摘要
2000年時，侯俊明為自己訂下一年之約，他要持續的每一天畫曼陀羅。侯俊明繪製曼陀羅有其個人的儀式過程，繪製前，侯俊明通常會花一小時的時間做一段靜心，其目的是為了翻攪身心，讓自己的意識進入流動狀態。侯俊明這種翻攪身心的準備工作與藏人或榮格在繪製曼陀羅前先沉澱身心的方法頗為不同。在這一年中，侯俊明透過自己設計的準備工作繪製曼陀羅，並在長達一年的時間內嚴格的將自己限制在圓形內作畫。在本文中，筆者將指出，這嚴守界線的一年雖限制了侯俊明的創作爆發力，但他也因此看見了自己的轉圜空間，並達到了釋放與收攝之間達到矛盾的統合。從侯俊明的曼陀羅繪製經驗來看，或許曼陀羅的療癒性除了榮格所強調神聖的中心性以外，這樣的繪畫方法也具有促進彈性心理的功能。
並列摘要
In 2000, Hou made a one-year agreement for himself, and he would continue to draw Mandala every day. Hou has his own ritual process for drawing mandala. Before painting, Hou usually spends an hour doing a period of meditation. The purpose is to stir up the body and mind and let his consciousness enter a state of flow. Hou's preparatory work of disturbing the body and mind is quite different from the Tibetan or Jung's method of precipitating the body and mind before painting a mandala. During this year, Hou drew the Mandala through the preparatory work of his own design, and strictly limited himself to painting within a circle. In this article, the author will point out that although Hou's explosive power was limited during the year of strictly guarding the boundaries, he also saw his turning space, and then achieved a contradictory integration between release and absorption. From Hou's Mandala painting experience, perhaps the healing properties of Mandala are not only the sacred centrality emphasized by Jung, such a painting method also has the function of promoting resilience.