Category: Art

A Hidden Buddhist Wonderland in China: Discover the 1,600-Year-Old Grand Buddha Temple of Xinchang

linda changLeave a comment

Sometimes, the most unforgettable travel experiences begin with the simplest reasons.

I first became interested in visiting the Grand Buddha Temple in Xinchang (新昌大佛寺), Zhejiang Province, after watching several popular Chinese costume dramas, including Ninefold Purple (《九重紫》), Chasing Jade (《逐玉》), One and Only (《周生如故》), and Mysterious Lotus Casebook (《莲花楼》).

I was curious to see the beautiful locations where these dramas were filmed. But when I finally arrived, I was completely blown away!

I had expected to see some beautiful ancient buildings and filming locations. Instead, I discovered an extraordinary world of ancient Buddhist sculptures, mysterious caves, magnificent rock formations, waterfalls, peaceful gardens, and towering pagodas.

This was not simply an ancient temple. It felt like stepping into another world.

A Temple With More Than 1,600 Years of History

Located in Xinchang County, Shaoxing, Zhejiang Province, the Grand Buddha Temple dates back to the Eastern Jin Dynasty, around 345 AD. With a history spanning more than sixteen centuries, it is one of the important centers of Buddhist culture in the Jiangnan region of southeastern China.

According to historical accounts, an eminent monk named Tanguang (昙光) came to this beautiful mountainous area in the fourth century and established a small monastery. Over the centuries, the temple developed into an important center for Buddhist practice and scholarship.

The surrounding landscape is particularly beautiful. Ancient trees, green hills, rocky cliffs, winding pathways, and quiet valleys create an atmosphere that feels both peaceful and mysterious.

The temple is also famous for its extraordinary rock-carved Buddhist sculptures, earning it the nickname “The Dunhuang of Yue.” This comparison reflects the remarkable artistic and historical value of its Buddhist carvings.

Four Highlights You Should Not Miss

1. The Grand Buddha of Jiangnan – A Masterpiece Carved Into the Mountain

The most famous treasure of the temple is its magnificent stone Maitreya Buddha.

Carved directly into a natural rock cliff during the Southern Qi and Liang dynasties, between approximately 486 and 516 AD, this enormous statue stands about 16.3 meters tall.

The remarkable project took three generations of Buddhist monks and approximately thirty years to complete.

What makes this sculpture so extraordinary is not simply its size. Its serene expression, elegant proportions, and gentle smile convey a remarkable sense of compassion and wisdom.

Standing before this ancient Buddha, one cannot help but feel a sense of reverence. It is amazing to realize that this masterpiece was created more than 1,500 years ago, long before modern construction equipment and technology existed.

2. The Reclining Buddha – A Majestic Image of Nirvana

Another breathtaking attraction is the Reclining Buddha inside the Twin Pines Grottoes (双林石窟).

At approximately 37 meters long and 9 meters high, it is described as Asia’s largest indoor reclining Buddha.

Unlike the ancient rock-carved Maitreya Buddha, this impressive sculpture was created in modern times, using the natural cave environment as its setting.

The Buddha rests peacefully in the traditional reclining posture, representing the Buddha’s entry into Parinirvana.

The surrounding rock formations, stone carvings, pools, and waterfalls create an atmosphere that feels almost otherworldly.

It is easy to understand why filmmakers are attracted to this location. The combination of natural rock architecture, Buddhist imagery, and dramatic lighting makes the entire space feel like a scene from a fantasy world.

3. Buddha Heart Square and the Beautiful Jiangnan Corridor

Buddha Heart Square (佛心广场) is another popular destination.

Here, visitors can see a magnificent large Chinese character “佛” (Buddha), created by the renowned monk and artist Master Hongyi.

Photo by: Steven Hsu 北極熊羽球

The nearby corridor, with its traditional yellow walls, dark tiled roofs, and beautiful “福” (fortune and blessings) character, is especially photogenic.

Walking through this corridor feels like stepping into an ancient Chinese painting.

It is also a wonderful place to photograph traditional Chinese clothing, especially Hanfu. The combination of yellow walls, traditional architecture, and surrounding greenery creates an elegant and timeless atmosphere.

4. The Ten Thousand Buddhas Pagoda – A Landmark in the Sky

The Ten Thousand Buddhas Pagoda (万佛宝塔), standing approximately 73 meters tall, is another spectacular landmark.

Its nine stories, traditional Chinese rooflines, and impressive height make it one of the most recognizable structures in the scenic area.

The pagoda has also appeared in several popular costume dramas, including Mysterious Lotus Casebook and Ninefold Purple.

Looking up at this magnificent structure, surrounded by mountains and traditional buildings, I could understand why filmmakers love this location.

If climbing the pagoda is permitted during your visit, it is worth checking whether you can enjoy the views from above.

5. Prajna Valley – A Mysterious Underground Buddhist World

One of the most surprising attractions is Prajna Valley (般若谷).

Unlike the traditional temple halls, this area was developed from an old Ming Dynasty quarry. Its dramatic rock walls, caves, waterfalls, and elaborate Buddhist sculptures create a fascinating underground-like landscape.

There are colorful relief sculptures depicting Buddhist history and important figures, as well as an impressive Guanyin statue.

Walking through the valley, surrounded by towering rock walls and flowing water, feels like entering a hidden Buddhist kingdom.

This is also one of the filming locations associated with Ninefold Purple. For fans of Chinese historical dramas, recognizing familiar scenes here makes the visit even more exciting.

Travel Tips: How to Make the Most of Your Visit

The scenic area is quite large, so I recommend allowing at least three to four hours. If you enjoy photography, exploring Buddhist art, or simply taking your time, you may want to spend half a day here.

A suggested sightseeing route is:

Buddha Heart Square → Release Pond (放生池) → Grand Buddha of Jiangnan → Thousand Buddha Zen Temple → Twin Pines Reclining Buddha → Prajna Valley.

You can also explore the Ten Thousand Buddhas Pagoda and other scenic spots along the way. Since the attractions cover a large area, wear comfortable walking shoes and be prepared for stairs and uphill paths.

Best Time to Visit

Spring and autumn are particularly pleasant seasons, when the weather is generally comfortable for walking and exploring.

Early morning is a wonderful time to arrive. There are usually fewer visitors, and the soft natural light makes the ancient buildings and mountain scenery especially beautiful.

If you enjoy photography, allow extra time to explore the corridors, gardens, and mountain pathways.

Getting There

The temple is located in Xinchang County, Shaoxing City, Zhejiang Province.

Visitors can travel by high-speed train to Shengzhou-Xinchang Railway Station (嵊州新昌站), then take a taxi or local public transportation to the temple.

If traveling from Hangzhou or Shaoxing, you can also consider a private car or a local tour.

Tickets and Opening Hours

Admission has been listed at approximately RMB 80 per adult, although prices and promotional policies may change.

The scenic area generally opens around 6:00 a.m. and closes between 5:00 and 5:30 p.m., depending on the season. Check the official scenic area’s latest announcements before visiting, especially if you plan to climb the pagoda.

What to Eat

You can enjoy vegetarian noodles inside the temple. When I visited, a bowl cost RMB 28. It was a simple, light, and refreshing meal.

Afterward, consider exploring Wozhou Street and trying some of Xinchang’s local specialties:

  • Xinchang fried rice cakes – a delicious local specialty.
  • Taro dumplings (芋饺) – chewy dumplings made with taro and filled with savory ingredients.
  • Guolatou (锅拉头) – a traditional local snack made with glutinous rice dough.

These local foods are a wonderful way to experience the culinary culture of the region.

More Than a Filming Location

What impressed me most about the Grand Buddha Temple was that its beauty went far beyond the scenes I had watched on television.

Popular dramas may bring people here, but the real treasures are the centuries of history, the extraordinary Buddhist sculptures, and the peaceful atmosphere that has been preserved through generations.

The ancient Maitreya Buddha, carved patiently into the mountain more than 1,500 years ago, reminds us of the devotion, determination, and artistic talent of those who came before us.

In our modern world, where everything moves so quickly, places like this invite us to slow down, look more carefully, and appreciate the beauty of history, art, nature, and spiritual culture.

I came here because of a television drama, but I left with something much more meaningful: a deeper appreciation of China’s remarkable Buddhist heritage.

Sometimes, a journey that begins with curiosity leads us to discover something truly extraordinary.

If you ever travel to Zhejiang, don’t miss the Grand Buddha Temple of Xinchang. It may surprise you, just as it surprised me.

Link：https://peacelilysite.com/2026/10/30/a-hidden-buddhist-wonderland-in-china-discover-the-1600-year-old-grand-buddha-temple-of-xinchang/

A Wonderland Beyond This World: A Chinese Ink Painting That Touches the Soul

linda changLeave a comment

The first time I saw this extraordinary Chinese ink painting, Look at my home I was moved to tears. The Artist is H.H. Dorje Chang Buddha III. Before me was a wonderland that seemed to exist beyond the boundaries of the ordinary world—a place so pure, peaceful, and beautiful that I wished I could live there forever.

The painting evoked a profound sense of holiness and transcendence. Its majestic mountains, flowing waters, mist-shrouded forests, and serene atmosphere seemed to belong to a sacred realm where enlightened beings and reclusive sages might dwell, free from worldly entanglements.

As I gazed at the scene, I felt as though a clear spring were flowing through my body, washing away the dust of everyday life and gently purifying my soul. The painting offered more than a beautiful landscape. It opened a doorway to an inner world of stillness, freedom, and spiritual clarity.

People often say that a great painting is like a beautiful poem or an elegant piece of music. This masterpiece brought those words to life for me. As I looked at the mountains and drifting clouds, I could almost hear the graceful melodies of traditional Chinese music, Flowing Waters from High Mountains. I could also imagine the soft whisper of clouds moving through the forest and the quiet murmur of water winding through the valley.

The scene reminded me of a poem attributed to the Tang Dynasty poet Hanshan, or Cold Mountain:

Clambering up the Cold Mountain path,
The Cold Mountain trail goes on and on:
The long gorge choked with scree and boulders,
The wide creek, the mist-blurred grass.
The moss is slippery, though there’s been no rain;
The pine sings, but there’s no wind.
Who can leap the world’s ties
And sit with me among the white clouds?

These final lines seem to express the very spirit of the painting: the longing to rise above worldly concerns and discover a place where the mind can rest in complete freedom.

The Artistry Behind the Wonderland

What makes this painting especially remarkable is the artist’s mastery of traditional Chinese painting techniques and the ability to unite them with the visual depth and realism associated with Western art.

In traditional Chinese painting, the brush is far more than a tool for outlining shapes. The movement of the brush, the pressure applied, the amount of ink it carries, and the rhythm of each stroke all contribute to the work’s character and expressive power.

The center-tip brush technique directs the tip of the brush along the center of a stroke, creating controlled, balanced lines that convey strength and refinement. The side-tip technique, by contrast, uses the side of the brush to produce broader, more varied marks, making it especially effective for suggesting rugged rocks, textured trees, and the changing forms of mountain slopes.

The painting also incorporates freehand brushwork, in which bold, expressive strokes capture the spirit of a scene rather than laboriously describing every detail. Through splash-ink techniques, the artist allows ink to spread, merge, and flow across the surface, creating atmospheric effects that suggest mist, clouds, and the mysterious depth of distant mountains. More delicate brushwork adds definition and texture, bringing selected details into focus.

The mountain landscape is rendered in black ink and rich green tones. The contrast between dark, powerful forms and softer, misty passages gives the scenery both grandeur and serenity. Some areas appear solid and tangible, while others dissolve into the surrounding atmosphere, allowing the viewer’s imagination to complete what the brush has left unspoken.

This interplay between precision and freedom, detail and suggestion, is central to the beauty of Chinese ink painting. What is not painted can be just as important as what is shown. Empty spaces become mist, open sky, or the boundless realm beyond the visible landscape.

Where East Meets West

Traditional Chinese landscape painting often employs scattered perspective, a distinctive approach that allows the viewer to experience a landscape from multiple viewpoints rather than from a single fixed position. Mountains, rivers, and pathways may unfold as though the eye were traveling through the scene, discovering one vista after another.

Western painting, particularly its realist traditions, often emphasizes a consistent viewpoint, spatial depth, light, shadow, and the three-dimensional appearance of objects.

Bringing these approaches together is no simple task. Yet in this artwork, the artist combines the shifting viewpoints and expressive brushwork of Chinese painting with the depth, dimensionality, and realistic effects associated with Western painting. Bold freehand strokes coexist with careful details; traditional ink techniques interact with rich color and carefully constructed space.

The result is neither simply a traditional Chinese landscape nor a Western-style realistic painting. Instead, the two traditions appear to complement one another, creating a distinctive artistic language.

The mountains seem to rise into real space, the forests possess a palpable depth, and the landscape invites the eye to travel farther and farther into its mysterious distance. At the same time, the painting retains the poetic spirit of Chinese shanshui—literally, “mountains and water”—in which nature is not merely scenery to be observed but a realm through which one may contemplate the deeper relationship between humanity and the universe.

Looking at this painting, I imagine a pristine land where mountains, rivers, forests, sun, and moon exist in harmonious balance. It feels like a sanctuary untouched by the noise and restless ambitions of the modern world—a place where one could live simply, listen to nature, and rediscover the peace within.

Perhaps this is why the painting moves me so deeply. Its beauty is not only visual. It awakens a longing for something that everyday life can make us forget: a state of purity, freedom, and quiet joy that cannot be measured by wealth or worldly achievement.

There is an old saying that a place becomes home when our hearts grow attached to its people, customs, and way of life. But sometimes, a painting can make us feel at home in a place we have never visited—a place that seems to exist somewhere between the natural world and the realm of the spirit.

When I look at this masterpiece, I find myself asking: What if such a place were not merely a distant dream, but a reminder of the peace and freedom we can cultivate within ourselves?

Wouldn’t you, too, wish to call this wonderland home?

This remarkable artwork is part of the permanent collection of the International Art Museum of America (IAMA), where visitors can encounter art that bridges cultures, traditions, and ways of seeing the world.

Link: https://peacelilysite.com/2026/10/23/a-wonderland-beyond-this-world-a-chinese-ink-painting-that-touches-the-soul/

A Hidden Treasure in China: The Dazu Rock Carvings and a 31-Meter Reclining Buddha

linda changLeave a comment

Beyond Chongqing’s dazzling skyline lies an extraordinary world of ancient Buddhist art, spiritual wisdom, and forgotten stories carved into stone.

When people visit Chongqing, China, they often come for its spectacular mountain cityscape, glowing skyscrapers, and famous spicy hot pot. But about a journey away in Dazu lies a treasure that deserves far more international attention: the Dazu Rock Carvings, one of China’s most remarkable collections of ancient religious art.

Here, along the cliffs of Baodingshan, thousands of figures tell stories of the Buddha, compassion, karma, filial devotion, and the consequences of our actions. Created mainly during the Song Dynasty, these remarkable sculptures have survived for centuries, preserving not only religious teachings but also glimpses of everyday Chinese life.

The Dazu Rock Carvings were inscribed on the UNESCO World Heritage List in 1999. Their artistic beauty lies not only in their scale and craftsmanship, but also in the way Buddhist, Taoist, and Confucian ideas come together in a uniquely Chinese expression of spiritual life.

The Dazu Rock Carvings are not a single cave or monument. They comprise more than 70 protected sites, with five principal groups: Baodingshan, Beishan, Nanshan, Shizhuanshan, and Shimenshan.

The carvings date mainly from the late ninth through the thirteenth century. Baodingshan, the focus of this visit, reached its artistic height during the Southern Song Dynasty, particularly under the direction of the Buddhist monk Zhao Zhifeng.

Walking along the great cliff at Baodingshan, visitors encounter an astonishing procession of sculpted figures. Buddhas sit in meditation, bodhisattvas offer protection, and heavenly beings fill elaborate niches. Some figures are monumental, while others are small details that reward a closer look.

Unlike a collection of isolated statues, the carvings form a connected visual narrative. Each scene has a purpose, inviting visitors to contemplate the Buddha’s teachings through images rather than words alone.

For people who love Buddhist history, this is a place where ancient stone seems to speak.

The Giant Reclining Buddha: A Vision of Peace

One of Baodingshan’s most extraordinary masterpieces is the monumental image of Shakyamuni Buddha entering parinirvana, the final passing of a fully enlightened Buddha beyond the cycle of rebirth.

The reclining Buddha measures approximately 31 meters in length. Yet one of the most ingenious features of the sculpture is that much of the figure remains concealed within the cliff. Only part of the Buddha’s body is visible, suggesting a vastness that extends beyond what the eye can see.

This is more than an impressive feat of ancient engineering. The image carries a profound spiritual meaning.

The Buddha lies peacefully on his side, his expression calm and composed. Around him, figures gather in response to his final passing. The scene invites us to reflect on impermanence: everything that comes into being will eventually change.

In Buddhist teaching, death is not simply an ending to be feared. It is a reminder to understand the nature of existence and to use the precious time we have wisely.

Standing before this enormous figure, we may find ourselves thinking less about how long we will live and more about how we choose to live.

Can we be kinder while we have the opportunity? Can we let go of unnecessary resentment? Can we bring more peace to the people around us?

Perhaps the Buddha’s quiet presence offers a lesson that no words could express more clearly.

The Thousand-Hand Guanyin: A Thousand Ways to Help

Another masterpiece at Baodingshan is the magnificent Thousand-Hand, Thousand-Eye Guanyin, the bodhisattva of compassion.

In Buddhist tradition, Guanyin (Avalokiteshvara) represents compassionate awareness of the suffering of sentient beings. The many hands symbolize the ability to reach out in countless ways, while the eyes represent the wisdom to recognize where help is needed.

The Baodingshan sculpture is especially remarkable. Its carved composition covers approximately 88 square meters and includes 1,007 hands and eyes. The gilded image, with its intricate details and radiant appearance, demonstrates the extraordinary skill of the artisans who created it.

Imagine the patience required to shape and decorate so many delicate details into a cliff face centuries ago, without modern machinery.

The work has also required care across generations. Because of its delicate condition, the sculpture underwent a major restoration completed in 2015, helping preserve this irreplaceable treasure for future visitors.

But its deepest beauty lies in its message.

Compassion is not merely feeling sorry for someone. It is recognizing suffering and responding when we can. Sometimes help means giving money; sometimes it means offering food, listening without judgment, or protecting a vulnerable being.

We may not possess a thousand hands, but we can each find small ways to make life easier for others.

Ancient Stone Tells Stories About How We Should Live

What makes Baodingshan especially fascinating is that its sculptures do not focus exclusively on Buddhas and heavenly beings. They also portray ordinary human experiences, making the teachings relevant to everyday life.

Some panels illustrate filial devotion and the sacrifices parents make for their children. Others portray farmers, herders, animals, and scenes from ordinary life.

The famous scenes associated with the Sutra on Parental Love remind viewers of the immense care and sacrifice involved in raising a child. These images invite reflection on gratitude toward our parents and the responsibilities we have toward those who have cared for us.

Other carvings illustrate Buddhist teachings about karma and the Wheel of Life. They show how actions have consequences and how ignorance, attachment, and harmful behavior can perpetuate suffering.

In traditional Buddhist depictions of the realms of suffering, the consequences of harmful actions are portrayed vividly. Such images were not simply intended to frighten people. They offered moral instruction to communities in which many people could learn through visual storytelling.

The cliffs function almost like an ancient illustrated book. Each carving presents a lesson about cause and effect, compassion, family responsibility, and the choices that shape our lives.

There is something remarkable about this approach to teaching. The artists transformed abstract philosophy into images that people could see, contemplate, and remember.

Ox herding story (scene 1–2), Niche 30, Dafowan, Mt. Baoding, Dazu. Southern Song Dynasty (photos: G41rn8, CC BY-SA 4.0)

Centuries later, the questions remain relevant. How do our actions affect others? How should we treat our parents, our neighbors, and animals? What kind of world are we helping to create through our daily choices?

A Quiet Encounter with History

One of the pleasures of visiting Baodingshan is the opportunity to experience the carvings at a slower pace.

Although the site can attract tour groups, it may feel quieter than China’s most famous grotto destinations, particularly outside peak travel periods. The path follows the sculpted cliff, allowing visitors to examine the works in sequence.

Instead of rushing from one photo opportunity to another, take time to notice the expressions on the statues’ faces, the folds of their robes, and the relationships between the figures in each scene.

Look for the small details. A single gesture may communicate reverence, compassion, fear, or devotion. A group of ordinary people carved into stone can reveal as much about the society that created the monument as a grand Buddha does.

Photography rules and access restrictions may vary around individual carvings, so follow the site’s instructions and avoid touching the sculptures.

For visitors interested in Buddhism, art, or Chinese history, Baodingshan offers a rare chance to experience these subjects together.

What to Eat in Dazu: A Taste of Local Chongqing

A visit to Dazu would not be complete without exploring the region’s food culture. Chongqing is famous for bold flavors, chili peppers, and the numbing fragrance of Sichuan peppercorns, but Dazu also has specialties of its own.

Dazu winter-preserved vegetables (Dazu dongcai)

If you try only one local specialty, consider Dazu dongcai. Made from local mustard greens and traditionally fermented for years, these preserved vegetables have a distinctive savory fragrance and deep flavor. They appear in dishes such as fried rice, noodles, steamed buns, and braised pork.

The traditional preparation is a recognized part of Dazu’s food heritage. It is a wonderful example of how local ingredients and preservation techniques can become part of a region’s identity.

Chongqing noodles

Photo from :https://www.sohu.com/a/741212639_100283037

For a quick, satisfying meal, try xiaomian, Chongqing-style noodles commonly served with chili oil, garlic, scallions, and other seasonings. They are especially popular for breakfast, though they can be enjoyed at any time of day.

If you prefer less spice, ask for a mild version. The chili oil and Sichuan peppercorns can be surprisingly intense for first-time visitors.

Youting crucian carp

For travelers who enjoy fish, Youting crucian carp is another regional specialty, often prepared with pickled ginger, chili, and fermented black beans. Its flavor combines freshness, spice, and the characteristic numbing sensation of Sichuan-style cooking. Hot pot and local street food

If you are continuing to Chongqing, save time for the city’s famous hot pot. Diners cook ingredients in a bubbling broth at the table, often choosing between a fiery spicy broth and a milder one.

One practical tip: many local dishes contain meat, fish, animal broth, or lard, even when vegetables are prominent. Vegetarian travelers should ask clearly about ingredients and request a vegetable-based broth when available.

Food is another way to understand a place. The ingredients, flavors, and cooking methods of Dazu tell a story of local agriculture, tradition, and the creativity of generations of cooks.

Shengshou Temple & Dazu Rock Carvings Museum

Travel Tips: Planning Your Visit

How much time should you allow?

Allow at least half a day for Baodingshan, including time to appreciate the major carvings without rushing. If you are particularly interested in Buddhist art, consider spending a full day in Dazu or adding another major carving site, such as Beishan.

How do you get there?

Dazu is part of Chongqing Municipality, but it lies outside the central urban area. From downtown Chongqing, the journey commonly takes around 1.5–2 hours by road, depending on traffic and your starting point.

You can travel by intercity bus or arrange a private car. High-speed rail services to the Dazu area may also be useful, but check the station and onward transportation carefully: a train station serving the district is not necessarily close to the rock-carving entrance. A taxi or prearranged transfer may be needed.

When is the best time to visit?

Spring and autumn are generally comfortable seasons for walking and sightseeing. Summer can be hot and humid, so bring water, sun protection, and comfortable shoes.

Arriving early can help you enjoy the main carvings before the busiest hours, although visitor numbers vary by day and season. Check the official opening hours and ticket arrangements before traveling.

Can you combine Dazu with Chongqing?

Absolutely. A two-day itinerary is a practical option:

  • Day 1: Explore Chongqing’s mountain-city streets, river views, Hongyadong, and local food.
  • Day 2: Travel to Dazu and spend the day discovering Baodingshan’s cliff carvings. If time permits, consider visiting Beishan as well.

If you have a deeper interest in Chinese Buddhist art, an overnight stay near Dazu can make the experience more relaxed.

A Treasure Worth Discovering

The Dazu Rock Carvings remind us that great works of art can be much more than beautiful objects. They can preserve a civilization’s beliefs, record the lives of ordinary people, and communicate moral lessons across centuries.

The 31-meter reclining Buddha invites us to contemplate impermanence. The Thousand-Hand Guanyin reminds us that compassion must find expression in action. The scenes of family life and everyday labor encourage us to consider gratitude, responsibility, and the consequences of our choices.

These teachings remain meaningful regardless of where we come from or what faith we follow.

If your travels take you to Chongqing, consider setting aside time for Dazu. Beyond the city’s dazzling skyline lies a quieter world where stone preserves the wisdom, artistry, and aspirations of generations long gone.

Some treasures are not discovered by looking up at the tallest buildings. They are found by slowing down, looking closely, and listening to the stories history has left behind.

Link：https://peacelilysite.com/2026/10/22/a-hidden-treasure-in-china-the-dazu-rock-carvings-and-a-31-meter-reclining-buddha/

A Hidden Wonderland: The World Within a Landscape

linda changLeave a comment

An Chinese Ink Painting by H.H. Dorje Chang Buddha III

The first time I saw this magnificent landscape painting, A Hidden Wonderland (別有洞天), I was immediately captivated by its dreamlike atmosphere and dazzling colors. For a moment, I even forgot to ask myself: Is this an oil painting or a traditional Chinese landscape?

The more I looked, the more fascinating the painting became.

Its colors, composition, and harmonious overall tone have the richness and realism of a Western oil painting. The luminous, almost surreal forms in the foreground appear to glow with extraordinary depth and texture. Creating such a convincing visual world requires a strong foundation in realistic Western painting.

Yet at the same time, the spirit of the work is unmistakably that of traditional Chinese landscape painting. Its atmosphere, poetic feeling, and especially its central landscape are deeply rooted in the aesthetics of Chinese shanshui—the art of expressing not only mountains and rivers, but also the spirit and energy of nature.

The longer I studied A Hidden Wonderland, the more I sensed that there was something beyond visual beauty. The composition seemed to contain a philosophical idea about perspective—about how the world can look completely different when we change where we stand.

It reminded me of a famous poem by the Chinese poet Bian Zhilin:

You stand upon the bridge, looking at the scenery;
The one looking at the scenery from the tower is looking at you.
The bright moon decorates your window;
You, in turn, decorate another’s dream.

The poem presents two perspectives at once. Someone believes they are simply observing the scenery, while from another viewpoint, they themselves have become part of someone else’s scenery. With this subtle shift in perspective, the poet reminds us that what we see depends greatly on where we stand.

A Hidden Wonderland carries a similar idea, but takes it even further.

The space surrounding the central landscape seems like a world beyond ordinary human life—a peaceful, radiant realm resembling a paradise. At the center, however, lies the familiar human world.

The artist creates a kind of visual frame within the painting. By changing the viewer’s position, the distance between “here” and “there,” between the world we inhabit and the world we imagine beyond it, suddenly becomes much greater.

For a moment, we seem to be standing outside the ordinary world, looking back at it from a higher and more peaceful place.

And then something remarkable happens.

After allowing our eyes to wander through the magnificent scenery beyond the frame, we look back toward the human world—and discover that it, too, is beautiful.

The morning sun has just appeared. Golden light gently pushes away the soft white mist floating above the river. Quiet sails drift across the water. Lush vegetation covers the riverbanks, while graceful trees partially conceal small houses scattered among them.

On the fertile hillsides, peach and plum blossoms fill the air with fragrance. In a beautiful pond, groups of geese and ducks play and call to one another. A winding mountain path leads into the distance, while the familiar sounds of village life—roosters crowing and dogs barking—rise and fall in the peaceful landscape.

Suddenly, the ordinary world we thought we had left behind no longer seems ordinary at all.

It is beautiful.

Perhaps this is one of the deepest messages hidden within A Hidden Wonderland. Sometimes we need to step outside our familiar perspective before we can truly appreciate the beauty of the world in which we live.

The artist, H.H. Dorje Chang Buddha III, has not only created a visually breathtaking landscape, but also a kind of window through which we can look at our own lives from a different perspective. The radiant world beyond the frame resembles a pure and luminous realm, while the human world below gradually reveals its own extraordinary beauty.

After being immersed in such a magnificent vision, we return our eyes to everyday life with a changed heart.

Perhaps the world itself has not changed.

Perhaps we have.

This brings to mind a profound teaching from the Vimalakirti Sutra:

“If a bodhisattva wishes to attain a pure land, he should purify his mind. As the mind becomes pure, the Buddha-land becomes pure.”

Maybe the “hidden wonderland” is not simply somewhere far away.

Perhaps it begins with the way we see.

When the mind becomes peaceful, the ordinary becomes beautiful. When the heart becomes pure, the world we see may also appear more pure.

And perhaps that is the true masterpiece hidden within A Hidden Wonderland—not only a beautiful landscape to look at, but a quiet invitation to look at ourselves, our world, and life itself from a higher perspective.

Link: https://peacelilysite.com/2026/10/02/a-hidden-wonderland-the-world-within-a-landscape/

The Yongle Bell: A 600-Year-Old Marvel of Chinese Civilization

linda changLeave a comment

At the Ancient Bell Museum in Beijing stands one of China’s most remarkable national treasures—the Yongle Bell（永乐大钟）.

Commissioned by the Yongle Emperor, Zhu Di （永乐皇帝朱棣）, the bell is believed to have been designed and supervised by Yao Guangxiao（姚广孝）, a highly respected Buddhist monk whose Dharma name was Daoyan（道衍）. Yao Guangxiao was much more than a religious figure. He was also a scholar, strategist, and trusted adviser to Emperor Zhu Di.

Their relationship began before Zhu Di became emperor, when he was still the Prince of Yan. Yao Guangxiao became one of his trusted advisers and continued to serve him after Zhu Di ascended the throne. He was closely involved in major projects of the Yongle era, including the construction of Beijing and the compilation of the monumental Yongle Encyclopedia（永乐大典）.

It is remarkable that one of the most ambitious Buddhist bells in Chinese history was connected to a monk who stood so close to the emperor and played such an important role in the cultural and political life of the Ming Dynasty.

Cast during the Yongle era, around 1420, the Yongle Bell stands approximately 6.75 meters (22 feet) high and weighs about 46.5 metric tons (over 102,000 pounds).

More than six centuries later, it remains an extraordinary testament to the sophistication of ancient Chinese craftsmanship.

A Casting Technique That Seems Almost Impossible

How could ancient craftsmen have created such a gigantic bell more than 600 years ago?

The Yongle Bell was produced using a traditional Chinese technique known as the pit-mold ceramic casting method, or clay-mold method.

First, the craftsmen dug a massive casting pit several meters deep. Inside the pit, they constructed the bell’s inner mold using clay and other organic materials, while the outer ceramic mold was built up layer by layer.

One of the most fascinating features is the Pulao-shaped bell knob at the top.

In Chinese mythology, Pulao is one of the nine legendary sons of the dragon. It was believed to have a powerful voice, which is why its image became associated with bells.

The Pulao knob of the Yongle Bell was reportedly cast separately using the lost-wax casting technique. It was then carefully incorporated into the casting mold so that it became an integral part of the finished bell.

Then came the most critical moment.

Dozens of furnaces were fired simultaneously. Molten bronze, glowing like rivers of fire, flowed through specially prepared channels and surged into the enormous mold.

The operation demanded extraordinary coordination. Temperature, the flow of molten metal, pouring time, and the structure of the molds all had to be carefully controlled.

A single major error could have ruined the entire project.

The successful casting of the Yongle Bell was therefore an extraordinary engineering and organizational achievement.

The bell’s achievement lies not only in its enormous size.

Scientific analysis shows that its alloy contains copper, tin, and lead as its principal metals, along with smaller amounts of elements including gold, silver, and nickel.

The carefully formulated alloy contributed to the bell’s strength, toughness, ductility, and acoustic properties.

A bell of this size must support its own enormous weight while withstanding repeated powerful impacts. If the metal were too brittle, cracks could develop; if the alloy composition were unsuitable, the bell’s resonance could also be affected.

Yet after more than 600 years, the Yongle Bell remains remarkably well preserved.

Its condition offers an impressive glimpse into the advanced metallurgical knowledge possessed by ancient Chinese craftsmen.

A “Bell of Scriptures”

If the bell’s size is astonishing, its inscriptions are even more extraordinary.

The inner and outer surfaces, as well as areas around the rim, are densely covered with Buddhist scriptures, sacred texts, and mantras.

According to historical descriptions, the bell contains more than 230,000 Chinese characters and Buddhist inscriptions.

Even more remarkable, these inscriptions were not carved onto the finished bell. They were incorporated directly into the casting process.

This meant that hundreds of thousands of characters had to be accurately prepared in the molds before the molten bronze was poured.

According to tradition, the inscriptions were associated with the celebrated Ming Dynasty calligrapher Shen Du. The characters display the dignified and elegant style associated with guan’ge ti, the formal calligraphic style favored by the imperial court.

To transform such delicate calligraphy into cast inscriptions, craftsmen had to reproduce the writing in the mold, creating corresponding recessed characters. After the molds were prepared and fired, molten bronze was poured into them, producing the raised inscriptions on the finished bell.

Imagine doing this without computers, laser engraving, digital typesetting, or modern precision machinery.

More than 230,000 characters had to be arranged across the curved surfaces of a gigantic bronze bell.

Every character had to be carefully formed and every line precisely positioned.

On one side was the art of the calligrapher.

On the other was the skill of the craftsman.

In the end, calligraphy, Buddhist scripture, and bronze became one.

The Yongle Bell is therefore not simply a gigantic bronze artifact.

It is almost like a Buddhist scripture cast in metal.

The Deep and Resonant Voice of the Bell

Perhaps the most captivating feature of the Yongle Bell is not what we see, but what we hear.

When struck by a massive bell striker, the thick bronze produces a deep, powerful, and extraordinarily sustained resonance.

According to accounts of its acoustic properties, under appropriate striking conditions, the resonance can continue for nearly three minutes. In the relatively quiet environment of ancient Beijing, its sound was reportedly capable of traveling for many kilometers.

Imagine Beijing more than six centuries ago.

At dawn, the first powerful note of the Yongle Bell rises into the air. Its deep, solemn sound travels beyond walls, streets, and fields, gradually fading into the distance.

The bell’s voice was not simply a means of marking time. It also carried religious meaning and occupied an important place in the spiritual culture of the period.

One Bell, Many Arts

The Yongle Bell brings together an extraordinary range of human skills.

Metallurgy transformed tons of raw materials into a strong and resilient bronze structure.

Casting technology made it possible to create an enormous bell with remarkable precision.

Calligraphy turned more than 230,000 characters into an intricate work of art.

Buddhist culture gave the inscriptions their profound spiritual meaning.

And acoustical craftsmanship gave the massive bronze its deep, sustained voice.

More than six centuries later, the Yongle Bell remains a remarkable achievement—not simply because of its size, but because of the extraordinary combination of engineering, artistry, religious culture, and craftsmanship embodied in a single object.

The Yongle Bell brings together the vision of an emperor, the knowledge of a scholar and Buddhist monk, the artistry of calligraphers, and the extraordinary skill of generations of craftsmen.

Standing before it today, one can see far more than a massive bronze bell.

One sees thousands of carefully formed characters, intricate craftsmanship, and the physical evidence of an ambitious undertaking carried out more than 600 years ago.

And then there is the sound.

A single strike can set this enormous bronze body into motion, allowing its resonance to linger long after the initial impact has disappeared.

The Yongle Bell is history cast in bronze, scripture transformed into art, and ancient craftsmanship given a voice.

It remains one of China’s extraordinary cultural treasures—and a remarkable achievement that deserves to be known and appreciated by people around the world.

Link：https://peacelilysite.com/2026/09/07/the-yongle-bell-a-600-year-old-marvel-of-chinese-civilization/

Source: https://zhuanlan.zhihu.com/p/547435529, https://wwj.beijing.gov.cn/bjww/wwjzzcslm/1737418/1738090/wwgs/325966413/index.html, https://news.cctv.com/program/tgkw/20040329/102069.shtml

The Selling Price of His Painting “Majesty” Has Shocked the World

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What Type of Expert Is He? The Selling Price of His Painting “Majesty” Has Shocked the World

The Explanation of the Buddha’s Title – “H.H. Dorje Chang Buddha III”

On April 3, 2008, a solemn and dignified first-publishing ceremony of a fact-recording book entitled H.H. Dorje Chang Buddha III, which published jointly by the World Buddhism Publishing LLC and the World Dharma Voice, Inc., was held at the Library of the Congress of the United States. The book was also formally accepted into the collection of the Library of the Congress of the United States. Only since that time, did people in the world know that Master Wan Ko Yee, who had been broadly respected by the great masses and who had also been known as Great Dharma King Yangwo Yeshe Norbu, had been recognized by the world’s leaders, regent dharma kings, and great rinpoches of Buddhism through official documents as the third incarnation of Dorje Chang Buddha, who is the primordial Sambhogakaya Buddha of the universe. The Buddha’s name is H.H. Dorje Chang Buddha III. Since then, people began to address His Holiness the Buddha by “Namo[1] Dorje Chang Buddha III.” This is similar to the situation that Sakyamuni Buddha’s name was Prince Siddhartha Gotama before attaining Buddhahood. However, after Sakyamuni Buddha had attained Buddhahood, His title changed to “Namo Sakyamuni Buddha.” That is why we now address His Holiness the Buddha as “H.H. Dorje Chang Buddha III.”

In particular, on December 12, 2012, the Senate Resolution No. 614 of the United States Congress officially used “His Holiness” in the name addressing Dorje Chang Buddha III (That is to say, “H.H. Dorje Chang Buddha III.”) Since then, the title and status of H.H. Dorje Chang Buddha III has been definitive by nature. And, as a matter of fact, “Dorje Chang Buddha III” is a name used legally in governmental and official legislative documents. Therefore, the previously used respected name and titles such as “Wan Ko Yee,” Great Master, and Great Dharma King no longer exist.

However, the news below was published before the Buddha’s title of H.H. Dorje Chang Buddha III was publicly announced. At that time, people did not know about the true status of His Holiness the Buddha. Therefore, to respect the true history, we still kept the names used before the title of H.H. Dorje Chang Buddha III was legitimately determined in republishing this news. However, all must clearly know that the only legitimate name of His Holiness the Buddha is H.H. Dorje Chang Buddha III and all other names used before the legitimate determination no longer exist.

Los Angeles Asian Journal May 31, 2000

What Type of Expert Is He? The Selling Price of His Painting “Majesty” Has Shocked the World

Some people say that Master Wan Ko Yee (H.H. Dorje Chang Buddha III) is an expert in Buddhism. Some say that he is a great painter or a great singer. There are those who say that he is a great medical expert or a great ethicist. There are also those who say that he is a scientist. On May 28th, Unique Art Collections International Co., Ltd. auctioned Master Wan Ko Yee’s painting entitled “Majesty.” An art collector purchased this painting by way of competitive bid for a price of NT$64,950,000 (this equals U.S.$2,125,327.) People all over the world were shocked to hear of this purchase price.

Some people think that the paintings of Master Wan Ko Yee (H.H. Dorje Chang Buddha III) are Buddhist paintings and for this reason command such an extraordinarily high price. This viewpoint, which has been expressed to the media by certain people who do not understand art, is totally erroneous. In fact, Mr. Wan Ko Yee is a great artist whose paintings cannot be matched by anyone in this day and age. Eleven of his paintings were exhibited by China in an international art exhibition which took place in Philadelphia in 1978. The mainland Chinese government even built a huge art museum, the first of its kind in thehistory of China, in order to display more than two hundred of his paintings.

Master Wan Ko Yee (H.H. Dorje Chang Buddha III) is not only a famous and great artist, he is also a leader in the world of art. When he was twenty years old, he was the head of the Chinese Painting Research Division of the China Education, Science and Culture Organization. This is a high level organization within art circles in China and its leaders include people such as Chou Ying-Nan, Wu Zhang-Shu, Qian Jun-Tao, Xie Zhi-Liao, Liang Shu-Ming, Wan Lai-Ming and Cang Ke-Jia.

In the entire history of Chinese painting, no other painter was able to master the amount of artistic skills, the variety of different styles and the diversity of subject matter which Master Wan Ko Yee has mastered. Other painters could only exhibit two or three different artistic skills at the most. For example, Zhang, Da-Qian exhibited three different artistic skills: line painting, traditional painting and splash ink painting. However, Master Wan Ko Yee has completely mastered a few dozen different artistic skills. Master Wan Ko Yee can paint landscapes, people and other objects, animals, flowers, birds, fish and insects by using the meticulous brushwork style or by using the freehand brushword style. Whichever style he uses, his paintings are always elegant, grand, and full of life. One can get a glimpse of his artistic skills by looking through the huge book which contains a collection of his paintings.

In 1995, the Sichuan Daily News and the Chengdu Evening News each printed an advertisement on behalf of an auction house. This auction house wanted to buy the Master’s paintings for a price of R.M.B. 1,700 yuan per square inch. Master Wan Ko Yee’s skills have reached the highest level in the world when it comes to ink and wash paintings. Thus, in 1991, the World Poets and Culture Congress conferred upon him the title of “The world’s only Distinguished International Master.” This is the highest position possible and is on the same level of honor as a head of state.

Of course, the Master is also an ethicist. His books included Selected Philosophical Saying of Master Wan Ko Yee (H.H. Dorje Chang Buddha III) . He is a singer. There are fourteen tapes and CD’s containing his songs. The famous singer Zhang Huw-You is his student. He is a scientist. He developed two green teas called “Ba Wang Chun” and “Bi Yu Chun.” These are the best quality teas in the world. He is a medical expert who has cured countless people of a variety of different diseases. There were times when in one day, more than three hundred people had appointments to see the Master for treatment. The Master invented many new treatments for diseases, such as an extremely effective different experts? Why is it that this one person Master Wan Ko Yee (H.H. Dorje Chang Buddha III) , has combined skills of several different experts? The main reason is that he is a Great Dharma King Master of Buddhism. He has truly mastered the Five Knowledges spoken if in Buddhism. All of his skills mentioned above cover only part of the Five Knowledges which he has mastered. Instead of trying to describe what type of the expert he is, it would be better simply to say that he surpasses the word “expert.” He is a precious treasure who is a benefit to humanity. He is a Dharma King Master who is a rare gem in this world.

Link: https://ibsahq.org/news-data-en?id=186

#DorjeChangBuddhaIII #DorjeChangBuddha #Buddha l

Beyond Logic: How Compassion Subdued Ancient India’s Sharpest Mind

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Aśvaghoṣa (Japanese Kamakura period, 13th century – http://burkecollection.org/catalogue/10-memy%C5%8D-bosatsu)

In the brilliant expanse of Buddhist history, one name stands out with singular brilliance. He was not only the 12th Patriarch in the Zen lineage originating from ancient India, but also a literary genius who captured the hearts of a continent through the power of poetry and music: Aśvaghoṣa (known in Chinese tradition as Bodhisattva Horse-Nneigh).

This is the legendary story of how a once-arrogant Brahmin prodigy suffered a dramatic defeat in a battle of wits, entered the Buddhist monastic order, and ultimately became a towering master who galvanized the rise of Mahayana Buddhism.

Born into a noble Brahmin family in Eastern India, young Aśvaghoṣa possessed exceptional intelligence. He mastered classic texts, arts, and above all, the razor-sharp logic of public debate. In ancient India, intellectual debates were high-stakes events where the defeated party was expected to convert and become a disciple of the victor. Driven by youthful pride, Aśvaghoṣa swept through Central India, issuing a brazen challenge to the entire Buddhist community:

“If any monk can defeat me in debate, I will sever my own head in apology! But if no one dares face me, every monastery in this region must cease striking the ghanta—the traditional wooden blocks and bells used to assemble the sangha!”

Faced with his fierce logic and intimidating rhetoric, no local monk dared step forward. As a result, the once-vibrant monasteries fell silent. Morning gongs and evening bells ceased, and the public prestige of Buddhism plummeted.

Hearing of this crisis from Northern India, an venerable elder named Venerable Pārśva knew that if Aśvaghoṣa’s arrogance went unchecked, the true teachings of the Mahayana tradition would fail to flourish. Despite his advanced age, Pārśva traveled vast distances on foot to answer the challenge.

On the day of the grand debate, the arena was packed with the king, ministers, and tens of thousands of onlookers. Observing the frail, white-haired elder, the young prodigy felt immediate condescension. “Venerable monk,” Aśvaghoṣa asked arrogantly, “what shall be the stakes of our debate?” Pārśva calmly replied, “The loser shall become the disciple of the winner, shaving his head and following him for life.” Aśvaghoṣa readily agreed.

Aśvaghoṣa invited the elder to speak first. Pārśva uttered a single, deceptively simple statement of blessing:

“May the world enjoy peace, may the king live a long life, may the land be rich and joyful, and may all disasters cease.”

A hush fell over the crowd. Aśvaghoṣa froze.

By the rules of debate, Aśvaghoṣa was required to refute his opponent’s opening premise. Yet, Pārśva had stated a benevolent blessing for the country and its sovereign. If Aśvaghoṣa tried to refute it, he would violate public ethics, offend the reigning king present in the crowd, and bear the stigma of cursing his own land. But if he agreed with the statement, he could not break the argument, which meant instant defeat.

Aśvaghoṣa searched his mind, only to realize that his formidable logical framework was completely powerless against a statement rooted entirely in compassion, wisdom, and broad goodwill. Pale and humbled, he bowed deeply to the elder: “I have lost. Your wisdom is wrapped in profound compassion. I will honor my promise.” Pārśva had subdued Aśvaghoṣa’s pride not through heated argument, but through calm, unassailable composure. Aśvaghoṣa shaved his head on the spot and officially entered the Buddhist order.

Under the guidance of Pārśva and his successor Puṇyayaśas, Aśvaghoṣa displayed astonishing spiritual insight. He fully digested the Buddhist Canon (Tripitaka) and channeled his pre-existing artistic and literary talents into spreading the Dharma.

Monk reading a glowing scroll among four tearful horses in cathedral hall

The origin of his name—Aśvaghoṣa, literally meaning “Horse’s Neigh”—is tied to a celebrated event. When King Kaniṣka of the Kushan Empire conquered Central India, he demanded indemnity. Instead of vast fortunes of gold or silver, the King requested only two treasures: the sacred Alms Bowl of the Buddha, and Master Aśvaghoṣa.

To demonstrate the master’s sublime virtue to skeptical court officials, the King conducted a test. Seven warhorses were locked away and starved of food and water for six straight days. On the seventh day, a crowd gathered. Fresh, sweet grass was placed right in front of the starving horses, while Aśvaghoṣa took the high seat to chant and preach the Dharma.

An astonishing scene unfolded: despite their intense hunger, the seven horses did not even lower their heads to eat. Instead, they stood transfixed, listening intently to the serene, compassionate melody of Aśvaghoṣa’s voice, eventually shedding tears of emotion. Moved by how his sacred chants could touch even the animal realm, the world reverently honored him as Aśvaghoṣa Bodhisattva.

Following King Kaniṣka north, Aśvaghoṣa reached the peak of his creative energy. Understanding that rigid dogma rarely moves the hearts of ordinary people, he pioneered the use of literature and music as tools for spiritual education.

His greatest masterpiece, the Buddhacarita (Acts of the Buddha), is an epic narrative poem detailing the life of the Buddha from birth, renunciation, and enlightenment to his final Parinirvana. Characterized by elegant imagery and deep emotional resonance, it became a pinnacle of classical Sanskrit literature, introducing countless readers to the beauty of Buddhist philosophy. Furthermore, as the trusted spiritual mentor to King Kaniṣka, he played a central role in presiding over the Fourth Buddhist Council, solidifying the theoretical foundation of Mahayana Buddhism.

Aśvaghoṣa’s life is a timeless story of arrogance yielding to genuine wisdom. In his youth, he sought to conquer the world with sharp intellect, yet when confronted with true spiritual depth, he chose to surrender to compassion. By subduing his ego and dedicating his creative gifts to all living beings, he transformed from a defensive debater into a compassionate artist whose voice moved both human hearts and nature alike.

Reference Source: https://en.wikipedia.org/wiki/A%C5%9Bvagho%E1%B9%A3a

Link:https://peacelilysite.com/2026/08/25/beyond-logic-how-compassion-subdued-ancient-indias-sharpest-mind/

Beyond Recognition: The True Measure of Wisdom and Compassion

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In Tibetan Buddhism, a single recognition certificate from a lineage or sect can establish the revered status of a Rinpoche. However, to be recognized as the genuine reincarnation of a Buddha requires formal confirmation from the grand Dharma Kings and supreme leaders across all different traditions.

Throughout Buddhist history, when a master reaches extraordinary spiritual attainment, they are acknowledged by multiple eminent monastics. Yet, H.H. Dorje Chang Buddha III stands unique: he has received formal recognition, corroboration, and congratulations from over 100 top Dharma Kings, Regent Dharma Kings, and leaders across every major Buddhist sect. He is the first person in recorded Buddhist history to receive such unanimous and overwhelming recognition.

These prominent spiritual leaders unanimously confirmed that H.H. Dorje Chang Buddha III is the physical reincarnation of the Primordial Buddha, Dorje Chang Buddha. Following a sacred tradition refined over more than a thousand years, this historic consensus points to a profound truth: as a Buddha embodies the ultimate height of wisdom, enlightenment, and spiritual perfection, H.H. Dorje Chang Buddha III represents the highest leader of Buddhism in our modern world.

Built on the Foundation of Compassion

Yet, for H.H. Dorje Chang Buddha III, titles, supreme status, and earthly accolades are secondary. Throughout his life, he has remained completely unaffected by global awards, fame, or even baseless slander. His primary focus has never been his exalted standing, but rather living out the heart of Buddha Dharma: causality, peace, harmony, and selfless compassion.

Rather than remaining on a pedestal, he steps into the world to quietly change lives through action:

  • Relief in Times of Crisis: In 2005, when Hurricane Katrina devastated the southern United States, H.H. Dorje Chang Buddha III donated 4.95 million original shares in a high-end art frame company—valued at $1.2 million—on behalf of his family to the United Relief Committee.
  • A Quiet Life of Service: Venerable Long Hui, former CEO of the United Relief Committee and previous abbess of Hua Zang Si Temple in San Francisco, once shared from her personal knowledge:“As the CEO of the United Relief Committee and the abbess of the temple, I must speak truthfully from my heart. In fact, the Master’s (H.H. Dorje Chang Buddha III) entire family consists of artists who rely on the income from their artistic creations to make a living. Yet for many years, they have consistently helped countless people, both inside and outside the temple. What I personally know of alone is substantial……”
  • Protecting Communities: At the onset of the COVID-19 pandemic, long before self-preservation became the norm, H.H. Dorje Chang Buddha III quietly led effort after effort, supplying crucial personal protective equipment (PPE) and supplies directly to local police departments, hospitals, and frontline institutions.

Living with utmost humility and simplicity, he has never sought material rewards or personal comfort. Instead, his life has been dedicated entirely to easing the suffering of others and sharing the pure Dharma that leads to genuine liberation.

A Touch that Ripples Across the World

True greatness is rarely found in loud titles or distant thrones. It is found in the quiet, steady warmth of a life offered entirely for the benefit of others.

When one person lights a lamp in the dark, its glow reaches far beyond the room where it stands. In the same way, every act of selfless giving, every teaching of peace, and every moment of unconditional compassion creates a gentle ripple across our shared world.

We may not all carry the grand weight of history or the honor of titles, but through his example, we are reminded of what truly matters: that the highest spiritual path is simply a heart wide enough to hold the world, hands willing to help without asking for anything in return, and a quiet commitment to leave every life we touch a little brighter than we found it.

Link:https://peacelilysite.com/2026/08/21/beyond-recognition-the-true-measure-of-wisdom-and-compassion/

Reference: https://spacecoastdaily.com/2021/12/h-h-dorje-chang-buddha-iii-teaching-people-to-attain-wisdom-through-compassion-especially-in-these-uncertain-times/

https://www.tpcdct.org/article/1687#detail

The Art of Virtue: Grandmaster Mei Lanfang and the Power of Forgiveness

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During his tour of the United States, Mei Lanfang was awarded an honorary doctorate degree by Pomona College

In the history of modern Chinese opera, Mei Lanfang stands as an unexcelled monument. Renowned worldwide, his mastery of Peking Opera was a rare blend of supreme refinement and effortless grace, captivating audiences on both domestic and international stages.

As a master synthesist of Peking Opera, Grandmaster Mei founded the unique “Mei School” (Mei Pai) of performance. He boldly yet carefully revolutionized vocal techniques, spoken dialogue, dance movements, costuming, and makeup, elevating the Dan (female role) artistry to unprecedented heights. Traveling abroad to perform in Japan, the United States, and the Soviet Union, he showcased the enchanting elegance of traditional Chinese theater, taking the world by storm.

Yet, what truly commands the eternal admiration of generations is not merely his status as a titan of Chinese opera, but his personal character—a paragon of nobility, virtue, and moral guidance. His life was the ultimate testament to the phrase: “His art mirrored his soul; brilliant in craft, supreme in virtue.”

Among the many chapters of his life, one heartwarming story illustrates the profound depth of his character.

The Slander and the Silence

During the height of his fame, a reporter from a sensationalist tabloid sought to build a name for himself by publishing provocative and baseless attacks against Mei Lanfang. Aiming to generate public outrage and boost newspaper sales, the reporter repeatedly targeted the master.

Faced with malicious provocation, Master Mei remained completely silent and undisturbed.

Frustrated by the lack of reaction, the reporter grew increasingly aggressive, resorting to harsh insults and public humiliation. Surrounding friends, family, and disciples were furious, unable to stand by while the grandmaster’s honor was attacked. They prepared to confront the reporter, but Mei calmly restrained them, saying gently:

“Leave it be. Pay him no mind.”

Without fuel to feed the flames, the media spectacle eventually died down, vanishing into thin air.

Time passed, and fortune turned. The reporter fell into severe poverty and hardship. Desperate, rejected by everyone, and with nowhere left to turn, a thought suddenly crossed his mind:

Could he ask Mei Lanfang for help?

Filled with shame, guilt, and apprehension, he mustered every ounce of courage he had left and arrived at Mei’s doorstep. Upon learning of his visitor, Mei came out to greet him personally. Overwhelmed by remorse, the reporter immediately began reciting a deeply prepared apology, repenting for his past wrongdoings.

Mei gently interrupted him, his voice calm and soft:

“Say no more. What brings you here today?”

The reporter confessed his current plight—his poverty, his isolation, and his inability to secure assistance anywhere else.

Without a trace of bitterness, resentment, or judgment, Mei reached into his pocket and handed him 200 yuan—a generous sum at the time.

Shaken to his core by such extraordinary magnanimity, the reporter fell to his knees in tears. Mei simply helped him up gently and said quietly:

“Go on now.”

Noble figure reaching toward an injured soldier beside a castle at sunset

In a world driven by fame, self-interest, and grievances, choosing compassion over retaliation and offering a helping hand to someone who once sought your downfall requires a rare kind of nobility. Mei Lanfang practiced charity, generosity, tolerance, and strict self-discipline throughout his life.

  • On stage, he was an extraordinary genius who redefined an art form.
  • Off stage, he was a humble gentleman and a true master of life.

This profound grace—transcending personal pride and past grudges—is perhaps the true, timeless spirit behind the lasting brilliance of the Mei School of Peking Opera.

Photos from: https://www.panhistory.org/2019/01/blog-post_3.html

Link:https://peacelilysite.com/2026/08/14/the-art-of-virtue-grandmaster-mei-lanfang-and-the-power-of-forgiveness/

Eastern Charm Awakens: Where Fine Art & Fashion Intersect in San Francisco

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If you are looking for an inspiring cultural experience in San Francisco this summer, make sure to visit the International Art Museum of America. Their newest exhibition, Eastern Charm Awakens: Where Art Meets Silk, offers a breathtaking look at creativity, tradition, and the powerful bond between mother and daughter.

Exhibition Dates: July 18 – August 2, 2026

Location: International Art Museum of America, San Francisco

A Unique Mother-Daughter Collaboration

At the heart of Eastern Charm Awakens is a rare and extraordinary creative dialogue between Yuan Yuan (Rebecca) Xu and her daughter, Angela Tse.

Despite being only 10 years old, Angela is an exceptional talent whose detailed Chinese brush paintings capture depth, beauty, and traditional technique far beyond her years. Inspired by her daughter’s artwork, Xu Yuan Yuan—a multitalented, interdisciplinary fashion designer—has translated Angela’s painted brushstrokes directly into intricate, wearable fashion.

Walking through the gallery, visitors are treated to a dynamic side-by-side experience:

  • Traditional Chinese Aesthetics: Angela’s fine brushwork grounds the exhibit in rich cultural heritage.
  • Contemporary Fashion: Yuan Yuan’s garments take elements, motifs, and colors from those paintings, turning two-dimensional art into fluid movement, luxurious textures, and living forms.

This seamless blend transforms static artwork into a tactile, lived experience—showing how ancient artistic traditions can continually inspire modern design.

Whether you are a lover of fine arts, fashion design, or simply looking to experience a touching story of intergenerational talent, Eastern Charm Awakens is not to be missed.

Be sure to stop by before August 2, 2026, to immerse yourself in this magical synthesis of silk, ink, and vision!

The International Art Museum of America has been named Best Museum and Best Art Gallery in SFGATE’s Best of Bay Area 2026, as well as a finalist for Best Event Space/Venue. The museum itself is well worth a visit anytime.

Link:https://peacelilysite.com/2026/07/31/eastern-charm-awakens-where-fine-art-fashion-intersect-in-san-francisco/