IAMA presents Be Your Own Spotlight by Yen’s Art Studio
Walking into Be Your Own Spotlight, presented by Yen’s Art Studio, at IAMA (The international Art Museum of America), I didn’t feel like I was entering a typical student art exhibition. Instead, it felt more like stepping into 150 honest conversations—each one visual, brave, and deeply personal.
The exhibition features 150 outstanding works by young students, created across a wide range of mediums—acrylic, watercolor, pencil, and mixed media. But what moved me most was not the variety of techniques; it was the sense that every piece quietly declared: this is who I am right now.
These students are not just learning how to paint or draw. They are learning how to trust their voices, how to take up space, and how to stand behind what they create. Their works reflect growth, self-discovery, and the joy—and sometimes uncertainty—of becoming. Whether you are a parent, an educator, a collector, or simply someone searching for inspiration, this exhibition offers something meaningful to feel, not just something pleasant to see.
As I moved through the gallery, I was delighted by the sheer range of imagination: striking portraits, fantastical worlds, playful animals in sunglasses, thoughtful reflections on global issues, and moments of pure joy. The diversity of themes reminded me of a beautiful truth that Yen’s Art Studio expresses so well: “In the world of art, there are no boundaries of age or race. Children’s artwork can reach—and sometimes surpass—the technical ability and creative understanding typically associated with adults.”
One piece that stayed with me was a self-portrait by 8th-grade student Cynthia Liu. It stood out not only for its technical sensitivity, but for its emotional depth. Cynthia is known for her perfectionist nature, something many of us—artists or not—can relate to. Her work quietly reflects a universal truth: no artwork is ever truly finished. Without a clear endpoint, a piece can be revised endlessly, sometimes at the cost of the original vision.
Self-Portrait by Cynthia Liu, 8th grade Yen’s Art Studio
Hanni from Newjeans by Sophie Sun, 9th grade. Yen’s Art Studio
Another story that deeply touched me was Sophie’s. Once a shy student who nearly gave up on art altogether, she found her way back through the creative process at the studio. Through painting, Sophie rediscovered calmness, confidence, and inner strength—one of the most meaningful transformations I learned about in this exhibition. Her journey reflects the studio’s commitment not only to technical excellence, but to nurturing the inner lives of its students.
Lovers by Nova Cui, 9th grade Yen’s Art Studio
Among the more than 150 works, one painting stood out to me for its quiet presence rather than immediate visual impact. Created by Nova, a student dedicated to becoming a professional ballet dancer, the piece carries a sense of discipline, restraint, and inner resolve. Acknowledging the intensity of her dance training, her art education focused less on technical display and more on observation, sensitivity, and emotional understanding.
Her painting reveals genuine emotion and determination, qualities she will undoubtedly carry into her future as a dancer, where movement and art meet as a shared language of expression.
Be Your Own Spotlight is ultimately not just about showcasing talent. It is about honoring courage—especially the quiet kind. It reminds us that every young artist is learning not only how to create, but how to believe in themselves. And as viewers, we are fortunate to witness these moments of bravery, growth, and becoming.
Don’t miss the museum’s permanent exhibition, where world-class artworks offer far more than visual beauty. Here, art becomes a quiet refuge—inviting tranquility, reflection, and a subtle elevation of the spirit. Especially moving are the paintings by H.H. Dorje Chang Buddha III, whose works gently awaken the mind, soothe the heart, and leave the soul deeply inspired long after you depart.
In November 2025, I went on a very special trip. Together with 66 Dharma brothers and sisters, I set off for Bhutan. Being the only German in this group from the USA, China, Taiwan, and Sri Lanka, I felt at home right away. We were a wonderful mix of monks, nuns, Rinpoches, and lay Buddhists. We all met in Thailand first to travel on to Paro together.
Our goal was more than just a visit. We came to honor the holy sites of this country and to dive into Bhutan’s deep-rooted Buddhist tradition. Of course, we were also excited to get to know the land and its people. Dedicated members of our group took care of the entire organization. Thanks to their excellent planning and the great local guides, everything ran smoothly. We also owe the fact that this trip was possible in this special way to the Venerable Dr. Chandima from Sri Lanka. Through his personal connections to the Kingdom of Bhutan, doors opened for us that might otherwise have remained closed. Having the Venerable Master Shi Zheng Da with us was also especially valuable.
We brought two matters close to our hearts with us. First, it was important to us not to arrive empty-handed. We had collected donations within the group to directly support the hospital in Thimphu and the expectant mothers there. Second, it was our spiritual mission to represent the Buddha Dharma as we learned it from H.H. Dorje Chang Buddha III. Connected to this was the wish to share news of the “Holy Heavenly Lake Buddhist Town” project, which is planned to provide space for over 30 Buddhist centers from all over the world.
Arrival in Paro & the Journey to Thimphu
We landed in Paro on November 9th. From there, we took a bus about 40 kilometers through the valley to Thimphu. What I noticed immediately was that the entire road was decorated with five-colored banners. Our guide told us that this was the welcome greeting for the international guests of the “Global Peace Prayer Festival.”
Five-colored flags and pennants along the route
Thimphu itself was incredibly busy. Several events were happening at once: alongside the festival and the King’s upcoming birthday, Indian Prime Minister Narendra Modi was also expected for a state visit. You have to know that Thimphu is the only capital city in the world without traffic lights. Despite the crowds and the resulting traffic chaos, everyone remained calm. No one pushed, and people were patient and respectful. This relaxed attitude really impressed me.
National Memorial Chorten: The Spiritual Heart of Thimphu
After checking into our first hotel, we visited the National Memorial Chorten. This is a large, white stupa in the middle of the city, built in 1974 for the third King. For the locals, this is an important place in everyday life. Many go there to walk around the stupa and spin the prayer wheels.
As at all holy sites, photography is not allowed inside. A simple rule applies: as soon as the shoes come off, the camera stays off. This allowed us to soak in the atmosphere without any distractions. The interior houses larger-than-life statues of wrathful deities in Yab-Yum posture and murals of Guru Rinpoche (Padmasambhava), Shakyamuni Buddha, and Ngawang Namgyal, the unifier of Bhutan. Colorful sculptures stand in all four directions. There are also mandalas, shrines for the third King, and images of Vajrakilaya.
Impressions (in order): The white Memorial Chorten, pilgrims at the prayer wheels, the sea of lights from the butter lamps, believers performing prostrations, and our group in front of the stupa.
Our group took the opportunity to chant on the square in front of the stupa, led by the Venerable Master Shi Zheng Da. It was a beautiful experience to do this at such a place.
Authentic Bhutanese Crafts Bazaar: Traditional Arts and Crafts
In the evening, I took the chance to stroll along Norzin Lam. That is where the Authentic Bhutanese Crafts Bazaar is located, which you enter through a distinct red gate. Behind it, many small huts are lined up where local artisans display their goods. There was really a lot to discover. Besides handmade textiles, jewelry, wood carvings, and thangkas, you can also find nice souvenirs to remember the trip by.
Entrance to the Authentic Bhutanese Crafts Bazaar
Global Peace Prayer Festival: Shared Prayers for Peace
November 10th was all about the Global Peace Prayer Festival. Since the stadium was within walking distance of our hotel, we went there on foot. Even on the street, we could feel how many people were flocking to this event. Once inside the stadium, we showed our respect through prostrations before the Venerables present. Afterwards, we were given a spot on the side where we could join in the peace prayers.
From there, we watched the program on the main stage, where various Buddhist traditions took turns with their recitations. Between the prayer sessions, there were traditional dances and songs. I was deeply impressed by how many people came together there peacefully. It was simply a good feeling to be right there among them.
Buddha Dordenma: The Golden Statue Above the Valley
After noon, we continued to the Buddha Dordenma statue in Kuensel Phodrang Nature Park. This is an impressive, 51-meter-high statue of the seated Shakyamuni Buddha. It is made of bronze and completely gilded. By the way, it was built to celebrate the 60th birthday of the fourth King, Jigme Singye Wangchuck.
Buddha Dordenma Statue
Inside the building beneath the statue, there are over 100,000 small Buddhas, also made of bronze and gold. Every single one was donated. There is also a large meditation hall with many more beautiful Buddha statues. Various relics are kept in these rooms, which we were allowed to see during our visit.
Impressions of the Buddha Dordenma statue: The gigantic seated statue in side view, ritual structures featuring traditional thread crosses (Namkha/Mdos) on the plaza, the view up to the Buddha’s face, a relief of a blue elephant on the golden base, and the view over the square featuring golden Dakini statues.
What made this visit special was not just the statue itself. Right there, the conclusion of the Jabshi Gyap ritual was taking place. This is a major, multi-day ceremony intended to purify negative karma and bring healing. Thousands of devotees, monks, and Rinpoches were gathered. We learned that this ritual was done specifically for world peace. It was our good fortune that we could be there at exactly that moment.
A Matter of the Heart: Support for Expectant Mothers
We had collected money in advance to support 500 expectant mothers with care packages. For this reason, we gathered at the end of the day for a ceremonial handover at the hospital in Thimphu.
Handing over the donation at the hospital
In addition to our travel group, hospital staff, the Secretary to the Health Minister, and some mothers also took part. We had the opportunity to personally hand over the first packages to the mothers present.
With that, the first days in the capital were over. Next, the journey would take us out of the city, to ancient Dzongs and into nature.
In the southwestern suburbs of Xining, where the air grows thin and the spirit grows light, stands one of the most significant sites in the Buddhist world: Kumbum Monastery.
Known in Tibetan as Kumbum Jampa Ling, meaning “A Supreme Temple of a Hundred Thousand Lion’s Roar Buddha Images,” this sprawling complex is far more than just a collection of buildings. It is a living monument to Lama Tsongkhapa, the revered founder of the Gelug (Yellow Hat) sect of Tibetan Buddhism.
The Legend of the Golden Tree
Unlike many temples built to house statues, Kumbum was built to house a pagoda.
Legend tells us that Tsongkhapa was born here in 1357. When his mother cut his umbilical cord, drops of blood fell to the earth, and from that spot grew a miraculous sandalwood tree—the “Tree of Great Merit.” It is said this tree had 100,000 leaves, each bearing a natural image of the Buddha.
Years later, when Tsongkhapa was studying in Tibet, his mother sent a letter begging him to return. He replied that he could not leave his studies, but sent a self-portrait and a “Lion’s Roar” image, instructing her to build a pagoda over his birthplace. “Seeing this pagoda,” he promised, “is the same as seeing me.” In 1379, the Julian Pagoda was built, forming the sacred heart of what would become Kumbum Monastery.
Kumbum is world-renowned for its harmonious blend of traditional Tibetan and Chinese Han architectural styles.
1. The Eight Pagodas of Buddha Shakyamuni
Greeting visitors in the front square are eight gleaming white pagodas. Built in 1776, they commemorate the eight great merits and virtues of Buddha Shakyamuni. Each stands 6.4 meters tall, decorated with delicate Sanskrit scriptures and guardian lions, serving as a powerful symbol of the monastery’s spiritual authority.
2. The Grand Golden Tiled Hall
This is the soul of the monastery. With its gilded copper roof and emerald glazed-tile walls, the hall radiates a celestial glow. Inside, you will find an 11-meter-tall golden tower wrapped in white sandalwood and encrusted with jewels. At its peak sits a statue of Tsongkhapa. For pilgrims, meeting this tower is considered a direct meeting with the Master himself.
3. The Main Assembly Hall
Spanning nearly 2,000 square meters, this is the center of monastic life. Under a flat roof adorned with gilded bronze bells and “Aquarius” vases, hundreds of monks gather to recite sutras. The interior is a sensory masterpiece of colorful streamers and intricate carvings.
Dhammapala Hall
The “Three Artistic Wonders” of Kumbum
Kumbum is celebrated throughout Asia for its “Three Arts,” which represent the peak of Tibetan craftsmanship and devotion.
I. Vivid Yak Butter Sculptures
In the freezing depths of winter, when fresh flowers were unavailable for offerings, monks began carving flowers from yak butter. This evolved into a sophisticated art form. In the Yak Butter Sculpture Hall, you can see entire landscapes, pavilions, and deities crafted with impossible detail. To keep the butter from melting while they work, monks must dip their hands in ice water—a true testament to their endurance and faith.
II. Imaginative Barbola (Embroidered Appliqué)
Barbola is a unique form of 3D silk embroidery. By layering silk and cotton, artists create raised patterns that give the figures of Buddhas and animals a lifelike, three-dimensional appearance. The “Sixteen Disciples of Buddha” housed in the Main Assembly Hall are considered national treasures.
III. Exquisite Murals
The walls of Kumbum are alive with color. Using special mineral pigments that remain vibrant for centuries, these murals depict the life of Shakyamuni and scenes from the sutras. During the Sutra-viewing Festival, a massive 30-meter-long Buddha scroll is unfurled on the hillside, a breathtaking sight known as the “Great Buddha Exhibition.”
Kumbum Monastery hosts four major Dharma assemblies annually, held during the first, fourth, sixth, and ninth months of the lunar calendar. These gatherings are a blend of traditional festivals and grand religious events unique to the monastery. During these times, the temple comes alive with sacred activities, including monastic debates, mask dances, and sutra chanting.
A highlight of these fairs is the Cham Dance, where monks wear ornate masks and vibrant costumes, using dramatic gestures to express profound Buddhist teachings to the rhythm of cymbals and suonas (traditional horns). One of the most awe-inspiring sights is the Giant Thangka Unveiling, where a massive, delicate image of Tsongkhapa is unfurled down the mountainside. For the faithful, witnessing this Thangka is considered a direct and holy encounter with the Master himself.
Thangka Exhibition during the Buddha Festival
In July 2006, this sacred temple issued its formal recognition and congratulations to H.H. Dorje Chang Buddha III
United International World Buddhism Association Headquarters:
Under auspicious circumstances, we were happy to learn of the publication of A Treasury of True Buddha-Dharma—Complete Proficiency in Exoteric and Esoteric Buddhism and Perfect Mastery of the Five Vidyas about the Buddha Vajradhara, H.H. Master Yangwo Wan Ko Yeshe Norbu. His Holiness’s outstanding accomplishments are unprecedented. We respectfully send this letter of congratulations and joyfully offer our praise.
His actions and mind are pure, and His good fortune and wisdom are limitless. He benefits myriad living beings, and His willpower never tires. His powerful virtue is widespread, and His appearance is completely dignified. He truly abides in peace and His accomplishments are perfect!
Qinghai Skuvbum Monastery An auspicious day in July of 2006
Below is the original copy of the recognition letter in Chinese:
Xiaoxitian, originally known as Qianfo’an (The Hermitage of a Thousand Buddhas), was founded in the second year of the Chongzhen reign of the Ming Dynasty (1629). It stands atop Phoenix Mountain, about one kilometer west of Xixian County in Linfen, Shanxi Province.
Built entirely in harmony with the mountain, the temple unfolds in layers, as if it had grown naturally from the slope itself. Stone steps lead visitors upward, passing through courtyards divided by arched cave-like gateways. The upper, middle, and front courtyards are connected yet distinct, creating a spatial rhythm that is winding, intimate, and quietly profound. As one walks through the complex, footsteps instinctively slow, and time itself seems to soften.
The architecture of Xiaoxitian is restrained rather than ostentatious, yet its mastery reveals itself everywhere. Painted beams are elegant and dignified, and many of the halls are ingeniously built as two-story structures, creating a rich sense of vertical space within the limited mountain terrain. The bell and drum towers stand in stillness, inviting the imagination to wander back to an age when morning bells and evening drums echoed through the valley.
Stepping into the Mahavira Hall is a moment of sudden awe. Nearly the entire interior is filled with suspended polychrome sculptures—more than 1,900 figures, layered from floor to ceiling. From towering Buddhas over three meters high to figures no larger than a thumb, the sculptures are densely arranged yet never chaotic, solemn yet vibrantly alive. In that instant, one understands why Xiaoxitian is revered as the “Museum of Chinese Hanging Sculpture Art.”
Unlike many Buddhist temples that draw attention primarily to their principal Buddhas, the Mahavira Hall at Xiaoxitian is celebrated for the immersive world it creates as a whole. At its core stand the Medicine Buddha, Amitabha, Shakyamuni, Vairocana, and Maitreya, but surrounding them unfolds an entire celestial realm: the Ten Great Disciples, six young novices, the Ten Wisdom Kings, the Six Desire Heavens, and countless heavenly musicians dancing through the air.
Most unforgettable are the celestial musicians suspended within the tiered “sky pavilions” above the altars. Their figures are light and graceful, sleeves flowing as if caught in an eternal breeze, frozen in a moment of unending heavenly music. Some play the pipa, others hold flutes, while some seem to dance midair. One pipa-playing figure, leaning slightly forward with fingers poised on the strings, radiates such focus and elegance that one can almost hear the melody drifting across centuries.
Looking up toward the roof, the tri-colored glazed chiwen ornaments—yellow, green, and blue—gleam softly in the light. Their refined brilliance reflects the unmistakable aesthetic of the Ming Dynasty. Here, architecture, sculpture, and color merge seamlessly, and one forgets that this is a mountain temple at all. It feels instead like stepping into a floating Buddha realm, suspended between earth and sky.
That these sculptures have survived nearly four hundred years in such vivid detail inspires deep reverence. They represent not only the pinnacle of craftsmanship, but also a profound devotion—to faith, to beauty, and to a harmonious vision of the cosmos.
Perhaps what truly moves the heart at Xiaoxitian is not only the astonishing number of its hanging sculptures or the rare Ming Yongle Northern Buddhist Canon once preserved here, but something more enduring: a spiritual presence that has remained vibrant across centuries. It quietly reminds us that beyond the noise of the modern world, there still exists a place of serenity and dignity—carefully upheld by time itself.
Please see below the answer of whose work is the best amongVincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III
I have spent more than 60 years of my professional life in the field of painting. During the many decades of practice and experiences, I have come to know many famous painters. That is especially the case since I became the Head Consultant for authenticating paintings and calligraphy at the National Museum of China in Beijing. As an appraiser and authentication officer of paintings and calligraphy, the bulk of my work is to verify the authenticity of Eastern and Western paintings. I have reviewed tens of thousands of famous paintings, especially the rare and precious works of the maestro Vincent van Gogh of the Netherlands, and those of the champion of Eastern paintings, Qi Baishi of China.
Both Van Gogh and Qi Baishi were great world-renowned masters in art. One represented the apex of Western art and the other was a master of an extreme class in the field of Eastern paintings. Both artists had drawn from the essence of the classical traditions of their respective cultures. They created new styles of art and new ways of seeing the universe. They broke new grounds and became pioneers of new eras, each becoming a creative guru of his time, developing a distinct style of his own and leading new trends that inspired later generations. Their works reflect the different essences of the Eastern and Western traditions. To what extent can their works influence the artistic civilization of the world? What kind of artistry did they achieve that made them upright monuments in art history and admired by so many people?
Some art critics compared the works of Van Gogh and Qi Baishi to see which of them reached a higher level of accomplishment. They concluded that both have their own merit, both are undefeated champions in the art and both reached the pinnacle of artistry. Recently, some art critics also brought up the oil painting Sunflowers and the ink-wash painting Sunflowers, both created by H.H. Dorje Chang Buddha III, and gave them rave reviews. They went on to compare the works by Vincent van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, trying to establish which of the three artists is the champion of the champions. The result of comparing the works by Van Gogh, Qi Baishi and H.H Dorje Chang Buddha III is tremendously inspiring.
Ever since the Renaissance, Western artists had placed emphases on rational analysis and the realist portrayal of forms. They used light, texture and details to present the realistic, three-dimensional perspective. A few centuries later, Van Gogh rejected the monotony of such use of light and shadow and the realistic portrayal of figures. He pioneered the movement of impressionism that suited him well by applying a mix of colorful, brilliant, splendid and vigorous brushstrokes. He became a great master of his time and his name was forever etched onto the monument of Western civilization and art.
Whenever people think of Van Gogh, they think of his unique character, the sparkles in his eyes that emit lightning, his vigor and his incessant pursuit of inspiration in art without any regard to external hardships. Van Gogh was an artist by birth. He was of exceptional confidence and was somewhat neurotic. Having such traits, he pursued the art that he loved without any reservation or hesitation. He loved his works and regarded everything else with disdain. He preferred to be a loner in the world and did not care to make acquaintance of other painters of his time. His works are full of luminous colors, the brushstrokes are like rising winds and racing clouds in the sky. In his art, he depicted pasture, figures, flowers and other subject matters with brisk colors. Every brushstroke was transformed from his inner emotions. Such emotions were fully and colorfully captured in his Self-Portrait as well as in the transcendental Sunflowers that he painted. These works contain an animated spirit that is deeply moving.
From Van Gogh’s artistic spirit and intent, we can detect that he was profoundly knowledgeable about Chinese ink-wash paintings. Precisely because of this, while depicting forms and applying colors, he employed the skills of using the center tip of the brush and parallel brushstrokes. His Still Life with Bible was created with parallel brushstrokes. In his Self-Portrait, he portrayed his face filled with lines and plaques that are extraordinary. It is not hard for us to discover that he drew inspirations from the substance and essence of Chinese painting in those brushstrokes. That is why Van Gogh is such a distinguished, unparalleled artist of his time and his works are superior to those by the other Western oil painters such as Cezanne, Gauguin or Picasso of the same era.
Van Gogh’s artistic style was closely linked not only to Chinese civilization in the East, but also to the classical Renaissance art, Pointillism, German Expressionism, and Impressionism in the West. Toward the end of his life, he came into oneness with the universe and immersed himself in a carefree state of mind to “follow wherever nature might lead.” As such, he was no longer aware of his own existence. In his mind, there was only the art and the universe. “Following where the nature may lead” is the essence of the ideology of the Chinese philosopher Laozi. Van Gogh cut off his ear with a knife. He lost himself completely in painting. That was his unspoken resentment and rejection of the unfair treatment imposed on him by the society.
Qi Baishi was profoundly knowledgeable about impressionist, fauvist, and realist paintings. By adopting the essence of Western painting and incorporating the traditional spirit of Eastern art, he developed his unique style and became the master of Chinese painting of the twentieth century. His brushstrokes were solid and poised, evincing a sense of power that went all the way through the paper. Using sheep-hair brushes, he elicited calligraphic skills to create his paintings. Qi Baishi’s lines are bold and robust, embodying a forceful spirit that can move mountains. At the same time, these lines are flexible, sturdy and round, with similar qualities to the lines of wire-drawing. His compositions emerged naturally from the spontaneous movement of the brushes. Such compositions are accompanied by vigorous calligraphy resembling the strength, power and fluidity of stone inscriptions.
The artistic concept of spontaneously “following where nature may lead” is precisely derived from Laozi’s philosophy and the artistic civilization of the Chinese ethnicity. Qi Baishi favored the use of white space in his paintings. The white space in black-and-white Chinese ink-wash paintings is considered a solid color. Ink can be differentiated in nine shades (or five shades according to ancient Chinese text.) That is to say, the white of the paper per se and the black of the ink are all considered as colors. There is a sense of meticulous precision in the artworks by Qi Baishi. He depicted insects such as grasshoppers, mantises and butterflies in meticulous and vividly colorful ways. In some of his artworks, the artist was able to express his ideas by putting down just a few brushstrokes without any conscious intent, while arriving at a state of oblivion of his own existence. Anything depicted by his brushes was vivid and vibrant, with the subject matter coming alive on the paper. There is an aura that moves our heart and soul. All in all, Qi Baishi’s paintings were executed with a confident brushwork that naturally achieved a kind of childlike charm.
Recently, some people compared the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III to see whose works are more superior and outstanding, or will have a broader and more far-reaching influence on later generations. I have viewed quite a lot of the artworks by Van Gogh, Qi Baishi and H.H. Dorje Chang Buddha III. I started the study and appreciation of the paintings by Qi Baishi under the enlightening guidance of my teacher when I was 9, and when I was 14, I began to study and appreciate the works by Van Gogh. It has since been several decades!
At the same time, since I have admired the art of H.H. Dorje Chang Buddha III for a long time, to satisfy my desire and wishes I flew from New York to San Francisco to visit the International Art Museum of America, and to Los Angeles to visit the H.H. Dorje Chang Buddha III Cultural and Art Museum in order to see their collections. I was profoundly impressed by the architecture of both museums which is grand and dignified. Both museums have a collection of the authentic works by H.H. Dorje Chang Buddha III. There are various artworks that are created with different kinds of material. Some are bold and forthright, some are charmingly meticulous and astounding. The oeuvre is not made up of just one single style.
Yet, the only artwork that was not available for viewing is the Sunflowers painted by H.H Dorje Chang Buddha III. When I hear that some art critics are comparing the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, I naturally feel, from my experience of having studied the works by Van Gogh and Qi Baishi for a number of decades, that although their artistry are similar in levels, it is possible to say who is the best if we are just to compare the sunflowers painted by the three artists, when we include in the compositions, colors, brushwork, lines, vitality, spirit and so on. With all these elements in consideration, it is possible to do the comparison and conclude who painted the best, or in other words, whose works can bring the most joy and delight to people, or whose art will be most influential to the philosophy, artistic concept and entire civilization of this world.
Therefore, without any ambiguity, we concluded. In terms of character and morality, Van Gogh would be the last of the three. In terms of level of skills, Qi Baishi would also be ahead of Van Gogh, who is, however, already the cream of the crop in western civilization. Being the Buddha living in the current century,H.H. Dorje Chang Buddha III saves living beings with great loving compassion. He is not embodied in an ordinary being. Needless to say, the level of cultivation of the Buddha is superior to that of Van Gogh and Qi Baishi. In terms of creativity and painting skills, how can any ordinary being even hold a candle to the Buddha? In this way, the comparison result is immediately determined.
When those art critics carried out the detailed research of the Sunflowers by Van Gogh and Qi Baishi as well as H.H. Dorje Chang Buddha III, they copied the artworks by all three artists. After copying the works by Van Gogh and Qi Baishi, they felt deeply that through hands-on practice, they indeed gained more understanding of their works. It would not be easy but not so difficult either for one to really reach their artistic level. As for the Sunflowers by H.H. Dorje Chang Buddha III, they found it rather difficult to copy. Even though they tried many times, they had a hard time just copying the form, let alone the spirit.
The Sunflowers by H.H. Dorje Chang Buddha III clearly show the artist’s solid foundation and prolific skills in the Eastern and Western painting traditions. They comprise the essences in both traditions and display a brushwork, sentiment and colors that are one of a kind. The color tones and brushstrokes are rich, dense, soothing and elegant. Lively brushwork paints an animated charm that is whole, evincing a miraculous and expansive spirit and aura as well as a strong vitality. As for the Sunflowers oil painting in which H.H. Dorje Chang Buddha III depicted some flowers inside a vase, the artistry is extraordinary and full of variations; the composition is simple yet abstruse. The flowers are natural and gracious, such that they give an impression of unpredictability, reaching a state of oneness with the universe and emanating a sharp animated spirit.
The ink-wash painting Sunflowers by H.H. Dorje Chang Buddha III has an uninhibited, natural, and spontaneous brushwork that is dense, bold, and robust, but also elegant and agile. It exhibits a charm that is like stone and bronze inscriptions. Overall, the whole painting manifests a harmonious and moving imagery, naturally emanating a lively vivaciousness and a carefree, spirited aura.
In comparing the works by Van Gogh of the Western civilization, Qi Baishi of the Eastern culture, and H.H. Dorje Chang Buddha III, we can see the artists are distinguished in their unique own ways owing to their different cultures. However, only the artist who can continue to influence the world two to three hundred years from now will be the everlasting monument. There is a saying, “Talents emerge in every era and they all will each have 500 years of fame!” For people of the present day, the one whose work you like the best would be the one that is the most extraordinary!
Please see the contrast of six paintings below:
Sunflowers by Van Gogh (1)Sunflowers by Van Gogh (2)Sunflowers by Qi Baishi (1)Sunflowers by Qi Baishi (1)Ink-wash Painting Sunflowers by H.H. Dorje Chang Buddha IIIOil Painting Sunflowers by H.H. Dorje Chang Buddha III
The H.H. Dorje Chang Buddha III Cultural and Art Museum is pleased to announce its exhibition of “A Rock of Horizontal Charm“, a masterpiece of Yun Sculpture that embodies the spirit of art in a truly dis-tinctive way. In honor of this extraordinary form of art, the museum is offering free admission to the public for a limited time.
“A Rock of Horizontal Charm” was created by the world-renowned and internationally-revered highest leader of Buddhism, H. H. Dorje Chang Buddha III. The Yun Sculpture is a piece of original artwork that expresses a unique set of qualities. Various art experts and professors who have viewed the sculpture art say it has surpassed natural beauty and represents a level of perfection that extends well beyond what can be described as superb craftsmanship or inspired artistry.
The H.H. Dorje Chang Buddha III Cultural and Art Museum is exhibiting A Rock of Horizontal Charm, an unparalleled masterpiece of Yun Sculpture. For a limited time, visitors can receive free admission to the museum and witness the unsurpassed natural beauty of the superb sculpture art first hand.
When viewed from different angles, the Yun Sculpture’s colors, structure, and atmosphere change completely, inexhaustibly transforming in unpredictable ways. Furthermore, it possesses multidimen-sional spatial structures that are complex yet delicate and intricate, and exquisite to the utmost. In addi-tion, its colors—kaleidoscopic and majestic, yet mature and assured—manifest a supernatural, visionary beauty. “A Rock of Horizontal Charm“, alone, is so endlessly variegated that it provides thousands of beautiful vistas.
The astounding beauty of this amazing sculpture art goes far beyond mere words. Therefore, it is no surprise that it has distinguished itself as the “emperor” of the four great Yun Sculptures. In fact, the creation of “A Rock of Horizontal Charm“ is considered to be a miracle in human history because no craftsman in the ancient or modern world—or even high technology—has been able to devise such ex-traordinary works of divine art. Consequently, this original artwork has been designated a “peerless treasure” that cannot be replicated, and the museum has named the room in which it is being displayed, Peerless Treasure.
“Even the “He Shi Bi (the Jade Disc of He) “, recorded in history as a treasure of monumental value, does not fit the title of ‘peerless treasure,’ since it is completely replicable—and if it can be replicated, it is not unique; if it is not unique, it is not peerless,” states the museum’s website. “In fact, any master sculptor’s magnum opus can be recreated; thus, only “A Rock of Horizontal Charm“ is the true peerless treasure.”
Despite an invitation to create an identical replica Yun Sculpture for a $50 million prize, no human sculpture master or technology has successfully duplicated “A Rock of Horizontal Charm“. From this, one can see how H.H. Dorje Chang Buddha lll’s artistic level has far exceeded the summit of sculptural art in human history.
The exhibit featuring “A Rock of Horizontal Charm“ will allow visitors to experience the divine charm of H.H. Dorje Chang Buddha lll’s original artwork in person. The unreplicatable sculpture exudes an inex-plicable amalgamation of color, motion, energy and spirit. “A Rock of Horizontal Charm“ has transcend-ed the category of highest human sculptural attainment and entered into the enjoyments of a mystical world.
Located in Covina in East Los Angeles, the H.H. Dorje Chang Buddha III Cultural and Art Museum is housed in a building with a 117-year history. The structure was renovated in 2014 and transformed into the cultural and art museum that occupies the space today. Since then, the museum’s world-class, un-matched treasures have attracted a steady stream of culture and art lovers from around the globe.
The mission of the cultural and art museum is to promote the exceptional accomplishments of an Amer-ican with outstanding talent—H.H. Dorje Chang Buddha III—by displaying his achievements in culture, literature, philosophy, art, science, technology, and other fields. Visitors to the museum can learn about the noble ethics and morality of H.H. Dorje Chang Buddha III and the holy character of this magnificent, selfless Buddha who altruistically contributes to society through his vast achievements and who advances world peace as well as the happiness of people. In addition, visitors can be guided by the teachings of H.H. Dorje Chang Buddha III and model themselves after him to elevate their own moral character and benefit the public.
About H.H. Dorje Chang Buddha III H.H. Dorje Chang Buddha III has been recognized by the most highly realized practitioners of Buddhism as the third incarnation of the original Buddha, Dorje Chang Buddha. His accomplishments transcend religion, healing and art. As the first in history to manifest real accomplishments in the five vidyas, He meets the highest standard of Buddhism. He is recognized for his devotion to a wide scope of cultural and religious activities, which enrich the lives of people from communities throughout the world. His Holiness has mastered 16 unique painting styles or schools, representing an unprecedented pioneering achievement in the history of art. Additionally, He is the pioneer of a new class of artwork that cannot be duplicated by any living being: Yun Sculpture. Experts predict that His paintings and sculptures will become increasingly valuable.
Among China’s many vibrant ethnic cultures, few festivals shine as brilliantly as the Miao New Year — the most important and joyous celebration of the Miao people. It marks the end of a year’s hard work and the beginning of a season filled with gratitude, reunion, and hope.
Since ancient times, the Miao people have followed their own lunar calendar, considering the tenth month of the traditional Chinese lunar year as the beginning of a new year. In Leishan County of Guizhou Province, the Miao New Year usually falls on the Mao Day during the first half of the tenth lunar month, which is roughly equivalent to Chinese New Year’s Eve. The festivities typically last from three to nine days, turning the Miao villages into a sea of song, dance, and laughter.
The Miao New Year carries deep layers of meaning. It is not only a celebration of the harvest but also a time to honor their ancestors and deities, and to commemorate Chi You, the legendary ancestor of the Miao people who perished in tribal wars over five thousand years ago. Through ceremonies and offerings to nature — sacred trees, bamboo groves, rocks, and wells — the Miao express their respect and gratitude toward the forces that sustain life.
In the valleys of the Qingshui River and Duliu River in Guizhou, the Miao New Year is the highlight of the year. The Miao calendar differs from the Han Chinese lunar calendar, and the beginning of the Miao year is determined through communal discussions so that different villages celebrate at different times. This ensures that every year, one village becomes the center of a grand regional celebration, while neighboring communities come to join in.
After the autumn harvest and the completion of farm work, the Miao New Year marks both an ending and a joyful beginning. During the festival, villagers visit relatives and friends, slaughter pigs, make sticky rice cakes, worship their ancestors, share reunion feasts, and exchange cups of homemade rice wine.
Traditional activities include bullfighting, bird fighting, and singing contests, each bringing a unique charm to the celebration. One village’s festivities flow seamlessly into another’s, creating a continuous wave of joy that sometimes lasts until the early spring “Drum-Turning Festival” in February.
The Grand Parade and Thrilling Bullfights
The opening day of the Miao New Year is marked by a spectacular parade. People from the eight main Miao branches put on their most elaborate traditional attire — shimmering silver headdresses, embroidered costumes, and ornaments that glisten in the sun. Through music and dance, they showcase their unique local traditions and the living heritage of Miao culture, offering visitors from across China and beyond an unforgettable feast of color and rhythm.
Among the most popular events is the bullfighting competition, a traditional custom symbolizing courage and vitality. Two strong water buffaloes face off, locking horns in a contest of strength and spirit. Thousands gather around the arena to cheer, and the air is electric with excitement. With generous prizes for the winners, the event attracts participants and spectators from far and wide, adding a thrilling edge to the festive atmosphere.
The Long Table Banquet: Sharing Joy, Building Connection
If there’s one experience that perfectly embodies the hospitality of the Miao people, it’s the Long Table Banquet. This grand feast, dating back to ancient times, is more than just a meal — it’s a powerful symbol of unity, friendship, and celebration.
In Danzhai County’s Wanda Town, whenever guests arrive from afar, locals line the streets with long tables stretching as far as the eye can see. Each table is filled with Miao specialties such as smoked pork, sour fish soup, and sticky rice. Hundreds of people sit together, strangers becoming friends over shared food, laughter, and conversation.
The air fills with the tangy aroma of sour soup and the joyful clinking of cups. Everyone, regardless of origin or language, becomes part of one big family — a living expression of the Miao New Year’s spirit: warmth, generosity, and togetherness.
The Miao New Year is far more than a festive occasion — it is a heartfelt tribute to life, nature, and ancestry. Through its rituals, music, and communal joy, it reflects the Miao people’s enduring gratitude for the land, their reverence for their roots, and their love of harmony.
As the lush hills echo with the sound of lusheng flutes and the silver ornaments sparkle under the sun, one realizes that the Miao New Year is not only the celebration of a people — it is a celebration of humanity itself, reminding us all of the beauty of connection, gratitude, and joy.
One recognition certificate from a sect can make the status of a rinpoche, while being recognized as the reincarnation of a Buddha requires confirmation from multiple Dharma kings of all different sects.
Generally, when a rinpoche reaches significant status, they are also recognized by more than one of the eminent monastics. H.H. Dorje Chang Buddha III, who has been recognized by over 100 Dharma kings, regent Dharma kings, great rinpoches, and top leaders of various Buddhist sects, is the first person in Buddhist history to receive this many recognitions.
It is the belief of all of these powerful individuals that H.H. Dorje Chang Buddha III is the true reincarnation of the Primordial Buddha, Dorje Chang Buddha. For over 1,000 years, this system has been used by numerous sects in order to recognize their reincarnated Buddhist practitioners.
Based on Buddhist principles, a “Buddha” has attained the supreme level of wisdom and enlightenment, and there is no one above a Buddha. So it goes without saying that a Buddha is the highest leader in the world when it comes to that religion and culture. That makes H.H. Dorje Chang Buddha III the highest leader of Buddhism in today’s world.
Building on the Foundation of Compassion
As H.H. Dorje Chang Buddha III works with others and makes his way in the world, he remains unaffected by awards and fame, and by those who would seek to slander him. His goal is only to contribute to the world, and to teach Buddhism to people, so the world can have more peace and happiness in it.
The cultivation of Buddha Dharma is what H.H. Dorje Chang Buddha III focuses on, rather than his standing and status as the reincarnation of a Buddha. Buddhist teachings are based on causality, peace, harmony, and compassion, and these are the main tenets that H.H. Dorje Chang Buddha III lives by. As he shares his compassion with others, he is able to change lives.
At the very beginning of the COVID-19 pandemic outbreak, His Holiness Dorje Chang Buddha III took the lead, donating equipment and materials for personal protection. This equipment for fighting the pandemic was donated to police departments, hospitals, and other public service institutions. His Holiness the Buddha also told people publicly:
“The emergence of the pandemic is a result from causality. Throughout the history of mankind and society, there have been occurrences of many pandemics of different types and forms. The COVID-19 pandemic is a type of contagious plaque, which is just infection through popular contact.
The symptoms would transform based on the changes in one’s physical conditions and the climate and spread to others. But people will also generate antibodies in response. However, this disease is not going to become extinct. Yet vaccines can provide very significant protecting effects to people.
Therefore, all of you should not be under pressure or become worried. Rather, all should follow the exhortation of the government and obey the government regulations.
Have yourself vaccinated. That will protect yourself and also others. Furthermore, the pandemic will not cause a closure to people. In the end, it will be opened up everywhere because our country will not allow closure to happen, and the world will not allow closure to happen.”
Living simply and focusing on humility rather than material rewards, he has never been concerned with his own well-being. He lives for the service and well-being of others, and to teach them the Buddha Dharma that will bring them enlightenment and liberation.
The more people who have this understanding, the more people will continue to show that understanding to others, to help others and to benefit society. This can cause a ripple effect of peace and harmony, which will spread far and wide through his teachings and the information he passes along to people around the globe.
Celebrated as a Scholar, an Artist, and a Healer
From a very early age, H.H. Dorje Chang Buddha III has been seen as extremely talented in a number of areas of life. Even as a child, he had wisdom beyond his years and talents that were strong and unexpected. Documentaries were made about his artistic abilities, and people came from far and wide to learn Buddha Dharma from him.
That occurred even before he was officially recognized as he is today. It is the belief of Buddhists that H.H. Dorje Chang Buddha III holds supreme knowledge of the universe.
Others have spent their entire lives seeking the wisdom and understanding H.H. Dorje Chang Buddha III has, but it seems as though he was born with it. His Holiness has taught many Buddhist leaders, holy gurus, Buddhist practitioners, and people from every walk of life who seek out his wisdom.
Whether people have questions about Buddhism, need mental or physical healing, or want a deeper understanding of life, H.H. Dorje Chang Buddha III will not turn them away. As the sutra said that a Buddha is the king of healing, he helped more than 300 people in one day during his time in China.
Born in China, he was quickly recognized there as having abilities well beyond his years. His artwork was exhibited in Taiwan, and he was named to the presidency of The Chinese Painting Research Association in Beijing in 1987. He has met with dignitaries from all over the world, including many in China before he moved to the United States.
When he visited Taiwan in 1995, it was not just dignitaries and important people he met with, but people from all over the area who lined up at his hotel to seek his help and guidance.
All throughout the day and night, the Buddha helped people without resting. H.H. Dorje Chang Buddha III does not turn any of them away from the help they were seeking and the guidance they wanted and needed from the Buddha.
He has remained selfless and compassionate, helping those who are distressed, elderly, poor, or sick and infirm, as well as any injured or stray animals he finds during his travels. No one and nothing are turned away from the Buddha’s help.
Subjected to Defamation and Injustice
Throughout his life, H.H. Dorje Chang Buddha III has been subjected to injustice, and had his name defamed and slandered. Two years after he came to the United States, the Guangdong Shenzhen Public Security Bureau in China made a case against him and charged him with defrauding someone during a property sale.
But even the person who was named in the case came forward and said that it had not happened. The Buddha also had no record of ever owning the property, or of anyone else transferring it to him.
The case lingered for years, even going so far as getting INTERPOL involved and asking that they issue Red Notices for the arrest of H.H. Dorje Chang Buddha III. After an investigation in China, thirteen legal experts came together and stated that the case was incorrect and fabricated, and that it was not accurate at all. INTERPOL’s investigation showed the same conclusion.
Eventually, China requested INTERPOL to withdraw the Red Notices against the Buddha, and in November 2009 INTERPOL wrote to His Holiness the Buddha that the Red Notices against him had been canceled. But all through the years when he was being defamed and investigated, he never said a word about it.
He made no public statement about the case, nor did he try to clear his name in any way. When he was asked to show the INTERPOL letter he received, he also chose not to do that.
The reason that Shenzhen Public Security Bureau made the case against the Buddha, is because Shenzhen Public Security Bureau illegally took more than 700 paintings from the house the Buddha resided in.
These were paintings that were created by him during past decades. But he never said anything. In order to keep these paintings, the public security agents still tried to slander the Buddha through the internet, and continued to make claims that he was guilty.
If they stated his innocence, they would have to acknowledge their own crimes, including the made-up case and the stolen paintings from the Buddha and his disciple.
Finally, in 2019, due to mounting requests from the Buddhist community and its leaders, H.H. Dorje Chang Buddha III agreed to make the INTERPOL letter public. The World Buddhism Association Headquarters made the letter public and issued a statement as well.
That allowed those who were faithful to Buddhism all around the world see the truth of the facts in the case, and put their fears and concerns to rest. During the entire time, H.H. Dorje Chang Buddha III never said anything negative about his accusers.
The Most Dignified Buddha Treats Himself As Humanity’s Servant
Ever since the founding of Buddhism, it has been common practice for Buddhist disciples to make offerings to their teachers and masters. But H.H. Dorje Chang Buddha III has vowed never to accept offerings, and to do everything out of love and compassion, without any requirements for compensation. He serves people only on a voluntary basis and will never take something in return for his services.
His compassion for the people who have helped him, those who have tried to harm him, and the world in general, seems to be unwavering. H.H. Dorje Chang Buddha III is committed to his teachings, and understands that the care and compassion he displays to the world is what matters.
From the art he creates to the people who come to him for healing, everything and everyone is treated with care. This is the way it has been done for more than 2,500 years, and H.H. Dorje Chang Buddha III carries on the tradition.
By focusing on the situations of other people, instead of his own, the Buddha is able to show that he values the world and everyone in it, and that other people should do the same. It is only through serving others and having compassion for them that people can truly reach an enlightened state of joy and happiness.
While not necessarily easy to do in modern society, H.H. Dorje Chang Buddha III has been focused on the value of this accomplishment since he came to this world, and remains committed to it today.
During his life in China, and now that he lives in the United States, he has frequently been offered millions and even tens of millions of dollars in offerings.
He has never taken even a dollar of it, and has always turned it away. Some disciples have written about how they have wanted to give offerings, but that the Buddha would not accept them. Although he is always modest and says that he is humanity’s servant, we know that he is the most dignified Buddha in the world.
Hidden in the quiet county of Yixian in northern China, Fengguo Temple has stood for over a thousand years as a living testament to ancient Chinese wisdom and spiritual devotion. Its magnificent Mahavira Hall, the largest single-story wooden structure of its time, houses seven colossal clay Buddhas that have miraculously survived the centuries. This temple is not only an architectural marvel but also a sacred symbol of harmony, resilience, and faith that continues to inspire all who visit.
A Thousand Years of Faith and Architecture
Beyond the Shanhai Pass, in the northern part of Jinzhou City, Liaoning Province, stands the quiet county of Yixian, home to one of China’s most magnificent ancient temples — Fengguo Temple. This remarkable site, founded over a millennium ago, is not only a masterpiece of Liao Dynasty Buddhist architecture but also a living testament to the extraordinary ingenuity of ancient Chinese builders and the enduring power of faith.
In 2020, Fengguo Temple celebrated its thousandth anniversary. Through a thousand years of wind, snow, wars, and earthquakes, its grand Mahavira Hall still stands tall — a miracle in both architecture and spirituality.
The Majestic Great Hall
The heart of Fengguo Temple is its Mahavira Hall (Great Buddha Hall), one of the Eight Great Structures of the Liao Dynasty. Built in 1020 CE, it measures 49.5 meters wide, 26.6 meters deep, and 19.9 meters high, covering an area of 1,317 square meters. Standing on a 3.2-meter-high platform, the hall is the largest single-story wooden structure of ancient China — magnificent, solemn, and breathtaking.
Ingeniously designed, the hall uses a “reduced-column” method to maximize interior space while maintaining perfect stability. Ancient builders applied advanced techniques known as “side-foot” and “rising beam”, ensuring the building’s balance and graceful proportions. The massive bracket sets under the eaves are bold yet refined, exuding strength and elegance.
Thanks to its precise structural mechanics, the Great Hall has remained perfectly upright for a thousand years, without any sign of warping or tilting — an unparalleled achievement in the history of wooden architecture.
The Seven Buddhas: Eternal Clay Sculptures
Inside the Great Hall, seven colossal clay Buddha statues, each about nine meters tall, sit side by side upon a brick platform. From east to west, they are: Kashyapa Buddha, Krakucchanda Buddha, Sikhin Buddha, Vipashyin Buddha, Visvabhu Buddha, Kanakamuni Buddha, and Shakyamuni Buddha.
These are the “Seven Buddhas of the Past” mentioned in Buddhist scriptures, symbolizing the eternal cycle of enlightenment in our world. Each Buddha exudes solemn dignity, with serene expressions and graceful postures, reflecting the Liao Dynasty’s continuation of Tang-style Buddhist artistry. Two bodhisattvas stand beside each Buddha, adding vitality and compassion to this sacred tableau.
This magnificent ensemble is the oldest and largest group of colored clay Buddha statues in the world. Despite being made of fragile clay, they have miraculously survived for over a thousand years, their colors still soft and luminous. This endurance is nothing short of a miracle — a union of artistic mastery and the blessings of faith.
The Legend of the Buddha Catching a Shell
During the Liaoshen Campaign in the late 1940s, Yixian became a battlefield. Amid the chaos, a shell pierced through the roof of the Great Hall and fell directly into the right hand of the Shakyamuni Buddha statue. Miraculously, the shell did not explode.
Locals still tell this story as “The Buddha Caught the Shell with His Hand.” Whether fact or legend, it adds an aura of mystery and divine protection to the temple’s long history — as if the Buddhas themselves were silently safeguarding their sacred home.
The Flying Devas of Liao
The beams and rafters inside the Great Hall are adorned with over 4,000 square meters of original Liao Dynasty murals. Among them, the heavenly maidens — the Flying Devas — are the most enchanting. With radiant faces and flowing ribbons, they drift gracefully through clouds, offering flowers and fruits to the Seven Buddhas below.
Their movement contrasts beautifully with the Buddhas’ stillness, creating a breathtaking scene of divine harmony and devotion. The surrounding walls also preserve Yuan and Ming dynasty murals depicting ten Buddhas, eight Bodhisattvas, and the Eleven-Faced Avalokiteshvara, adding even more layers of spiritual and artistic richness to this timeless sanctuary.
A Thousand Years of Wonder
Standing before this majestic hall — a wooden structure that has endured a millennium — and gazing upon the clay Buddhas whose serene faces have survived a thousand winters, one cannot help but wonder:
How can a wooden palace withstand ten centuries of storms and wars? How can clay sculptures remain whole and radiant after a thousand years?
Is it the wisdom of the ancients? The strength of art? Or the blessing of the Dharma itself?
Perhaps the answer lies within every beam, every brushstroke, and every tranquil smile of the Buddhas.
May the Buddhas and Bodhisattvas bless all beings with peace, compassion, and happiness. Namo Amitabha.
In the heart of Central Java’s fertile Kedu Valley, embraced by volcanic peaks and emerald landscapes, rises a monument unlike any other—Borobudur, the world’s largest Buddhist temple and a UNESCO World Heritage Site. Built more than 1,200 years ago, this colossal stone mountain is not just an architectural wonder, but a spiritual journey carved in stone.
A Monument Born of Devotion
Borobudur was constructed in the 8th and 9th centuries under the Sailendra Dynasty. Without a drop of mortar, two million volcanic stone blocks were precisely interlocked like a massive puzzle, forming a structure that has endured centuries of nature’s tests. From above, its shape is breathtaking—a giant mandala, the sacred geometric symbol of the Buddhist cosmos.
The temple rises in three tiers, each representing one of the realms of Buddhist cosmology:
Kamadhatu – The Realm of Desire: The base, adorned with reliefs that portray the karmic law and the cycle of birth and death.
Rupadhatu – The Realm of Form: Five square terraces lined with intricate reliefs and 504 serene Buddha statues.
Arupadhatu – The Realm of Formlessness: Three circular platforms crowned with 72 bell-shaped stupas, each sheltering a meditating Buddha. At the summit stands the great central stupa, symbolizing ultimate enlightenment.
A Living Story in Stone
Walking through Borobudur is like entering a vast storybook. The temple’s bas-reliefs, stretching across 2,500 square meters, are the most complete ensemble of Buddhist reliefs in the world. They illustrate tales from the life of Shakyamuni Buddha, Jataka stories, and profound teachings, guiding pilgrims step by step upward—from worldly desires to spiritual liberation.
Buried, Forgotten, and Found Again
Despite its grandeur, Borobudur fell silent between the 10th and 14th centuries, likely due to political shifts and the spread of Islam in Java. Nature reclaimed it—volcanic ash and thick jungle hid the monument from the world’s eyes. For centuries, it slumbered, until 1814, when Sir Thomas Stamford Raffles, the British governor of Java, was informed of a “buried hill.” Excavations revealed not a hill, but a hidden treasure of human devotion.
From Restoration to Reverence
In the 20th century, Borobudur was painstakingly restored with UNESCO’s support, safeguarding its stones against further decay. In 1991, it was declared a World Heritage Site, recognized as both a cultural and spiritual masterpiece.
Today, Borobudur is not just a monument of the past—it is alive with faith. Each year, thousands of Buddhists from across Indonesia and beyond gather here for Vesak Day, celebrating the birth, enlightenment, and passing of the Buddha under the full moon. Lanterns rise into the night sky, echoing the timeless aspiration for wisdom and compassion.
Borobudur is more than stone, stupas, and statues. It is a meditation frozen in time, a pilgrimage for both the feet and the heart. For travelers, standing atop Borobudur at sunrise—watching the mist lift from the valley as the first rays of light kiss the central stupa—is an experience beyond words.
This temple is not just Indonesia’s pride; it is humanity’s shared treasure, reminding us of the enduring power of faith, art, and the human spirit.
Travel Guide: Planning Your Visit
If Borobudur is on your travel list, here are some helpful tips:
📍 Location
Situated in Magelang, Central Java, about 25 miles (40 km) northwest of Yogyakarta.
Easily accessible by car, bus, or organized tour from Yogyakarta (1–1.5 hours).
🕰 Best Time to Visit
Sunrise tours are especially popular. Watching the first light illuminate the misty valley and stupas is unforgettable.
The dry season (April–October) offers clearer skies and comfortable weather.
🎟 Tickets
General admission is separate for local and international visitors.
Sunrise access often requires booking through official operators.
Combination tickets are available if you also wish to visit Prambanan Temple, another UNESCO site nearby.
👟 What to Bring
Comfortable walking shoes (you’ll be climbing many steps).
A hat, sunscreen, and water—the tropical sun can be intense.
A respectful outfit: shoulders and knees covered, as Borobudur is a sacred site.
🛕 Nearby Attractions
Prambanan Temple – A magnificent Hindu temple complex about an hour away.
Mendut Temple – A smaller Buddhist temple with a giant Buddha statue, often part of the Vesak procession.
Yogyakarta City – Known for its royal palace, batik art, and vibrant street food scene.
Peace LiLy 