In the history of painting in China, many renowned artists have used Namo Avalokitesvara Bodhisattva as a subject for their works. These artistic images are beloved by the people because the Bodhisattva is a symbol of compassion. These exalted artistic images subtly influence the inner world of generations, inspiring and shaping the soul of the nation.
The Mogao Caves in Dunhuang are the largest and most well-preserved repository of Buddhist art in China and the world. Among the murals in the Mogao Caves, there are masterpieces of Namo Avalokitesvara Bodhisattva created by painters over the ages, including images of the Water-Moon Guanyin, the White-Robed Guanyin, and the Eleven-Faced Guanyin. It is said that this treasure trove of painting art contains works by masters like Gu Kaizhi and others from various dynasties.
In 1940 Zhang Daqian led a group of artists to the caves of Mogao (莫高) and Yulin (榆林) for the purpose of copying their Buddhist wall paintings. The group completed over 200 paintings, and the experience left Zhang with a repository of religious imagery. He was so captivated by these unparalleled treasures that his original plan to stay for three months extended to two years, during which he dedicated himself to studying and copying the artworks. Today, his paintings of Avalokitesvara Bodhisattva are acclaimed as rare and invaluable masterpieces.
The early Tang Dynasty portrait copied by Zhang Daqian is a national first-class cultural relic
Tang Dynasty murals copied by Zhang Daqian
Mid-Tang Dynasty portrait in the Mogao Caves, copied by Zhang Daqian
At International Art Museum of America, there is a painting of Namo Guan Shi Yin Bodhisattva by H.H. Dorje Chang Buddha III that left a profound impression on me. The portrait is stunningly beautiful, executed with fine brush strokes characteristic of traditional Chinese painting. The artist used very fine and intricate strokes, rendering every detail vividly and perfectly. I could clearly see the hair, the crown, the intricate jewelry, and even the delicate patterns of the flowing ribbons. These details express the painter’s portrayal of Guan Shi Yin Bodhisattva’s meticulous compassion and love for all living beings. The entire portrait appears lifelike, exuding infinite grace, and showcasing the artist’s extraordinary skill, which is beyond perfection.
In this meticulous painting, Namo Avalokitesvara Bodhisattva is depicted wearing white garments, with a serene and compassionate expression, seemingly walking gracefully accompanied by heavenly music. The Bodhisattva’s face is as delicate as powdered jade, with elegant eyebrows and red lips, and eyes that are reserved yet radiate a light of compassion.
The Bodhisattva’s jewelry, including jade pendants, appears to emit a pleasant chime, and the pink and dark green lotus flowers beneath the feet exude a fragrant aroma. The colorful ribbons on the clothing flutter and dance in the gentle breeze. The entire painting exudes an extraordinary and majestic aura. For hundreds of years, the children of China have dreamed countless times of Namo Avalokitesvara Bodhisattva, as if the Bodhisattva is walking toward us from the vast universe.
Upon closer inspection, one can see that within the Bodhisattva’s hair, there is a small figure of Namo Amitabha Buddha, seated with a solemn and exquisite demeanor, wearing a red robe and sitting on a pink and white lotus platform.
The dark green lotus beneath the Bodhisattva’s left foot, the dark blue floral borders on the clothing, and the flowing black hair form a dynamic contrast with the light yellow-brown background and the white robe. The painting uses a large area of light yellow-brown as the background to highlight the pure and elegant clothing, with bright colors as decorative accents. This creates a composition that is both solemn and sacred, yet luxurious.
The Bodhisattva’s attire occupies a significant portion of the painting. If not handled well, it could make the painting appear empty and lifeless. However, the exceptional artist has seized this opportunity, infusing the clothing with a great amount of high-quality ink and brushwork while maintaining overall brightness. The lively and intricate lines are sometimes like flowing clouds and water, sometimes like gentle clouds, sometimes as soft as a summer breeze, and sometimes as powerful as a rushing waterfall. The interweaving lines, though densely packed, are orderly and harmonious. This extraordinary line drawing technique vividly captures the delicate texture of the gauzy fabric. Lines are the earliest form of language in the history of painting and the soul and framework of meticulous figure painting. As a vital expression in Chinese painting, “lines” have always been highly valued by painters throughout the ages.
H.H. Dorje Chang Buddha III‘s meticulous figure painting uses lines that are flexible and varied, not only vividly portraying the image of Namo Avalokitesvara Bodhisattva but also precisely conveying the Bodhisattva’s noble and pure spiritual essence. This technique of capturing the divine through form has been the artistic ideal that painters have longed for throughout history. Therefore, this great painting by Namo Qiang Buddha is destined to become a model for future generations to learn from and an immortal classic passed down through the ages.
This great artwork not only provides people with artistic enjoyment but also offers a profound spiritual experience. I stood in front of the painting for a long time, feeling as if I were leaving behind all worldly affairs and immersing myself in the Bodhisattva’s boundless compassion forever.
Mount Huangshan, often described as the “loveliest mountain of China,” has played a significant role in the history of Chinese art and literature since the Tang Dynasty around the 8th century. A legend from 747 AD recounts the discovery of the long-sought elixir of immortality on the mountain, which gave Mount Huangshan its name and cemented its place in Chinese history. This legend attracted hermits, poets, and landscape artists, drawn by the dramatic mountainous landscape featuring numerous granite peaks, many over 1,000 meters high, emerging through a perpetual sea of clouds. During the Ming Dynasty in the 16th century, the mountain’s unique rock formations and ancient gnarled trees inspired the influential Shanshui (“Mountain and Water”) school of landscape painting, which profoundly shaped the world’s perception of the oriental landscape.
Located in the humid subtropical monsoon climate zone of Anhui Province, Mount Huangshan covers an area of 16,060 hectares with a buffer zone of 49,000 hectares. It is noted for its botanical richness and the conservation of several locally or nationally endemic plant species, some threatened with extinction.
The cultural significance of Mount Huangshan’s scenic landscape was first recognized during the Tang Dynasty and has been revered ever since. Renamed Huangshan (Yellow Mountain) by imperial order in 747 AD, it became a popular destination for visitors who celebrated its inspiring scenery through painting and poetry, creating a rich body of art and literature of global importance. By the Yuan Dynasty (1271-1368), 64 temples had been constructed on the mountain. In 1606, the monk Pumen established the Fahai Meditation Temple. By the Ming Dynasty, Mount Huangshan had become a favorite theme of Chinese landscape painters, firmly establishing the Shanshui school of landscape painting. The interaction of man and nature in this scenic setting has inspired generations of Chinese artists and writers.
Mount Huangshan is renowned for its magnificent natural scenery, including massive granite boulders and ancient pine trees, often enhanced by cloud and mist effects. The dramatic landscape features natural stone pillars, grotesquely-shaped rocks, waterfalls, caves, lakes, and hot springs, formed by its complex geological history. The mountain range has many peaks, some over 1,000 meters high, with the three tallest and best-known being Lotus Peak (1,864 meters), Bright Peak (1,860 meters), and Celestial Peak (1,829 meters). The World Heritage Site covers a core area of 154 square kilometers and a buffer zone of 142 square kilometers. The mountains were formed in the Mesozoic era, approximately 100 million years ago, when an ancient sea disappeared due to uplift. Later, during the Quaternary Period, glaciers shaped the landscape.
Vegetation varies with elevation, with mesic forests below 1,100 meters, deciduous forests up to the tree line at 1,800 meters, and alpine grasslands above that. The area boasts diverse flora, with one-third of China’s bryophyte families and more than half of its fern families represented. The Huangshan pine (Pinus hwangshanensis), named after the mountain, is a symbol of vigor as it thrives by growing straight out of the rocks. Many pine trees in the area are over a hundred years old and have unique names, such as the Welcoming-Guests Pine, thought to be over 1,500 years old. The pines vary greatly in shape and size, with the most crooked trees considered the most attractive. Huangshan’s moist climate also supports the growth of tea leaves, and the mountain is renowned as one of China’s premier green tea-growing areas. Mao feng cha (“Fur Peak Tea”), a famous local variety, takes its name from the downy tips of tea leaves found in the region.
Mount Huangshan often offers views of the clouds from above, known as the Sea of Clouds (yúnhǎi) or “Huangshan Sea,” due to their resemblance to an ocean. Many vistas are named after these cloud formations, such as “North Sea” or “South Sea.” A writer once remarked that to enjoy the magnificence of a mountain, you usually look upwards, but to enjoy Mount Huangshan, you must look downward. The area is also known for notable light effects, such as the renowned sunrises and the phenomenon called Buddha’s Light (fóguāng), which appears only a few times per month.
Mount Huangshan is famous for its stone steps carved into the mountain, with over 60,000 steps throughout the area. The origin date of these steps is unknown, but they are believed to be more than 1,500 years old. Over the years, many scenic spots and physical features have been named, often with narratives behind them. For example, one legend tells of a skeptic who, upon visiting the mountains, was immediately convinced of their beauty. One of the peaks he visited was named Shixin (始信), meaning “start to believe.”
Much of Huangshan’s reputation stems from its significance in Chinese arts and literature. It has inspired poets such as Li Bai, and has been a frequent subject of poetry, Chinese ink painting, and, more recently, photography. From the Tang Dynasty to the end of the Qing Dynasty, over 20,000 poems were written about Huangshan, and a school of painting was named after it. The mountains have also appeared in modern works; director James Cameron cited Huangshan as one of his influences in designing the fictional world of his 2009 film Avatar, and the Chinese animated series Stitch & Ai, a spin-off of Disney’s Lilo & Stitch franchise, is set in the Huangshan mountains.
In 1982, Mount Huangshan was declared a “site of scenic beauty and historic interest” by the State Council of China. It was designated a UNESCO World Heritage Site in 1990 for its scenery and as a habitat for rare and threatened species. Later, it was certified as a National Geopark and subsequently as a regional geopark (Asia Pacific Geopark Network), before being admitted as a UNESCO Global Geopark in 2004.
Mount Huangshan is a habitat for several locally or nationally endemic plant species, many of which are globally threatened. Its flora includes one-third of China’s bryophytes and over half of its pteridophytes. Endemic species to Huangshan include 13 species of pteridophytes and 6 species of higher plants, with many other species endemic to the region or China. This rich flora is complemented by a diverse vertebrate fauna of over 300 species, including 48 mammals, 170 birds, 38 reptiles, 20 amphibians, and 24 fish. Thirteen species are under state protection, including the Clouded Leopard (Neofelis nebulosa, VU) and the Oriental Stork (Ciconia boyciana, EN).
Additionally, Mount Huangshan has multiple hot springs, mainly located at the foot of Purple Cloud Peak. The water, maintaining a temperature of 42°C (107.6°F) year-round, is rich in carbonates and is said to help prevent skin, joint, and nerve illnesses.
The area has also been a site for scientific research due to its diverse flora and wildlife. In the early 20th century, both Chinese and foreign scientists studied the geology and vegetation of Huangshan. Research continues, such as a late 20th-century field study of Tibetan macaques, a local monkey species.
African indigenous hunters have a unique method for catching monkeys.
First, they find a hole just big enough for a monkey’s hand. They place food that monkeys like inside the hole. When a monkey passes by and sees the food, it reaches in to grab it. With its hand full of food, the monkey’s hand gets stuck in the hole. Most monkeys won’t let go of the food and instead try to pull it out from different angles.
When the hunters arrive, the monkey is still struggling and trapped, making it easy for the hunters to catch it.
Many people’s anxiety and suffering stem from holding on to too many things and being unwilling to let go, which prevents them from truly obtaining what they need.
In reality, letting go appropriately allows us to broaden our horizons, take time to adjust ourselves, and better engage in our current work.
The Young Man and the Zen Master: A Lesson in Detachment
Once upon a time, a young man visited a Zen temple to seek guidance from an old Zen master. On his way, he witnessed an interesting sight and decided to test the master. Upon arriving at the temple, he and the master chatted over tea. Suddenly, the young man asked, “What does ‘going round and round’ mean?”
“It’s because the rope hasn’t been cut,” the Zen master replied casually.
The young man was stunned and amazed. He said, “Master, I am surprised that you knew! Today, on my way here, I saw a cow tied to a tree. The cow wanted to go far to graze, but because the rope was through its nose, it kept going round and round, twisting itself without being able to break free. It was quite amusing. I thought that since you hadn’t seen it, you wouldn’t be able to answer. But you answered correctly right away.”
The Zen master laughed and said, “You asked about an event, and I answered with a principle. You asked about a cow tied by a rope and unable to break free; I answered about the mind being entangled by worldly matters and unable to find liberation. One principle can explain many situations.
“A kite, no matter how high it flies, cannot soar into the vast sky because it is tethered by a string. Similarly, what often binds us in life, preventing us from being free? A single win or loss can exhaust us; a gain or loss can cause us great anguish; an exam can keep us tossing and turning; a relationship can tie us in knots.
“For power and money, we run around in circles; for fame and desire, we are constantly entangled. Fame is a rope, desire is a rope, profit is a rope; the attachments and temptations of the world are all ropes. So the Zen master said, ‘All beings are like that cow, bound by many ropes of worries and sufferings, unable to achieve liberation throughout life and death.'”
The Wisdom of Living in the Present
A young monk once asked an old monk, “Master, what did you do when you were young?”
The master replied, “I chopped wood, fetched water, and cooked.”
The young monk asked, “And what do you do now that you’ve attained enlightenment?”
The master said, “I still fetch water, chop wood, and cook.”
The young monk, puzzled, asked, “What’s the difference? It seems like you haven’t made any progress in your entire life.”
The old monk explained, “You’re wrong. There is progress. When I was young, I would think about fetching water while chopping wood, and think about cooking while fetching water. Now that I am enlightened, when I chop wood, I chop wood; when I fetch water, I fetch water; and when I cook, I cook.”
Reflecting on myself, I often feel that I need to do something else while eating to avoid “wasting time.” So, I like to chat with others, watch TV, or think about other things while eating. No wonder I sometimes feel like “I don’t even know what I just ate.”
Enjoying the time spent eating and treating each bite with attention, I savor the sweetness of the rice, the freshness of the vegetables, and the richness of the soup. The world on my taste buds is indeed wonderful, bringing much joy to everyday life.
While walking, I now instinctively let my phone rest and focus on walking, feeling my feet propel my body, enjoying the natural comfort of the breeze, smelling the flowers, hearing the birds, and seeing the colorful flowers, green leaves, and various passersby. The scenery is infinitely beautiful, something I rarely appreciated before. Missing out and becoming numb was inevitable.
This series of practices has gradually cultivated the quality of “focus” in me. I increasingly embrace the concept of “living in the moment.” Of course, I know this is just the beginning; focus is a lifelong practice.
Once, the Buddha was residing in the Jetavana Monastery in the kingdom of Śrāvastī, spreading his teachings. At that time, there was a prince of a celestial king named Pilu. One day, he flew down from the heavens to the Jetavana Monastery, prostrated himself at the Buddha’s feet, and, with hands folded in reverence, asked the Buddha: “In this world, people are constantly pursuing clothes, food, treasures, pleasures, official positions, and territories. Are there any treasures that pursue people in return?” The Buddha praised Prince Pilu: “You have asked a good question. Indeed, there are situations where territories, treasures, and pleasures pursue people.”
Prince Pilu asked again, “What does it mean for the causes and conditions that fulfill people’s wishes and bring complete satisfaction to always follow them?”
The Buddha replied, “All actions can be categorized into two types: doing good deeds, which brings blessings, and committing evil deeds, which results in calamities. Whether it is blessings or disasters, they always follow each person like a shadow.”
Prince Pilu said, “This is truly extraordinary! Just as the World-Honored One has taught, in my past life, I was once a king among humans. Because I was aware of the impermanence of life and had no attachment to material things, I wanted to practice generosity widely. One day, during a gathering of my ministers, I announced: ‘I want to make a great drum whose booming sound can spread for a hundred miles. Who can accomplish this task for me?’
However, the ministers all replied, ‘We are incapable of doing so!’ At that moment, a minister named Kuang Shang, who had always been loyal to the court and compassionate towards the people, stepped forward and said to the king, ‘I can accomplish this task, but it will require some funding.’
The king said, ‘Great! Whatever amount you need is not a problem.’ Thus, the treasury was opened, and a large sum of money was handed over to Kuang Shang.
Kuang Shang transported a carriage full of treasures to the gate of the royal palace and beat the drum to announce, “Today, our benevolent king, with great compassion, is distributing wealth to the world to relieve all those in poverty and distress, as well as to provide for the needs of practitioners. Anyone in need can come to the palace gate to receive these goods.”
The news quickly spread to neighboring countries. The poor, carrying their babies and bringing along the elderly and young, came in droves, filling all the roads leading to the city. People would often look up to the sky and exclaim, “Thank you, benevolent king! We, the poor people, finally have the chance to escape the days of hunger and cold!”
A year later, the king asked Kuang Shang, “Is the great drum completed?” The minister replied, “Your Majesty, it is done.” The king asked again, “Since it is finished, why haven’t I heard the drum sound?” Kuang Shang responded, “Please, Your Majesty, take a trip into the city tomorrow, and you will hear the sound of virtue resonating far and wide.”
The next day, the king’s procession entered the city, discovering it was crowded and bustling. The king exclaimed, “Why are there so many people in the city?” Kuang Shang answered, “Last year, Your Majesty ordered me to create a great drum, hoping its mighty sound would spread for miles, proclaiming Your Majesty’s benevolence. I thought that a drum made of dead wood and cowhide would not adequately convey the king’s virtue. After much deliberation, I decided to use the treasures Your Majesty entrusted to me to provide for the practitioners and relieve the poor and distressed. Since the announcement, people from neighboring countries have come, hoping for Your Majesty’s benevolence, like hungry children yearning for their compassionate mother.”
Upon hearing this, the king asked the nearby citizens, “Where have you come from?” The people respectfully bowed and replied, “We came from a hundred miles away.” Some said, “I came from two hundred miles away.” Others said, “I came from thousands of miles away.” Then, they all declared, “Wise and benevolent king! Your widespread generosity has brought joy to the people of the neighboring countries. Many have even moved their entire families here, seeking to live under your benevolent protection and hoping for a stable life henceforth.”
The king was very pleased and said, “Kuang Shang, you have done an excellent job! Previously, I was attached to fame, hoping that the great drum’s mighty sound would resonate far and wide. Now, I finally understand that the unrest in the country comes from the people’s unease. Just as a sick body needs medicine to be healed, I should provide remedies to address the people’s suffering. You, my minister, understood the hardships of the people and distributed food to help the poor and needy, allowing the people to live in peace and return their loyalty to me.” Thus, the king declared, “From now on, as long as it concerns the people’s needs, take care of it to the best of your ability without needing to consult me!”
After the king’s natural death, he was reborn in heaven as King Miao. After his life in heaven ended, he was reborn as a Cakravartin (Wheel-Turning) King on earth, always accompanied by seven treasures and surrounded by followers who protected him. Now, he has again been reborn in heaven as a prince of the heavenly king. All of this was because he strictly upheld pure precepts and compassionately aided all living beings, earning such blessings. If we follow the Buddha’s teachings and rectify our body, speech, and mind, we can all obtain such magnificent blessings.
The Buddha encouraged Prince Bilu, saying, “A person’s actions are like a shadow following the body, or an echo responding to a sound. For every cause, there is an effect, and retribution is certain!” Prince Bilu, after hearing the Buddha’s teaching, joyfully made obeisance and departed.
Anton was a farmer who lived with his wife Rubina and their seven children at the edge of the forest. He worked hard and they were happy for many years. Then one spring, the rains didn’t fall and Anton’s wheat died in the fields. As winter came on, their food supply grew smaller and smaller. Soon, Anton’s shoulders were stooped with worry. Rubina’s plump apple cheeks withered. The children no longer sang or laughed or danced, for they were all too hungry.
Every day Anton went out to hunt for food but returned without firing a shot. And every day, Rubina added water to the onion soup until there was nothing in the pot but water. When Anton saw his family crying with hunger, he wanted to cry too.
But instead, he took his gun and went out again into the cold, cold night. He had to find something for them to eat: a bird or a rabbit. But the black branches were empty of birds and no rabbits crouched in the frozen shrub. The only tracks Anton saw were his own.
He came to a small hill and knew it was the last one he would be able to climb before his strength was gone. His feet were numb and his breath rasped in the freezing air. At the top of the rise, he stopped to rest, scanning the snow for tracks. In despair, Anton turned to go. Just then, he saw below him a lake that was not yet frozen over. Its edge was lacy with ice and at its center floated a swan of such dazzling beauty that Anton could not look away. Its stark white feathers gleamed against the dark water and as Anton watched, the swan seemed to grow larger until its image filled his eyes.
Suddenly, juices flowed into Anton’s mouth. He could taste succulent roast swan and see his children’s faces glowing as his family sat at the table eating again. He raised his gun and sighted down the long barrel. Anton put his finger on the trigger. The swan seemed to be looking at him, listening for the shot that would kill it. He lowered the gun. The swan was the most beautiful creature Anton had ever seen. As he watched, the swan fanned its magnificent wings.
Anton closed his eyes and thought of his family. Again, he raised his gun. Hours seemed to pass. The feathers on the swan’s breast moved gently with each beat of its heart, and Anton could feel his own heart beating. He lifted his heavy wet feet, walked a few steps, and then dropped to his knees. “I can’t do it,” he said.
“Why not?” asked a voice as soft as snow or feathers ruffling in a gentle wind.
“I cannot kill beauty. If I kill this swan, my family will have food for one or two meals. And then what? We will be hungry again and it will have been for nothing.”
Anton was too tired to be surprised that he was speaking to the swan or the wind or the night. He was too tired to walk back home. He bowed his head with sadness for his family.
With a cry, the swan lifted its wings, rose from the lake, and circled Anton, water dropping from its wing feathers.As the water hit the snow, it froze into crystals that sparkled in the moonlight. Anton reached out and touched one. It was hard, harder than ice, and did not melt in the warmth of his hand.
“A diamond!” Anton said. Quickly, he scooped up the diamonds that lay in a glittering circle around him. He filled his pockets with them and set off through the snow to a nearby village.
Anton was no longer tired. He no longer felt the cold. He woke up the innkeeper, calling, “I need food.”
“Your crops failed,” said the innkeeper. “Everyone knows you have no money.”
“I have a diamond,” said Anton.
“Where would the likes of you get a diamond?” the man scoffed.
“Let me in and I will explain.”
The innkeeper fed Anton cold venison and sweet dumplings while Anton told his story, and the innkeeper’s wife packed a sledge for him with roast chickens and cheeses and onions and turnips. Then they sent Anton on his way so that they could begin looking for the magic swan themselves.
Rubina met him at the door. “Did you find any food? Mischa has fainted.”
“No. But look what I have brought.” Anton showed her the sledge.
“But how did you get it?” she asked.
For answer, he spilled the diamonds onto the table.
“Oh,” cried Rubina, “you have turned to robbery!”
“No,” said Anton. And he told her all about the swan, and how it had circled him with the diamonds falling from its wings.
Anton and Rubina woke the children even though it was the middle of the night, and they all sat at the table eating slowly, enjoying the flavor of the food and wonderful feeling in their stomachs. Rubina’s black eyes sparkled as she filled her children’s bowls. Anton felt his strength returning. Several of the children hummed as they were put to bed.
Anton and Rubina and their children were never hungry again, for they used their diamonds wisely and well. News of the magic swan spread throughout the land and many people searched for it. But the swan was never found.
Sometimes when Anton was alone in the forest, the image of the swan rose before him. He saw again the gleam of its feathers, the coral glow of its beak, and the magnificent reach of its wings as it glided silently across the sky.
H.H. Dorje Chang Buddha III’s painting “Spring Rain in the Ancient City” creates a pure and exquisite inner world with extremely concise brushstrokes. Upon viewing it, one feels a sense of ethereal illusion, akin to gazing at the moon reflected in water, or the fresh and invigorating sound produced by pressing down a piano key. This artistry, which combines reality with the abstract and exudes a transcendent naturalness, enlightens the mind and often transports individuals to a realm of beauty and wonder.
With a stroke of the artist’s ingenious brush, the reality of the impermanent years and the philosophical insights contained within natural phenomena are presented on the canvas. The aesthetician, Zong Baihua, once said, “By focusing on the specifics of universal life, appreciating its colors, order, rhythm, and harmony, one glimpses the highest reflection of the self; transforming reality into the realm of the abstract, creating images as symbols, and concretizing the highest human spirit, embodying it physically – this is the realm of art.”
When admiring the Chinese painting “Spring Rain in the Ancient City,” my past painting ideas and perplexities suddenly melted away. The artistic conception in the artwork shook my inner being, and the marvelous composition deeply enlightened my mind. In the painting, a towering tree stands, firmly rooted and majestic, with branches reaching up to the sky. Through the spaces between the branches, one can see the lush greenery of trees lining the streets, exuding the freshness of spring. Above the canopy stretches the boundless sky, evoking the infinite implications of universal life. Beneath the crisscrossing branches lies the bustling city streets, where people hurry about their business. A sudden spring rain brings a new aesthetic perspective: under the vast sky, countless beings toil diligently in the wind and rain…
From the painting, we can observe that during that time in this ancient city, there weren’t many cars on the streets. People were either riding buses, bicycles, or walking. It portrays vivid, serene scenes, offering a soothing and comforting feeling to the heart.
This philosophical painting also reminds me of the verses from the poem “Nian Nu Jiao” by H.H. Dorje Chang Buddha III： “Abruptly entering the universe, The universe of a billion worlds, Stand firmly against all hardships and obstacles. Seeing through glory and riches, I simply smile. The rooster crows announcing the dawn, the morning bell hurries the moon, the whole Soha world is revealed everybody bustles about to survive,life, like smoke and snow, gone!….. “
The artist, with skillful brushstrokes and delicate ink, creates a realm that is subtle, almost mysterious. The shades of ink, varying in density and wetness, complement each other, resulting in a loose and unrestrained style, with a serene and unadorned visual essence. Whether in form, color, brushwork, or ink application, the painting breaks free from rigid constraints and embraces a sincere expression of artistic intention. Through subtle ink shades, it seeks to capture the essence beyond mere representation, embodying a style characterized by simplicity and refinement. There is no wild passion, no dramatic rhythm that sets the heart racing, and no dazzling colors. Even the composition seems to emerge effortlessly from the void. Everything is harmonious and natural, with the entire painting radiating a luminous brilliance, like jade coming to life.
This work skillfully combines the macro and micro perspectives. Through the delicate depiction of trees and leaves, it unfolds the vastness of the cosmos, as if to say, “Every stroke creates a marvelous realm.” This brushwork embodies profound Zen principles. Upon contemplation, the boundless wonders of the universe and life are revealed within this ethereal painting, inviting deep reflection.
The scenes depicted in the painting have long existed objectively within our familiar yet overlooked surroundings. The artist extracts them from everyday life and presents them anew, allowing us to view our own existence from a fresh perspective.
Just as when I first heard the violin concerto “Liang Shanbo and Zhu Yingtai,” the moment the poignant melody gently flowed out, I was immediately moved by the unfamiliar yet familiar notes. The unforgettable melody seemed like a long-lost acquaintance, evoking excitement and beauty as if meeting an old friend in a dream. This sense of beauty seems to have always existed deep within our souls, waiting to be discovered. The artist perceives this beauty and presents it to people in an appropriate form. Perhaps this is a commonality among all great and extraordinary art in the world, which is why art history refers to this type of art as the ideal reality.
Every year in May, the Bathing Buddha ceremony is held to commemorate the birth of Prince Siddhartha Gautama, who was born in northeastern India over 2500 years ago into the Shakya clan. Upon attaining enlightenment, the Prince became known as Shakyamuni Buddha. During the sacred celebration of Shakyamuni Buddha’s birthday, participants in the Dharma Assembly of Bathing the Buddha offer prayers and make offerings to establish a connection with the Buddhas, seeking their blessings and invoking peace and well-being. As they ritually bathe the image of the Buddha with auspicious water, they vow to purify their three karmas (body, speech, and mind) across past, present, and future.
While many of these assemblies are ordinary ceremonies without any extraordinary occurrences, a remarkable event took place on May 26th, 2004—the “Highest Form of Bathing the Buddha Dharma Assembly” in Los Angeles, on the Buddha’s birthday. Led by H.H. Wan Ko Yeshe Norbu (H.H. Dorje Chang Buddha III), the supreme leader of exoteric and esoteric Buddhism, this assembly was unlike any other. Gathered on the lawn of a religious site surrounded by majestic blue curtain screens forming a dignified mandala, renowned Rinpoches, Huo-Fos, Dharma Teachers, and laypersons from around the world came together. It was an unprecedented and extraordinary event, far removed from the usual temple ceremonies. During this assembly, the conductor must possess the realization of a Buddha or Great Bodhisattva to invoke holy supernatural phenomena. On that day, Buddha appeared, Dharma-protecting Bodhisattvas displayed sacred sights, and celestial dragons and other deities of the Dharma laughed in the sky. It was a grand assembly where various holy scenes, unimaginable to ordinary people, manifested. Led by Supreme Vajradhara H.H. Wan Ko Yeshe Norbu (H.H. Dorje Chang Buddha III), this assembly was conducted and practiced with utmost reverence and devotion.
Lotus tub used to bathe the Buddha, 3 feet high, square, and weighed 700 pounds itself
The Dharma Assembly was divided into an internal mandala and external mandala. The internal mandala was the central area where the Buddha was bathed. The external mandala was the dharma realm of accomplishment. Eminent monastics and persons of great virtue attended the Dharma Assembly. Those who were part of the internal mandala included Akou Lamo Great Rinpoche, Zhaxi Zhuoma Rinpoche, Dharma Teacher Long Hui, Dharma Teacher Jue Hui, Dage Gongla Rinpoche, Bodi Wentu Rinpoche, Dharma Teacher Kui Zhi, Dharma Teacher Ruo Hui, layman Ciren Jiacuo (Gyatso), Dharma Teacher Miao Kong, Dharma Teacher Baolian, and others. Those who were part of the external mandala included Fuzang Wanghu Great Rinpoche, Yan Long Great Rinpoche, Awang Nuobu Great Rinpoche, Kang Qin Great Rinpoche, Xijao Zhibenge Rinpoche, Yixi Kanbu, Dharma Teacher Cikong, Dharma Teacher Fahai, Dharma Teacher Cixin, Dharma Teacher Haoling, and others.
The dharma stipulates that the purpose of a Highest Form of Bathing the Buddha Dharma Assembly is pouring dharma water that has been used to bathe the Buddha. The ability to pour such dharma water is based upon one’s true level of realization. Pouring such water bathes the celestial beings in the various heavenly realms. It shows that the Buddha blessed the celestial beings in the various heavenly realms, the dharma protecting deities, and the seven types of disciples. Thus, there must be a successful “pouring of water based upon one’s true realization.” Otherwise, it is not a Highest Form of Bathing the Buddha Dharma Assembly.
Additionally, at that Dharma Assembly all seven holy states were manifested. The seven types of holy states are: (1) Wind Celebrates the Mandala, (2) Flowers Rain from a Tree, (3) A Dharma Object Manifests Holiness, (4) A Cloud Provides an Umbrella-Like Covering, (5) Celestial Dragons Laugh Joyfully, (6) A Lama is Given a Sign, and (7) The Color of Dharma Water Is Received.
The successful “pouring of water based upon one’s true realization” is the most important part of such a Dharma Assembly. It is the key aspect of a Highest Form of Bathing the Buddha Dharma Assembly. It is why the name of such a Dharma Assembly contains the words “Highest Form.” Three to five thousand pounds of dharma water are used to bathe the Buddha. After the Buddha is bathed, this water is used to bathe the celestial beings in the various heavenly realms. When bathing the celestial beings, the dharma water must be poured down from the lotus tub used to bathe the Buddha into the tub used to bathe the celestial beings. During the pouring process, one cannot touch the dharma water with any part of one’s body, nor can one use any type of container to be filled with water. That is because the human body and containers are soiled by unclean dust and dirt. People are only allowed to tilt the entire lotus tub used to bathe the Buddha so that water is poured downward.
With such a heavy amount of dharma water in the lotus tub used to bathe the Buddha, how could anyone tilt that tub to pour the water down into the tub used to bathe the celestial beings? One must rely upon one’s Buddha-dharma state of realization. But no more than ten people can attempt to lift the lotus tub used to bathe the Buddha. Otherwise, it would not be regarded as the Highest Form of Bathing the Buddha Dharma Assembly. If the dharma water is not successfully poured into the tub used to bathe the celestial beings, then no matter what types of supernatural holy sights may appear at the Dharma Assembly, it cannot be called a “Highest Form of Bathing the Buddha Dharma Assembly.”
FLOWERS RAIN FROM A TREE
The atmosphere that day at the mandala to bathe the Buddha was holy and solemn. H.H. Wan Ko Yeshe Norbu (H.H. Dorje Chang Buddha III) wore his golden brocade and jeweled robe. His Holiness had an extremely dignified-looking appearance. A golden bronze statue of Dharma Prince Siddhartha stood in the mandala. In the middle of the mandala was a lotus tub used to bathe the Buddha that was 3 feet high, square, and weighed 700 pounds itself without water. Over the middle of that tub was a beautiful lotus flower about the size of a car wheel. Below and adjoining that lotus tub used to bathe the Buddha was a rectangular, one-foot high tub used to bathe the celestial beings. Ninety buckets of fragrant water were also placed in the mandala to be used to bathe the Buddha. The offering water in those buckets was light brown due to the sandalwood, eaglewood, saffron, and other scents that were boiled and added to the water.
At the beginning of the Dharma Assembly, His Holiness practiced Dharma according to Buddhist scriptures. As soon as the Buddha Master began practicing dharma, a tree full of jacarandas (a pale purple flower) immediately began raining flowers. The jacarandas drifted in the golden sunlight and fell all over the mandala and into the ninety buckets of water. Auspicious clouds rolled through the sky. It seemed that the mandala was no longer part of this world. Rather, it seemed like a holy Buddha-land. Flowers rained for more than three hours continuously, starting from the beginning of the Dharma Assembly. Those flowers floated down upon everyone. However, not one petal touched the Buddha Master. When the Dharma Assembly ended, the flowers instantly stopped raining.
A DHARMA OBJECT MANIFESTS HOLINESS
In order to express the unity of exoteric and esoteric Buddha Dharma, the Buddha Master did not select a highest-level practitioner of great virtue or a highest-level Great Rinpoche to announce and conduct the rituals and ceremonies of that Dharma Assembly. Rather, His Holiness selected Great Dharma Teacher Long Hui to announce the rituals and ceremonies. Great Dharma Teacher Long Hui is Han Chinese and is Chairperson of the International Buddhism Sangha Association. His Holiness also selected Great Dharma Teacher Jue Hui, Great Dharma Teacher Kui Zhi, Great Dharma Teacher Ruo Hui, and Dharma Teacher Miao Kong to conduct the rituals and ceremonies.
When Great Dharma Teacher Long Hui announced that all Buddhist disciples in attendance should pour fragrant water into the tub used to bathe the Buddha, all of the Rinpoches and Huo-Fos, Dharma Teachers, and laypersons in attendance quickly poured the ninety buckets of light brown fragrant water into the tub used to bathe the Buddha, filling it up completely. Everyone then returned to their seats and respectfully requested that His Holiness consecrate the fragrant water in the lotus tub. The Buddha Master was then seen holding a white Vajra Wheel.
During the Highest or Ultimate Form of Bathing the Buddha Dharma Assembly, some people saw the Vajra Dharma Wheel float up, sink down, and move around in the water. Some also saw the appearance of eight Dharma protecting deities. Additionally, some people saw two Dharma protecting deities, Mahakala and Sri-maha-devi, supernaturally change their forms. In an instant, the two Dharma protecting Bodhisattvas appeared. In an instant, they disappeared from the Vajra Wheel without a trace. In the photos, the Vajra Wheel turned into the shape of a lotus leaf floating on the water. From the size of the Vajra Wheel’s shadow, one can know the height of its position in the water.
His Holiness approached the lotus tub used to bathe the Buddha and placed that Dharma object (i.e. the Vajra Wheel) into the water. That dharma object is half as thick as a coin and as large as the palm of the hand. The Buddha-dharma stipulates that only a Supreme Vajradhara Dharma King may possess such a Vajra Wheel. After the Supreme Vajradhara Dharma King’s empowerment, the dharma protecting Bodhisattvas in the sky descended upon that dharma object. That dharma object can move around in the dharma water used to bathe the Buddha. It can rise up in the water and sink down into the water. After it does this, the practice of the Highest Form of Bathing the Buddha Dharma Assembly may begin.
Everyone surrounded the lotus tub to see that dharma object. One or two minutes later, everyone indeed saw the Vajra Wheel moving in the water. No one touched the lotus tub. While in the water, that dharma object moved forward and backward, to the left and the right, all on its own. One moment, it sank downward; the next moment it floated to the surface of the water. When the Vajra Wheel was approaching the bottom of the water, many saw red light emanate from the bottom of the Vajra Wheel. That red light was the true fire of samadhi. Many people saw eight dharma protecting bodhisattvas standing on that dharma object. There were also those who saw Mahakala and Sri-maha-devi supernaturally change their forms on that Vajra Wheel. Everyone present was full of dharma joy.
WIND CELEBRATES THE MANDALA
After a dharma object manifested holiness, everyone began to respectfully recite the invocation text. Suddenly, a strong wind began blowing from the west. Trees began to sway and things began to shake in the once peaceful mandala. Jacarandas flew through the air. Everyone was amazed. Indescribable and auspicious dharma joy filled the entire assembly. The world-honored Buddha had arrived in the sky above the mandala to manifest the dharma! Everyone chanted a mantra in unison to respectfully welcome the arrival of the Buddha. That strong wind from the west blew for a period of time and then abruptly stopped. The quietude of the mandala was restored.
An auspicious atmosphere filled the mandala. Amid the sound of everyone chanting a mantra, the holy ritual of bathing the Buddha formally began. Great Dharma Teacher Kui Zhi respectfully lifted the statue of Dharma Prince Siddhartha off the altar and put it on the lotus flower in the middle of the lotus tub. Everyone then respectfully requested that H.H. Wan Ko Yeshe Norbu bathe the Buddha. After His Holiness bathed the Buddha and practiced Dharma, each of the attendees bathed the Buddha three times. Great Dharma Teachers Jue Hui and Ruo Hui wiped dry the statue of the Buddha with a white silk scarf, put a robe on the statue of the Buddha, and placed it back on the altar.
POURING OF WATER BASED UPON ONE’S BUDDHA DHARMA REALIZATION
After the Buddha is bathed, according to the rules and rituals of the Buddha-dharma, it is time to pour fragrant water from the lotus tub used to bathe the Buddha into the lower tub used to bathe the celestial beings. At that time, His Holiness must practice dharma to bathe the celestial beings. According to fixed dharma, the bathing of celestial beings must take place in order for it to be a real Highest Form of Bathing the Buddha Dharma Assembly. Otherwise, the words “Highest Form” should not be used. This is the key factor in determining whether the Dharma Assembly will be completely successful.
Dharma Teacher Long Hui announced the ritual and requested that everyone attempt to lift the lotus tub used to bathe the Buddha so that its fragrant water would pour into the tub used to bathe the celestial beings. All of the attendees stepped forward one after another and attempted to lift it in groups of ten. However, no matter how hard they tried, they could not lift that lotus tub. Later, in violation of the rules, fourteen strong men together attempted to lift that tub. They assumed various postures and used all of their strength to tilt that lotus tub while shouting out a mantra. In the end, their faces turned red, they became exhausted, and they gave up in frustration. They were not able to move that lotus tub one bit. With awkward smiles on their faces, they went back to their seats.
That lotus tub used to bathe the Buddha weighs more than seven hundred pounds. When 90 buckets of fragrant water used to bathe the Buddha were added to this weight, the total weight was 4,260 pounds. Only a large crane could lift that tub. Even world-class musclemen would have no chance of lifting it.
Everyone looked at the lotus tub and felt the situation was hopeless. Great Dharma Teacher Long Hui did not know whether to cry or laugh. She could not announce that the ritual was successfully completed. Under these circumstances, the Dharma Teacher thought of a disciple of His Holiness by the name of Akou Lamo Rinpoche. That Rinpoche is from Tibet and can cause a mani stone to fly through the air. Great Dharma Teacher Long Hui asked Akou Lamo Rinpoche to test her strength and attempt to lift the lotus tub. Akou Lamo Rinpoche said, “I want to select someone to assist me.” She then invited an elder layman who lives in the Unites States, Ciren Jiacuo, to step forward and assist her. Elder layman Ciren Jiacuo has realized the state of prajna emptiness. He constantly abides in the dharmakaya state. His state of realization is extraordinary. He is a person of great accomplishment spoken of in the tapes contained in the silver box.
Bathing Buddha ceremony is annually performed to honor the birth of Prince Siddhartha Gautama who was born in north-eastern India over 2500 years ago of the Shakya clan. The Prince, upon enlightenment, became Shakyamuni Buddha. On the holy birthday of Shakyamuni Buddha, followers who participate in the Dharma Assembly of Bathing the Buddha make offerings to establish their karmic conditions with the buddhas and also to wholeheartedly beseech the empowerment of the buddhas and to pray for peace and well being. While bathing the image of the Buddha with auspicious water, they vow to cultivate themselves in attaining the purity of their three karmas (body, speech, and mind) in the past, present, and future. However most of these assembly are ordinary ceremony, there were no holy states appearing.
Akou Lamo and Ciren Jiacuo each held one side of the lotus tub. Upon Akou Lamo’s uttering the mantra “Ong Ah Hong,” they lifted their shoulders. With a roaring sound of cascading water, the lotus tub tilted upward. Holy water used to bathe the Buddha was poured into the tub used to bathe the celestial beings. Upon another uttering of the mantra “Ong Ah Hong,” the two of them again lifted the lotus tub. Like a silver pillar, dharma water poured into the tub used to bathe the celestial beings.
All of the attendees were astonished! They sat there dumbfounded. Fourteen men using all their strength in concert could not move that more than four thousand-pound lotus tub. However, to everyone’s surprise, a young woman and an elderly man seventy years old exhibited their states of realization and lifted that lotus tub for all to see! What a wonderful expression of the true Buddha-dharma, of the power of Vajra! Neither of them has any innate spiritual powers. Under Holiest Tathagatha Wan Ko Yeshe Norbu, they have practiced and learned the true Dharma and have reached a high level of Buddha-dharma realization. That is why they were able to successfully complete the key ritual of the Dharma Assembly— pouring water based upon one’s Buddha-dharma realization. All of the attendees were surprised and praised the two of them highly. Everyone was moved and joyful. That Highest Form of Bathing the Buddha Dharma Assembly was successful precisely because of this holy event.
CELESTIAL DRAGONS LAUGH JOYFULLY
After pure water used to bathe the celestial beings was successfully poured, the His Holiness began practicing the dharma to bathe the celestial beings. As soon as all of the attendees chanted in unison one time the verses relating to bathing the celestial beings, suddenly, a strong wind began swirling. The curtain screens began to bulge and rumble. The tankas hanging on the curtain screens flew upward in a ninety-degree angle from the ground. The poles holding up those curtain screens creaked in the wind as if they were about to break. Even the sandbags used to anchor the curtain screens were turned over and moved by the wind. Two-thirds of the people there heard very loud, low and deep dragon’s roars explode in the air accompanied by the clap of rolling thunder. One-third of the people there only heard the sound of the wind but did not hear the sound of thunder. This all the more proves the magnificence of the Buddha-dharma, since different karmic states manifested at the same time.
At that time, the hot sun was high in the sky. It seemed as if the joyful roars of the celestial dragons shook the sun so that it shined even more brilliantly! The dharma protecting deities came to the mandala where the Buddha was bathed and received a dharma bathing bestowed by the Buddha! At this time, people remembered that a few days before the Dharma Assembly when the curtain screens and dharma altar were being erected, the Buddha Master personally arrived. His Holiness repeatedly instructed everyone to fasten well the foundational support for the dharma altar and curtain screens so that the altar and screens would not be blown over by the wind. A layperson whose last name is Hsu said to the Buddha Master, “The weather station forecasted that there will be no rain or wind for the next seven or eight days.” His Holiness then told everyone, “At the Dharma Assembly, of course it will not rain. However, when I practice the Dharma, a strong wind will blow. There will be strong gusts of wind, especially when all of the Dharma protecting deities arrive and manifest their powerful spirits. Therefore, the foundational support must be fastened firmly.” It is very fortunate that the buddha Master made such a prediction. On the day of the Dharma Assembly, the dharma protecting deities joyfully laughed in the sky. Although there were strong gusts of wind, the dharma altar and curtain screens did not fall.
A RINPOCHE IS GIVEN A SIGN
After the Buddha Master practiced dharma to bathe the celestial beings and the dharma protecting deities, His Holiness instructed everyone to look inside the water to see whether the Vajra Wheel was moving. People were amazed to see that even though those two people with holy virtue and high states of realization lifted the lotus tub and thereby poured Dharma water from a tub weighing more then 4,000 pounds downward into the tub used to bathe the celestial beings, the Vajra Wheel surprisingly did not move in the slightest. The Vajra Wheel remained in its original position. Many people saw eight dharma protecting bodhisattvas standing on that dharma object blowing air upward.
At this time, a rinpoche who weighs 280 pounds beseeched the Vajra Wheel to manifest its powers and eliminate his remaining karmic hindrances. His Holiness agreed to this request and put the Vajra Wheel on that rinpoche ’s chest. At first, that rinpoche felt that the temperature of the Vajra Wheel was cool. His Holiness then began intoning a mantra. With his fingers pointing to the sky, His Holiness lightly snapped his fingers. That rinpoche suddenly let out a miserable scream. He was in such pain his face turned pale. Like the power the Incantation of the Golden Hoop had over the Monkey King in Journey To The West, the Buddha Master’s mantra caused the solemn face of the rinpoche to become distorted from pain he could not endure. It seemed that the rinpoche could not endure the pain. As a result of His Holiness practicing a certain dharma, the Vajra Wheel emitted the true fire of samadhi. Its temperature quickly rose to an extremely high degree. Of course, that rinpoche could not endure such heat.
H.H. Wan Ko Yeshe Norbu(H.H. Dorje Chang Buddha III) then snapped his fingers again, and the true fire of samadhi instantly disappeared. The Vajra Wheel suddenly became cold. That rinpoche immediately returned to his normal condition. He was not injured in the least. However, there remained an imprint of the Vajra Wheel on his chest. His Holiness predicted that after one week a three-dimensional dharma object in relief would grow out of the imprint on that rinpoche ’s chest. That rinpoche was full of dharma joy and thanked His Holiness for eliminating his karmic hindrances. That rinpoche then vowed to do his utmost to benefit living beings.
A CLOUD PROVIDES AN UMBRELA-LIKE COVERING
From the beginning of the Dharma Assembly all the way to its end, a beautiful cloud continuously floated in the sky above the mandala. The shadow of that cloud continuously covered the bronze statue of Dharma Prince Siddhartha. The Dharma Assembly lasted more than three hours. The sun moved westward. That cloud moved together with the sun. It was like an umbrella that served to block the sunlight from the statue of Dharma Prince Siddhartha. However, the sun continued to shine upon the area of the dharma altar only two or three inches from the statue of Dharma Prince Siddhartha.
THE COLOR OF DHARMA WATER IS RECEIVED
The Dharma Assembly ended solemnly. Everyone took some dharma water from the tub used to bathe the Buddha and the tub used to bathe the celestial beings. Suddenly, someone said in a surprised manner, “The Dharma water is changing!” Everyone rushed over to see. They discovered that the ninety buckets of light-brown fragrant Dharma water taken from the tub instantly became clear water. The Buddha and the celestial beings received the merit of that fragrant water. The merit of the Dharma Assembly was wonderful and complete. All of the attendees prostrated and uttered words of praise.
H.H. Wan Ko Yeshe Norbu (H.H. Dorje Chang Buddha III) conducted this Highest Form of Bathing the Buddha Dharma Assembly, a respected event in the history of Buddhism. His Holiness practiced the dharma during this assembly. All seven holy states were manifested. Water was poured based upon the states of realization of those who poured it. Those two people thereby exhibited their extraordinary powers. The Buddhas and Bodhisattvas and the heavenly dharma protecting deities personally arrived at the mandala and received bathing water bestowed by the Buddha. Various holy states of the Buddha-dharma appeared one after the other. Only this type of magnificent Bathing the Buddha Dharma Assembly is a true Bathing the Buddha Dharma Assembly as stipulated in the dharma. This grand event in Buddhism took place as a result of the good fortune of living beings.
After the Dharma Assembly, one of the two persons with high states of realization who lifted that lotus tub, Akou Lamo Great Rinpoche, requested that the holy lotus tub used to bathe the Buddha be transported to Tibet so that it could serve as an offering in furtherance of Tibetan Buddhism. Great layperson Ciren Jiacuo requested that it be kept in the United States as an offering. In order to be fair, His Holiness had everyone vote on the matter. Akou Lamo Great Rinpoche lost the vote by a ratio of three to two. The United International World Buddhism Association Headquarters will keep that lotus tub used to bathe the Buddha. It will be kept in the United States as an offering. The tub is currently stored at Hua Zang Si Temple at San Francisco.
Professor Richard Gombrich, who dedicated 40 years of his life to studying Buddhism and Pali language at Oxford University, shares his understanding of Buddhism.
When I say I’m a Buddhist, it doesn’t mean I’m purer and nicer than others. But it means I have too much ignorance and mental defilement to remove. I need Buddhas’ wisdom.
When I say I’m a Buddhist, it doesn’t mean I have more wisdom than others. But it means I have been occupied by too much arrogance. I need to learn to be humble and to develop a broader perspective.
When I say I’m a Buddhist, it is not because I am better or worse than others, but because I understand all beings are equal.
When I say I’m a Buddhist, I know I only love those to my taste, but Buddha loves even people he does not like, guiding them to be full of wisdom and compassion. That’s why I choose to follow Buddha’s teachings！
When I say I’m a Buddhist, it is not with the goal of getting what’s in my interest. But for letting go of my personal clinging to all worldly desires.
When I say I am a Buddhist, it is not because I pursue a smooth life. But for the calm acceptance of impermanence, and be calm and confident like a king in any adverse circumstances.
When I say I am a Buddhist, I do not mean to manipulate others with the motivation of self-interest. But with good use of wisdom, to benefit self and others while being empathetic to all sentient beings.
When I say I am a Buddhist, it is not because I want to escape from the world and pursue nothingness. But to know everyday life is within Dharma, and to live in the present is to practice.When I say I am a Buddhist, it does not mean that my life will no longer experience setbacks.
But with the Dharma, setbacks are transformed into a cause for my growth.
When I say I am a Buddhist, my heart is filled with endless gratitude. Just thinking I was born as a human and have the ability to practice in this life, with the opportunity to meet wise teachers and hear the Buddha’s teachings, I am deeply moved by this unbelievable karmic affinity.
When I say I am a Buddhist, it is not because there is a God outside of me. But that I find the true Buddha-nature of my own heart.
In his profound book “Man’s Search for Meaning,” psychologist Viktor Frankl imparts crucial lessons on finding meaning in our lives. The book is divided into two parts: the first half comprises the author’s semi-autobiographical narrative of life in a concentration camp, retaining insights and thoughts from the perspective of a refugee. Frankl, with the keen observational eye of a psychologist, categorizes the camp’s inhabitants into two main groups. Those who survived were invariably those who found meaning in life and clung to a shred of hope to keep moving forward, although many of them did not persevere until the end. Those who deemed life meaningless, lost the will to live, and had no hope, inevitably perished.
The second half delves into the fundamental concepts of logotherapy from a psychological perspective. Observations from the refugee camp are documented and internalized into the author’s own “logotherapy,” aiding patients—or ordinary people like us—in finding meaning in life and living their unique existence. The author advocates against determinism, emphasizing the importance of individual choice over environmental determinism.
Frankl, a Jewish psychiatrist imprisoned in the Auschwitz concentration camp, experienced a tumultuous journey of emotions. Before Christmas in 1944, rumors spread in Auschwitz that the war would end and everyone would be released, yet after Christmas passed without the anticipated victory, hopelessness descended, resulting in the death of 80% of the camp’s inhabitants—not from hunger and cold, but from the loss of hope. Frankl survived because two things mattered to him: his family, especially his love for his wife, which provided him with immense motivation during times of suffering, and his manuscript, his work on the psychological “logotherapy” he aimed to complete. These two things were bigger than himself, sustaining him through the ordeal.
This book stands out among numerous works because it encompasses both the author’s personal harrowing experiences and the detached observations of a scientist. From the outset, the author states his reluctance to write a mere chronicle of the concentration camp but rather aims to answer one question: “What psychological journey does an ordinary prisoner go through each day in the camp?” His observations focus on the silent, anonymous inmates’ reactions to their environment, including his own.
What fascinates me most is the author’s earnest yet transcendent perspective. Grounded in his own inner being, he strives for honesty without self-pity or complaint, maintaining a clinical detachment that rises above the harsh realities of the time. This writing style and attitude reveal both his resilient spirit and remarkable clarity of mind, as well as his profound understanding of his inhuman conditions, rendering emotional catharsis unnecessary.
At times, he detaches himself from his immediate surroundings, engaging in imaginary dialogues with his beloved wife, allowing love to fill his heart. The ability to detach oneself from reality using imagination is a unique human skill that aids survival in extreme adversity.
His theory posits that the search for meaning in life is the fundamental driving force of human existence. This meaning is unique and individual, requiring realization and practice by each person; only through this realization can one’s will to meaning be fulfilled. The aim of “logotherapy” is to aid individuals in uncovering the meaning in their lives. This meaning varies for each person and changes at different life stages, necessitating personal exploration. Once discovered, it provides hope for easing the neuroses arising from a lack of meaning in life. Meaning in life is concrete and tangible. For instance, a mother may find meaning in living for her children. I wholeheartedly concur with the author’s view that the meaning of life is not fixed. The sustenance it provides varies at different ages and stages of life. For instance, there was an elderly man who had been depressed for two years after losing his wife, seeking assistance from Frankl. When asked what his wife would do if he had passed away before her, the man responded that she would not be able to bear such pain. Frankl then remarked, “So, she left first. You can bear the pain for her to rest in peace. Isn’t that good?” The man felt relieved upon hearing this. He found the meaning of his life at that time.
According to author, there are three paths to finding meaning in life: 1. Creativity and work; 2. Recognizing values (such as love); 3. Suffering. Frankl firmly believes that everyone can find meaning in life, whether through creativity and work, experiencing something or loving someone, or, in extreme circumstances, when all joy is stripped away, unavoidable suffering itself becomes the meaning of life. From his experiences in the concentration camp, he realized the third path.
In extreme adverse conditions, when a person is reduced to nothing but their body and mind, they still retain the freedom to choose their attitude towards their environment. They can either actively and arduously utilize every condition to survive or succumb to the desire to die, yielding to fate. The choice of attitude is the only and complete dignity and meaning. And humans can choose to say “yes” to life.
Therefore, Frankl is a pessimistic optimist. He acknowledges that life itself is inherently meaningless, yet he is willing to inspire humanity to find meaning for themselves. His mission in existential psychiatry is to help patients find their own meaning in life through various methods. In contrast to psychoanalysis, which views humans as passive products of their environment, Frankl places human subjective will in a more significant position.
I cannot disagree with Frankl’s viewpoint. From my own half-century of life experience, I also believe that the attitude we adopt towards our environment, whether favorable or adverse, ultimately determines the trajectory of our lives. This is what I mean by “character determines destiny.” There are times of despair, hopelessness, and pessimism, of course, and there is no need to feel ashamed. We should learn to pull ourselves out of negative emotions and sincerely believe that “tomorrow will be better.” And indeed, tomorrow often turns out fine.
Nine powerful quotes from the book Man’s Search for Meaning
Choose hope. We cannot always change our circumstances but we always have a choice about our attitude in any given situation. As Viktor Frankl writes, “When we are no longer able to change a situation, we are challenged to change ourselves.”*
Know your why. Ask yourself: What am I living for? Every single day, we should ask ourselves why we are getting up and why we are here at all “Those who have a ‘why’ can bear with almost any ‘how’.”
Learn how to cry. Tears are not a sign of weakness; they emanate from a soul that is not afraid to break: “But there was no need to be ashamed of tears, for tears bore witness that a man had the greatest courage, the courage to suffer.”
Don’t just be part of the herd. The world is upside down; sometimes doing what everyone else is doing is what is insane. “An abnormal reaction to an abnormal situation is normal.”
Live meaningfully. We create meaning by answering the questions life asks from us. “Ultimately, man should not ask what the meaning of his life is, but rather must recognize that it is he who is asked. In a word, each man is questioned by life and he can only answer to life by answering for his own life. It did not really matter what we expected of life, but rather what life expected of us.”
Fill your day doing acts of kindness. There is purpose in kindness; there is meaning in the hundreds of small acts of giving that we have the opportunity to grasp each day. “We who lived in concentration camps can remember the men who walked through the huts comforting others, giving away their last piece of bread. They offer sufficient proof that everything can be taken from man but one thing: the last of the human freedoms-to choose one’s own way.”
Move beyond yourself. We find true meaning when we transcend our own needs and limits. “The more one forgets himself – by giving himself to a cause to serve or another person to love – the more human he is and the more he actualizes himself.”
Feel the pain of others. Suffering hurts no matter how irrelevant or ordinary it may seem to others. Be attuned to others’ grief even if doesn’t seem like a tragedy in the overall scheme of life. “Thus suffering completely fills the human soul and conscious mind, no matter whether the suffering is great or little. Therefore, the ‘size’ of human suffering is absolutely relative.”
We can change even when life is hard. We can create meaningful lives full of depth and love and purpose. “Man does not simply exist but always decides what his existence will be, what he will become the next moment. By the same token, every human being has the freedom to change at any instant.”
On this Mother’s Day, May 12th 2024, let’s take a moment to honor and celebrate the incredible women who have shaped our lives with their love, wisdom, and endless sacrifices. From the comforting embrace of a mother’s arms to the gentle guidance through life’s challenges, mothers hold a special place in our hearts. Today, let’s not only express our gratitude to our own mothers but also extend our appreciation to all the moms around the world. Let’s cherish and remember the countless sweet memories we’ve shared with our moms, from bedtime stories to comforting hugs, from laughter-filled moments to silent acts of love. May this day be a reminder to treasure every precious moment with our moms and show them the love and appreciation they truly deserve. Happy Mother’s Day to all the amazing moms out there!
I Cannot Remember My Mother
By Rabindranath Tagore and translated by Sishu Bholanath
I cannot remember my mother only sometimes in the midst of my play a tune seems to hover over my playthings, the tune of some song that she used to hum while rocking my cradle.
I cannot remember my mother but when in the early autumn morning the smell of the shiuli flowers floats in the air the scent of the morning service in the temple comes to me as the scent of my mother.
I cannot remember my mother only when from my bedroom window I send my eyes into the blue of the distant sky, I feel that the stillness of my mother’s gaze on my face has spread all over the sky.
Sonnets Are Full of Love
Christina Rossetti
Sonnets are full of love, and this my tome Has many sonnets: so here now shall be One sonnet more, a love sonnet, from me To her whose heart is my heart’s quiet home, To my first Love, my Mother, on whose knee I learnt love-lore that is not troublesome;Whose service is my special dignity,
And she my loadstare while I go and come, and so because you love me, and because I love you, Mother, I have woven a wreath of rhymes wherewith to crown your honoured name: In you not fourscore years can dim the flame of love, whose blessed glow transcends the laws of time and change and mortal life and death.
To My Mother
Edgar Allan Poe
Because I feel that, in the Heavens above, The angels, whispering to one another,Can find, among their burning terms of love, None so devotional as that of “Mother,”Therefore by that dear name I long have called you—You who are more than mother unto me, And fill my heart of hearts, where Death installed you In setting my Virginia’s spirit free.My mother—my own mother, who died early, Was but the mother of myself; but you are mother to the one I loved so dearly, And thus are dearer than the mother I knew By that infinity with which my wife Was dearer to my soul than its soul-life.
Mothering Sunday
George Hare Leonard
It’s the day of the year, The one day of the year, When I’ll see my dear Mother And bring her joy, Celebrating Mother’s Day on Sunday.
And now I’m off to get my special cake, From the baker’s, for heaven’s sake. He promised me the best he’d make, A treat to take And celebrate for Mother’s sake.
I have always known, as I strolled by,
A certain lane, where every day,
Without fail, no matter how they try,
Violets lie,
As I walked home on Sunday.
My sister Jane is serving-maid To the Squire’s lady, come what may. Each year, she’s played her part, and stayed, Prepared dinner, and never strayed For Mother’s special day.
Mother’ll come to Church, you’ll see – It’s the day she cherishes the most – “The one,” she’ll say, “that’s made for me.” And so it will be: Every Mother’s Day, for all to toast.
The boys will all return from town,
Not one missing this special day.
And every girl will not let down
To display her gown,
On Mothering Sunday.
It’s the day of all the year, The one day above all others. And here I am, my dear Mother, Bringing you cheer, On Mothering Sunday.
SUPPOSING I became a champa flower, just for fun, and grew on a branch high up that tree, and shook in the wind with laughter and danced upon the newly budded leaves, would you know me, mother?
You would call, “Baby, where are you?” and I should laugh to myself and keep quite quiet.
I should slyly open my petals and watch you at your work.
When after your bath, with wet hair spread on your shoulders, you walked through the shadow of the champa tree to the little court where you say your prayers, you would notice the scent of the flower, but not know that it came from me.
When after the midday meal you sat at the window reading Ramayana, and the tree’s shadow fell over your hair and your lap, I should fling my wee little shadow on to the page of your book, just where you were reading.
But would you guess that it was the tiny shadow of your little child?
When in the evening you went to the cow-shed with the lighted lamp in your hand, I should suddenly drop on to the earth again and be your own baby once more, and beg you to tell me a story.
“Where have you been, you naughty child?”
“I won’t tell you, mother.” That’s what you and I would say then.
Peace LiLy 
