IAMA Wins Best Museum and Best Art Gallery in SFGATE’s Best of Bay Area 2026
The International Art Museum of America is proud to announce that we have been named Best Museum and Best Art Gallery in SFGATE’s Best of Bay Area 2026. IAMA was also recognized as a finalist for Best Event Space/Venue, making this an especially meaningful year for our museum, our team, and our community.
Hannah Taschek, KC Hsieh and Emilio Jimenez celebrating at the SFGATE Best of Bay Area 2026 event at Chase Center, where the International Art Museum of America was recognized as Best Museum, Best Art Gallery, and a finalist for Best Event Space/Venue.
This recognition would not have been possible without the support of our fans, followers, visitors, members, partners, and friends. To everyone who took the time to vote for IAMA, share our work, visit the museum, attend our events, and continue supporting our mission: thank you. Your support helped make this achievement possible, and we are truly grateful.
To celebrate this special recognition, our team attended the SFGATE Best of Bay Area 2026 event at Chase Center, where we joined other Bay Area businesses, organizations, and community leaders for an unforgettable evening. The event was filled with great conversations, new connections, delicious food and drinks, and a lively atmosphere that truly captured the spirit of the Bay Area.
One of the highlights of the night was having the chance to step onto the actual Chase Center court, where NBA legends have played. We even had the opportunity to shoot some hoops, making the celebration even more memorable for our team.
Throughout the evening, we enjoyed a special performance by Club Fugazi, met the Golden State Valkyries mascot, and connected with many inspiring people from across the Bay Area. It was a wonderful reminder of how vibrant, creative, and diverse our local community is.
Club Fugazi performers brought the energy to the Chase Center court during the SFGATE Best of Bay Area 2026 celebration.
Winning Best Museum and Best Art Gallery is an honor that motivates us to continue growing, improving, and creating meaningful cultural experiences for our visitors. Being named a finalist for Best Event Space/Venue also highlights IAMA’s role as a welcoming venue for corporate events, community gatherings, cultural events, private celebrations, and special programs.
This recognition belongs to everyone who has been part of IAMA’s journey. Thank you for voting, following, visiting, sharing, participating, and believing in what we do.
We look forward to welcoming you to the museum soon and continuing to celebrate art, culture, and community together.
Artworks of His Holiness Dorje Chang Buddha III and Professor Yuhua Shouzhi Wang enable the next generation to comprehend the essence of art from different cultures
SAN FRANCISCO – On November 2,2019 the Provost of the New York Academy of Art, Peter Drake, led 15 Master’s students to the International Art Museum of America (IAMA) in San Francisco and conducted a class on site. When the group was copying original works of world class artists such as those of His Holiness Dorje Chang Buddha III and Professor Yuhua Shouzhi Wang, they praised the art profusely.
Matthew Kuan, the President of the International Art Museum of America in San Francisco, welcomed the visiting group. Loretta Huang, Director of Museum Operations, and staff introduced artworks in each gallery to the visitors. The President of World Journal San Francisco Ken Lo came to meet members of the group including Peter Drake. Lo also acclaimed the Museum’s collection and exhibition program.
Provost of the New York Art Academy Peter Drake gave instructions to Master’s students about how to copy the artworks
Drake had visited the International Art Museum of America before and was amazed by the artworks exhibited there. In this trip, he personally led 15 students to study the artworks by copying them. He said that this was the first time these students had ever been to the IAMA in San Francisco.
Amy Hughes is a Master’s student from the U.K. and has been living and studying in New York for five years. She specializes in the study of oil painting. She said that this visit had enabled her to truly comprehend the essence of art from different cultures. She is especially impressed by the expansiveness and profundity of Han Chinese culture.
Dongqin Fang is a 2019 Master’s degree graduate and a teaching assistant at the New York Academy of Art specializing in oil painting and sculpture. He expressed being truly shocked by the large number of original paintings by top Chinese artists at the International Art Museum of America in San Francisco, and that he has gained a lot from being there. He said this is also the first time he ever looked at Yun sculptures created by H.H. Dorje Chang Buddha III at a close distance. To him, those sculptures exude a mystique that feels like “heavenly bliss.”
The Provost of the New York Art Academy PeterDrake lead Master’s students to copy the art exhibits; the group is deeply impressed by the exquisite artworks in the International Art Museum of America.They took a group photo in front of the painting Misty Appeal of a Dilapidated Pond.
Out of approximately 250 artworks exhibited in the International Art Museum of America, more than 100 of them are on loan from H.H. Dorje Chang Buddha III whose works have repeatedly achieved the highest prices at art auctions, beyond those ever reached by any living artists.
The art pieces that caught everyone’s attention are the rare world treasures of Yun sculptures exhibited in the Treasure Room, including A Pillar Holding Up Heaven, and another work esteemed to be “miraculously divine artistry of Buddha” within which mist was carved to become an actual part of the artwork. Yun sculpture is uniquely originated by H.H. Dorje Chang Buddha III. It embodies a multi-dimensional sense of space; its beauty transcends natural scenery, and its colors are more exquisite than those of natural rock formations. Inside the stone cave of the Yun sculpture, one can see richly magnificent colors as if they were intrinsically part of the art, with no trace of rendering. From the carving knife comes the melting cave with enigmatic and miraculous scenery. Auspicious clouds and natural mist float inside the melting cave of the artwork and do not dissipate, exuding the sense of an otherworldly paradise.
H.H. Dorje Chang Buddha III originated 16 unique and unprecedented painting styles. Exquisite works of art created by His Holiness the Buddha capture the quintessence of art and culture. They encompass Chinese ink painting, Western oil painting, sculpture, calligraphy, stone and bronze inscription, poetry, verse, song, ode, colorfully painted tile and other media. In His Holiness’s paintings, subject matters include landscape, flower, bird, animal, fish, insect, and human figures. The range of profound techniques include traditional Chinese painting methods such as meticulous style, freestyle, and ink wash; as well as Western painting styles such as figurative, abstract, impressionist, and line drawing.
Recently, when paintings of Professor Yuhua Shouzhi Wang were exhibited at the Louvre Museum in Paris, they stunned the European art world. Professor Wang’s art has attained the highest state of artistry and accomplishment. Experts in the field of art all held her paintings in high esteem. One of Professor Yuhua Shouzhi Wang’s small paintings Pomegranates in a Basket realized a top auction price of US$1.27 million in the Spring auction at the Gianguan Auction House in New York on March 13 of this year. It clearly shows that the art of Professor Yuhua Shouzhi Wang is recognized by art collectors and people of foresight alike.
Loretta Huang, Director of Museum Operations at the International Art Museum of America in San Francisco said that levels of artistic creation in painting can be categorized in four classes. First is the Class of Proficiency where one’s sketching skill achieves resemblance of form. Second is the Class of Wonderment in which the paintings are wondrously beautiful. Third is the Class of Divinity where both form and spirit are fully enlivened. Fourth is the Class of Ease where the artist possesses extraordinary skill and is able to paint anything at will to accomplish a magnificent masterpiece. The art of the Honorary Lifetime President of the Museum, Professor Yuhua Shouzhi Wang, is of the Class of Ease, a Class that few Chinese artists have ever achieved. The artistry of Professor Yuhua Shouzhi Wang is esteemed to be of the same standing as Western painters such as Cezanne and Gauguin.
Loretta Huang said that in addition to exhibiting the art of H.H. Dorje Chang Buddha III and Professor Yuhua Shouzhi Wang, the International Art Museum of America also showcases works by renowned artists including Wu Changshuo, Qi Baishi, Huang Binhong, Pan Tianshou, Fu Baoshi, Xu Beihong, Li Keran, Zhang Daqian, Yun Shouping, and others; as well as authentic calligraphic art by the Emperor Yongzheng. What differentiates IAMA from many other museums is the eminence of the artworks it exhibits.
Three musicians by Fu Baoshi
The International Art Museum of America in San Francisco holds three criteria for artworks to be admitted for exhibition: First, the works of the artist must be collected by at least two world famous art museums. Second, the auction price of the artist’s works must exceed US$200,000 per square foot. Third, the artist must have substantial influence or status in the world, such as being director of a museum or provost of an art academy.
Rare Opportunity to Copy Original Artwork, Everyone Puts their Heart and Soul to Study
The Provost of the New York Academy of Art, Peter Drake, led 15 graduate students in a 3-hour Master Class at the International Art Museum of America in San Francisco to study the artworks by copying them on site.
The collection of the International Art Museum of America includes many original artworks. Students and members of the faculty from the New York Academy of Art especially cherished the opportunity to study on site. After everyone toured the Museum, each selected a different ink painting and sketched it in great detail to explore the wondrousness embedded in the brushwork.
The Han Chinese culture goes back to an ancient origin and will continues to flourish for a long time. Chinese painting and calligraphy make up a major part of such culture. There is a big difference between appreciating and copying art. Appreciating is skimming the surface; only through copying can one engage in an in-depth study of the works.
Qindong Fang, a student of Chinese ethnicity, said it awed him that some of his fellow American students could actually copy Chinese calligraphy, and Museum staff members of different ethnicities could even read what they copied. Through copying, he said, his fellow students could gain better knowledge of the culture of Chinese painting and calligraphy, and explore in-depth the 16 unique painting styles originated by H.H. Dorje Chang Buddha III; and this has been a wonderful learning experience.
In the vast river of Chinese art history, literati landscape paintings (Wenrenhua 文人画) have traditionally served as a sanctuary for the soul—using brush and ink to transcend the mundane world and attain the highest realm of spiritual freedom. In the pantheon of contemporary Eastern art, “Ancient Cypresses Intoning by the Spring”—a Chinese landscape masterpiece by H.H. Dorje Chang Buddha III (Yi Yun Gao义云高)—stands as an immortal monument of the Literati Style (Wenfeng文风派). It not only showcases a profound scholarly aura and masterful brush-and-ink technique, but also ushers viewers into an eternal, boundless cosmic life-space.
The entire composition relies solely on shades of wash and ink to dot and stain the wondrous peaks, ancient cypresses, and secluded cottages. Through the masterful use of white space (liubai留白), the grand spectacle of thundering waterfalls and surging mountain springs is vividly brought to life. The sounds of roaring wind, rushing springs, and whispering pines are all transformed upon the paper into dynamic visual lines and lively ink tones, filling the entire conceptual space with invisible celestial melodies. This touch of pure ink is precisely the ultimate spiritual realm—honest, elegant, natural, yet profoundly deep—that Chinese literati across generations have spent their entire lives pursuing.
The artistic conception of Ancient Cypresses Intoning by the Spring is remarkably deep, ethereal, and serene. The imagery carries a desolate yet vast quality, evoking an ideal world of mythical mountains and jade islands completely untouched by worldly noise or secular dust.
Most profound of all is how the sense of time dissolves before this artwork:
No Human Traces: The painting features no worldly figures; it presents only the primordial essence of nature.
No Trace of the Artist: The brushwork is incredibly mature yet leaves no deliberate mark, as if the painting was not rendered by human hands but manifested spontaneously by heaven and earth.
No Trace of the Viewer: As you gaze into the painting, the ego dissolves, and the self merges entirely into the landscape.
Here, the duality of subject and object vanishes. All phenomena exist in pure, seamless unity, entirely natural and spontaneous. With a single brush, the artist delineates the physical form of the earth, yet weaves it seamlessly with the void of the universe—structuring a vibrant, ever-generating cosmic space.
📜 A Paradigm Beyond Reality: “Imagery Beyond the Universe, Life Beyond the Seasons”
The great Qing Dynasty master painter Yun Nantian once evaluated the highest realm of art with these words:
“Gazing deeply into this realm, every blade of grass, every tree, every hill, and every ravine feels uniquely carved from a pure spirit, belonging to no mortal world. Its imagery exists beyond the universe, and its life unfolds outside the four seasons.”
This means that a truly sublime artistic realm is born entirely from the pristine spirit of the artist—a sacred landscape unfindable in the mundane world. Its essence transcends physical boundaries, and its cycle of growth and decay outlasts the changing of spring, summer, autumn, and winter.
Ancient Cypresses Intoning by the Spring by H.H. Dorje Chang Buddha III is the perfect paradigm of this transcendent landscape art. Refusing to be bound by mere literal resemblance, it draws directly from the primordial source of the universe, using flawless contemporary brushwork to reawaken the core spiritual essence of traditional Chinese literati painting.
Ancient Cypresses Intoning by the Spring is far more than a master-level art treasure; it is a spiritual home where the soul can find perfect rest. In our bustling, modern society, when we gaze upon this masterpiece—listening to the low hum of the ancient cypresses and watching the crystal springs rush forth—the anxieties of life dissolve instantly. This is the power of true art, and this is the soul-stirring beauty that H.H. Dorje Chang Buddha III has bestowed upon the world.
The moment your eyes rest upon “Flowers in the Garden”—a Chinese painting masterpiece by His Holiness Dorje Chang Buddha III—a sense of transcendent peace and quiet joy quietly washes over you.
The painting opens with a frame full of vital rhythm and poetic grace:
In a quiet garden, flower buds tremble on the verge of blooming, while a few solitary plum blossoms quietly unfold along the branches.
Look closely, and you can almost pierce through the canvas to inhale the faint, delicate fragrance drifting out from the silence. There is no noisy clamor of a garden in full, chaotic bloom. Instead, there are only a few scattered blossoms softly opening on the branch—yet in a single snapshot of time, they touch the tenderest part of the human heart, stirring a unique and profound sense of delight.
The Mastery of Elegance: Simple Strokes, Infinite Meaning
What truly mystifies viewers about “Flowers in the Garden” is its incredibly minimalist yet profoundly rich visual language. This artwork elevates the traditional ink-and-brush techniques of Chinese painting to their absolute zenith:
Lines that Vibrate with the Soul: The sparse, calculated lines in the painting are relaxed yet full of hidden strength, moist yet aged with character. They are not merely the structural forms of branches; they feel like the physical vibration of the creator’s soul, whispering endless stories across time. These rhythmic, undulating lines serve both as a deeply expressive emotional language and the powerful skeletal framework that supports the entire composition.
The Ethereal Space of Ink and Void: As our gaze passes through these sweeping lines to contemplate the negative space they divide, an otherworldly sense of emptiness embraces us. It is a beauty akin to “looking at flowers through a fog, or gazing at the moon reflected in water”—illusory, misty, and wonderfully detached from the mundane world.
Within this luminous, spiritually charged space, the creator embeds a crisp, rhythmically swift calligraphic inscription. The calligraphy and the painting reflect and elevate one another, suddenly bringing forth an indescribable artistic beauty.
This artistic ambiance—which flawlessly uses the solid to guide the void, remaining completely natural and untainted by the world—possesses an almost miraculous power of attraction. Effortlessly, it cleanses the viewer’s inner restlessness, transporting us into a completely transcendent, breathtakingly beautiful spiritual realm.
Words have an end, but artistic conception is infinite. “Flowers in the Garden” is far more than a traditional Chinese painting for passive appreciation; it is a tangible manifestation of H.H. Dorje Chang Buddha III’s world-astonishing artistic genius brought to the human realm.
How long has it been since you truly quieted your mind to listen to a bird’s song or feel the subtle arrival of spring?
When we slow down and face a masterpiece of freehand flower-and-bird ink painting—Su Shi Nao Chun (The Scholar’s Spring) by H.H. Dorje Chang Buddha III—we find a soothing remedy for the weary soul. With just a few expressive brushstrokes, this painting captures the boundless vitality of early spring. It is not merely a visual feast of fine art; it is a profound spiritual cleansing.
Traditional Chinese ink painting is deeply rooted in the philosophy of “using objects to express one’s will, and borrowing landscapes to convey emotion.” Through the vivid depiction of nature, the artist projects their inner spiritual world and genuine feelings, achieving a sublime state where scene and emotion blend, and the self merges with nature.
The Awakening of Spring: Dialogue in the Willow Branches
Stepping into the world of the painting, what immediately catches your eye and captures your breath is the lively group of birds awakening from their slumber. Facing the spring that has quietly arrived, they chirp and frolic on the branches with joyful abandon.
If you look closely, a bird at the bottom and another at the top right gaze at each other. Their eyes and postures suggest an intimate conversation, as if they are dueting a cheerful folk song, tirelessly spreading the beautiful news of spring’s return.
The artist’s depiction of these birds features exceptionally distinct and precise body language. The fresh, vivid artistic imagery springs to life, showcasing a masterful command of ink and a brilliant compositional mind.
Mastery of Ink: Finding Hope at the Edge of a Cliff
Traditional Chinese painting dictates that “the brush establishes the form and texture, while the ink distinguishes the substantial from the ethereal.” The artistic conception of a piece is born entirely from the movement of brush and ink. The brilliance of Su Shi Nao Chun lies first and foremost in its brushwork.
The lines in this piece are remarkably crisp, rising and falling with an organic, rhythmic tension. Through the controlled weight of pressing and lifting the brush, combined with sudden pauses and sharp turns, the ink gains a raw, powerful, and profound texture.
With simple, concise, and perfectly echoed strokes, the artist wonderfully captures the living dynamism of the willow branches. The entire canvas instantly becomes alive—this aliveness reveals a pure innocence, and it is only through such innocence that true spirituality shines. Once that spirituality emerges, the painting overflows with wit and charm, effortlessly ushering the viewer into a realm of subtle wonder.
This state of effortless, natural creation stems from the artist’s extraordinarily deep spiritual and artistic cultivation. As a master of art, H.H. Dorje Chang Buddha III has dedicated Himself to various forms of painting—including landscapes, figures, flowers, and birds—since youth. His art observes the universe and all living things through the light of Prajna (transcendental wisdom). Moving from the magnificent to the microscopic, the concepts under his brush evolve from the complex to the simple, leaving the ink pure and the brushwork liberated.
His brush often ventures into positions of extreme peril, where the composition seems pushed to a cliff’s edge. Yet, with a sudden, subtle turn of the brush, a whole new horizon opens up—just like the classic Chinese idiom: “Where hills bend and streams wind, the pathway seems blocked; yet past the dark willows and festive flowers, a new village appears.” A fresh, delightful, and breathtaking realm suddenly unfolds.
Flower-and-bird ink painting is not only a vital component of traditional Chinese art holding a significant place in the global artistic landscape, but it is also a symbol of the spiritual character and cultural soul of the Chinese nation.
The philosopher Jonathan Edwards once wrote:
“Spiritual holiness… brings an inexpressible purity, brightness, peacefulness and ravishment to the soul. In other words, that it made the soul like a field or garden of God.”
True works of art possess this exact power—to cultivate the soul and inspire people to look inward at their own spiritual world.
The first time I looked at this plum blossom painting by Dorje Chang Buddha III, I immediately felt a powerful and uplifting energy flowing from it. It was not simply a beautiful painting that pleased the eyes. Rather, it carried a quiet spiritual strength that deeply touched the heart.
My first thought was that only an artist with profound inner calmness, wisdom, and spiritual realization could create such a work.
In traditional Chinese culture, plum blossoms symbolize nobility, purity, perseverance, and courage. Blossoming in the cold of winter, they have long represented the ability to remain graceful and strong amid hardship. Yet this painting expresses those qualities in a particularly extraordinary way.
The entire composition feels free from anything worldly or artificial. There is no trace of stiffness, heaviness, or forced technique. Every brushstroke appears natural, effortless, and alive. The painting possesses a wondrous elegance that cannot be achieved merely through technical skill or years of practice alone. It feels more like the crystallization of wisdom, cultivation, and inner realization.
What especially fascinates me is the unique arrangement of the plum tree itself. The roots twist and coil together, naturally forming what resembles a large bonsai pot. The varying shades of ink create rich layers, flowing movement, and a dreamlike sense of surrealism throughout the painting. The entire scene feels both realistic and ethereal at the same time, blending natural beauty with poetic imagination.
The artist employs the distinctive Chinese painting technique of “flying white” and broken brushstrokes, allowing the branches to pulse with vitality and the force of life. The bold, heavy brushwork gives the sturdy roots the powerful presence of coiled dragons gathering strength before soaring into motion. The entire composition radiates an uplifting sense of righteous energy, while also revealing the artist’s vast, bold, and magnanimous inner world.
What is even more remarkable is that the brushwork appears so simple and effortless, yet every stroke is skillful and full of spirit. Nothing feels excessive, and nothing is unnecessary. It is precisely this simplicity that gives the painting its extraordinary sense of calmness, freedom, and spiritual strength.
After completing the painting, H.H. Dorje Chang Buddha III composed the following poem:
“Plum flowers of surpassing loveliness blossom in a pot, though never are they planted. Wave the brush to plant the tree, and the roots of that old tree form their own shallow pot.”
The poem perfectly reflects the painting’s natural spontaneity and artistic wonder. The plum blossoms seem not artificially arranged, but born effortlessly from nature itself.
Perhaps this is what makes the painting so moving. Beyond its artistic beauty, it conveys a state of mind — calm yet powerful, simple yet profound, gentle yet filled with inner strength.
In today’s restless and hurried world, such artwork quietly reminds us of something precious: true beauty comes not only from technique, but from the purity, peace, and depth within the artist’s heart.
Some paintings do not rely on complexity to move us. With only a few deliberate strokes, they unfold a world full of life. This fresh and tranquil ink painting is one such work. Quiet and unassuming, it reveals a profound artistic tension and depth within simplicity and stillness.
The composition is anchored by three strong yet supple ink lines. Their texture is rich and full, their force penetrating the paper. They resemble trees, yet are not trees—more like structural forms that divide the flat surface into a grid of interwoven spaces. Within these spaces, branches stretch and intersect, while willow-like lines sway gently, creating a rhythmic sense of motion.
What is most remarkable, however, lies in what is not painted.
The empty spaces are far from void; they are charged with meaning. In these areas of intentional absence, the viewer’s imagination is invited to wander. As the saying goes, “where nothing is painted, there lies the true realm of the painting.” The composition, in its entirety, feels almost like a montage—a sequence of visual moments carefully arranged. From this minimal structure emerges a surprisingly rich and intriguing visual experience.
Bringing the scene to life are several mynah birds, rendered in bold, expressive ink. These small creatures become the focal point of the painting.
They are divided into three groups, each occupying different sections of the grid. In a small triangular space near the top, three birds gather closely together. The density of life within such a confined area creates an immediate visual tension. In contrast, a large quadrilateral space in the lower middle is occupied by just a single bird, as if it has claimed the entire openness for itself—perhaps even becoming the quiet center of the composition.
Then there is a particularly playful detail: a bird in the upper right seems to occupy the intersection of four spaces at once. Though not placed at the center, it establishes its own presence, as if declaring that even at the edge, one can still become a focal point.
These birds preen their feathers, tilt their heads, hum softly, and seem to communicate with one another. Bathed in a sense of freshness, they revel in the gentle beauty of spring, fully immersed in a life of ease and freedom. The entire painting begins to resemble a small, self-contained paradise.
This delightful and imaginative work is created by H.H. Dorje Chang Buddha III. Art, at its highest level, is not merely a display of technique—it is a reflection of the inner world. A truly great work reveals the artist’s state of mind and spiritual depth.
In this painting, what we witness is not only mastery of brush and ink, but also a sense of calm, freedom, and purity—a state of being that transcends complexity and returns to essence.
The diverse artistic creations of H.H. Dorje Chang Buddha III stand as enduring treasures of human civilization. And this seemingly simple piece gently reminds us:
In a world of endless complexity, true beauty often resides in simplicity— and true freedom may be found in the space between what is left unpainted.
Among many spiritually expressive works of art, Deep Sea Purple Moss stands out for its simplicity and depth, offering viewers a striking, almost visceral impact. This Western-style painting by H.H. Dorje Chang Buddha III may appear abstract at first glance, yet it carries profound reflections on life and inner awakening.
The entire composition is built from just three colors—black, white, and purple—yet it reveals remarkable layers and tension. The black areas resemble a boundless deep sea, mysterious and unfathomable, as if there is no visible end. This depth evokes a sense of stillness infused with latent power. This “black” not only represents the unknown world but also symbolizes the unpredictable circumstances and challenges we encounter in life.
In contrast, the white surges forward like rolling waves, powerful and unstoppable. It breaks the silence of the black, injecting movement and dramatic force into the scene. These waves seem to echo life’s turbulence—the sudden changes, hardships, and trials that compel us to confront reality head-on.
Most captivating is the vibrant touch of purple. Like sea moss growing in the depths, it persists between waves and currents, embodying a resilient and vigorous life force. Here, purple is more than a visual accent; it becomes a symbol—of endurance, of hope, and of life’s ability to thrive even in adversity.
As we contemplate this painting, we begin to see that it is not merely a depiction of the sea, but a reflection of life itself. The black deep sea represents the environment we live in; the white waves, the challenges we must face; and the purple “moss” represents who we are.
In an ever-changing world, we cannot choose every circumstance, but we can choose how we respond. Just like the purple life form in the painting that continues to grow amid stormy waters, we too must learn to adapt, to temper ourselves through trials, and to seek upward strength even in difficult situations.
With its minimalist form, this work conveys a profound truth: true growth is not gained in calm waters, but forged in the midst of surging waves.
Perhaps, the next time we face the “great waves” in our own lives, we may remember this purple moss in the deep sea—growing upward, even in the darkest depths.
Every year in mid-April, the streets of Xishuangbanna and Dehong in Yunnan, China transform into a vast ocean of water.
To many, the Water-Splashing Festival is simply a joyful, all-out “water fight.” But what is often overlooked is that this grand celebration does not begin with noise or excitement—it begins with a single, quiet drop of perfumed water falling gently on the shoulder of a Buddha statue.
Today, let us step into Sangken Bimai—the New Year shared by the Dai, De’ang, and Blang peoples—and discover how traditional Chinese folk customs and Buddhist culture come together, blending seamlessly through the gentle yet powerful symbolism of water.
“Sangken Bimai” in the Dai language means “the turning of the New Year.” Its roots trace back to Sankranti, a Sanskrit term meaning “transition” or “passage,” tied to ancient Indian calendrical and religious traditions. With the spread of Theravada Buddhism, this observance took root across Southwest China and Southeast Asia, gradually evolving into a festival rich in both spiritual and cultural meaning.
Before the streets erupt in splashing water, every temple begins with a solemn and tranquil ritual: bathing the Buddha.
Devotees gather fresh flowers, soak their petals in clean water, and create a lightly scented infusion. One by one, they approach the Buddha statue, gently pouring the water over it with branches or cupped hands, symbolically washing away dust.
In this moment, there is no noise—only reverence.
This act is not merely an offering of respect to the Buddha; it is also a ritual of inner purification. It represents washing away the greed, anger, and ignorance accumulated over the past year, allowing the heart to return to clarity and light as the new year begins.
The Water-Splashing Festival typically lasts three to four days. While details vary by region, the structure follows a meaningful progression—from letting go of the old, through transition, to welcoming the new.
Day One: Farewell to the Old Year This day resembles New Year’s Eve.
Along the Lancang River, dragon boats race across the water, sending waves splashing into the air. “Rising rockets”—traditional homemade fireworks—shoot skyward, carrying people’s wishes with them. Dressed in festive attire, people gather at lively markets filled with laughter and celebration, bidding farewell to the passing year.
Day Two: The Day Between Time This is a deeply symbolic day—belonging neither to the old year nor yet to the new.
People visit temples to build sand stupas, shaping fine white sand into small pagodas adorned with colorful flags and flowers. Each grain of sand represents a good deed or kind thought.
This act of merit-making expresses hopes for favorable weather, peace, and stability in the coming year.
Day Three: Blessing and Rebirth Through Water The first day of the New Year begins again with the Buddha-bathing ritual, followed by the festival’s most exuberant moment—water splashing.
For elders, water is gently poured over the shoulders as a sign of respect and blessing. Among peers and younger generations, however, the mood shifts into joyful abandon—buckets, basins, and water guns come into play, and laughter fills the air.
The more water, the deeper the blessing.
At this point, water is no longer just water—it becomes a tangible expression of good fortune and joy, symbolizing the washing away of the past and the arrival of new life.
A Celebration of Culture and Spirit
The Water-Splashing Festival is not only a holiday—it is a vibrant expression of culture.
The rhythmic beat of elephant-foot drums echoes like thunder, while the graceful peacock dance reflects harmony between humans and nature. As night falls, people release floating lanterns onto rivers and send sky lanterns drifting into the night, symbolizing the release of misfortune and the rising of hope.
IP上海 代傲辰 图
In these moments—both dynamic and still—people express reverence for nature and heartfelt wishes for the future.
One Drop of Water, A Shared Cultural World
This festival does not belong to Yunnan alone.
Across Southeast Asia, it appears under different names, yet carries the same cultural essence.
In Thailand, Songkran is not only about water—it is a time of gratitude and family connection. Younger generations gently pour scented water over the hands of elders to receive blessings, while also participating in merit-making rituals such as building sand stupas. Bright floral shirts have become a modern symbol of the celebration.
In Myanmar, the festival—known as Thingyan—has an especially strong spiritual atmosphere. Many people observe periods of fasting, visit temples, or even temporarily ordain as monks to welcome the New Year with purity and reflection. Traditional foods, such as soaked rice infused with fragrant water, are prepared, while large city celebrations feature grand stages where water is sprayed over joyful crowds.
Though names and customs vary, they all trace back to the same origin—Sankranti, marking not only the passage of time, but the renewal of life.
From the valleys of Yunnan to the cities of Southeast Asia, this single drop of water travels across geography and culture, quietly connecting the entire region.
It begins in stillness before the Buddha, and flows into laughter among people. It symbolizes both letting go and renewal—purification and blessing.
What makes the Water-Splashing Festival so moving is not merely its liveliness, but what it reveals:
Even in the simplicity of everyday life, people continue to express kindness, cherish life, and hold hope for the future in the gentlest of ways.
A drop of water falling on the Buddha’s shoulder is an act of practice. A splash of water shared among people is a blessing.
And when that water flows through the heart, perhaps what is truly cleansed…is ourselves.
Chinese characters are more than just written symbols—they are small works of art shaped by thousands of years of history. Each character carries meaning, imagery, and often a quiet sense of poetry. A single word can evoke light, wind, mountains, or virtue. When these characters come together to form a person’s name, they become something even more meaningful: a reflection of family hopes, cultural heritage, and the beauty of language itself.
A name often carries the very first blessing from parents and the hopes a family places upon the future.
Imagine traveling back in time to ancient China. If you walked up to Liu Bei (刘备）and casually called him “Liu Bei,” he might pause in surprise—or even consider it somewhat impolite. In traditional Chinese culture, a name was never just a label. It was a symbol of lineage and family, a part of life’s rituals, and perhaps the first gentle poem parents wrote for their child.
A name may consist of only a few characters, yet within it often lies thousands of years of cultural tradition and human warmth.
Surnames and Clan Names: An Ancient Way of Asking “Who Am I?”
Today, we simply combine a surname and given name to form what we call a “full name.” But in ancient China, particularly before the Qin dynasty, “xing” (姓) and “shi” (氏) were two different concepts.
The surname (xing) was primarily used to distinguish marriage relations. The earliest Chinese surnames—such as Ji, Jiang, Si, and Ying—often contained the “female” radical in their characters. This reflected the legacy of a matrilineal society. The principle was simple: people with the same surname were considered to share blood ties, so marriage between them was forbidden.
The clan name (shi), on the other hand, represented social status. Only those who held land, titles, or significant achievements were granted a clan name. In other words, the surname represented lineage, while the clan name reflected rank and honor.
A fascinating example is the famous reformer Shang Yang (商殃） of the Warring States period. He was not originally called “Shang Yang.” His ancestral surname was Ji, and his clan name was Gongsun because he descended from the royal family of the State of Wei. Early in life he was known as Gongsun Yang. Later, after helping transform the State of Qin through sweeping reforms, he was granted the territory of Shang and the title “Lord of Shang.” From then on, people began calling him Shang Yang.
Looking back at history, one might smile at an interesting truth: In ancient times, many people changed their names not to hide who they were—but because life had elevated them to a new chapter.
The Courtesy Name: A Rite of Adulthood
In ancient China, a person often had more than one name. In addition to their given name (ming), they also received a courtesy name (zi).
The given name was mostly used within the family, especially by elders. The courtesy name, however, was the name used in society by peers and acquaintances.
Receiving a courtesy name meant that a person had reached adulthood and should be treated with respect.
For men, this moment came at the age of twenty during the “capping ceremony” (冠礼). In this solemn ritual, elders placed a ceremonial cap on the young man and bestowed upon him his courtesy name. From that day forward, he was no longer the boy running through village fields with childhood nicknames like “Little Dog” or “Iron Egg,” but a recognized adult in society.
For women, adulthood was marked by the hairpin ceremony (笄礼) at around fifteen. After this ceremony, a young woman could wear her hair pinned up with a hairpin, signifying that she had reached marriageable age.
This is where the classical phrase “waiting in the boudoir for one’s courtesy name” (待字闺中) comes from—describing a young woman who has received her courtesy name and awaits the next chapter of life.
These rituals made the transition into adulthood both solemn and graceful.
Chinese culture often reveals its subtle wisdom in the relationship between a person’s given name and courtesy name.
The great strategist Zhuge Liang （诸葛亮）was known by the courtesy name Kongming（孔明）. The character Liang means “bright,” and Ming also means “light” or “clarity.” Together they form a beautiful echo—brightness upon brightness.
The legendary general Zhao Yun （赵云）had the courtesy name Zilong（子龙）. Ancient Chinese sayings describe the natural harmony between elements: “Clouds follow the dragon, and the wind follows the tiger.” With “cloud” in his given name and “dragon” in his courtesy name, the combination evokes an image of heroic power moving through the skies.
Then there is the great Song dynasty writer Su Shi（苏轼）, whose courtesy name was Zizhan（子瞻）. The character Shi refers to a horizontal bar at the front of an ancient carriage—something modest in appearance yet essential for support. Zhan means “to look forward into the distance.” One suggests quiet steadiness; the other, far-reaching vision. Together they reflect the balance of humility and aspiration in his life.
Through these pairings, we can glimpse the hopes of parents and elders, as well as the refined and poetic sensibilities of traditional Chinese culture.
Of course, not every ancient name was elegant or poetic. Some carried a touch of everyday humor.
The ruler Duke Cheng of Jin was said to have the name Heitun（黑臀）, meaning “Black Hips,” supposedly because he had a dark birthmark on his body.
Another ruler, Duke Zhuang of Zheng, was named Wusheng（晤生）, meaning “born with difficulty,” referring to a difficult birth.
If children today were given such names, they might have a few serious conversations with their parents!
On the other hand, some names sounded incredibly powerful. The king King Wu of Qin was named Ying Dang. In ancient Chinese, the character “Dang” suggested sweeping across lands and conquering territories—a name filled with ambition and authority.
Sometimes a name was lofty and ceremonial; sometimes it simply reflected the humor of daily life.
From ancient tribal totems to the familiar Hundred Family Surnames, Chinese names carry thousands of years of cultural memory.
Today, we no longer perform capping ceremonies or hairpin ceremonies, and few people receive courtesy names. Yet when a new child enters the world, parents still open dictionaries, carefully weighing every sound and every meaning before choosing a name.
In that moment, tradition quietly continues.
As an old Chinese poem says:
“A heart’s great aspirations may remain unopened, yet spring winds return again and again in dreams.”
A name may consist of only a few characters, but it carries a family’s blessing, the imprint of history, and the gentlest hopes for the future.
It is the very first gift a person receives in life.
