Located in the northwest of Mount Tai, Lingyan Temple was founded during the Eastern Jin Dynasty and boasts a history of over 1,600 years. It is regarded as one of the most important sacred sites of Chinese Buddhist culture. Since the Tang Dynasty, Lingyan Temple has enjoyed great renown, and together with Qixia Temple in Nanjing, Guoqing Temple on Mount Tiantai in Zhejiang, and Yuquan Temple in Dangyang, Hubei, it has been hailed as one of the “Four Great Temples of China.” The eminent monk Tang Xuanzang once resided here to translate Buddhist scriptures. From Emperor Gaozong of Tang onward, many emperors stopped to worship at this temple on their way to perform imperial rites at Mount Tai, a testament to its revered historical status.
Although I personally prefer the majestic beauty of untouched natural landscapes, I was deeply moved by the profound cultural and religious artistry of Lingyan Temple. Within the temple grounds, ancient trees such as Chinese wingnut, cypress, and banyan rise skyward, creating a tranquil and sacred atmosphere. As an integral part of the World Natural and Cultural Heritage site of Mount Tai, Lingyan Temple is especially renowned for its colored clay sculptures of Arhats, which hold a prominent place in the history of Chinese sculpture.
Stepping into the solemn Thousand Buddha Hall, one is struck by the breathtaking sight of the Arhat statues—40 lifelike clay figures arranged in a semicircle along the inner walls. Among them, 29 represent disciples of Shakyamuni and Indian masters such as Bodhidharma and Kumarajiva. The remaining 11 depict eminent Chinese monks, including Huiyuan, Huike, Huichong, and various abbots of Lingyan Temple. According to inscriptions and scholarly research, the original set consisted of 32 statues, first created in the third year of the Zhiping reign of Emperor Yingzong of the Song Dynasty (1066). Additional painting and sculpting were done in the first year of the Zhiyuan reign (1328) during the Yuan Dynasty. The Thousand Buddha Hall was renovated in the 15th year of the Wanli reign (1587) in the Ming Dynasty, at which time the number of Arhats was increased to 40. The final touch-up was completed in the 13th year of the Tongzhi reign (1874) of the Qing Dynasty.
Each statue stands about 1.6 meters tall and is seated on a waist-high brick pedestal roughly 80 centimeters in height, with the top of each statue rising 105 to 110 centimeters above the seat. The overall sculptural style is remarkably realistic, emphasizing the individuality and inner spirit of each figure: square faces, prominent noses, distinct facial features, and dynamic, textured robe patterns. The ancient artisans broke away from conventional, stylized Buddhist iconography and instead grounded their work in real life, endowing each Arhat with unique expressions and postures—some sit in meditation, others clasp their hands or hold staffs; some appear ragged and emaciated, while others exude noble dignity and elegance. Each figure is infused with spirit and personality, appearing almost alive, as if they might speak or move at any moment.
What’s even more astonishing is the meticulous attention to detail in both facial expressions and bodily movement, as well as the relationship between the robes and the human form. The flowing lines of the garments, the way the folds respond to motion, and the tactile quality of the fabric all reflect a masterful understanding of form and rhythm. One medical expert even remarked that, “Through the Arhats’ robes, one can perceive the ancients’ precise grasp of human anatomy.”
The Arhat sculptures at Lingyan Temple are not only masterpieces of religious art but also represent the pinnacle of ancient Chinese realistic sculpture. The renowned scholar Liang Qichao once visited the site and inscribed a stone tablet calling them “The finest sculptures in the land.” Famed art master Liu Haisu also praised them, writing: “The Arhats of Lingyan—first under heaven—vivid and lifelike, with flesh and spirit.”
Lingyan Temple is more than a place of worship—it is a living chronicle of Buddhist heritage carved from clay and shaped by the hands of genius. Whether you are a devout practitioner, a history enthusiast, or an art lover, a visit to Lingyan Temple will surely leave you moved by its rich cultural legacy and breathtaking artistic beauty.
Award recipients from the youngest age group (five- to six-years-old) at the 2025 International Youth Art Contest, pictured with Mr. KC Hsieh, IAMA President.Photo by Johnny Trieu
(Ad) On July 13th, 2025, San Francisco’s International Art Museum of America (IAMA) hosted the awards ceremony for the Second Annual International Youth Art Contest and Exhibition. The museum hosted nearly 400 attendees who were eager to see this year’s exhibition of youth artworks from around the world. Distinguished guests included Mr. Guy Djoken, Executive Director of UNESCO Center for Peace of Washington D.C.; San Francisco District Six Supervisor Matt Dorsey; and Professor Adam Caldwell, Chair of the Jury Committee and faculty member at the Academy of Art University, San Francisco. The ceremony spotlighted the creative achievements of young artists and underscored the museum’s role in fostering cultural exchange and youth artistic expression. Now, in its second year, the International Youth Art Contest and Exhibition continues to expand its reach and impact, advancing IAMA’s mission to champion emerging talent and foster intercultural connection through the arts.
This year, 1,600 youth participants submitted over 3,800 artworks to the Youth Art Contest. Artists from sixty-five countries across five continents competed within four age groups. After a rigorous selection process evaluating creativity, technical skill, and overall presentation, 477 young artists from seventeen countries were selected to exhibit a total of 616 outstanding works in IAMA’s Grand Exhibition Hall. The artistic caliber and thematic richness of the selected pieces left the jury in awe.
Attendees of the 2025 International Youth Art Contest viewing the installation in the Grand Exhibition Hall located at 1025 Market Street in San Francisco.Photo by Johnny Trieu
During his address at the awards ceremony, Mr. Guy Djoken offered high commendation for IAMA and its dedicated team, applauding their ongoing commitment to promoting international artistic exchange and cultivating a space where the public can find joy and renewed hope through art. Reflecting on the global turbulence and widespread uncertainty facing today’s global community, Mr. Djoken declared, “At a time when many live in fear—especially of war—just for us to be here at the museum, smiling and happy, and most importantly hopeful about the future—this is the best thing about this competition.” Mr. Djoken’s heartfelt message set a hopeful tone for the awards ceremony and attendees alike.
Executive Director of the UNESCO Center for Peace, Guy Djoken, was deeply impressed by the exceptional quality of the young artists’ work, finding both joy and hope for the future in their creativity.Photo by Johnny TrieuAward recipients in the eleven – fourteen age group at the 2025 IAMA International Youth Art Contest, joined by Mr. Guy Djoken, Executive Director of the UNESCO Center for Peace in Washington, D.C., who presented the honors during the ceremony.Photo by Johnny Trieu
Matt Dorsey, San Francisco’s District Six Supervisor, also addressed the audience, expressing his appreciation for the International Art Museum of America as a true hidden gem of San Francisco’s art landscape, and pledged his continued support for the museum’s mission and contributions to the community. Supervisor Dorsey offered words of encouragement to all participating youth artists, urging them to pursue their creative passions with perseverance—regardless of the outcome—and to never stop pursuing their artistic dreams.
Award recipients in the fifteen–eighteen age group of the contest were presented with their honors by San Francisco District Six Supervisor Matt Dorsey during the awards ceremony.Photo by Johnny Trieu
Professor Caldwell praised the range of themes and talent amongst all submissions and ages, which made selecting the winners of each age group challenging for the judges. Professor Caldwell noted the importance of international art exchange, stating “It’s a great way to bridge gaps between countries. The artistic community has always crossed political, social, and ethnic borders. Art and music are among the most universal forms of expression. They allow us to feel what others felt… Art brings people together across divides.” Professor Caldwell’s wise words perfectly captured the mission and outcome of the International Youth Art Contest.
Award recipients from the seven – eleven age group honored by Prof. Adam Caldwell—Chair of the Jury Committee, and faculty member at the Academy of Art University, San Francisco.Photo by Johnny Trieu
In this year’s contest, a newly introduced category for the youngest age group—participants ages five to six—garnered enthusiastic engagement from a remarkable number of budding artists. Through their sincere brushwork and vibrant imagination, these children demonstrated an extraordinary innate talent that captivated both audiences and judges alike.
Dr. Amy Hughes, Jury Committee Member and Director of Student Services at the New York Academy of Art, recognized the courageous creativity of the youth artists reflecting, “I was struck by the fearless creativity on display — the young artists did not shy away from complex themes, experimenting with materials, and expressing deeply personal narratives. Each piece felt authentic and fresh, demonstrating both technical skill, and emotional depth. The entries explored themes ranging from family, community, and environmental justice to dreams, culture, and identity—powerfully reflecting the younger generation’s keen insights and profound emotional connection to the world around them.
Charlotte Wu, third place award recipient in the five- to six-year-old age group, looks up at her winning painting, The Garden Where She Waits.Photo by Johnny Trieu
Lucas Shao, the first place winner of the five- to six-year-old age group, depicted himself joyfully swinging through the air in his painting, Wonderland. When asked about his hopes for his art, Lucas enthusiastically declared “I hope my art makes people happy, warm, big smiles just like me!”
Five-year-old Lucas Shao, winner of first place in the five- to six-year-old age group, stood proudly beside his painting Wonderland, depicting his happiness while swinging on the playground.Photo by Tong Shao
Third place winner of the five- to six-year-old age group, Kedarnath Kalidindi depicted a goldfish in a small fishtank in his painting, Freedom in Captivity, inspired by “finding inner freedom during incarceration.” The addition of this age group was an exciting component of this year’s event, and underscored the value of shining a spotlight on youth artwork, and garnering the wisdom of today’s youth.
Five-year-old Kedarnath Kalidindi, third-place winner in the five- to six-year-old age group, introduced his painting, Freedom in Captivity, to the audience.Photo by Johnny Trieu
Ten-year-old Irina Elena Dobrota from Romania was honored with third place in the seven- to ten-year-old age group for her painting, Flight of Dreams, which was selected for the final exhibition at IAMA. Celebrated for its gentle spirit and imaginative vision, the piece radiates themes of kindness, freedom, and hope. Irina’s achievement brought pride and joy to her local community, and she hopes her work will inspire others to believe that every heartfelt wish can take flight—if we have the courage to let it soar.
Third place winner of the seven- to ten-year-old age group, Irina Elena Dobrota’s painting, Flight of Dreams.Photo by IAMA
Ashley Hein, second place winner of the fifteen-to-eighteen-year-old age group, impressed the jury with her painting, Animal Instinct, distinguished by its mature composition and outstanding execution. Professor Caldwell commented that he had shown several of the entries to his university art students, who were deeply moved and inspired by the technical skill and creativity on display.
Ashley Hein’s artwork, Animal Instinct, won second place in the fifteen- to eighteen-year-old age group.Photo by IAMA
Seventeen-year-old Kate Fieldhouse from South Africa received an honorable mention for her painting Between Worlds, which depicts a striking worldscape through an intense and creative exploration of breaking the canvas.
Seventeen-year-old Kate Fieldhouse from South Africa received an Honorable Mention for her painting Between Worlds.Photo by Johnny Trieu
Sixteen-year-old Polina Larina received an Honorable Mention Award for her painting Moscow Buns Evening. During her interview, Polina shared how she views her art as an opportunity to introduce people to Russian culture, and how the Youth Art Contest inspired her to continue to pursue her art dreams, “It was my first time participating in the IAMA competition. Participation in this competition helped me to feel recognized as an artist, and inspired to keep making art and put more effort into it.” Polina’s painting, inspired by a memorable walk with her grandparents, serves as a reminder to escape into nostalgia and childhood memories in trying times.
Sixteen-year-old Polina Larina (second from right, standing beside her mother) who received an Honorable Mention for her painting Moscow Buns Evening, in the Grand Exhibition Hall, joined by her parents and twin sister.Photo by Johnny Trieu
Following the ceremony, Professor Caldwell gave a masterclass for all participants, offering thoughtful insights on artistic growth, and encouraging continued exploration and confidence in their creative journeys. His masterclass focused on four elements: visual storytelling and composition, techniques and materials, the role of art in communication and expression, and advice for young artists. This is the second year Professor Caldwell has judged the artwork for the contest and delivered a masterclass for attendees of the contest.
Professor Caldwell delivered a knowledgeable and enlightening masterclass to attendees and participants. Photo by Johnny Trieu
About IAMA
Located in the heart of San Francisco, IAMA was voted the “Best Art Gallery” and was a finalist as the “Best Museum” in SFGate’s Best of Bay Area 2024. IAMA is dedicated to making world-class art accessible to all through exhibitions, education, and international contests. With a mission to foster peace and happiness through art—especially by nurturing the next generation—IAMA brings together works from around the globe, bridging East and West, classical and contemporary.
At 92 years old, Tasha Tudor lived a life that seemed lifted from the pages of a fairy tale. A beloved American picture book author and illustrator, her world was filled with charm, creativity, and a profound connection to nature. Her quiet, pastoral lifestyle captured the imagination of many, and a documentary about her life gained widespread acclaim in both the United States and Japan—earning her the title of one of the most admired women of her time.
Tasha was born into a prominent family, surrounded by great minds and cultural icons—her home once welcomed the likes of Albert Einstein and Mark Twain. Growing up in such an environment may have nurtured her early independence and vivid imagination. While others her age dreamed of parties and popularity, Tasha longed for a simpler dream: to own a cow and live close to nature.
At just 15, she left formal schooling to follow her passion for art and farming. This bold decision marked the beginning of a remarkable artistic journey. Over her lifetime, Tasha created more than 80 beautifully illustrated children’s books, winning the prestigious Caldecott Medal and receiving the Queen’s Lifetime Achievement Award. Her delicate, nostalgic illustrations shaped the childhoods of generations.
At 23, she married and raised four children. But when her unconventional lifestyle became too difficult for her husband to accept, they separated. Tasha pressed on, supporting herself through her art and craftsmanship.
When she was 57, and her children had grown, Tasha embraced the life she had always dreamed of. She moved to the hills of Vermont and built a cottage modeled after an 18th-century farmhouse. There, she lived without electricity, running water, or modern conveniences—choosing instead to return to the rhythms of a bygone era.
Her days were filled with meaningful simplicity: raising chickens and sheep, growing vegetables, preparing meals by hand. She wove and sewed her own clothes—elegant dresses and colorful scarves—always taking pride in her appearance, even in solitude.
Tasha found deep joy in the natural world. She built a lush, secret garden where flowers bloomed in every season, and she tended it with love. Whether watering plants or walking through her fields, she embraced each moment with a grateful heart.
Though she lived alone, she was never lonely. Her cats and dogs kept her company, and her grandchildren visited often. Her home radiated warmth, creativity, and quiet joy.
“Letting go is a kind of strength,” she once said.
In an age obsessed with material gain, Tasha Tudor’s life reminds us that true richness lies in simplicity. She let go of the noise and temptations of modern life, choosing instead a path of peace, beauty, and authenticity.
Tasha Tudor didn’t just illustrate magical worlds—she lived in one. And through her life and work, she continues to inspire us to slow down, appreciate the everyday, and create beauty from the inside out.
Have you ever stood before the Pantheon in Rome or looked up at the towering aqueducts from ancient times and thought: “How are these structures—built over 2,000 years ago—still standing strong, while modern buildings crack, rust, and collapse in just a few decades?”
It’s not a miracle. It’s ancient wisdom and material science far ahead of its time.
Unlike the Portland cement we use today, ancient Roman concrete was made with volcanic ash (pozzolana), lime, water, and volcanic rock. This special mix triggered a chemical reaction known as the pozzolanic reaction, which formed a remarkably stable and durable material.
This volcanic ash came from regions like Campi Flegrei near Naples, rich in silica and alumina. When mixed with lime and water, it formed bonds that strengthened over time—rather than weakened.
🌊 Stronger with Time—Even Underwater
Even more amazing? Roman concrete exposed to sea water didn’t erode—it grew stronger. Scientists discovered that seawater reacted with the volcanic materials to create a rare mineral called tobermorite, which reinforced the concrete’s internal structure.
This is why many ancient Roman ports and sea walls still stand intact after 2,000 years—even without modern rebar or waterproofing.
Ruins in Privernum, near Rome, where researchers collected ancient concrete samples from a bordering city wallREDA & CO srl/Alamy
🔧 Self-Healing Capabilities
Roman concrete even had a kind of “self-healing” ability. When small cracks formed, water seeping into the cracks would trigger new chemical reactions, filling the gaps with more binding minerals and sealing the damage naturally.
No wonder structures like the Pantheon’s massive unreinforced concrete dome—still the largest in the world—have stood strong for two millennia.
Today’s concrete (Portland cement) is fast to produce and easy to use—but it’s not built to last. It’s vulnerable to carbonization, water infiltration, and the corrosion of internal steel reinforcements. Many modern buildings begin to deteriorate in as little as 50 to 100 years.
What’s more, many structures are built with thinner supports and cheaper materials to cut costs and speed up construction—further sacrificing long-term durability.
Ancient Roman builders weren’t just engineers—they were environmental designers who worked with nature rather than against it. Their materials were local, natural, and synergistic. They designed for longevity, not just appearance or convenience.
Modern architecture, for all its technological advancements, could learn a powerful lesson: Durability is a form of sustainability.
We often assume that more advanced technology means better quality. But perhaps what truly makes a structure strong isn’t just engineering—it’s wisdom, respect for nature, and a mindset rooted in harmony and longevity.
If we embrace these ancient insights, maybe our future buildings won’t just house us—they’ll endure for generations.
I’m thrilled to share that Bodhi Fest, a Buddhist Arts and Film Festival hosted by Heartwood Refuge, will take place at the Asheville Community Theater on August 16, 2025!
This inspiring event—the very first annual Bodhi Fest—promises to be a day of illumination, joy, and connection. Through films, workshops, music, art, and community, it will explore the uplifting qualities of the human spirit, from serene solitude to ecstatic joy.
The program will feature:
Buddhist films with Q&A sessions
Short films
A dance workshop
A songwriting workshop
Live musical performances
Plus, crafts, art, and food from Buddhist sanghas, local artists, and vendors, showcased in the front lobby throughout the day.
I truly hope this wonderful celebration of creativity and Dharma will deepen the understanding of Buddhism and bring more peace and joy to the hearts of people in America.
May Bodhi Fest shine with wisdom and compassion! 🌿🎶🎬
Enjoy immersion in activities that provoke insight and lift the spirit.
In a world increasingly dominated by artificial intelligence and digital innovation, Dr. Jeff Walker, a retired neurosurgeon turned philanthropist, is on a mission to “keep the humans in the humanities.” His Walker’s Rising Stars Scholarship Program, launched in 2003 in partnership with the Pinellas Education Foundation in Florida, has awarded over $970,000 to high school students excelling in Dance, Instrumental, Theater, Visual Arts, and Vocal Performance.
Now, with a bold vision to expand the program nationally, Walker is poised to reshape arts education across the United States: “I want this to expand to cover the whole country and change arts education in high school and college,” says Walker, who has made it his mission to provide free education for all.
Walker’s inspiration—rooted in personal tragedy, a love for the arts, and a deep commitment to education—drives a movement that empowers young artists to pursue their dreams without the crushing weight of student debt.
His path to philanthropy was anything but conventional. A Duke-trained neurosurgeon who performed over 10,000 operations and established a major trauma center in Florida, Walker’s career was defined by precision and impact.
Yet his drive to give back stems from a deeply personal experience at age five. “I had a tragic event, a near-drowning incident,” he recalls. His best friend didn’t know how to swim. Influenced by childhood media and misunderstanding the risks, he pushed him into the water. The outcome was devastating: his friend drowned, and Walker nearly did too. “I felt so guilty, blocked it out for 15 years,” he says. “I think I tried to overcompensate by helping people. It was something that took an incredibly long time for me to forgive myself for.”
This tragedy instilled a lifelong mission to serve others—first through medicine and later through philanthropy. His medical journey began under the influence of his father, a dentist and university chairman, and his mother. “I scrubbed in on over 200 open-heart operations,” he says. But it was in medical school that he discovered neurosurgery, drawn to the brain as “what you are.” He completed his residency at Duke by 1985, laying the foundation for a career that blended science with service.
Walker’s love for the arts, though not as a performer, also shaped his vision: “I played the piano when I was younger, very methodical, classical music,” he shares. A humbling moment came at 15 when a friend played a Beatles song effortlessly, revealing Walker’s limitations. “I couldn’t do that at all,” he admits.
Yet, this experience underscored his belief in the arts as a universal force: “Every culture has their own dance, songs, music, symphonies, operas—the arts are a unifying factor,” he says. “There’s so much diversity in America today, and this brings everyone together.”
In 2003, Walker channeled his passion for education and the arts into the Walker’s Rising Stars Scholarship Program, partnering with the Pinellas Education Foundation to support local high school students. The program, which awards scholarships for arts education, is a vibrant celebration of talent, culminating in an annual event at the Mahaffey Theater.
“The kids get there at noon, we have lunch, they audition during the day, and then put on a show at night—three-minute acts, five categories, with the county jazz band. Families are cheering, it’s super fun,” he says.
The program’s impact transcends financial support. After the show, students gather backstage, hugging and celebrating. “They’re all aspiring artists, and you can feel the love,” Walker says.
As a father of four and grandfather of eight, Walker connects deeply with the pride parents feel at these events. “You’ve taken these kids to music, art, dance lessons for years, and to see them on stage as young adults—the pride and love bounce off the walls.”
The scholarships address the broader student loan crisis, which Walker views as a significant burden on young people. “Every dollar is $1 the family doesn’t have to spend on education,” he says.
Beyond financial relief, the program instills confidence and recognition. “It’s not easy to get on that stage, knowing hundreds of kids are vying for that spot,” Walker says. “The confidence they get is key.”
He recalls a student letter that captures the program’s transformative power: “She wrote, ‘I was going to go to St. Pete College, but after winning this, I’m going to Manhattan School of Art.’ It’s a life-changing event.”
Walker estimates that the program changes “about half the kids’ lives,” with alumni achieving remarkable success. “They’re making a living in the arts,” he says proudly.
Walker’s inspiration for Rising Stars is grounded in his belief in education as a pathway to opportunity: “As a Duke-trained neurosurgeon, I went to school a long time, and I owe everything I have to my education,” he states. “In the end, when you look back on your life, it’s not what you get, it’s what you give.”
This philosophy fuels his commitment to expanding arts education, particularly in public schools. “Education is the way out,” he says. “Through hard work and education, I still believe in the American Dream—you can be anything.”
Walker also recognizes the challenges the arts face in an increasingly digital age. He trademarked the phrase “keep the humans in the humanities” to emphasize the need for genuine human creativity. “How do you combat that? You create a generation of talented singers, dancers, actors,” he explains. The program reinforces human expression and creativity during a time when automation is on the rise.
Now, Walker has announced the national expansion of Rising Stars, choosing the prestigious Sundance Film Festival to unveil his plan. His goal: establish 1,000 program sites, each supported by a $4 million endowment that yields 5% annually to fund 25,000 students each year. “After four years, that’s 100,000 Rising Stars in college—enough to transform arts programs,” he calculates.
The national rollout will replicate the local model, with auditions and performances administered through public school districts and education foundations. “Everything goes through the school district, the teachers,” Walker says, highlighting a grassroots approach. Local events will feed into regional, state, and national competitions—potentially televised to amplify awareness and participation.
“This will bring every community together to support their young people,” he says, envisioning the program as a unifying force during divisive times.
Walker also sees the initiative as a response to the underfunding of arts education. “In high school, the arts are underfunded,” he notes. “Everybody’s talking STEM these days, but an education in the arts is very difficult.”
The program aims to uplift students pursuing creative careers, helping them gain recognition, validation, and the resources they need to thrive. “This program tells them, ‘You’re a great singer, artist, you’ve got talent,’” Walker says. “It gives them the confidence to pursue their dreams.”
Scaling Rising Stars nationwide presents challenges, but Walker remains focused: “As a Duke-trained neurosurgeon, I didn’t get here by luck. We have a plan.”
He’s connecting with artists’ unions and entertainment professionals to grow the network of supporters. To aid in funding, Walker has even developed a travel toothbrush—with proceeds directed toward scholarships—and is exploring other creative avenues to generate resources. “This is a generational project,” he says. “If you can’t get the generation behind it, it’s not going to happen.”
Walker’s long-term goal is free college education for students in the arts—including room and board. “I envision a future where Rising Stars have their own dorms, live and perform together, support each other,” he says. “If a student’s parent gets sick and they can’t afford school, let’s have a concert to raise money so they don’t drop out.”
For Walker, the legacy is not about awards but impact: “In 2035, if every Oscar, Emmy, or Tony category has a Rising Star, that’d make me happy,” he says.
What brings him joy is the personal fulfillment: “At first, I thought it was about sitting in the front row, hearing nice things,” he reflects. “But it makes me happy inside. I’m a good person, and this brings fulfillment, self-satisfaction, and love for myself.”
As Walker’s Rising Stars prepares to take the national stage, it stands as a powerful testament to one man’s belief in the power of art, education, and human connection to change lives and strengthen communities.
This is a deeply moving landscape painting by H.H.Dorje Chang Buddha III, marked by smooth, flowing brushwork and a natural rhythm. The undulating crimson cliffs seem to rise freely from the artist’s heart, while the vigorous lines brim with vitality and strength. Ink strokes form the skeletal structure of the mountains and rocks, while delicate willows hang softly across the scene, adding a quiet touch of green serenity. The overall palette is vivid but never garish, exuding a warm and nostalgic atmosphere.
In the painting, two thatched cottages nestle beside the mountains and water. Their deep-set doors and silent windows seem to hold untold, quiet stories. It was under these eaves, by these doors, that a loving mother once stood—sending her children off into the world with silent heartache, and waiting countless times in patient hope for their return. That wordless farewell, those tears of longing, have gently seeped into the fabric of time. Among all human emotions, none is greater than a mother’s love. Our memory of that love stirs an innate sense of gratitude—a sacred emotion that transcends the ordinary.
This work embodies the style known as the “Childlike Native School”, which embraces the beauty of rural life through the innocence of a child’s heart. Though the brushstrokes appear naïve and spontaneous, they conceal great depth and mastery. The painting style is free and unrestrained, exuding both boldness and tenderness. The soft, flowing lines connect seamlessly—like a mother’s love, endlessly enduring, gentle yet firm. Its simple composition holds rich emotional meaning and invites the viewer’s imagination to wander. The scene pulses with a childlike liveliness that fills the heart with joy.
The painting’s pure and innocent imagery evokes a return to the carefree days of childhood. No matter where you are, simply gazing at this piece can bring the scene and its emotions vividly before your eyes, awakening the deepest tenderness and longing in your soul.
In creating Mountain Village with Memories of Mother, the artist approached the work with the pure heart of a child, yet painted with the maturity and finesse of a seasoned master. The brush technique draws from traditional Chinese calligraphy—guided by the wrist, powered by the arm—each stroke flowing naturally with graceful spontaneity. This painting was not created for show or technical display, but as a sincere outpouring of emotion and inspiration. Every application of ink and color arises from genuine feeling.
What is art? At its essence, art is the ability to immediately evoke inner peace, comfort, joy, or spiritual fulfillment in the viewer. But where does this feeling come from? Is it merely the subject matter or visual beauty of the work? Certainly not. A painting does not become great simply because it looks pleasing.
In the context of Chinese painting, the true heart of art lies in a quality called “spiritual resonance” (shen yun). It is vivid, yet elusive—a mysterious charm and subtle power that cannot be described with words. It is born when the artist’s personal cultivation, emotional depth, and spiritual awareness infuse the work, allowing spirit and technique to merge. The result is an artistic vitality that transcends mere form.
Only when viewers are moved by this spiritual resonance do they begin to explore the painting’s formal elements—its composition, color palette, brush technique, balance between painting and calligraphy, and the portrayal of the subject in both spirit and form. While these aspects matter, they ultimately serve a deeper, more profound experience.
In Chinese art, the true value of a painting—its ability to soothe the soul—does not depend on technical skill alone. It lies in whether the work can touch the heart and stir the spirit. Mountain Village with Memories of Mother beautifully embodies this artistic spirit. Every brushstroke gently stirs the viewer’s emotions, evoking tender memories and inviting the soul to linger in its serene beauty.
This exceptional work is housed in the permanent collection of the International Art Museum of America, located in San Francisco—a fitting home for a piece that speaks a universal language of love, nostalgia, and spiritual beauty.
Longxing Temple, also known as the Great Buddha Temple, is one of China’s oldest, largest, and best-preserved Buddhist temples. This extraordinary complex is not only a sacred site but also a magnificent testament to the architectural genius and spiritual devotion of ancient China.
Located at No. 109 Zhongshan East Road in Zhengding County, Shijiazhuang, Hebei Province, Longxing Temple sprawls across an impressive 82,500 square meters.
Originally established in 586 CE during the Sui Dynasty under the name Longcang Temple, it was later renamed Longxing Temple during the Tang Dynasty. In 971 CE, Emperor Taizu of the Northern Song Dynasty issued an edict to cast an enormous bronze Thousand-Armed Avalokiteshvara Bodhisattva and build the splendid Hall of Great Compassion to house it.
This marked the beginning of large-scale expansion, culminating in a grand Song Dynasty architectural complex centered on the hall. Through the Jin, Yuan, and Ming Dynasties, the temple saw continued renovation and growth. In the Qing Dynasty, both Kangxi and Qianlong Emperors decreed extensive rebuilding, shaping the temple’s current layout:
The eastern section served as monks’ quarters
The central axis hosted Buddhist ceremonies
The western area functioned as the imperial palace quarters
In 1710, Emperor Kangxi personally inscribed the name “Longxing Temple,” an honor that reflects its enduring importance.
Today, visitors can trace a north–south axis that passes through a series of majestic structures: the Hall of Heavenly Kings, Mani Hall, the Ordination Altar, the Revolving Sutra Library, and more than a dozen other halls and pavilions. The complex is celebrated as a textbook example of ancient Chinese Buddhist temple design.
Recognized among China’s ten most famous temples, Longxing Temple was declared a Major National Historical and Cultural Site in 1961 and later designated a National AAAA Tourist Attraction.
Highlights Not to Miss
Hall of Heavenly Kings
First built in the Northern Song Dynasty, this is the oldest surviving structure of its kind within the temple. Even after a major renovation in 1780, its main timber frame remains original.
Above the entrance, plaques bearing the calligraphy of the Kangxi Emperor read:
“Imperially Established Longxing Temple” “Hall of Heavenly Kings”
Inside stands the famous Big-Bellied Maitreya Buddha, a Jin Dynasty wood carving over 800 years old. Thoroughly localized in Chinese style, this smiling figure derives from the legendary monk Qici, known for his benevolence and laughter.
On either side stand the Four Great Heavenly Kings, each symbolizing auspicious natural forces:
Wind (Southern King, with a sword)
Harmony (Eastern King, with a lute)
Rain (Northern King, with a precious umbrella)
Compliance (Western King, with a coiled snake)
Together, they express the blessing of abundant harvests and national peace.
Mani Hall
Built in 1052, Mani Hall has an unusual cross-shaped floor plan created by four gabled annexes extending from its square central chamber.
Inside, five golden clay Buddha statues preside over the altar, with Shakyamuni Buddha at the center.
The hall’s north wall showcases a breathtaking polychrome relief nearly 16 meters long, depicting swirling clouds, celestial beings, and Avalokiteshvara stepping onto a lotus—symbolizing the entrance to the Western Pure Land.
At the heart of this scene sits the Backward-Facing Avalokiteshvara, so named because she faces north instead of south. Far from a supernatural image, this Avalokiteshvara appears as a serene, youthful woman with an expression so vivid and gentle it moves all who gaze upon her.
Visitors often remark:
“How beautiful—how extraordinary! She sits so naturally, one leg casually crossed, her eyes meeting yours wherever you stand. Her smile is as enigmatic as the Mona Lisa—truly ‘The Most Beautiful Avalokiteshvara.’”
Ordination Altar
Reserved for the most important temples, the Ordination Altar was where monks received their vows.
Inside the altar stands a unique double-sided bronze Buddha statue. Facing south is Amitabha Buddha, and facing north is Medicine Buddha. The two figures share a single body, seated back to back in lotus posture.
The statues are depicted in full lotus position, wearing five-leaf crowns, with round, gentle faces. Their necks are adorned with necklaces and their arms with bangles, while flowing sashes drape gracefully from their shoulders. Amitabha’s hands form the meditation mudra, while Medicine Buddha’s hands display the gesture of compassion.
Their expressions are serene and tranquil, exuding a quiet dignity and solemn beauty in their elegant simplicity.
Longteng Garden
To the northeast lies Longteng Garden, a Ming and Qing–style garden combining cultural heritage and tranquil scenery.
Here you’ll find:
Northern Dynasties stone statues
A Jin Dynasty scripture pillar
A Yuan Dynasty mural tomb
The Ming Dynasty Longquan Well Pavilion
The “Three Generations of Vice Ministers” stone archway
Meandering through its pavilions, terraces, and lush paths feels like stepping into a living scroll of history.
Cultural Traditions
Imperial Buddhist Ceremony Performance
Zhengding’s Longxing Temple is an imperial temple that was visited and funded for repairs by emperors over many dynasties. According to The Chronicles of Longxing Temple, in the 49th year of Emperor Kangxi’s reign (1710 CE), the emperor ordered funds to be allocated from the national treasury to restore Longxing Temple. After the renovations were completed, Emperor Kangxi personally came to pay homage and bestowed 19 inscribed plaques, including one reading “Longxing Temple Constructed by Imperial Decree,” all handwritten by himself.
At the end of 2011, drawing on historical records, the Cultural Heritage Office re-created the Grand Imperial Buddhist Ceremony, reenacting the scene of Emperor Kangxi’s arrival at Longxing Temple, the local officials welcoming the imperial entourage, and the emperor bestowing plaques, offering incense, and performing rituals to honor the Buddha.
Thousand-Armed Avalokiteshvara Performance
Inside the Great Compassion Pavilion of Zhengding’s Longxing Temple stands a bronze statue of the Thousand-Armed, Thousand-Eyed Avalokiteshvara, measuring 21.3 meters in height. Cast in the 4th year of the Kaibao era of the Northern Song Dynasty (971 CE), this towering bronze figure is remarkable both for its immense size and its exquisite craftsmanship.
It is the tallest and oldest ancient bronze Buddha statue of its kind in the world. It is not only a symbol of Longxing Temple but also an emblem of the ancient city of Zhengding.
The Thousand-Armed Avalokiteshvara Performance features graceful melodies and captivating dance that vividly convey the divine presence and compassion of the bodhisattva.
Longxing Temple is more than a historical monument—it is a living symbol of Chinese Buddhist art, architecture, and spirituality. Whether you come for quiet reflection, cultural discovery, or simply to stand before centuries of devotion, this magnificent temple will leave a lasting impression on your heart.
Tucked within the tranquil halls of the Nelson-Atkins Museum of Art stands a breathtaking wooden sculpture of Water-Moon Guanyin from the Liao Dynasty—a work hailed as “the most magnificent surviving sculpture in China” and “a triumph of religion and aesthetics.” It has also been honored by the media as “one of the thirty finest works held in American public institutions.”
Officially labeled by the museum as “Guanyin of the Southern Sea,” this statue rises to an impressive height of 2.4 meters. Aside from the right forearm, the entire figure—including its base—was masterfully carved from a single block of wood. Dating back to the 11th or 12th century (Liao or Jin Dynasty), the sculpture has been remarkably well-preserved over the centuries.
This Guanyin is an extraordinary example of religious artistry. Her face is gently sculpted with refined features—serene, graceful, and quietly majestic. Adorned with a jeweled crown, her eyes are softly closed, gazing downward in meditation and compassion. The statue’s pose reflects the elegance and wisdom traditionally associated with the feminine form, especially in the flowing hand gestures—while still retaining some subtle masculine traits in the upper body, a nod to Guanyin’s transcendent nature.
In classic iconography, Water-Moon Guanyin is often portrayed seated on a rock or lotus throne, gazing compassionately at the world. In this sculpture, she sits with one leg bent and the other gracefully draped downward. Her right arm rests lightly on her knee, fingers gently curved, as she gazes diagonally downward with a calm smile—evoking the image of the moon reflected in water. This visual metaphor powerfully symbolizes a core Buddhist teaching: the illusion of form and the essence of emptiness.
Every aspect of the statue—the proportions, the flowing posture, the tranquil expression—conveys a sense of effortless grace, inner freedom, and compassionate presence. It is a piece that invites quiet reflection, stirring something deep within the soul of the viewer.
The Legend Behind the Water-Moon Guanyin
The form of Water-Moon Guanyin, also known as “Auspicious Water Guanyin” or “Auspicious Water Bodhisattva,” is one of the most beloved among the thirty-three manifestations of Guanyin in Chinese Buddhist tradition. Interestingly, the name “Water-Moon” does not come from early Buddhist scriptures, but rather from Chinese folklore—born of the fusion between Buddhism and indigenous Chinese culture.
According to legend, Guanyin once appeared in Suzhou during a time of war, where she witnessed the brutal slaughter of civilians by the Jin army. Out of great compassion, she transformed into a beautiful woman, built a ritual platform, and began chanting sutras to deliver the souls of the dead. When her recitation was complete, someone among the crowd recognized her divine aura and asked to see her true form.
The Bodhisattva pointed to the riverbank. There, reflected in the still waters, was the image of a radiant full moon, within which her sacred figure appeared—graceful and ethereal. Among the witnesses was a talented artist named Qiu Zijing, who quickly sketched the vision. As his painting circulated, this image came to be known and venerated as the Water-Moon Guanyin.
A Space Worthy of the Divine
To properly honor this extraordinary statue, the Nelson-Atkins Museum created an expansive Chinese Temple Gallery. Behind Guanyin stands a Yuan Dynasty mural titled “Assembly of the Radiant Buddha,” originally from Guangsheng Temple in Shanxi Province. Above hangs a carved Ming Dynasty coffered ceiling adorned with dragons, while in front, finely carved lattice doors from a Qing Dynasty official’s residence in Beijing complete the immersive setting.
This harmonious environment allows visitors to experience the sculpture not just as a museum piece, but as a living expression of faith, beauty, and timeless spiritual insight.
The Water-Moon Guanyin at the Nelson-Atkins Museum is more than an ancient sculpture—it is a sacred embodiment of compassion, artistry, and transcultural storytelling. Whether viewed through the lens of religion, history, or aesthetics, it stands as a serene reminder of the enduring power of beauty to transcend time and touch the human spirit.
This exquisite painting, rendered in the unique “Banqi” style, captures a touching scene of children from mountain villages on their way to school. Unlike city children, these young students must trek across rugged terrain—climbing mountains, crossing ravines—day after day to pursue their education. Their journey is filled with challenges, yet their unwavering determination and thirst for knowledge shine through. This artwork serves as a tribute to their resilience, reminding us all of the value of education and the perseverance required to achieve greatness.
A Revolutionary Artistic Technique
What makes this painting extraordinary is its unconventional brushwork, which blends the bold energy of ink-wash painting with the refined precision of engraving. Every stroke, whether light or dark, delicate or bold, exudes an artistic charm that is both fluid and structured. The layering of ink and color creates depth, while the intricate texture gives the illusion of an engraved plate print, despite being entirely painted by hand. The brushwork is dynamic—lines seem to break and reconnect, mimicking the traditional elegance of carved stone seals. This interplay between spontaneity and meticulous control infuses the painting with life, movement, and a profound sense of authenticity.
What Is the “Banqi” Style?
The “Banqi” style is a rare and fascinating artistic approach that combines the visual impact of printmaking with the expressive freedom of brush painting. While these works resemble engravings at first glance, they are, in fact, purely ink-wash paintings—imbued with an effortless yet profound beauty that is both natural and lively. Beneath their structured appearance lies a deep, inexhaustible charm, where each stroke carries an essence of tradition, innovation, and artistic mastery.
Through this masterpiece, we witness not only a compelling story of perseverance but also a groundbreaking artistic vision—one that harmonizes the precision of engraving with the fluid grace of brush painting. It is a celebration of both form and spirit, a true testament to the boundless possibilities of art.
Peace LiLy 