創作來自曾入圍第 29 屆金曲獎「最佳新人」、「最佳國語專輯」、「年度專輯」三項大獎的新銳才子鄭興，為光良量身打造，卻造就蛻變後的全新光良。

收歌階段，光良一聽DEMO就愛不釋「耳」、「一聽鍾情」，並未更改任何歌詞與編曲。聽起來像是跟內心的自我聊天對話，光良是這樣跟歌曲作品相處的。

勇於突破框架的光良，將慣有的光式唱腔與技巧放下，全權交予製作人李欣芸打磨。脫去熟悉的框架外衣，光良和李欣芸在錄音室中做起「聲音實驗」，研發出「耳語式」唱腔，伴隨董運昌的吉他行進跳躍，讓李欣芸讚賞不已。

量身打造，但不墨守成規。

以柔不克剛，驚濤柔浪，耳語般的光式溫潤力量。
光良的聲線，陪伴風浪與驚慌的，那份孤寂不安。

.. ...

出道26年下海執導首部MV
金鐘獎廣告才子 訂做光良專屬劇情

〈雨中的讚美詩〉是光良第一部自導自演的MV作品。曾連續入圍4次廣播金鐘獎廣告獎，並於2018年奪得金鐘肯定的廣告才子李霖松（林北阿松），將MV劇情核心，鎖定光良的生命歷程，以及體悟，作為故事骨架和血肉。

創作發想的初衷，繫縛於「你是作者，你就是作品」的心意，訂做專屬於光良的敘事體例，以及獨特的光式溫度。

按圖索驥，縫合光良想說的故事線索，想傳達的心意訊息，拼圖成畫，構築成〈雨中的讚美詩〉MV的情緒、氣味，乃至隱而不說的，那份超越語言的心領神會。

出道26年的光良，面對詮釋歌曲、執導MV，總是懷抱一顆新人的赤子之心，虔誠看待創作的未知可能性。MV大膽找來新銳YouTuber「微醺北藍」擔任拍攝團隊，共同攜手創作，光良最想傾訴，貼近生命對話的語彙。

訂做光良專屬劇情，實情是每一個人的對號入座。

光良的心意是，每一個人聽到的同一首歌，都會想起不一樣的事情，都會有自己的故事、自己的散文、自己的詩篇。

這是《絕類》這張專輯、〈雨中的讚美詩〉這首歌，期盼帶給每個人心中最大的觸動。

.- -.

〈雨中的讚美詩 Hymn of Rain〉

曲詞 Composer & Lyricis：鄭興 Leon Zheng
製作 Producer：李欣芸 CinCin Lee

怎麼會 遼闊的天空竟變成一片海洋
我竟然 沒曾想過有一天竟上了孤獨的當
怎麼會 沈默的應對 這世間的風浪
還能惹上 溫柔的 無解的 難堪的謊

別跟著我回家
我弄丟了我的她

窗外雨聲已經越來越大 回不去了

想問問漂流的船 何時能靠岸
是不是一到傍晚 就會特別 孤單

想問問天上的神靈 雨何時會停
請讓我為你唱詩 為灰色的天 畫一顆懸日

想問問勇敢的人 何時能到達
掙脫了愛恨情仇 還是覺得 害怕
想問問天上的神靈 哪裡有星星
請讓我為你唱詩 唱讚美的詩
假裝我還是 剛出發的孩子

.- .-. - .. ... -

音樂製作 Music Production

製作人 Producer｜李欣芸 CinCin Lee
曲詞 Composer & Lyricist｜鄭興 Leon Zheng
編曲 Arrangement｜李欣芸 CinCin Lee
木吉他編寫Acoustic Guitar Arrangement｜黃國晏 Kuoyen Huan
木吉他 Acoustic Guitar｜董運昌 Yun-Chang Dong
電吉他 E. Guitar｜徐振程 Jason Hsu
鼓 Drum｜高飛 Adriano Moreira
錄音師 Recording Engineer｜Andy Baker
錄音助理 Recording Assistant｜徐振程 Jason Hsu
錄音室 Recording Studio｜玉成戲院錄音室 YuCheng Cinema Studio
混音師 Mixing Engineer｜Andy Baker / 程馗 Kuei Cheng
混音室 Mixing Studio｜玉成戲院錄音室 YuCheng Cinema Studio
製作助理 Production Assistant｜陳一涵 I Han Chen / 鄭慶萱 Shannon Cheng

//

MV製作 MV Production｜微醺北藍SD Studio

出品/ 監製 / 藝人經紀 Published by / Artist Management｜星娛音樂有限公司 XYmusic Ltd.

出品人 Publisher｜孔勝民 Sam Kung
藝人經紀執行 Artist Management Executive｜陳柏軒 Paulsam Chen / 游欣翰 Hans Yu
標準字設計 Typography Design｜陳柏軒 Paulsam Chen
平面側拍 Photography｜陳柏軒Paulsam Chen
動態側拍 Behind The Scenes｜游欣翰 Hans Yu

導演 Director｜光良 Michael Wong
第一副導 1st Assistant Director｜蘇美如
第二副導 2nd Assistant Director｜李霖松 Ahsong Li

編劇 Script writer｜李霖松 Ahsong Li

主要演員 Starring｜光良 Michael Wong / 廖沁悅 Troy Liao
特別演出 Special Appearance｜美股米（めぐみ）

——

製片人 Producer｜李霖松 Ahsong Li
執行製片 Line Producer｜文捷
製片組 Production Team｜江健銘 / 陳奕淇
選角指導 Casting Director｜蘇美如

髮型 Hairstylist｜張慈惠 Eva Chang O+ Studio
造型指導 Costume Designer｜郁萍 Yu Ping / 陳八比 Barbie Chen （米兔皇造型工作室）/ 陳柏軒 Paulsam Chen
美術指導 Art Director｜陳柏軒 Paulsam Chen

攝影指導 Director of Photography｜鄭智勇 Davil Tzy
跟焦員1st Assistant Camera｜陳凱權 / 胡晉瑋
第二攝影助理2nd Assistant Camera｜藍嘉祺 / 陳璿任 / 徐亞崴 / 鄭哲安

燈光師 Gaffer｜劉本淵Ben Lau
燈光大助 Best Boy Electric｜梁敦學 / 陳陽
燈光助理 Electrician｜柯家昌 / 陳雅芸 / 蔡鎮宇 / 曾賀陽

空拍師 Aerial Photography｜艾爾文（艾爾影音製作 AL Productions） @Alvinist / 艾爾文的生活紀錄
空拍助理 Aerial Assistant｜徐正杰

後期製片 Post Producer｜鄭智勇 Davil Tzy
剪接 Editor｜鄭智勇 Davil Tzy
調光 Colorist｜鄭智勇 Davil Tzy

攝影器材 Camera Equipment｜妄想機影音製作 Mirager Production House
燈光器材 Lighting Equipment｜貞寶企業有限公司 ZBTS Film Studio

特別感謝 Special Thanks｜
花蓮縣秀林鄉公所 凱鑫山莊
來來早餐店 慶祥商號
財團法人紀念殷海光先生學術基金會
好好租車（萬隆店）
劉幼娟

-- .. -.-. .... .- . .-.. ... .- .. -..

光良：

這首歌對我來說，它沒有一定要找到一個答案。
很多時候，我們聽歌，不是聽現在的自己。
有時候是聽某一個感觸。
一個你很久沒有跟它聊天的，那一個感觸。


// 數位平台

星娛音樂 // Apple Music // Spotify // KKBOX // MyMusic

光良全新專輯〔絕類〕實體購買
星娛音樂：http://www.xymusic.com/goods/view/id/...
博客來：https://reurl.cc/GVZ6jd
佳佳唱片：https://www.ccr.com.tw/goods/388807
星娛微店：https://reurl.cc/xDdVAE

#光良導演 #鄭興 #雨中的讚美詩

由小伙子到大丈夫，如今阿達和 CK 已當上爸爸了。
當初那個在父親膊上安躺熟睡的男孩，如今也到了成為別人肩膊的年歲。
當我們由「兒子」過渡成為「父親」，
可能還是不太成熟，可能還是會慌張失措。
但這個新角色令我們體會到以往父親的責任與承擔。
偶爾伴隨而來的不安，也有過往那雙強大的肩膀給我們勇氣。
每個爸爸在孩子前或許就會化身為一雙強大的肩膀，
對抗世界紛擾，擋風遮雨，再不渺小。
送給每位成為了爸爸的小伙子。

《波板糖》MV 請來二度入圍台灣金曲獎最佳音樂錄影帶獎項的導演 Birdy 邱柏昶執導，並由實力派演員隆宸翰、黃湘婷和《親愛的房客》內備受觸目的童星白潤音演出了這個感人的MV作品。樂隊畫面則由導演喬力(Q)操刀在香港完成拍攝。首次採用這種跨地域合作的方式，十分感激兩地團隊的配合。

➤ 歌曲現已上架各大平台
https://smarturl.it/SUPPERMOMENTPAPA

➤ 全新大碟《Everything Is You》
一切都是你 • 一切也取決於你
13首全新樂章 12/22 正式發行

➤ Instagram: http://www.instagram.com/suppermoment
Facebook: https://www.facebook.com/suppermoment
Patreon: http://patreon.com/suppermoment

➤ Song Credits
Written by Supper Moment
Arranged by Supper Moment, J1M3
Produced by Bert, Supper Moment
Programming by Supper Moment, Bert & J1M3
Chorus by Benny King, Coey Young, Jan Curious, Joyce 鄭欣宜, Lo/o & 吳林峰
Chorus and backing vocals arranged by Supper Moment & Bert
Additional editing by 子通
Production Assistant: Gary Tsui
Studio Engineers: Jamie Tam and Lee Ho Ming
Digital Editor: Bhushan M Govilkar
Drum Technician: Fung @TechForm Music
Mixing engineer: Matthew Sim
Mixing assistant: Jonathan Sim
Mastering: Aria Mastering

➤MV Credits
樂隊畫面拍攝 Band Scene Crew
導演 Director | Q
副導演 Assistant Director | Fishball
攝影師 Director of Photography | Quinton Wong
燈光師 Gaffer | 花生
攝影助理 Camera Assistant | Ming

製作公司 Production｜鳥兒映像製作有限公司 Birdy Productions.
導演 Director | 邱柏昶 Birdy Nio
演員 Cast | 黃湘婷 Sharon Huang、白潤音 Run Yin Bai、隆宸翰 Chris
導演助理 Director Assistant｜蔡幸伶 Hsing Lin Tsai

製片團隊Production Team｜光影哲學設計有限公司 GuangYing Production Co.
製片 Producer | 李光哲 Jay Lee
執行製片 Line Producer | 張丁文 Davis Jang
製片助理 Production Assistant | 蔡雅筑 Ya Chu Tsai

攝影指導 Director of Photography | 陳趾麟 Joe Chen
攝影大助 First Assistant Camera | 張育甄 Eugene Chang
攝影二助 Second Assistant Camera | 葉辰威 Yeh Chen Wei、陳韋鈞 Paul chen
攝影器材Camera Equipment | 用力拍電影有限公司 TO GO FILM CO.

燈光師 Gaffer | 粘峻嘉 Nien chun chia
燈光大助 Best Boy Electric | 林晏均 Yan Chun Lin
燈光助理 Electrician | 廖孟晉 Liao Mong Jin
燈光器材Lighting Equipment | 妄想機影音製作有限公司 Mirager Production House

美術指導 Art Director | 何景意 Ching Yi Ho
美術助理 Art Department Assistant |梁修銘 Siou-Ming Liang、巫書維 Shu Wei Wu

造型師 Costume Designer | 郭芳慈 Dafa Kuo
妝髮師 Hair & Makeup | 謝睿玄 Jacob Xie

剪接師 Editor｜謝佩芬 Summer Sha
標準字設計 Font Design｜盧冠瑾 Gwen Lu
錄音室混音師 Recording Engineer | 林傳智 Lin Chuan Chih
錄音工作室 Recording Studio｜家裡錄音
調光室 Color Grading｜時間軸影像製作有限公司 Timeline Studio
調光師 Colorist｜馮鈞稜 Justin Feng
專案管理 Post-production PM｜陳映芳 Ying Fang Chen

女人配音 voice actor | 謝倩婷 Miko Tse
群眾演員 Extras |
空姐：黃媛恩 Rebecca Huang、陳芷蘋 Chih Ping Chen
公園玩伴：周法甜 Faten Chou、呂元賀Terry Lu、胡詠富 Bruce Hu
玩伴父親：李維 Josh Lee

#波板糖 #EverythingIsYou #SupperMoment #PAPA

Fujii Kaze - "Seishun Sick"


[Cast]
Fujii Kaze
MOO
SUGURU
Keigo Okazaki
HOSHI
KIEN
YO


Directed by Tomokazu Yamada

Director of Photography : Hyogo Mitsuoka

Camera Chief : Fumiya Takahashi

Camera Assistant : Gaku Sato

Steadicam Operator : Takuma Iwata

Drone Pilot : Moritaka Sunagawa

Drone Camera Operator : Kendou Yatsugi

Lighting Director : Ryuto Iwabuchi

Lighting Chief : Yuki Ogawa

Lighting Assistant :
Shun Kaneko (AND FILM STUDIO OKINAWA)
Motoki Ohshiro (AND FILM STUDIO OKINAWA)

Art Designer : Naomi Iwase (R.mond)

Art Assistant:
Tomoyuki Hamada
Saya Arakaki

Sprinkler : Hidehiko Taira (Heisuisangyou)

Driver :
Masaki Maeda (and indy)
Tetsuya Kono
Takayuki Tamaki (Ugoku Soko)
Kazuhiko Tamamoto (Ugoku Soko)
Soichiro Higa (CREW)

Casting :
KO IWAGAMI (KAIJU INC.)
YOKO YAMASHITA (KAIJU INC.)

Production Staff in Okinawa : Ryo Fujisawa (Office FJ)

Location Coordinator : Tadashi Uezato (Ta-c Location Office)

Hair & Make-up : Haruka Miyamoto

Stylist : Dai Ishii

Stylist Assistant : Bunpei Matsumoto

Title Design : Rak (TM INC.)

Colorist : Toshiki Kamei (Cutters Studios Tokyo)

Online Editor : Ryosuke Ichikawa (MARUNI STUDIO)

VFX : Takanori Nakamura (CONNECTION)

MA Mixer : Tomoaki Yokota (MARUNI STUDIO)

Assistant Director : Akari Eda (Tokyo Film)

Production Manager : Yukari Itabashi (SEP)

Production Staff :
Yusuke Namiki (SEP)
Eimi Murata

Producer : Hazuki Hasegawa (SEP)



☆ 2020.12.11(fri) DIGITAL RELEASE『Seishun Sick』EP
https://fujii-kaze.lnk.to/SeishunSick
¥750(tax in) UK1AA-00472

1. Seishun Sick
2. Teenage Dream（piano arranged cover）
3. Good As Hell（piano arranged cover）
4. Circles（piano arranged cover）
※M-2,3,4 Downloads Only


☆ 2020.12.04(fri) DIGITAL RELEASE『Hedemo Ne-Yo』EP
https://fujii-kaze.lnk.to/HedemoNe-Yo
¥750(tax in) UK1AA-00463

1. Hedemo Ne-Yo
2. Just the Two of Us（piano arranged cover）
3. Sunny（piano arranged cover）
4. Sorry（piano arranged cover）
※M-2,3,4 Downloads Only



iTunes Store: https://itunes.apple.com/jp/artist/%E8%97%A4%E4%BA%95-%E9%A2%A8/1486113150?app=itunes&at=10I3LI&ls=1
Spotify: https://open.spotify.com/artist/6bDWAcdtVR3WHz2xtiIPUi
YouTube Music: https://music.youtube.com/channel/UCxjfYUXFwmjUCGHMeBri5_w
Amazon Music: https://music.amazon.co.jp/artists/B0819FY3KC?ref=dm_sh_e043-549a-9e40-b221-a1efe
LINE MUSIC: https://music.line.me/artist/mi0000000011ec3db5

Official APP: http://c-rayon.com/fujiikaze/
Official site: http://fujiikaze.com/
Instagram: http://Instagram.com/fujiikaze
twitter: https://twitter.com/FujiiKaze



Seishun Sick
Written by Fujii Kaze
Prod by Yaffle

Recording & Mixing Engineer Masahito Komori
Recording Engineer Daishi Iiba(birdie house)
Recorded & Mixed at ABS RECORDING STUDIO
Mastering Engineer Tsubasa Yamazaki
Mastered at EELOW

Drums Leon Yuki
Electric Bass Naoki Kobayashi
Electric Guitar DURAN
Percussion Takashi Fukuoka
1st Violin Rina Odera
2nd Violin Sayuri Yano
Viola Mikiyo Kikuchi
Cello Yuki Mizuno
Wurlitzer Electric Piano Fujii Kaze


青春の病に侵され
儚いものばかり求めて
いつの日か粉になって散るだけ
青春はどどめ色
青春にサヨナラを

ヤメた あんなことあの日でもうヤメた
と思ってた でも違った　
僕は 自分が思うほど強くはなかった
ムリだ 絶ち切ってしまうなんてムリだ
と思ってた でも違った　
僕は 自分が思うほど弱くはなかった

君の声が 君の声が
頭かすめては焦る
こんなままじゃ こんなままじゃ
僕はここで息絶える

止まることなく走り続けてきた
本当はそんな風に思いたいだけだった
ちょっと進んでまたちょっと下がっては
気付けばもう暗い空　

青春の病に侵され
儚いものばかり求めて
いつの日か粉になって散るだけ
青春はどどめ色
青春にサヨナラを

そうか 結局は皆つながってるから
寂しいよね 苦しいよね
なんて 自分をなだめてるヒマなんて無かった

君の声が 君の声が
僕の中で叫び出す
耳すませば 耳すませば
何もかもがよみがえる

止まることなく走り続けてゆけ
何かが僕にいつでも急かすけど
どこへ向かって走り続けんだっけ
気付けばまた明ける空

無常の水面が波立てば
ため息混じりの朝焼けが
いつかは消えゆく身であれば
こだわらせるな罰当たりが

切れど切れど纏わりつく泥の渦に生きてる
この体は先も見えぬ熱を持て余してる
野ざらしにされた場所でただ漂う獣に
心奪われたことなど一度たりと無いのに

青春のきらめきの中に
永遠の光を見ないで
いつの日か粉になって知るだけ
青春の儚さを…