释延参

延参法师，字明超，号糊涂山人。当代著名禅师，佛教文化著名学者、作家。河北省沧州市佛教协会会长，河北省佛教协会常务理事，沧州市水月寺住持，邯郸市蟠龙寺住持，景州开福寺名誉方丈，天津南开画院名誉院长，当代著名书画僧，政协委员。一九八八年披剃出家，得法于佛教天台宗正宗第四十六代传人，正宗临济禅宗传人，曹洞正宗传人，座下弟子400多人，遍布全国各地，为推动佛教事业的发展壮大，作出了很大贡献。曾著书《苦心菩提》、《问心集》、《水月集》、《念佛集》等。

 释延参，佛学造诣颇深，禅风俊朗，精通禅理，道行高尚，韵致不凡．他一贯奉行"尊重生命，传播宽容，坦然人生，开心生活"的中心思想．为人风趣幽默，待人接物和蔼可亲，在谈笑中，便把人生的哲理、处世的态度，诠释的淋漓尽致，既为人指点了迷津，又使人享受了丰富多彩的妙语音声．

释延参，文学造诣也相当深厚，法师运用自己的文学才华，很巧妙的把佛教的思想和精神，通过文字得以体现了出来．他的诗词文章，将修证悟入的禅理以澄澈的笔致吟咏，语意高峻，波澜层出，余味无穷，具有自在无碍的构想和强烈的艺术魅力．它绝不是突现突灭的海中沤，而是寓道的精品，中国佛教文学的瑰宝．他诗中超然的妙语，顿悟的禅理，心行处灭，言语道断，自在自然，不假拟议，如空中之音，相中之色，水中之月，镜中之像．空灵、恬淡、清静、和睦、智慧深睿、独辟蹊径。

释延参，自幼研习书画，就学于多位书画名家，善书行、草、写意；多年从事佛教教学工作，弘法利生，勤耕不辍，著作等身；一九九七年至二00六年分别在山海关、沧州、德州、本溪、沈阳、大连、长春、唐山、天津、烟台、五台山等地举办个人书画展二十多次，均获圆满成功．为推动佛教文化的发展和传播，做出了巨大贡献，延参法师非常热心公益,多年来，他的书画收入多用于资助失学儿童和特困学生，以及社会慈善公益事业。

 一九八八年剃度出家，得法于佛教天台宗正宗第四十六代传人，正宗临济禅宗传人。座下弟子200多人，遍布全国各地，为推动佛教事业的发展壮大，作出了很大贡献。

　　延参法师是河北省沧州市佛教协会会长，河北省佛教协会常务理事、副会长，沧州市水月寺住持。邯郸市蟠龙寺住持，景州开福寺名誉方丈，天津南开画院名誉院长，当代著名书画僧、政协委员。

　　1996年2月来到了石家庄正定临济寺，被方丈聘为临济寺的堂主。

　　1997年7月恰逢香港回归，为了纪念这一历史性的时刻，成功举办迎接香港回归庆典书画展。受到有关领导和大众的喜爱，1997年受景县有关领导和信众的邀请，开始复建景州开福寺；1998年5月，被聘为天津南开画院名誉院长。

　　1998年，因为南方遭遇50年一遇的罕见水灾，延参法师和其他书画家急国家之所难，积极投入抗洪救灾，领导书画家举办书画义展，筹措救灾款项。从此，便开始了在全国各地市举办书画展，普及书画教学，弘扬传统文化的工作。

　　1998年8月，去看望营口楞严寺方丈圆山上人，为天台宗46代传人。

　　1998年，创办沧州市水月寺。

　　2001年至今，积极投入创办河南佛学院工作，为弘扬佛教文化艺术，培养佛教文化艺术人才投入紧张而有序的工作。

　　2002年3月，当选沧州市运河区政协六届委员。

　　2003年，非典时期，发动群众积极投入抗击非典的活动。

　　2003年4月，当选河北省佛教协会常务理事。

　　2004年10月，成立沧州市佛教协会，当选为沧州市佛教协会会长。

　　2005年7月，创办佛教文化网络，积极宣传宗教政策，弘扬传统文化，弘扬社会和谐，努力促进社会的不断稳定和发展。

　　2007年3月，当选沧州市运河区政协七届委员。

　　2008年1月，积极投入中国南方冰雪灾害的慈善救助。

　　2008年3月，当选沧州市政协九届委员。

Master Yanshen, with superb words, is a confused Shanren. He is a famous contemporary Zen master and a famous scholar and writer of Buddhist culture. The chairman of the Buddhist Association, the executive director of the Buddhist Association, the abbot of Shui Yue Temple, the abbot of Panlong temple, the honorary abbot of Jingfu Kaifu temple, the honorary Dean of the painting academy, the famous contemporary painting and calligraphy monk, and the CPPCC member. In 1988, he became a monk by shaving. He was inherited from the 46th generation of Tiantai orthodox Buddhism, Linji Zen orthodox Buddhism, Cao Dong orthodox Buddhism, and more than 400 disciples were present all over the country. He made great contributions to the development and growth of Buddhism. He has written books such as Painstaking Bodhisattva, Collection of Inquiries, Collection of Water and Moon, Collection of Nianbuddha, etc.

Interpretation of Buddhism is very profound. Ka Toshiro, who is proficient in Zen theory and noble in way and noble in character, has always pursued the central idea of "respecting life, spreading tolerance, being frank and happy." People enjoyed the colorful and beautiful voice.

Yan Shen's literary attainment is also quite profound. The wizard used his literary talent to ingeniously embody the spirit and spirit of Buddhism through his writing. His poems and articles embodied the Zen theory with clear strokes, high language, high levels of language, endless aftertastes, unobstructed ideas and strong artistic charm. The essence of Chinese Buddhism literature, the transcendental witty words in his poetry, the Buddhist doctrine of Epiphany, the destruction of the mind, the freedom of speech, and the freedom of nature, are not false, such as the voice of the air, the color of the match, the moon in the water, the image in the mirror.

Xie Yan Shen, who studied calligraphy and painting since childhood, has studied many calligraphy and painting masters. He works well in calligraphy, grass, and freehand brushwork. He has been engaged in Buddhist teaching for many years, and has made great contributions to the teaching of Buddhism. He has been writing all over the body for years. From 1997 to two, 00 years and six years, he held personal calligraphy and painting exhibitions for more than twenty times in such places as In order to promote the development and dissemination of Buddhist culture, Master Yan Shen was very enthusiastic about public welfare. Over the years, his income from painting and calligraphy was mostly used to support out-of-school children and students in special poverty, as well as social charity and public welfare.