Aerial photo of Wah Yan College shown in The Star 1977 saw the stained glass of Jesus Christ and Mary Magdalene was already installed.  

鮑博　創天地-正氣歌

Approaching the school along La Salle Road is the decorative wall fence. The motif is the Christian Cross. Many people look between the cross beams to watch the activities on the Track and Field.

The School Crest, by the artist Mr. Borboa, is prominent on the gable wall of the school.

You will notice a young tree, a sapling, along the pavement. It is now a healthy young tree. It reminds us of one of St. John Baptist de La Salle's words to the teachers that they should "cultivate these young plants".

Mural of St. La Salle and Children

Location : Wall of La Salle College facing La Salle Road

Artist : Francisco Borboa

This mural is another of Mr. Borboa's masterpieces. It depicts St. La Salle in an elongated form, stretching towards the sky or heaven or the stars. In his left hand he holds an open book, a symbol of education.

At the base is a large group of children following La Salle as he leads them onward and upward.

Education is the means to become better persons in this life and in the next.

In 2004, the mural disappeared with the demolition works connected with the school extension. However, a replica was made and now adorns the wall of the new Brother Aimar Wing, facing La Salle Road.

Stained - Glass Windows

Location : Brothers Chapel, La Salle College

Artist : Francisco Borboa

 The two main themes in these windows are the Sermon on the Mount and the Last Supper. They were completed in 1979 in time for the opening of the new school building.  They are best viewed in early morning or late evening. They show the unmistakable touch of the artist, Mr. Borboa.

Stations of the Cross

Location : Brothers Chapel, La Salle College

Artist : Francisco Borboa

 The stations are subtly etched in black on to square wood panels. The Passion and Death of Jesus is depicted in the traditional 14 stations but Mr. Borboa adds a 15th with the Resurrection of Christ.  Any one or all stations lend themselves to meditation.

Mosaic Mural of Old School

Location : Old Boys Room, La Salle College

Artist : Francisco Borboa

 Our prolific artist, Mr. Borboa, is a renowned mural artist. He had this one done in 1979, ready for the opening of the new school.  The mural covers the south wall of the room and has an immediate and impressive impact on entry. The facade of the old school with its majestic dome, is lovingly depicted.  The Old Boys Room is surely a fitting home for this piece of art.

St. Lawrence’s Church looks like a school from the outside, but a school with stained glass windows. The image of St. Lawrence performing charity work on the outer wall highlights the exemplary life of the saint.

聖老楞佐堂的外貌好像一所學校，一所有顏色玻璃窗的學校，聖堂外牆的聖老楞佐善行圖徽突顯聖人的芳表

這幅偌大的復活耶穌鐵框畫，現時置懸掛在聖歐爾發堂（1977年3月27日落成祝聖）聖所內的正前面牆壁上。這畫作兩旁的牆壁，則置有十四處苦路鐵框畫，帶出耶穌以死亡救贖人類，並以復活打開人類永生的大門。

Following the government’s new town project in Shatin, new housing estates were developed in Lek Yuen, Wo Che, from Tsang Tai Uk to City One Shatin, bringing massive increase in population and new members to the Church.  As the capacity of Sacred Heart of Jesus Church was quickly being exceeded, the Diocese sought assistance from the German bishop so as to build a new church.  With the generous donation of the members of the church in Essen Diocese, a new church in memory of a canonized German bishop was constructed.  The new church, named St. Alfred’s Church, was blessed by Bishop John Wu on 27.3.1977.

隨著政府將沙田發展為新市鎮，建成今天的瀝源、禾輋，以及由曾大屋至沙田第一城一帶的屋苑。人口激增，受洗加入教會的人也 顯著增加，原聖心堂的聖堂便不敷應用。1966年，新蒲崗的伍華書院落成，李安諾神父知道那是由德國的教友捐獻建成的，於是他便和主教商量，向德國的主教請求幫助，為沙田建築一座新聖堂，規模足以應付新增的教友人口。德國的主教答應了這要求，新聖堂由德國埃森(ESSEN)教區的教友捐助而成，捐助者要求以一位德國主教聖人為名，新聖堂遂命名為「聖歐爾發堂」(St.Alfred's Church)。聖心堂於1974年拆卸，在原址興建一座新的聖堂。在建築期間，堂區租用沙田銅鑼灣安定台一住宅單位作為臨時辦事處及神父宿舍，主日則借用聖母無玷聖心 幼稚園舉行彌撒聖祭。聖堂於1977年3月27日，由胡振中主教祝聖及揭幕。

The church was built during the implementation stage of Vatican II liturgical reform. Inside viewInfluenced by the new theological thinking, the internal arrangement and liturgical practice of the church provided immense room for innovation.

It was opportune that St. Alfred’s Church was designated as testing ground for liturgical reform by the Diocese. Indeed, in many ways, the church was the pioneering example of its kind.

The church is oriented with its chancel facing east, conforming to the age-old tradition of receiving the light of the rising sun: an allegory to Christ as the true light that saved the world. Unfortunately, within the crowded space of the inner city, such an ideal disposition is hard to come by for later church buildings.

Mounted on the main façade of the church, are two wire-frame sculpturesOf particular interest is the position of the altar. It is placed at the centre of the church, with pews arranged facing it in parallel rows in different directions, in order that all participants are seated facing the altar in devotion. At the end of the Eucharistic prayers, members of the congregation line up in front of the altar to receive the body and blood of the Lord.

Flanking the main entrance, mounted on the main façade of the church, are two wire-frame sculptures: to the left a depiction of Christ preaching the gospel of the kingdom of Heaven and, to the right, the miracle of the multiplication of bread, as testimony of God’s love towards mankind and a sign of the sacrament of the Holy Eucharist.  The two sculptures give the message to passersby that the church is a place for communion with God: here, within the walls of the church, worshippers listen to the Word and reflect on their faith, sharing the body and blood of Jesus and receiving the grace of salvation.

歐爾發堂的建築期間，正值梵二之後禮儀改革的時期，聖堂的內部擺設和禮儀，在新的神學思想下，帶來很大的創新空間。聖堂最特別的是置於聖堂的中心，跪凳緃向排列，各人都可面向祭台敬禮

聖歐爾發堂適逢其會，被教區欽點為禮儀改革的試點，因此，聖堂在許多方面，都令人耳目一新。

聖歐爾發堂坐西向東，取面向太陽，迎接光明之意。因為耶穌是照世的真光，面向高升的陽光，便有迎接救世真光的意思。

但是其他聖堂在城巿擠迫的空間裏，難以沿用這安排。

聖堂最特別的是祭台的位置。祭台置於聖堂的中心，跪凳縱向排列，各人都可面向祭台敬禮，神父在祭台上主持聖祭體後，信友就排列在祭台前領受主的體血。

聖歐爾發堂外牆上的兩幅鐵框畫聖堂大門的外牆上，為強調聖堂的神學意義，也有兩幅鐵框畫，左邊的是耶穌宣講天國的福音，右邊的是耶穌以五餅二魚的聖蹟顯示天主對人的愛，並作為聖體的預像。兩幅鐵框畫向路過的人表示，聖堂是與天主溝通的地方，可以在此聆聽聖言，作信仰的反思；聖堂也是分享耶穌體血，得沾救恩的地方。

Work on St Joseph’s Church began in 1871, and the new church was consecrated on 20th November 1872. It was destroyed by typhoon in September 1874 and subsequently rebuilt. After being in used for more than 90 years, the church became dilapidated and was reconstructed for the second time in 1968.

The outer appearance of the church is like a ship, a reference to the church’s mission as a barge to salvation.The outer appearance of the church is like a ship, a reference to the church’s mission as a barge to salvation. Facing Garden Road, the ship’s prow is adorned with a cross and a round opening that looks like an eye. The hull of the ‘ship’ is in light blue, with three parabolic arches lined with golden borders. The relief sculpture of St. Joseph in the middle is shown carrying a saw in his drooping left hand. Wavy lines inside the three decorative arches give the impression that an industrious carpenter is working on board. The stern faces Cotton Tree Drive, adorned with the same ‘eye’ and cross.

Inside, the theme of the three decorative parabolic arches with golden borders is repeated. Inside the middle arch is a painting of Jesus, in the left, St. Joseph and in the right, the Virgin Mary. Under illumination, the bulging pillars on both sides of the altar appear to spin like huge axles, as if the church is transformed into St. Joseph’s own workshop.

Behind the altar, on the back wall, are serial murals by Mexican artist, F. Borboa, depicting New Testament themes: to the right, the Annunciation to Mary, the angel appearing to Joseph in his sleep, the wedding of Joseph and Mary; on the left, starting from the innermost, Simeon holding the Infant Jesus, Joseph taking Mary and Jesus on the flight to Egypt, the Child Jesus preaching in the Temple.

Inside a chapel, by the side of the baptismal font at the rear wing of the church, is a wood sculpture of Filipino Saint Lorenzo Ruiz, 1600-37. He was one of the nine Dominican missionaries who were martyred in Nagasaki, Japan, during the time of the Tokugawa shoguns (circa 1633-37).

Standing at the exit to Garden Road is a slender white wooden pole, on which is inscribed “Hong Kong Wishes Peace to the World and Mankind.”  It is meant to be a message of blessing that every worshipper coming out of St. Joseph’s Church is happy to bring to the world.  Located at one corner of the parking lot is the grotto of Our Lady of Lourdes. Water flows from the feet of the Virgin Mary, symbolising life. The lilies grown on one side are a symbol of St. Joseph.

聖若瑟堂於1871年籌建，1872年11月20日祝聖。它曾在1874年9月遭受颶風摧毁而重建。經過九十多年的使用後，聖堂十分殘破，因此，在1968年時完成了第二次的重建工程。

聖若瑟堂的外貎，就像陸上的一艘船，喻意教會普渡眾生的使命。對著花園道的船頭，有十字架和酷似眼睛的圓洞。船身呈淺藍色，有三個拋物線形鑲有金邊的裝飾拱。中央聖若瑟浮雕左手下垂拿著一把鋸，右手曲在胸前拿著鐵鎚，旁邊的兩個裝飾拱則有玉簪花浮雕。三個裝飾拱內都有波浪形的線條，給人的印象是一位在船上勤懇勞動的工匠。船尾對著紅棉路，同樣有十字架和眼睛。

聖堂內，正祭台後的主牆又再重覆三個拋物線形鑲有金邊的裝飾拱，中央的拱內是耶穌畫像，左邊的拱內是聖若瑟，右邊的拱內是聖母瑪利亞。祭台前兩側的凸肚圓柱，在燈光下驟眼看去像兩支在轉動的巨大轤轆，聖堂就像是聖若瑟的工場。

祭台後牆上兩側的連環故事壁畫由墨西哥鮑博先生（F.Borboa）創作：祭台右邊描繪著天使宣佈瑪利亞的使命、若瑟得天使報夢、若瑟與瑪利亞成婚；祭台左邊由外向內是司祭高舉嬰孩耶穌、若瑟帶領瑪利亞及耶穌逃難埃及、耶穌十二歲在聖殿解經。

在教堂後方聖洗池小堂側的另一小堂內，供放菲律賓聖人魯衣士（Lorenzo Ruiz 1600-1637）的木刻像，他是十七世紀的殉道教徒，與其他九位道明會士和六位教徒在日本長崎於德川幕府時代（約1633年至1637年間）殉道。

聖若瑟堂於花園道的出口處樹立了一支白色的細小而長的木柱，上面寫著“香港祝願世界人類和平”。這應是每一位從聖若瑟堂出來的信眾所樂意帶給世界的祝福。教堂外停車場的一角，設置了露德聖母洞，聖母像腳下有流水，象徵生命，旁邊種了玉簪花，是聖若瑟的標記。

Borboa的畫配以若望福音4：14 中 “誰喝了我賜與他的水， 他將永遠不渴； 將在祂内成爲湧到永生的水泉。” 

洗禮池的後方，有一幅闡釋洗禮精義的彩石鑲嵌畫，由墨西哥原創畫家鮑博Francisco Borboa所繪畫。彩石畫在1969年建堂時已立在聖堂後方，在聖堂外會看見透光的十字桇。畫像的左上方，是新天新地耶路撒冷；是天主與人同在的地方，喝著生命的水（默21:1-7） 。右上方，是耶京城外基督祭獻自己的加爾瓦略山。山上立著十字架，一道血水之河，流入約但河中。河水中，身著白袍、頭頂光環受洗的耶穌，正高舉雙手，仰天祈禱與奉獻。約但河中的水，和聖洗池中的水，連成一氣；而基督救贖犧牲的寶血，則流向祭台，成為聖體聖事。這也呼應了聖金口若望所言：「從耶穌肋旁，流出血和水。血，流成聖體聖事；水，流成聖洗聖事。」在這畫的中央，由透明光亮的彩色玻璃構成一個十字形，勾畫出鴿子俯降的形象，象徵聖神降臨。彩繪畫像恰當的表達基督徒入門聖事的精要：基督徒救恩的源頭是耶穌救贖的犧牲，耶穌受洗揭示自己天主子的身份，藉著祂，人才可以認識父，得到永生（若17:3）。

A printed  poster with the  drawing of Borboa in Sacred Heart Kindergarten, Hong Kong (photos by John Tam) 

創天地

Pancho Borboa tells of his peculiar career, at age 90, the former Jesuit priest continues to work on large projects.

Ruben Aguilar Valenzuela

June 11, 2013, 8:12 pm

A Mexican painter in China

The new pastoral center in Taipei will have a 12-meter steel and mosaic mural with the theme Jesus and his disciples, which will be made by a 90-year-old artist of Mexican origin, Francisco Borboa Valenzuela, who took about 40 years to complete. he realized that his was painting and married life and not the priesthood.

A LONG, LONG JOURNEY

Francisco Borboa was born in San Juan Bautista, California, in 1923, and grew up in Los Mochis, Sinaloa. In 1948 he embarked to go to China with the Society of Jesus. Five years earlier he had entered the novitiate of San Cayetano, in Santiago Tianguistenco, State of Mexico.

In Beijing he began studying Chinese, but as Mao Tze Tung's guerrillas advanced from the north, the superiors of the order sent the students to Shanghai and from there to Wuhu.

That year they wintered in front of the Yangtze River and when Mao's troops invaded the region, Borboa and his companions were sent to Shanghai again. Days later, the Chinese Communists seized power and founded the People's Socialist Republic of China in 1949.

The Jesuits-in-training left China in 1950. By train, to Tienshin, by ship to Hong Kong, and by ship to Manila, where, as they did not have a visa, the President granted them permission to enter the Philippines.

The students go to the Chabanel Hall, the philosopher of the Society of Jesus installed in what was a concentration camp for the Japanese prisoners of the Second War. Of that alma mater, Borboa recalls that it was a corridor made of boards about 100 meters long and 2 meters wide, on the sides of which were two rows of corrugated and oxidized sheeting.

Upon finishing his studies in philosophy in 1953, Borboa was sent as a professor (a teacher, it is said among the Jesuits) to the Ateneo de Cagayán, in Oro City, north of the island of Mindanao. At the end of the magisterium, he began theology and in 1957 he was ordained a priest.

In 1958, the stage that the Jesuits call the third probation began, in Hiroshima, Japan. In 1960 he was assigned to Taichung, in Taiwan, where he worked in a Jesuit publishing house, Kuang Chi Press.

START THE PATIENCE TEST

In 1962, Francisco (Pancho) Borboa, after 19 years of belonging to the Society of Jesus, decided to leave it and asked the Roman Curia to be dispensed from the priesthood. It was up to the order to accept his departure from religious life, but only Rome could decide the priestly dispensation.

Shortly after, the still Father Borboa, but no longer a Jesuit, traveled from Taiwan to Hong Kong. The twin-propeller plane lands at a rustic airport.

Brother Oualet goes to meet him and with courage, with a jerk, rips off his clergyman's collar. They transfer him to the offices of the Procuratorate of the China Mission and there his manager, Father Germain, sends him to live at the YMCA, but first he asks him: how much money do you need? Borboa replied: I don't know. From Taiwan he has only brought his crucifix, his Breviary and a couple of T-shirts.

At that moment, the Jesuit who had just left the Society of Jesus said that two very nice things happened to him. One is that he meets with the Jesuit Fathers Günter, Austrian, and Parisi, Italian, his professors of theology and philosophy in Manila, who were going to Rome and offering to present his request for a priestly dispensation at the Congregation of Religious, of the Roman Curia. , where they had contacts.

The other beautiful thing is that he could support himself with little jobs (some drawings) and with a monthly check for $ 1 a day that the bishop and superior of the Swiss Betlemite Fathers of the Jua Lien mission sent him from Taiwan. Borboa, by then, was living, in Shatin, across the mountain from Lion Rock, in Kowloon, Hong Kong.

After a year came the reply from Rome: Petitio sine fundamento (Petition without foundation). They leave me where I am, says Barboa.

One fine day, says Pancho, Father Pieraccini, the one in charge of delivering the bishop's check, calls him and says: Monsignor Caprio, internuncio from Taiwan, is passing through Hong Kong, on his trip to Rome, to attend the Second Vatican Council and wants to see you. What he takes advantage of to request, once again, my priestly dispensation. A year later, back from Rome, he brought me the news that my case would be settled very soon.

THE WOMAN WHO BURNED HER SHIPS

Pancho, by then, already had a resident visa in Hong Kong. He decides, then, to write to Ana, whom he had met in Taichung, Taiwan, when she was a teacher at Providence College, to propose to her.

He thought the dispensation from the priesthood was imminent. She - says Pancho - burned the ships like Cortés and flew to Hong Kong on a one-month visa, to marry a resident. Ana stayed at the house of a neighbor awaiting the arrival of her father. But her father did not come, nor did Roma respond, recalls Pancho.

In the third month, Ana received a summons: Either she gets married or she goes back to Taiwan.

So Ana and I went to church and in front of the Blessed Sacrament we promised to get married, but to live as little brothers until my priestly dispensation arrived so that we could get married in the Church. Then they went to court and got married in civil matters.  For the house, next to the train track, we bought some second-hand furniture and we equipped a very cute, but very poor nest. We put curtains and from the same canvas we made covers for the wooden boxes such as sofas and a tablecloth for the rustic table. The house had two little rooms, and Ana slept in one and me in the other.

In those days, the Mexican missionary Miguel Pardinas SJ was passing through Hong Kong, who visited the couple and taught them how to cook fish. They were both tired, says Pancho, of frying chicken wings. On that occasion, Miguel gave Ana a wool sweater, which she later exchanged for two cheaper ones.

In 1966, Father Granelli, says Pancho, called me at his residence at Colegio La Salle, of which he was chaplain, and told me with paper in hand: Your dispensation has arrived by sea and later on he asks me when do you want to get married? . I replied: Tomorrow. So, remember Pancho, Ana and I promised each other eternal love before Father Granelli. She was wearing a mantilla and a little white dress. Everything was in secret and without witnesses.

Later, Pancho and Ana bought a three-bedroom apartment and a garage, which they arranged very nicely, and called it Borboa Inn.

His guest room was busy all the time, because at that time many who had been Pancho's companions began to leave the Society of Jesus, arriving, he says, in their diapers in Hong Kong. We would pick them up at the airport and take them to our little house.

One of them was the great Jesús Domene (Chuy) [...] expert in Chinese, Italian, English, French and Spanish. Later he was Ambassador of Mexico in Korea, Russia, Thailand and Australia.

One day we left Chuy at the apartment and went to Taiwan, to make peace with Ana's family and deliver some little work (drawings). When we got home, Chuy asked us to go down to the garage so we could see our horse, which was an English Mini Cooper, 9th hand, which he bought for us as a gift.

THE ARTIST AND HIS WORK

Pancho establishes, in his already very long artistic career, two very interesting moments. The first places it in 1985, when an exhibition takes place at the Cabañas Cultural Institute in Guadalajara.

At that time, the Director of Museography was Javier Torres Ladrón de Guevara, who had been a Jesuit. Pancho says that when he saw the material he brought from Hong Kong, he set aside three rooms for the exhibition. 70 paintings were presented in Chinese style watercolor and water-ink. When cutting the opening strip, almost all the paintings had their red speck of sold out. The Institute staff had gone ahead to buy the paintings. In the end - recalls Pancho - we sold more than 80 works.

The other big occasion took place at the Cardinal Tien Catholic Hospital exhibition in Taipei, Taiwan. While Ana and Pancho were hanging the work dedicated entirely to Jesus of Nazareth, two very distinguished ladies approached who passed by admiring the work, although much of it was not yet hanging.

At that moment - says Pancho - I see that they address Ana and me, who were having coffee in the hospital corridor, and they tell us point-blank:? We bought everything from them? [??] were fervent Protestants, they had come to visit the mother-in-law of one of them and wanted to build a church dedicated to Jesus.

Pancho's first individual exhibition was of mosaic paintings and it was presented in Hong Kong in 1972. Later he has exhibited in Manila, Taipei (it is where he has exhibited the most), Guadalajara, Mexico City, Bilbao, Madrid, Los Mochis, Santander and Taichung.

Pancho's work also includes vignettes for various printed editions. And in recent years he has done murals. At the end of 2012, he made a large mural at the entrance of the new building of the Taipei Major Seminary; the theme is the Service (Jesus washes Peter's feet) and it is 10 meters high. Right there, on the outside of the building, he made a steel mural that is a stylized cross and the theme of the Eucharistic Jesus, 8 meters high.

At the beginning of 2013, he installed another mural in the seminary made of acrylic painted tile with the theme Fire I have brought to earth and what do I want but to burn (Luke 12:49). At the end of these works, he decided to give away, as a pylon, a 3-meter mural for the seminary's dining room. Pancho, at 90 years old, continues to work intensely. He recently presented the design of the large mural for the Taipei Pastoral Center, the theme of Jesus and his disciples.

Filed in:  ENTERTAINMENT PRINTED ART AND IDEAS LATIN AMERICAN ART ART IDEAS AND PEOPLE

輔仁大學醫學院國璽樓

嘉義教區境內，有一間堪稱全台灣最美麗的馬賽克（彩石鑲嵌）教堂－－嘉義市忠孝路聖奧斯定天主堂。

這座聖堂馬賽克（彩石鑲嵌）藝術品的作者是知名的藝術家Mr. Francisco Borboa（在聖堂的彩石上還有三個印有中譯名鮑步雲的磁磚），當時委託其協助興建的是教區的畢耀遠神父。

教堂座落於嘉義市忠孝路和新生地下道的路口，耐斯松屋對面。嘉義市忠孝路515號。

Mr.Francisco Borboa的作品在世界各地教堂藝術中受到尊崇，近年的作品包括香港灣仔聖母聖衣堂的聖所壁畫及苦路都是他的作品。

1962年聖堂落成，曾經是美軍顧問團及眷村的聖堂，也曾經是外籍勞工朋友感受家庭溫暖的聖堂。曾幾何時，因為改建及道路拓寬，破壞了原來的美貌，近年，更曾經成了景仁幼兒"藝術"學園的倉庫（那兩個字很諷刺吧），實在是令人痛心疾首。於前年九月我們開始透過網路活動公開呼籲促請開放，有一千多位網友上網呼應。然而，至今只在此辦過屈指（單手）可數的曇花一現型公開性活動之後又銷聲匿跡。當時所承諾願意重新開放作為牧民福傳用途，仍未能實現。

我想，無論是在此成長的信友，或是興建聖堂的老神父，服務過此聖堂的神父修女，或是藝術家Mr. Francisco Borboa，或是稍稍對藝術建築有點偏好的人士也好，看到我們教會是如此對待一所藝術建築物的，真不知情何以堪啊！

不才小弟如此期許，在教會教長們大肆宣揚口湖老教堂重生的同時，可否回頭看看這藝術建築物聖奧斯定堂呢？只有你們的決策，才可以幫她重生。讓這個聖堂成為一個可以令人駐足欣賞的場所，一個祈禱的場所；別再只是個關著大門的倉庫或閒置的空間！

耶穌撒種圖 - 「上承天糧，下播佳禾」的大壁畫，啟示著每一個曉明人：要本著對蒼天的信賴，接受生命的洗禮，並熱誠的散播愛和智慧的種子。