Borboa
in Hong Kong & Macau
Works of Mexican mosaic artist, Francisco Borboa in Hong Kong & Macau
馬賽克藝術家 鮑博 在港澳地區的創作
Embedded Files
香港 Hong Kong
喇沙書院 La Salle College, Hong Kong / 喇沙小學 La Salle Primary School
喇沙書院 La Salle College, Hong Kong / 喇沙小學 La Salle Primary School
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".
La Salle College 1979
La Salle Primary School, 1971
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.
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.
This mural is unfortunately about to disappear form view because of the extension to La Salle College in 2003-2005.
(2002/05/16) Mr. and Mrs. Borboa's visit
Mr. and Mrs. Anna and Francisco Borboa visited La Salle College and Bro. Patrick presented them with a souvenir. The association of Borboa with La Salle Primary and the College dated back to 1970. Bro. Patrick showed the Borboa's work in the Brothers Chapel on 5th floor.
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.
Borboa's works were featured in The Gateway = Hong Kong Lasailian Family Bulleten in 2012
The Tabernacle
The Tabernacle
Brothers Chapel, La Salle College
Artist : Francisco Borboa
The tabernacle contains the sacred hosts and therefore the Real Presence of God.
The artist uses coloured mosaic tiles to depict loaves of bread in a basket, a chalice full of wine and a bisecting cross.
The inscription reads HIC EST which are the first two words of the Latin ‘HIC EST ENIM CALIX SANGUINIS MEI’, or ‘This is the cup of my Blood’, words used at the Consecration in every Mass.
Calligraphy Mosaic
Location : School Chapel, La Salle College
Artist :Francisco Borboa
Another of Mr. Borboa’s works, the letters in both English and Chinese are etched into two marble slabs. The first message is the great commandment of Christ:
Love Others As Yourself and in Chinese 愛人如己
And the other comes from St. Paul’s letter to the Romans (12:21):
Overcome Evil with Good and in Chinese 以善勝惡
These are two beautiful mottos to live by.
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.
Stained Glass Windows
Location : School Chapel, La Salle CollegeArtist : C. H. Champigneulle, Paris
This beautiful stained-glass window was commissioned by the Brothers for the dome-roofed chapel at La Salle College Hong Kong. The inscribed date is 1931. When the old La Salle College building was demolished in 1979, this was one of the heritage items preserved and it now graces the chapel in the new building.
The window is divided into 3 main parts. To the left, as you view, is St. John Baptist de La Salle projected as leading Chinese children to God through prayer and education. To the right is St. Francis Xavier leading Japanese children to God through prayer and preaching.
The centrepiece depicts the Risen Lord triumphing over the Cross and waiting to welcome his children home. The borders are decorated with angels, spirals and stars. The title for the piece, written in Latin, is "Adveniat Regnum Tuum" translated to mean our desire that God's Kingdom will come into our world.
Location : Foyer of La Salle Primary
Artist :Francisco Borboa
This mural may also be entitled Teacher of Teachers. The original, facing La Salle Road, was installed in 1971 and unveiled 3rd March 1972 by no less than Brother Charles Henry, the then Superior General. The replica was installed in 2004 and unveiled by Brother Victor Franco, General Councillor, on 27.3.2004
The lower left segment depicts the great master of Chinese philosophy, Confucius, along with his disciples. In the background are the peaks of Quilin and an ocean, symbolising China.
The lower right segment depicts the great Master of modern pedagogy, John Baptist de La Salle, seen teaching his Hong Kong disciples the Christian philosophy of life. In the background is the silhouette of the old La Salle College building and Hong Kong Island harbour-view.
At the centre of the mural is the figure of Jesus Christ, the Master of Masters, with his divine message of the love of God for human kind. He opens his arms embracing the world. His cross is a triumphant cross, promising a resurrection.
Mosaic Mural
Location :La Salle Primary School
Artist:Francisco Borboa
Mr. Borboa, the well-known artist loves God the Creator and all his creation. This mural is the artist's attempt to show how the world was created. The huge hand is the hand of God from which the big explosion creating theuniverse takes place. From the sphere of gold in his hand he filled the universe with nebulas, galaxies, stars and planets. The universe is embraced by the immense wings of the Spirit of God in the form of a white dove, welcoming us into his peace.
聖老楞佐堂 St Lawrence's Church, Hong Kong
聖老楞佐堂 St Lawrence's Church, Hong Kong
In the 1960’s, people living in Lei Cheng Uk Estate and its neighbourhood were very poor. If a grand and magnificent church were built in such an environment, it would be out of place with the community. Moreover, St. Lawrence, the patron saint of the Church, opted for the weak, served the poor and is a martyr saint who witnessed God’s righteousness with his life. Thus, it is necessary to construct the St. Lawrence’s Church with simplicity, geniality and yet with a sense of sacred solemnity, a style compatible with his spirit.
在60年代，李鄭屋邨及附近一帶居民生活窮困，若建造一所美輪美奐的大教堂，會與這地區格格不入。而且聖堂的主保聖老楞佐是一位愛護弱小、服務窮困人士、捨生取義的殉道聖人，聖堂的建造更需與聖人匹配。所以，聖老楞佐堂是一幢樸實、親切，但不失其神聖性的聖堂。
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
這幅逾半世紀的聖老楞佐善行圖徽由彩石砌成，1971年12月完成後，放置在長沙灣的聖老楞佐堂外牆上，一直至今。圖徽展示聖人愛護弱小，服務窮人，捨生取義等善行，鼓勵信友效法。這善行圖徽與聖堂內的苦路，都是由墨西哥藝術家Francisco Borboa設計。
The walls are decorated with very artistic Stations of the Cross created by the Mexican artist, Francisco Borboa.
牆上裝了出自墨西哥藝術家鮑博手筆的苦路圖像，極具藝術感。
這十四處苦路是長沙灣聖老楞佐堂的苦路圖像，高高的懸掛在聖堂兩旁的牆壁上，出自墨西哥藝術家鮑博（Francisco Borboa） 的手筆，以簡單的黑色雕塑，勾勒出每處苦路的特點，讓教友不僅默想主耶穌的苦難，還跟隨他行走這條苦路。
聖歐爾發堂 St Alfred's Church, Shatin
聖歐爾發堂 St Alfred's Church, Shatin
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。
聖若瑟堂 St Joseph's Church, Hong Kong
聖若瑟堂 St Joseph's Church, Hong Kong
外牆上有三個拋物線形鑲金邊的拱形。位於中央的聖若瑟浮雕左手下垂拿著一把鋸，右手曲在胸前拿著鐵鎚；而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，突顯出聖若瑟是一位在船上勤懇勞動的工匠。
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。
聖堂位於建築物的一樓。在聖堂內，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，左邊的是聖若瑟，右邊的是聖母瑪利亞。
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。
聖堂兩側的壁畫由墨西哥鮑博先生 (F.Borboa) 創作。壁畫(一)左邊描繪著天使宣佈瑪利亞的使命、若瑟得天使報夢、若瑟與瑪利亞成婚及三賢士到訪；壁畫(二)由右邊開始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及若瑟逝世。
聖文德堂 （舊）St Bonaventure's Church, Hong Kong (before renovation) /
聖文德堂 （舊）St Bonaventure's Church, Hong Kong (before renovation) /
聖文德書院 St Bnoaventure College
聖文德書院 St Bnoaventure College
St. Bonaventure Church bears witness to the transformation of social life under the Lions Rock, including the redevelopment of Tsz Wan Shan, the emergence of private housing in the neighbourhood at Lung Poon Court, Fung Tak Estate, Chuk Yuen Estate and Galaxia.
The image of statues of the Way of the Cross is specially designed based on the ideas of Mexican Catholic named Borboa. The concept is to enable we laity to capture and bear the expression of Jesus as a way to re-create his image and follow his footsteps （2 Corithians 4：10）.
The renovation of the external façade of the church was completed in 2011 with addition of mosaic windows on the wall on both the left and right side. Further improvement would also be carried out including internal redesign to better reflect the religious spirit of St. Francis and St. Bonaventure.
一九七一年，主教公署發表通告，宣佈成立聖文德堂區，並委任方濟會士謝華生神父為主任司鐸。那時還沒有一座正式的聖堂，主日彌撒借用聖文德小學禮堂舉行，教友人數約有五千。後來改借德愛中學，並成立各善會，推展堂區活動。聖文德書院於一九七三年落成後，聖堂便遷入該處，直到一九七六年，座落在慈雲山蒲崗村道的新聖堂建成啟用，由胡振中主教祝聖。
聖堂見證了獅子山下的改變，包括區內慈雲山的重建，鄰近龍蟠苑、鳳德村、竹園村和星河明居相繼出現。另一方面，歷屆主任司鐸皆由方濟會士擔任，計有謝華生神父、梁雅明神父、陳維統神父、夏志誠神父和陳滿鴻神父。
聖堂裡的苦像素描別具一格，至為突出新穎，原來出自墨西哥藉教友Borboa的心思，這嶄新的設計能使我們想到，基督徒身上時常帶着耶穌的死狀，為使耶穌的生活也彰顯在我們身上（格後4：10）。
聖堂外牆維修於二零一一年初完成，左右兩幅混凝土牆加上了玻璃窗戶；在未來數年，聖堂內部也會重新設計，以更能反映出聖方濟及聖文德的靈修精神。
聖文德堂於2018年終於裝修完成，可以正式使用聖堂。重修後的聖文德堂內裡的每一個設計都有信仰意義，而大多數的取材都是自聖方濟及聖文德的靈修。
聖方濟彩圖玻璃窗位於聖堂入囗左邊。這面玻璃窗是朝向東面，所以可以確保早上光源充足。整個設計的顏色以藍及淺藍滲透著明亮的火焰，導引信眾默想聖方濟的精神。
彩圖以聖方濟離開父母為起點(左下)，之後把自己交予主教。自此只以「我們的天父」為父親，完全信靠他 ，表達出離開財富後得享的自由。聖方濟自此進入了與最貧窮的人大方分享的洪流，兩隻伸開的手歡迎著貧窮人， 向他們拋出象徵喜悅的星。在接觸萬物的喜樂中，接受五傷的恩賜。
而中間部份富有自然的象徵圖案，有太陽、月亮、星宿、魚及飛鳥，高唱著五月的絢麗；花草、果實，以及含著橄欖枝的鴿子，愉快地宣告著「和平與美善」。
聖保祿幼稚園 St Paul's Kindergarten, Hong Kong （Photos taken by John Tam)
聖保祿幼稚園 St Paul's Kindergarten, Hong Kong （Photos taken by John Tam)
聖母聖衣堂 Our Lady of Mount Carmel Church, Wanchai
聖母聖衣堂 Our Lady of Mount Carmel Church, Wanchai
Church design
The signature design of the church is a big skylight above the altar, with small sparkling pieces of crystal beads hanging down and a suspended golden cross. On the wall behind the altar, there is a mosaic depicting the scene in the Wedding at Cana by Mexican artist, Francisco Borboa. There are also flowing water running from the altar to the baptismal font at the entrance of the church.
Excerpt from The Building Process and The Laity Involvement of Our Lady of Mount Carmel Church in Wanchai, Hong Kong. - Church building system of the Catholic Diocese of Hong Kong by Ayako FUKUSHIMA and Yoshitake DOI
Excerpt from The Building Process and The Laity Involvement of Our Lady of Mount Carmel Church in Wanchai, Hong Kong. - Church building system of the Catholic Diocese of Hong Kong by Ayako FUKUSHIMA and Yoshitake DOI
4.2 Church theme
The Task Force discussed the overall theme of the church in preparing the client brief for tendering, and agreed to use the words of Mary, the patron saint of the Church, “do whatever he tells you” at the Wedding at Cana.49) The words imply that the services to others will be enabled if people follow Jesus. It is assumed from the MM that Law proposed this theme.50) In fact, he explains later that this theme represents the history of the OLMC Church, which has always been dedicated to orphans, the sick, the poor and the local community, and reminds parishioners to “follow the example of Mary who always tends to the needs of others.”51) The Parish Representatives favored the theme representing the identity of the parish.52) It was Law who took the initiative in establishing the church theme.
4.5 Mural Mosaics
The Task Force requested “the architect should express the theme with the above story [Wedding at Cana] in his interior design. . . . The story at Cana could be reflected e.g. in the font, backdrop, water, or by putting some jars in the church.”65) The plan of fig.4-c, drafted right after the selection of the designer, is different from previous ones as it has a wide concave vertical wall behind the sanctuary, which was first referred to as backdrop by the TF. In August 1999, the TF decided finally to place the mural on this backdrop.66) It asked members to recommend artists for the proposed artwork. The Task Force, in August 1999, requested A+T that “the concave vertical backdrop behind the altar should be studied further. It should not appear too hard or too heavy. It had to be in harmony with the scene of Cana.”67) The proposal from A+T was apparently adopted. A Mexican artist, Francisco Borboa, was selected among recommended ones. He belonged to a religious order and was well versed in the Bible and liturgical art. Law, Giampietro and Jimenez recommended him because of his previous art works for the Diocese. According to interviews by the author, Jimenez strongly expressed his desire to select Borboa. At the TF on 19 November 1999, Borboa’s design was chosen since it had more sense of liturgy.68) He also designed the Stations of the Cross placed in the church hall. The Task Force, especially Law and Giampietro, instructed Borboa in detail during the production phase as well. By October 1999, the TF decided to use mosaic tiles for the mural.69) Further, it considered styles of the altar, pulpit, tabernacle, and baptismal font to be in harmony with the mural.70) It selected one or two designs among several by Borboa for Law and Giampietro’s design development.71) The instructions stated: “The figures should be directed towards the altar. The scene should be integrated with the altar,” and “Apostles could appear in the background, but their number should not be more than twelve.”72) The veil was hung from the ceiling in between the altar and the mural, which, according to Law and Giampietro, symbolized the wedding chamber.73) Law explained afterward that “the veiled part of the painting represents the historical miracle, while the unveiled part reminds us that Jesus and Mary are still with us, and continue to turn water into wine and keep us from want.” This scene of the mural is embodied on the altar in the Mass, which is the design enhancing the continuity of time and space.74) It was again Law and Giampietro who took the leadership in design.
聖德肋撒醫院 St Teresa Hospital
聖德肋撒醫院的外墻和大堂都有疑似Borboa 的作品。
圖中是否有Borboa的署名有待考證。
醫院大堂墻上有Borboa 2002年署名的油畫。
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。”
聖德肋撒教堂 St Teresa's Church
荃灣葛達二聖堂 Cosmas and Damian Catholic Church
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）。
這些彩繪玻璃畫的，現時見於荃灣的葛達二聖堂的堂區辦事處，該堂於1969年建成。 彩繪玻璃畫由聖堂落成後一直保留至今，一共有八幅，分別是：聖母瑪利亞許配聖若瑟、耶穌出生、聖家、聖家逃往埃及；耶穌在聖殿宣講；耶穌召選門徒；耶穌派遣門徒；容孩近我。 讓我們在觀賞這些彩繪玻璃畫時，念記和默想耶穌基督的救世工程。
珍寶海鮮舫 Jumbo Restaurant
由右至左欣賞壁畫細節
相傳畫中的是萬曆皇帝朱翊鈞
左上方寫著 “Ming Dynasty”及清楚可見左下方 Borboa的署名。
直到看見船上那幅巨型馬賽克壁畫，才意識到它的矜貴，自己真的不應該！早在第一次學馬賽克時，那是香港演藝學院舉辦的馬賽克課程，蔡文健老師在講解填縫技巧時，曾提到珍寶海鮮舫上的馬賽克壁畫是分開局部填縫不同的顏色 ，這在技巧及時間上都要花費更多，但出來的效果則更好看。
查看珍寶海鮮舫的臉書，有馬賽克壁畫的介紹：「衣錦榮歸圖」壁畫，出自意籍藝術家博寶亞的手筆，以明代名畫「入蹕圖」為創作來源，用馬賽克重新演繹，此精緻又細膩的藝術作品和諧地融合東西方創作特色。
經過我的進一步搜尋，這位藝術家博寶亞Borboa並非意籍，而是1923年出生於美國加州的墨西哥人鮑博（Francisco Borboa）, 他早年是一名神甫，1948年到上海傳教，後來被派往到台灣，在當地愛上了一個女孩子梁登而申請辭去神職，被強制派往香港，1966得到教會接受解職。不過他一生的藝術創作都與宗教相連，其中不少是馬賽克壁畫。例如在台灣嘉義的歷史建築聖奧德天主教堂，便採用了鮑博創作的大量馬賽克壁畫，有「南台灣最美馬賽克教堂」美譽。
反而珍寶海鮮舫這幅巨型馬賽克壁畫，是鮑博少數非宗教題材作品。他参考的《入蹕圖》，是現藏台北故宮博物院，明代的《出警入蹕圖》，中的《入蹕圖》，《出警入蹕圖》有兩幅，描寫明皇帝出外掃墓、巡視的過程，《出警圖》是畫皇帝由陸路出京，而珍寶海鮮舫模仿的是皇帝乘船由水路回到宮廷的過程。馬賽克上的船隊、陣仗，都很有氣勢，尤其是皇帝坐在船上的部分更是如出一轍。
無論如何，真的希望珍寶海鮮舫命不該絕，保護馬賽克壁畫，如果有眾籌捐款活動，我願意付出小小綿力。
聖伯多祿堂 St. Peter Church
這幅馬賽克壁畫是香港仔聖伯多祿堂所擁有，該堂區於1979年進行修葺工程，新設這壁畫。
壁畫分為左右兩邊故事：左邊是耶穌宣布伯多祿為教會磐石的時刻，將天國的鑰匙交付他。伯多祿原名西滿，他為耶穌易名伯多祿（磐石），表示會在這磐石上建立他的教會，伯多祿因此成為教會的第一任教宗。
• 壁畫的右邊講述伯多祿跟隨耶穌的信德。他隨耶穌乘船出海期間，離開了船，在水面向耶穌走去， 卻開始下沉，大叫說： 「主！ 救我罷！」耶穌立刻伸手拉住他，對他說：「小信德的人呀！你為甚麼懷疑呢？」（參瑪十四）
苦像懸掛在香港仔聖伯多祿堂祭台後方的牆壁上，紅色代表其犧牲，黃色代表其神聖。
這幅聖伯多祿馬賽克壁畫，現時置於香港仔聖伯多祿堂祭台後方。壁畫的左邊講述耶穌立聖伯多祿為教會磐石，將天國的鑰匙交付他，在這磐石上建立他的教會，伯多祿因此成為教會首任教宗。
以下照片來源: 香港仔聖伯多祿天主教小學
照片下方清楚看見Borboa1979的署名
教堂兩邊的苦路圖都有Borboa的畫風
上智之座小堂 Ricci Hall Chapel
利瑪竇宿舍於1967年重建後，其風格與耶穌會依納爵小堂外圍的建築相近，皆屬現代主義；而上智之座小堂於1968年重建後具現代風格，沿用1929年添置的跪櫈至今，新增的跪櫈幾乎跟舊的一模一樣，新與舊和諧並存。
小堂祭台後方的牆壁有一道耶穌升天像彩石畫，包含了復活基督所帶來的希望，它由藝術家鮑博（Francisco Borboa）繪製，花園道聖若瑟堂及大圍聖歐爾發堂等多間聖堂的彩石畫或藝術品皆出自鮑博手筆，其作品線條簡潔優美。
天主教香港教區周報
【區區有聖堂】上智之座小堂（下） 培育利瑪竇的繼承人
期數4149期
刊登日期2023.08.25
玫瑰崗學校小聖堂 Rosaryhill School Chapel, Hong Kong
玫瑰崗學校小聖堂 Rosaryhill School Chapel, Hong Kong
The Chapel is located in the 3rd floor of the School becoming the center of the school building. The location shows that the Chapel is essential in the life of our Catholic School: religious activities are held in the Chapel according to the Catholic liturgical celebrations and the school calendar. Our School Chapel is also a place of worship on Sundays and special holidays when Catholic faithful join the Mass or other important celebrations we may hold on the occasion.
The Chapel is located in the 3rd floor of the School becoming the center of the school building. The location shows that the Chapel is essential in the life of our Catholic School: religious activities are held in the Chapel according to the Catholic liturgical celebrations and the school calendar. Our School Chapel is also a place of worship on Sundays and special holidays when Catholic faithful join the Mass or other important celebrations we may hold on the occasion.
The mosaic at the center of the altar is something that deserves some explanation. It represents Saint Dominic, the founder of our Dominican Order, receiving the Rosary from our Lady the Virgin Mary. This mosaic is the work of an American born Mexican artist, Mr. Francisco Borboa, a well-known artist in Hong Kong and Taiwan during the second half of the last century. The representation of our Lady is clearly a Mexican reproduction of our Lady of Guadalupe, who is the center of the Mexican devotion of Mary. During the almost 60 years of the Chapel and the different renovations, the altarpiece has never been touched since it is indeed a wonderful work of art. The image of our Lady handing the Rosary to our Father Saint Dominic is engraved in our Dominican tradition and a similar image is seen in every Dominican Church or Chapel.
The mosaic at the center of the altar is something that deserves some explanation. It represents Saint Dominic, the founder of our Dominican Order, receiving the Rosary from our Lady the Virgin Mary. This mosaic is the work of an American born Mexican artist, Mr. Francisco Borboa, a well-known artist in Hong Kong and Taiwan during the second half of the last century. The representation of our Lady is clearly a Mexican reproduction of our Lady of Guadalupe, who is the center of the Mexican devotion of Mary. During the almost 60 years of the Chapel and the different renovations, the altarpiece has never been touched since it is indeed a wonderful work of art. The image of our Lady handing the Rosary to our Father Saint Dominic is engraved in our Dominican tradition and a similar image is seen in every Dominican Church or Chapel.
馬賽克下款有 FBV 的 印鑒 （Francisco Borboa Valenzuela）
相傳聖母曾顯現給道明會創辦人聖道明，並親授玫瑰經，自此道明會士積極傳揚玫瑰經敬禮。在跑馬地玫瑰崗學校小堂的祭台後方，有一幅出自美國墨西哥裔藝術家鮑博（Francisco Borboa）手筆的馬賽克壁畫，正是描繪聖道明由瓜達盧佩聖母 (Our lady of Guadalupe) 手上接過唸珠的情況，畫中左下方的百合花象徵聖人的貞潔，揭開的書本則代表他隨身攜帶的瑪竇福音。
道明會於1935年在跑馬地山坡上建立聖大亞伯爾修院，培育來自世界各地到遠東傳教的會士，於二戰時曾協助收容戰俘及被拘留者的家屬。會方於1959年把修院改建成玫瑰崗學校，除了在校內興建樓高兩層的小堂（現隸屬聖瑪加利大堂區），亦另闢一層作修院，繼續培育會士和年青學子。
培育學生與修生
每年開學、畢業、聖誕節、復活節和道明會慶期等，均會在學校小堂舉行彌撒。曾先後在學校當老師、校長和校監的范士豪神父（Francisco de las Heras）於1972年由西班牙奉派到本港，同年在小堂由曾任廈門教區主教的茅中砥主教（Juan Velasco）祝聖為神父，是香港首位在小堂晉鐸的道明會士。
范神父謂，初到學校任教時，每年有二、三十位同學在小堂領洗和初領聖體，多年後才改為轉介學生到堂區領洗，以建立更強的團體感。玫瑰崗學校舊生劉愷鋒在中一時應同學邀請，到宗教室聊天、下棋，及聆聽曾任校長、當時掌管宗教部的謝天仁神父（Lionel Xavier，1930 - 2011）分享聖經故事和宗教電影內容等。他其後參加謝神父教授的道理班，於中三時由范神父授洗，並成為學校輔祭；畢業後亦曾在堂區當司琴和歌詠團指揮。
與劉愷鋒差不多同期當輔祭的羅振裕謂，最難忘是中二首次在子夜彌撒幫忙，「未見過黑漆漆的校園，只有小堂門外有燈光，感覺很可怕，幸好有高年級的師兄帶領。」他在中四時當上輔祭會會長， 效法師兄向學弟傳承輔祭職務。分別在七、八十年代當輔祭的羅柏達和賈偉文憶述，當年學校宗教活動繁多，每天上課前也有平日彌撒，以及歡迎所有教友參與的主日彌撒和聖母月敬禮活動等。
幾名舊生雖然於不同年代服務小堂，卻異口同聲形容謝神父為「友善仁慈的長者」，受他啟發積極向善，課餘時會與他一起遊船河和遠足，關係密切。羅振裕表示，在校內碰見神父會主動跟他擁抱，「我稱呼他為father（神父╱父親），是真的把他當作爸爸。」自言成績與品行欠佳的劉愷鋒直言， 「受洗成為天主教徒，改變了我的一生。不管我有多壞、多差勁，謝神父也一視同仁地愛我們，令我很感動。」
另外，小堂也為不少非教友的舊生帶來美好回憶。陸凱琪在小學認識現時的丈夫，數年前結婚時向時任校監范神父申請在小堂舉行律師證婚儀式，二人還專程購買了校服穿著行禮。玫瑰崗舊生會現屆主席伍宇鍔就讀中學時，每天到小堂參與平日彌撒，「無事我也會進去靜思和祈禱，那裡從不鎖門，永遠歡迎任何人，給我一份內心平安和寧靜。」他視謝神父為「完美的榜樣」，在畢業後領洗皈依成為教友。
連繫外語團體進行福傳
小堂現時在每個主日和教會重要慶節均會舉行英語和法語彌撒，每台彌撒約有200人參與。法語天主教團體統籌Gwenael Delattre 表示，他們也使用校內的房間放置祭衣和宗教書籍，及教授主日學，並在小堂為兒童舉辦領洗和初領聖體等禮儀，感謝道明會提供支援。該團體專職司鐸Rémy Kurowski 神父補充，小堂作為團體的「聚腳點」，有助發展兒童的信仰和維持教友的歸屬感。
學校內的修院設有小堂和宿舍等，過往曾舉行西班牙語主日彌撒，目前約有20 名神父、執事和來自緬甸及東帝汶等地的初學生居住。與部分會士熟稔的玫瑰崗舊生家長周翟慧儀表示，去年曾協助會方修復破損的聖像，今年更與部分修生合作修補一尊急需在彌撒使用的聖道明像。他們因此對修復聖像產生興趣，邀請她分享黏膠、上色、打磨等技巧和心得。
編輯 Catherine Wong / 採訪 Reggie Lai / 設計 Andy Wong
湯若望宿舍彌撒中心 Adam Schall Residence Mass Centre
湯若望宿舍彌撒中心 Adam Schall Residence Mass Centre
每逢主日上午，位於香港中文大學（中大）聯合書院的湯若望宿舍彌撒中心也會響起悅耳的英文聖詠，伴隨著琴聲和笛聲。過去15年一直負責彌撒安排的Alessandra Cocchi 表示，「本地人可能不知道這裡有恆常的主日彌撒，或以為只供中大成員參加，事實上我們歡迎所有人士，包括不同國籍的學生和家庭，我們絕不介意小孩奔跑或喧鬧。」
於60年代中大創校之初，在聯合書院任教的多名耶穌會神父決意參考香港大學利瑪竇宿舍上智之座小堂的模式，在中大建立附設小聖堂的宿舍，充當宿生與天主教會的橋樑，並牧養校內教友。宿舍於1972年落成， 以17世紀明末清初年間來華傳教、獲皇帝賞識在欽天監當官的湯若望神父（Adam Schall）命名。宿舍內一面牆壁上嵌置了著名藝術家鮑博（ Francisco Borboa）的畫作，描繪湯神父手執望遠鏡觀星的天文學家形象，旁邊印有湯神父在內地的墓碑銘文。
為信仰賦予團體感
宿舍一直由耶穌會管理，於80年代設有中、英文主日彌撒，由該會不同神父主祭，更一度成為新界區唯一開設英語彌撒的聖堂。直至1994年首任舍監冀世安神父（Ciaran Kane，2013 年安息）退休，管理權交回聯合書院，小堂的彌撒改由一群熱心教友自行安排，逐漸形成信仰小團體。
現時隸屬聖本篤堂區的彌撒中心，逢主日上午會舉行英語彌撒（ 暑假除外），多由道明會白自強神父或宗座外方傳教會甘浩望神父（ Franco Mella ）主祭，約30名教友參禮，亦不時有耶穌會神父到來主禮。從安排主祭、接送神父、準備禮儀和歌詠、祭台佈置，以至彌撒後的咖啡聚會、會計賬目等，均由團體成員一手包辦；早年還設有由成員教授的主日學。他們並將所收到的奉獻，全數捐獻予堂區、修會及非牟利機構，以回饋社會。
資深成員Ruy Barretto 表示，教區在1989年頒布的《邁向光輝的十年》牧函中，強調發展信仰小團體對推動牧民的重要性，他們這個「自助」團體正是活生生的體現：「這為信仰賦予了一層新的意義，我們不單是被動的旁觀者，更親身參與成為彌撒的組成部分。」
Alessandra 補充，長年服務彌撒中心、深受愛戴的狄恆神父（ Alfred Deignan，2018年安息）十分珍視信仰小團體的意念，是維繫團體的靈魂人物。自言是「實幹型」的她早已視這裡為家，看見地上有污漬、彌撒用書沒有整齊疊好等情況會第一時間作改善，「成員之間亦會互相討論和學習，坦誠交流意見，儼如教會成立初期，門徒生活的縮影。」
相比大堂區的信仰生活， 負責領唱的Lorrie Coleman 更喜歡小團體的氛圍，大家互相認識、彼此照顧，也有更多空間讓孩子服務。笛手Carolyn Gomersall 的女兒曾在彌撒中心當輔祭，她認同小團體模式有助子女培育和鞏固信仰：「我們在大堂區沒有太大的歸屬感，只是去參與彌撒，停留一陣子便離去。在這裡，我們在彌撒時間外也會碰面，像個溫暖的家庭。」
盼延續自助精神
司琴Susan Siew 謂，眾成員的子女已結為朋友， 一起玩樂及服務。她的大女兒曾經擔任輔祭， 現時「接班」的小女兒Cadence認為，「能繼承這個傳統是美好的事情，大家在彌撒中互相幫忙，我在學業上有疑難時也會請教他們。」她的「拍檔」輔祭Hava 說，小團體能讓她在彌撒中更專注服務，成員的熱情和他們分享的知識與智慧，亦給她「家」的感覺。
但幾位核心成員也坦言，隨著孩子長大成人，未必會回來彌撒中心幫忙， 當務之急是吸引更多人參與，延續這份自力更生的精神。Alessandra 表示，會嘗試在校內多作宣傳，並考慮每月開設一台中文彌撒。Carolyn 總結道：「我們不是一個封閉的團體，對改變持開放態度，希望能有更多人成為核心成員， 慢慢扛起發展團體的責任。」
編輯 Catherine Wong / 採訪 Reggie Lai / 設計 Andy Wong
余振強紀念中學 何文田聖神彌撒中心 Yu Chun Keung Memorial College
余振強紀念中學 何文田聖神彌撒中心 Yu Chun Keung Memorial College
德望小學暨幼稚園 Good Hope Primary School cum Kindergarten
德望小學暨幼稚園 Good Hope Primary School cum Kindergarten
本校之辦學團體為「聖母無原罪傳教女修會 THE MISSIONARY SISTERS OF THE IMMACULATE-CONCEPTION」簡稱M.I.C.。修會會祖可敬的戴麗雅修女( Venerable Délia Tétreault )心懷憧憬，希望將天主的愛傳給世界各地的兒童。一九二七年M.I.C. SISTERS 她們來到了香港。一九三零年在九龍成立了第一間學校--「德信學校」，一九五零年代成立第二間學校--「德望學校」，並於一九七零年代成立第三間學校「德愛中學」。2000年初，修女們本着對教育的熱誠和堅持，積極籌備重建小學部及重辦幼稚園部，校址選定於德望崗上。2009年5月1日，幼稚園校舍施工完成，同年開始對外正式招生。 2010年，幼稚園部正式重辦，共分上、下午班，學生組別分有高、低、幼三級，合共18班。 2012年8月，為加強幼稚園部和小學部的聯繫性，幼稚園部正式改名為德望小學暨幼稚園，並沿用至今。
潔心林炳炎中學 Kit Sam Lam Bing Yim Secondary School
潔心林炳炎中學 Kit Sam Lam Bing Yim Secondary School
橫頭磡富美街9號
潔心林炳炎中學
潔心林炳炎中學
刊登日期2017.01.06
（本報訊）潔心林炳炎中學在剛過去的十二月八日舉行四十五周年校慶感恩祭，翌日則有開放日，並祝聖校園靈修設施，為校慶眾多活動揭開完美的序幕。
該校以「頌主恩、獻心力、展光芒」為四十五周年校慶主題，十二月八日先在聖方濟各堂舉行感恩祭，由夏志誠輔理主教主禮，多位神父共祭。夏主教講道時指出，該校四十五年來的耕耘建樹，照顧了區內求學的女生，他勉勵眾人效法聖母「願照祢的話成就於我吧」的信心。
十二月九日的校園靈修設施祝聖禮，則由孫英峰神父主持。孫英峰神父提醒學校昔日由聖母潔心會及林炳炎基金會共同努力創立及耕耘，才有今天的成果。潔淨心靈的第一步，需要祈禱反省，默想福音。本學年新增設施包括聖母閣、明心花園及慈悲閣。
聖母閣的聖母像，原位於赤柱的瑪利諾會院，由於會院早前搬遷，聖母像便轉贈該校。這尊聖母像屬瑪利諾會賀道明神父家人所購，賀神父晚年患病期間，曾入住該校地下的神父宿舍，由聖母潔心會修女照料。聖母像展現聖母潔心會與瑪利諾外方傳教會的情誼，也提醒師生效法聖母，關愛別人。
至於明心花園則由聖母壁畫、小花園、聖母岩及明心牆組成。外牆聖母聖心畫像於一九七三年建校時，由墨西哥藝術家鮑博（Francisco Borboa）所繪畫。畫像最初以馬賽克藝術鋪砌而成，展示了聖母敞開而聖潔無瑕的心。聖母的心與耶穌的心一同投入天主的救世計劃，實現天主的救恩。這畫像也表現了聖母潔心會修女們致力效法聖母，作上主救恩的工具那份奉獻精神。
在開放日開幕禮中，校長劉瑤紅帶領全體師生回顧學校的歷史。校長預告學校將以愛德行動去感謝上主對潔心的祝福，將於本年四月三日舉辦社區服務日，當天所有潔心師生會到香港不同區域，服務不同需要的人。
該校創校恩人林炳炎的後人亦有參與校慶活動，校方致送由學生手製紀念品予林氏家族成員。（教）
善導之母堂 Mother of Good Counsel Church
善導之母堂 Mother of Good Counsel Church
中華聖母堂 Our Lady of China Church
中華聖母堂 Our Lady of China Church
1990年前的聖壇
陳瑞祺(喇沙)書院 Chan Sui Ki (La Salle) College
陳瑞祺(喇沙)書院 Chan Sui Ki (La Salle) College
Posters & Books
Posters & Books
A printed poster with the drawing of Borboa in Sacred Heart Kindergarten, Hong Kong (photos by John Tam)
主耶穌 (中、英、西班牙文對照) / Lord Jesus Señor Jesus
書號 : 102059
原著 : 鮑博、梁登,Francisco Borboa & Anna Liang de Borboa
定價 : 580元
頁數 : 104 頁
初版日期 : 2018/9
ISBN : 978-957-546-893-4
「為什麼要畫耶穌呢?」
「因為耶穌是最可愛的人。他充滿愛心，表裡一致、超然公正，又具有力量，樂意幫助有需要的人。他是最值得人認識的一位朋友、也是最值得人信賴的天主。」
路加年彩色福音
The Gospel in Color
Francisco Borboa 文、圖
2009 年 11 月 初版
書號 106011
定價 290 元 / 256 頁 / 平裝 / 25 開 / ISBN: 978-957-546-664-0
作者簡介：
這本小冊圖與文是由Franicsco Borboa 寫繪。作者於1923年在美國加州出生。獲得台灣輔仁大學哲學和神學碩士學位。
1962年他開始從事藝術工作，著重於宗教藝術，用馬賽克、鋼鐵、壓克力、玻璃纖維，把主耶穌的教導製作成壁畫，裝飾教堂、學校、大飯店。他的作品分散在台灣、澳洲、東馬、婆羅洲、菲律賓、墨西哥和西班牙。目前他和妻子梁登（安娜）居住在臺灣臺北市。
本書簡介：
在主日和節日的感恩祭中，聖經是我們重要的神糧，透過讀經供給信友享用；而福音又是其中的高峰，經由對全年福音內容的閱讀，對耶穌的生平言行，有一個全面性的概觀，了解它的來龍去脈，以及其神學和寓意之深遠，為基督徒而言，是我們參與感恩祭極其重要的一環。
Francisco Borboa以他藝術的修為、神學的訓練和靈修的深度，為我們寫繪出這一本繽紛的彩色福音，不僅以文字省思福音的內容，寫出對主耶穌的認識、感恩、懷念以及對天國的盼望；更透過圖像傳達福音的意涵，在我們參與感恩祭之前或之後，本書都是幫助你領悟天主和祂的救恩的最佳輔助。
宗徒保祿驚天動地的一生
作者: 梁登
出版社: 光啟文化
出版在: 2008/08/31
ISBN-13: 9789575466268
2011「智慧箴言日曆」
2011年智慧箴言日曆內文經句精選自《智慧篇》、《德訓篇》及《箴言》。除了日期及經句的字體加大，閱讀更為方便之外，今年的雙面彩色精美掛版是知名畫家鮑博（Francisco Borboa）的畫作，掛在牆上能更加賞心悅目。
澳門 Macau
澳門建築中的馬賽克藝術瑰寶
澳門雜誌
167期
提到澳門建築的馬賽克裝飾，許多人會立刻聯想到舊愛都酒店那幅由意大利籍藝術家夏剛志設計的大型馬賽克壁畫。然而，在這座城市中，還隱藏着其他同樣精美的馬賽克裝飾作品，它們出自一位鮮為人知的藝術家之手――鮑博（Francisco Borboa Valenzuela），他的創作同樣為澳門建築增添獨特藝術魅力，為這座城市的文化景觀留下深刻印記。
流傳於澳門的馬賽克藝術
馬賽克壁畫作為一種建築裝飾，早在古羅馬時期已經非常流行，且技術發展成熟。從公元四世紀開始，拜占庭建築將馬賽克壁畫推向高峰，尤其是在大教堂的穹頂內壁，大面積的馬賽克裝飾，為空間注入神性與華麗的氛圍。雖然自文藝復興時期起，濕壁畫與油畫逐漸取代馬賽克的地位，但這種古老技藝從未完全消失，並在現代建築中重新煥發光彩。
在澳門，馬賽克壁畫不僅承載了歷史的傳承，也成為現代建築中的亮點。1970年落成的葡京酒店，其大堂鑲嵌了一幅馬賽克壁畫。這幅作品位於略呈穹窿狀的天花板上，中央搭配一盞大型水晶吊燈，在燈光映照下，馬賽克的閃耀光澤使整個大堂顯得格外華麗。壁畫描繪了大航海時代葡萄牙遠洋船隊，10艘大帆船飄揚着基督騎士團十字徽號及五盾旗幟，在一望無際的海平線出現，畫家沒有使用單點透視或散點透視的方法，而是透過船隻的大小來表現空間遠近，以寫實的方式呈現人類的探索精神。
在壁畫一角，一個不太顯眼的簽名與年份「F. Borboa 1969」揭示了創作者的身份。這位藝術家便是鮑博，一位鮮為人知的墨西哥裔馬賽克藝術家。
鮑博的生平與藝術啟蒙
鮑博，又稱Pancho，1923年7月23日出生於美國加州聖胡安包蒂斯塔（San Juan Bautista）。6歲時，因母親去世，他隨父親回到墨西哥，在錫那羅亞州（Sinaloa）的洛斯莫奇斯（Los Mochis）度過童年。1943年，鮑博決心成為神職人員，進入墨西哥Santiago Tianguistenco的San Cayetano學院，加入耶穌會。在學期間，他不僅修讀神學，還涉獵建築與土木工程，這為他日後的馬賽克壁畫創作奠定了基礎。
1948年，鮑博以耶穌會成員的身份來到亞洲，足跡遍及中國、菲律賓與日本。1959年，他在台中東海大學對面的天主教堂創作了他的第一幅馬賽克壁畫，標誌着其藝術生涯的開端。後來，他與一位台灣女士結緣，並於1966年確認收到解職後，與她一起前往香港生活，開始為當地教堂及富商住宅創作馬賽克壁畫。
宗教以外的多元創作
回到鮑博在葡京酒店的創作，除了大堂天花的寫實壁畫，酒店入口處的馬賽克壁畫則展現了截然不同的風格。這幅作品以抽象手法為主，運用色彩與線條表現光線與空間的流動，色彩的漸變令人目眩神迷。由於畫面高度抽象，給予人許多想像空間。這幅作品不僅展現了鮑博在寫實與抽象之間的創作自由，也彰顯了他對馬賽克材質表現力的精湛掌握。
1975年，鮑博為新麗華酒店的外牆創作了另一幅巨型馬賽克壁畫。這幅作品以花卉為主題，採用介於具象與抽象之間的手法，花卉造型帶有立體主義的影響，呈現出與葡京酒店截然不同的藝術風格。壁畫旁有鮑博的簽名與年份，而在底部蝴蝶圖案下方，還可見「F.M」的簽名，暗示可能有另一位創作者參與，但究竟是誰？仍有待研究。
晚年在澳門的宗教創作
1996至1999年間，鮑博夫婦在澳門生活，並創作了一些作品，當中包括兩幅以宗教為題材的馬賽克壁畫。一幅位於白鴿巢前地利瑪竇中學初小暨幼稚園外牆（1997年，簽名BF），另一幅則位於氹仔的聖類斯公撒格之家。這兩幅作品採用線條、色彩塊面和漸變方式，人物形象無五官，呈現出簡約而現代的風格，反映了鮑博晚期創作的轉變。
鮑博大半生在亞洲度過，卻因長期遠離西方藝術圈而鮮為人知。直到2012年，墨西哥政府授予他文化貢獻獎，表彰其藝術成就。2016年，其傳記《隨風之路――一位耶穌會士的人生》（Los caminos del viento. La vida de un misionero jesuita）在墨西哥出版，2024年更出版了藝術全集《Francisco Borboa Valenzuela：墨西哥藝術家與壁畫家》（Francisco Borboa Valenzuela. Artista y Muralista Mexicano），詳細記錄了他遍布11個國家、51個城市的187幅壁畫創作。
2025年4月6日，鮑博以近102歲的高齡在墨西哥去世，結束了充實而傳奇的一生。他的作品不僅是藝術的瑰寶，也是澳門作為「東亞文化之都」的見證。從吳漁山、錢納利、博爾傑、史密羅夫、夏剛志、鮑博、繆鵬飛、郭桓……這些來自不同時代與地域的藝術家，在澳門留下了不可磨滅的印記，共同勾勒出這座城市獨特的文化圖景。
作者介紹
呂澤強
生於澳門，畢業於葡萄牙里斯本建築學院，其後於法國巴黎夏約高等設計研究中心進修，為首位取得法國文化遺產建築師資格的華人建築師。澳門科技大學設計學博士（文化遺產保護專業）。
文：呂澤強 圖：陳思禮
鮑博於壁畫一角留下創作年份和簽名
鮑博為新麗華酒店創作的巨型壁畫，留有Borboa 1975及F.M的簽名。
白鴿巢前地利瑪竇中學初小暨幼稚園外牆壁畫
氹仔聖類斯公撒格之家外牆壁畫
Hotel Lisboa, Macau
Hotel Lisboa, Macau
This is a name that most readers will find it difficult to associate with Macau. But in fact, the works of this artist - known as "Pancho" - are very present in the territory's daily life since the 1960s and can still be appreciated today.
I refer, for example, to the mural on the side façade of the Hotel Sintra (made in 1975) and the murals at the entrance of the 'old man' Hotel Lisboa. But there is more...
Francisco Borboa was born in 1923 in California and went to Mexico as a child, where he began his studies and entered the priesthood. In 1948 he left for China as a member of the Society of Jesus. He learns Mandarin in Beijing, but the revolution underway forces him to go first to Shanghai and then to Wuhu. It leaves China a year after the founding of the People's Republic. It goes by train to Tienshin and by boat to Hong Kong from where it goes to the Philippines. Without a visa to enter the country, the president will authorize entry. There he completed his studies in philosophy and theology and in 1957 was ordained a priest.
In 1958, the stage called the ordeal begins. Travels to Japan (Hiroshima) and then (1960) to Taiwan.
In 1962, after nearly 20 years of religious life, he decided to leave the Society of Jesus and asked the Roman Curia to dispense him from the priesthood.
He leaves Taiwan and heads for Hong Kong where he will meet some of the former teachers from the Philippines. Years go by and the authorization from Rome doesn't arrive, but Pancho doesn't give up and decides to write to Ana, whom he had met in Taiwan, proposing marriage. Ana accepts and goes to Pancho with a visa for just one month.
At the end of the third month Ana receives an ultimatum from Taiwan: "Either home or return". Under pressure and without authorization from the Vatican, they end up marrying through the civil registry. Dispensing from the priesthood will not come until 1966.
By this time, Pancho had already embarked on an artistic life, especially mosaic paintings and murals. The first exhibition of his works took place in Hong Kong in 1972.
It was around this time that Macau appeared in his life, leaving its mark on the side façade of the Sintra Hotel and on the walls and ceilings of the Lisbon hotel entrance.
In addition to Macau, he has works of his own in Australia, Malaysia, Mexico, Philippines, Spain, Taiwan and Hong Kong (at Club Lusitano, for example, in 1967).
Hotel Sintra, Macau
Hotel Sintra, Macau
Ricci High School, Macau
Ricci High School, Macau
聖類斯公撒格之家 Lar Sao Luis Gonzaga (formerly named St. Luis Centre) Rehabilitation Centre of Macau Caritas
伯大尼安老院 Asilo de Betânia
耶穌會 郭春慶神父專訪 Interview with Fr. Gregory Koay Choon Kheng S.J.
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