In the ancient Dunhuang Grottoes of China, a mesmerizing love story unfolds, delicately captured in murals that have withstood the test of time. Let us immerse ourselves in this enchanting tale of kindness, courage, and wisdom.
Once upon a time, in the Kingdom of Polo, a joyous occasion marked the birth of a prince named Sunwoo. Born to the noble king and queen after twelve years of fervent prayers, the young prince brought immense happiness to the royal family.
As Sunwoo grew, so did his wisdom and kindness. His presence was a beacon of light, radiating love and compassion. However, alongside him was a stepbrother, an evil friend, whose heart harbored jealousy and resentment towards the virtuous prince.
The tale takes an unexpected turn when Sunwoo, driven by a desire to alleviate the suffering of his people, embarks on a perilous journey to seek treasures from the sea. His selflessness touches the hearts of many, but it also ignites the envy of his malevolent stepbrother.
Prince Sunwoo accompanied by 500 volunteers to search for treasur
Guided by an elderly instructor and accompanied by 500 volunteers, Sunwoo reaches Haizhou Jumbo Island. As he ventures further, facing challenges and loss, he encounters the benevolent Dragon King, who grants him the priceless Ruyi pearl.
Prince Sunwoo and his team sailed across the ocean
Meanwhile, back in the Kingdom of Polo, Sunwoo’s absence is keenly felt. His parents, yearning for his return, send a white goose as a messenger. The devoted goose delivers a letter revealing the Prince’s dire circumstances.
As Sunwoo’s journey unfolds, his evil stepbrother, fearing Sunwoo’s increased popularity upon return, decides to sabotage him. The malicious act blinds Sunwoo, leaving him vulnerable and alone.
In his darkest hour, a compassionate cowherd boy comes to Sunwoo’s aid. Unaware of his royal identity, the boy rescues Sunwoo and becomes his loyal companion, leading him back to the kingdom.
The love story takes an unexpected twist when the blind Sunwoo, reduced to a beggar, meets a kind princess during his wanderings. The princess was very touched by Sunwoo’s music. Her genuine affection and determination to marry him, despite societal norms, lead to a grand wedding.
In a poignant moment, the princess, deeply in love, makes a solemn vow. She promises to restore Sunwoo’s sight if her love is true and vows to take away her own eyes if she ever betrays him. Miraculously, her unwavering love restores one of Sunwoo’s eyes.
The narrative weaves through twists and turns, revealing the complex interplay of good and evil, karma, and ultimate redemption. Sunwoo’s evil stepbrother, realizing the consequences of his actions, repents and reveals the hidden Ruyi pearl.
In a grand reunion, Sunwoo’s parents regain their sight, and the entire kingdom is bathed in prosperity. The murals in Dunhuang and Kaihua Temple immortalize this timeless love story, showcasing not only the artistic brilliance of ancient China but also the enduring power of kindness and virtue.
As we reflect on this captivating tale, may it inspire us to embrace compassion, navigate life’s challenges with wisdom, and believe in the transformative power of love and redemption. The Dunhuang Grottoes stand as a testament to the rich tapestry of human stories etched in history, inviting us to cherish the enduring lessons embedded in their ancient walls.
The Usnisa Palace, also known as Foding Palace, is situated in the Niushoushan Cultural Tourism Zone, Jiangning District, Nanjing City. This architectural marvel, characterized by its deep pit structure, serves as the long-term sanctuary for the Foding relic bone. Spanning 220 meters in length, 160 meters in width, and towering at an overall height of 89.3 meters, with a total building area of approximately 136,000 square meters, the palace is a testament to grandeur. The external space is subdivided into three components: the large dome, small dome, and Foding cliff. Internally, it comprises nine layers – three above ground and six underground – housing the Zen Grand View, Relic Hall, and Relic Treasury. Foding Palace not only serves as the primary repository for the Buddha’s crown relic bones and a place of worship for believers but also functions as a cultural exhibition space showcasing relic culture and global Buddhist culture through various artistic mediums.
Niushoushan stands as one of China’s renowned Buddhist mountains and is the birthplace of Niutou Zen Buddhism, a significant sect of Chinese Zen Buddhism. It houses the world’s only Buddha’s Parietal Relic – the skull of Shakyamuni. This complete skull, with a circumference of 35 cm and a diameter of 10 cm, is adorned with yellow-and-black hues and features clear hair holes distributed throughout.
The Buddha’s Parietal Relic was unearthed in the Ashoka Pagoda within the underground palace of Bao’en Temple in Qinhuai District, Nanjing. It stands as the sole surviving true parietal relic of the Buddha globally.
The external space is ingeniously divided into three sections: the large dome, small dome, and Buddha Grottoes. The large dome, shaped like a Buddha’s cassock and stretching 120 meters in length, covers the small dome palace, symbolizing the boundless blessings of the Buddha. The small dome, resembling the Buddha’s hair bun, is composed of thousands of small units, representing the offerings made by thousands of believers. The base of the small dome takes the form of a lotus throne, featuring 56 flying Bodhi gates symbolizing Buddha’s infinite wisdom and 56 cloud gate wishful pillars symbolizing good luck and fortune.
Usnisa Palace : Large Dome and Small Dome
Within Foding Palace, the design deviates from a singular dome to an atrium-style space connecting upper and lower levels directly. The central reclining statue of the Buddha in Nirvana is a captivating focal point, visible from various angles. Using the four sights of birth, old age, sickness, and death, the Buddha imparts guidance and enlightenment to sentient beings. In Buddhism, “Nirvana” signifies a state of eternal and serene tranquility without birth or death. As the Buddha speaks, heavenly beings scatter flowers. Tradition holds that in the Buddha’s pure land, day and night witness the auspicious occurrence of raining flowers. During the Buddha’s Nirvana, offerings such as incense, flowers, and precious banners are made.
Upon entering Foding Palace, visitors traverse a long corridor adorned with paintings depicting sacred scenes. Four small palaces within the passage illustrate wonders of the four natural elements: earth, fire, water, and wind. The journey provides an opportunity to contemplate the painted stories of the Buddha’s eightfold path to enlightenment, featuring extraordinary phenomena related to earth and fire, such as thousands of small Buddha niches and a thousand heart lamps.
To approach Foding Palace, one ascends using a water elevator, marking the third wonder – the purification of the three realms through water. Depicting these natural phenomena through a meditative design, the top floor of Foding Palace awaits, featuring a towering space and exquisite dome. The celestial ambiance, with stars seemingly within reach, fosters a sense of unity between heaven and earth. This intentional design aims to allow individuals to grasp Buddhist stories and appreciate nature’s wonders before encountering the Buddha’s relic. This preparatory “journey” facilitates entry into Foding Palace with a tranquil and peaceful mindset, reminiscent of a meditative experience.
The internal space encompasses nine floors – three above ground and six underground – housing the Zen Grand View, Relic Hall, and Relic Palace.
Relic Hall
The Relic Hall comprises the Thousands Buddhas Hall and the Ten Thousands Buddha Corridor. The Thousand Buddhas Hall, adorned in red, yellow, and dark gold, features a vault-shaped layout corresponding to the Hua Zang Buddhist World. The central focus is the 21.8-meter-high Relic Pagoda, imitating the Ashoka Pagoda where the Buddha’s Parietal Relic was found. The Ten Thousands Buddha Corridor spans the 3rd, 4th, and 5th underground floors, showcasing Chinese Buddhism culture, seven-sided lacquer paintings depicting Indian Buddhist teachings, and Buddha’s relic and relic culture, including videos, porcelain paintings, ancient pagodas, and historical relics.
Thousand Buddha Hall
Ten Thousands Buddha Corridor
Relic Palace
Also known as the Buddha’s Treasure Palace, the Relic Palace exudes a solemn and mysterious atmosphere with its dark color scheme. It serves as a sacred space for housing the Buddha’s Parietal Relic and a place for Buddhist worship and meditation. At its center is the 7-meter-high Relic Treasure Pagoda adorned with exquisite golden decoration. Inside the pagoda is a hexagonal and intricate lotus stupa, housing the sealed glass box containing the Buddha’s Parietal Relic. The pagoda is equipped with fireproof and explosion-proof features, along with a constant temperature and humidity system to ensure the optimal environment for the relic. Surrounding the relic pagoda are eight unparalleled marble mosaics depicting the life of the Buddha.
Corridor of the Relic Palace
Relic Palace
Zen Grand View
The Zen Grand View spans 112 meters from north to south and 62 meters from east to west, with a total height of 46.5 meters. Its oval shape encompasses an area exceeding 6000 square meters, with a core focus on Zen culture. Comprising Buddha’s Birth, Buddha’s Enlightenment, and the Lotus Theater in the middle, the Zen Grand View narrates the life story of the Buddha.
Lotus Buddha Theatre – Not-to-miss Visual Feast
The Lotus Buddha Theatre hosts a daily “Song of the Lotus Buddha” Zen Buddhism culture ceremony and stage multimedia show from 10:00 to 11:30 in the morning and from 13:30 to 15:00 in the afternoon. This 30-minute visual feast combines ceremonial performance with burning lamps, praying, offering flowers to the Buddha, large-scale dancing, and more. During the performance, the Sleeping Buddha descends slowly from the air, accompanied by a rising stage, actors, and 16-meter-high lotus petals. The Sleeping Buddha, a copper statue of Sakyamuni, with a length of 7.5 meters and a surface made of white marble, can rotate 360 degrees, expressing the Buddha’s peaceful moment of Nirvana.
Master Hongyi (弘一大师, October 23, 1880 – October 13, 1942) was originally named Li Shutong (李叔同) and was born into a prosperous family in the bustling northern city of Tianjin on October 23, 1880. The family, originally hailing from Hongdong County, Shanxi, had relocated to Tianjin during the Ming Dynasty.
Li Shutong’s grandfather, a prosperous banker and salt merchant, and his father, Li Shizhen (李世珍), a scholar deeply immersed in Chan Buddhism and the teachings of Ming Neo-Confucian philosopher Wang Yangming (1472-1529), reflected the family’s intellectual and financial standing.
In contrast, Li Shutong’s mother had a modest upbringing as the daughter of a farmer in Pinghu, Zhejiang Province. She became Li Shizhen’s fourth wife in their multi-courtyard household, marrying him at the age of 20 when he was 68.
Tragically, Master Hongyi’s father passed away when he was just four years old. Subsequently, his mother faced challenges in maintaining her position within the complex dynamics of the household while residing under her eldest son’s roof. Fortunately, Li Shutong found support from two of his elder half-brothers during his early years, allowing him to access a quality education and a firm foundation in the Confucian classics.
The young Li Shutong mastered the art of calligraphy and after his ordination as Master Hongyi, he continued to engage in this artistic tradition. This calligraphy, produced during the period of his life when he was known as Master Hongyi, reads from right to left “Zijing Qixin” (自净其意). It means “to cleanse one’s mind” and is an extract from a famous verse
Influenced by his formative experiences, Li Shutong eloquently expressed a profound perspective on life through poetry at the tender age of 15, capturing the fleeting nature of wealth and honor: “Life is truly like the setting sun on the western hills; wealth and nobility are as transient as frost on the grass.” His personal life, marked by an unconventional marriage, served as a poignant reflection of the internal conflict between societal expectations and his genuine affections.
Li Shutong’s participation in the Hundred Days’ Reform and subsequent rumors prompted his relocation to Shanghai, where he thrived in the dynamic literary scene. Becoming a prominent figure in Shanghai’s cosmopolitan lifestyle, he joined the Chengnan Wenshe and co-founded the “Five Friends of Tianya.”
His impact extended beyond literature. Collaborating with the painter Ren Bonian, he established the Shanghai Calligraphy and Painting Association, marking a pivotal moment in Chinese art history. Li Shutong’s engagement in Liyuan activities showcased his versatility as a performer in plays such as “Bai Shuitan” and “Huang Tianba.”
Li Shutong’s literary repertoire included numerous poems and songs, among them the renowned poem “Farewell” (《送别》, Song Bie), which later inspired the widely sung “The Farewell Song” (《送别歌》, Song Bie Ge).
The Farewell Song
Outside the long pavilion, along the ancient route, fragrant green grass joins the sky, The evening wind caressing willow trees, the sound of the flute piercing the heart, sunset over mountains beyond mountains.
At the brink of the sky, at the corners of the earth, my familiar friends wander in loneliness and far from home, One more ladle of wine to conclude the little happiness that remains; don’t have any sad dreams tonight.
Li Shutong’s charcoal drawing titled ‘Maiden’
“A Half-naked Woman” by Li Shutong, collected by CAFA Art Museum, China
However, Li Shutong’s life underwent a profound transformation. Confronted with personal and financial challenges, he voluntarily entered a self-imposed exile in Japan. The success of the Xinhai Revolution in 1911 further complicated his circumstances, resulting in financial ruin. Undeterred by these setbacks, Li Shutong maintained composure and supported his family by teaching in Tianjin and Shanghai.
His teaching career, notably at Zhejiang First Teachers’ College, left an indelible mark. Li Shutong played a pivotal role in introducing Western painting to China, earning him the title of the forefather of Chinese oil painting. As the first Chinese art educator to incorporate nude models in his painting classes and introduce Western music to China, his influence was far-reaching. Some of his personally groomed students, including contemporary Chinese artist, educator, and musician Feng Zikai (丰子恺), and Singaporean artist Chen Wenxi (陳文希), went on to become accomplished artists in their own right. His impact on students, such as the renowned painters Pan Tianshou and Shen Benqian, underscored his lasting influence.
During this period, Li Shutong delved deeper into Buddhism. In 1916, he embarked on a 21-day fast at a temple in Hangzhou to experience aspects of the spiritual path. This experience prompted his decision to embrace the ordained life, leading to his monastic vows at Hupao Temple. His disciplined lifestyle, which included fasting therapy for deeper insights, marked a significant spiritual transformation.
Li Shutong’s transition from a worldly existence to a monk, detailed in a letter to his second wife, Yu, reflected his detachment from transient fame and wealth. His decision to leave behind a worldly life for monastic vows occurred only a month after joining the Order. He was known by the monastic names Yanyin (演音) and Hongyi (弘一) after undergoing full ordination rites at Lingyinsi, the largest monastery in Hangzhou.
His departure, though painful for those close to him, exemplified Master Hongyi’s profound understanding of Buddhism. In a conversation with his second wife, he elucidated the nature of love, defining it as compassion, aligned with Buddhist teachings that emphasize letting go of attachment and cultivating compassion.
Master Hongyi’s transformation from the proud and arrogant Li Shutong to a humble and receptive teacher was evident in his approach to teaching Dharma. Contrary to expectations of flawless mastery, Master Hongyi sought feedback from student monks and welcomed constructive criticism without defending himself.
By early 1942, the toll of austerities and fasts began affecting Master Hongyi’s health, and by mid-May, his condition deteriorated rapidly.
The paranirvana of Master Hongyi
Three days before his passing at Busi Temple in Quanzhou, Fujian Province, on October 13, 1942, Master Hongyi inscribed his final calligraphic strokes, creating the work known as “Sorrow and Joy Comingle,” “Worldly Sorrows and Joy Are Intertwined,” or “Sorrow or Joy Are Inextricably Bound to Each Other” (《悲欣交集》, Beixin jiaoji).
Master Hongyi’s philosophical framework posited three distinct stages in human life: material, intellectual, and spiritual. The material phase pertains to mundane existence, the intellectual phase characterizes the life of ordinary intellectuals, while the spiritual phase encompasses the religious realm.
Material, intellectual, spiritual; beauty, profundity, deity. These concepts are intricately tied to the principles of abstinence, composure, and wisdom in Buddhism.
Abstinence, in this context, denotes the renunciation of materialistic pursuits. Composure signifies the practice of deep meditation—tranquil and remote—a path that ultimately leads to the attainment of wisdom. The imagery of Venerable Hongyi experiencing both sorrow and joy (欣) symbolizes the dynamic interplay between these various dimensions of life.
Li Shutong: From Prodigy to Monk – A Journey Beyond Wealth and Artistry
Detail of reclining Buddha, Parinirvana of Shakyamuni attended by bodhisattvas, Mt. Baoding, Southern Song Dynasty, Dazu, China, 102′ long (photo: Mulligan Stu, CC BY 2.0)
With a history spanning over 1,300 years, the Dazu Rock Carvings represents the pinnacle of grotto art worldwide from the ninth to the thirteenth century. The exquisite and varied cliff-side sculptures at Dazu caves provide outstanding proof of the harmonious fusion of Buddhism, Taoism, and Confucianism in civil. In 1999, the Dazu Rock Carvings was inscribed on the World Heritage List by UNESCO.
Enjoying a comparable reputation with the top four grottoes in China (Mogao Grottoes, Yungang Grottoes, Longmen Grottoes, and Maijishan Grottoes) and being rated as one of the eight grottoes in the world, the Dazu Rock Carvings (“大足石刻” in Chinese), also known as Dazu Caves or Dazu Grottoes, located 167km from the city center of Chongqing. It is the one and only UNESCO World Cultural Heritage Site in Chongqing municipality. The Dazu Rock Carvings consists of 75 cave temple sites, including more than 50,000 statues, being protected for their historical, artistic, and scientific values at different levels, representing the pinnacle of Chinese cave temple art between the 9th and 13th centuries. Among them, rock carvings of Baodingshan (宝顶山), Beishan (北山), Nanshan (南山), Shimenshan (石门山), and Shizhuanshan (石篆山) are exquisitely sculpted with the most distinctive style.
The Dazu Rock Carvings started in the early Tang Dynasty, went through the late Tang Dynasty and the Five Dynasties, and then experienced its golden time in the Northern and Southern Song Dynasty. At the time when cave art in northern China fell into decay, the Dazu Rock Carvings undoubtedly created another peak in the history of Chinese cave art, extending the history of Chinese cave art for more than 400 years. Since then, there have been no such large-scale rock carving events in China or even in the world. Therefore, the Dazu Rock Carvings are also known as the last monument and swan song in the history of the world’s grotto art.
UNESCO Stele of the Dazu Rock Carvings
Differing from famous royal grottoes in the north, the religious cliff inscriptions in Dazu show distinctive features of nationalization, secularization, and everyday life, reflecting the remarkable development and changes in folk religious beliefs. Thus, the Dazu caves have the irreplaceable historical, artistic, scientific, and connoisseurship values of grottoes of the previous generations. Another highlight that has to be mentioned is that the statues there provide outstanding evidence of the harmonious synthesis of Tantric Buddhism, Taoism, and Confucianism. Visitors can see separate stone carvings as well as the unity caves reflecting the three religions’ confluence and ruling together. Moreover, thanks to the southern hinterland location of the Dazu Rock Carvings, this cultural heritage stays far away from man-made sabotage, retaining the integrity of the statues, the original characteristics and values of the period when the carvings were created.
Rock carvings in Dazu are mainly located across five mountains, each containing distinct sets of grottoes, among which the cliff-side sculptures on Baodingshan and Beishan are best known and considered to be the model of the late Chinese grottoes statue art. The pictures of the Dazu rock carvings that we commonly find online were mostly taken at the Baodingshan Scenic Area, which is also the must-visit site for a Dazu Rock Carvings tour.
Baodingshan Rock Carvings (Baodingshan Scenic Area)
Fifteen kilometers northeast from Dazu center, Baodingshan Rock Carvings was constructed by the famous monk Zhao Zhifeng in the Song Dynasty for more than 70 years. As one of the most famous Tantric Buddhist shrines in China, there is an old saying that goes like “Go North, climb the Emei Mountain; Go South, reach the Baoding Mountain.” The centerpiece of the Baodingshan rock carvings is the U-shaped Grant Buddha Bay, also known as Dafowan (“大佛湾” in Chinese). Nearly ten thousand statues are carved along the east, north, and south cliffs, which are approximately 500 meters in length and 8-25 meters high. Like a picture scroll with endless photographs, the content of Baodingshan rock carvings is mainly Buddhist scripture stories, each niche related to the other but not identical.
Dazu Rock Carvings – Buddhist Wheel of Life
Avalokitesvara with Thousand Hands
The Buddha statues at Baodingshan are novel in conception, skillful in carving, and rich in secular characters. Religious treasures come one after another, including the representative work – Niche of Sakyamuni Entering Nirvana, one of the wonders of Buddhist art in the world – Avalokitesvara with Thousand Hands, striking image of Buddhist Wheel of Life, scientific designs of Three Saints of Huayan School of Buddhism and Cave of Full Enlightment showed craftsmans’ ingenuity.
In addition, niche content and their expression approach are striving to visualize reality. For instance, Niche of Parental Love Sutra contains ten groups of carvings, including scenes like begging for a son, carrying a child, and going into labor, etc., depicting parental love in bringing up children with plots linking to each other as a picture-book. These carvings are vivid and impressive. They were the outcome after Buddhism had been localized in China.
The ox herding story
Located at the eastern end of the Great Buddha Bend, the ox herding tableau, shows a herdsman taming a disobedient ox—a traditional metaphor for the path to self-enlightenment and a popular theme among Ch’an Buddhist monks and painters in the Song Dynasty. The tableau is made up of eleven vignettes arranged horizontally along a 27-meter cliff wall.
Ox herding story (scene 1–2), Niche 30, Dafowan, Mt. Baoding, Dazu. Southern Song Dynasty (photos: G41rn8, CC BY-SA 4.0)
The first three vignettes each depict a lively interaction between a herdsman and an ox in a landscape setting. The herdsman represents the Buddhist practitioner while the ox refers to the practitioner’s potential to become a Buddha. As the ox turns its body away, the stocky herdsman uses force, grass, and a stick to tame the ox. The verses accompanying the scenes further recount these struggles.
Herdsmen embracing in the ox herding story (scene 5), Niche 30, Dafowan, Mt. Baoding, Dazu. Southern Song Dynasty (photos: G41rn8, CC BY-SA 4.0)
In the fourth and fifth vignettes, the ox is finally brought under control. The herdsman, featuring a wide, joyful smile, wraps his arms around his fellow herdsman while holding on to the ox with the rope in his hands.
In addition to the uncanny quality of grottoes’ masterpieces at Grant Buddha Bay (Dafowan), there are also many highlights you can’t miss while visiting Baodingshan Scenic Area:
Watch a 4K film with English subtitles to learn about the history and development of Dazu rock carvings, and enjoy an 8D view of spectacular grottos at the dome theater
Take a leisure stroll at Dazu Rock Carvings Museum (大足石刻博物馆) to gain insights into the whole thread of world cave temple art and the basic characteristics of Dazu Rock Carvings
Visit Shengshou Temple (圣寿寺) to admire the exquisite temple architecture, which was rebuilt at the Ming and Qing Dynasties.
Shengshou Temple & Dazu Rock Carvings Museum
Beishan Rock Carvings
1.5km north to Longgang Town of Dazu, with an altitude of 545.5m, Beishan is also called Longgang Mountain in the past. Beishan Rock Carvings is the initial of Dazu Rock Carvings. They were first created by Wei Junjing, prefect of Changzhou, in 892 A.D. of the late Tang Dynasty. Until 1162 A.D. of the Southern Song Dynasty, the existing scale of Beishan Rock Carvings was formed, and it centered around Fowan. The rock carvings are numbered and divided into two sections: No.1 ~ No.100 are in the south section, while No.101 ~ No. 290 are in the north section. There are over 5,000 statues on a 500m long cliff, with a height of 7 to 10 meters. The grottoes are very dense, just like a hive, and all of them are delicate and carved with high sculpture skills.
Avalokitesvara with a Rosary
The crowning jewels of Beishan rock carvings are the statues of Avalokitesvara. They are ornamental and artistic, with diverse looks and postures. The most emblematic ones are the Avalokitesvara with a Rosary, Avalokitesvara Watching the Moon Reflection in the Water, and Thousand-armed and Thousand-eyed Avalokitesvara, etc.
Beishan rock carvings can be visited both during the day and at night. An additional visual experience is provided by the scenic spot’s usage of colored light to illuminate the stone statues. Besides, if you have enough time and stamina, don’t forget to follow the downhill trail to visit the Duobao Pagoda (多宝塔) to see the giant cliff statues of Beishan, the Two Buddhas of the North Pagoda.
When we think of iconic sculptures, the Discobolus, Michelangelo’s Moses, and the Laocoon and his Sons likely come to mind—captivating masterpieces that freeze moments in time with gripping intensity. However, the realm of Buddhist sculptures in ancient China offers a different narrative, one of profound serenity and peace that sets it apart from Western art.
CGTN’s latest film, Eternal Smiles, invites you to embark on a mesmerizing 60-minute exploration of China’s Buddhist sculptures. As you delve into the most renowned grottoes, you’ll witness a unique facet of statuary art that transcends time and space, offering a glimpse into a continuous eternity. The film provides a rare opportunity to experience the tranquility and harmony exuded by Buddhas and Bodhisattvas in these ancient works.
Guiding you along the Silk Road, Eternal Smiles unravels the fascinating journey of Buddhism to China. The film takes you to famous grottoes, temples, and historical sites, immersing you in a rich tapestry of stories that satisfy your curiosity about history, art, natural scenery, culture, and more.
Unlike the dramatic and intense narratives often found in Western sculptures, China’s Buddhist sculptures are a testament to serenity and peace. The film beautifully captures the essence of these timeless works of art, inviting viewers to appreciate the subtleties and spiritual depth embodied by Buddhas and Bodhisattvas.
Eternal Smiles is not merely a documentary; it’s a cinematic symphony that seamlessly weaves together history, art, and culture. Through stunning visuals and insightful narratives, the film offers a holistic experience that transcends the screen, transporting viewers to the heart of China’s Buddhist legacy.
Whether you’re a history buff, an art enthusiast, or someone seeking a peaceful escape, Eternal Smiles promises to be a visual feast for the curious soul. Join us on this cinematic journey to discover the beauty, serenity, and eternal smiles hidden within China’s Buddhist sculptures.
H.H. Dorje Chang Buddha III ‘s traditional Chinese painting, “Old Tree,” stands as a masterpiece adorned with vibrant red plum blossoms. The depiction of a weathered old plum tree in a sea of ink unfolds a narrative of transformations—dense, light, dry, wet—unveiling the radiant beauty of its once youthful charm. The myriad red plum blossoms, seemingly engaged in a dance, cluster and clamor upon the branches, invoking an immediate sense of lively springtime. This painting is a testament to the profound artistic prowess encapsulated in H.H. Dorje Chang Buddha III ‘s work.
Embedded within the Chinese cultural tradition is the notion of the common origin of calligraphy and painting. H.H. Dorje Chang Buddha III seamlessly incorporates calligraphic brushstrokes into painting, preserving the interconnected signs of brush and ink on the canvas. This approach transforms the expressive painting into a visual symphony, akin to calligraphy music. The technique of “flying white” in calligraphy, where white spaces delicately appear amidst smooth brushstrokes, takes on a purposeful role in painting. Originating as an imprint left by the speed of the brush, “flying white” becomes a unique brush and ink technique through profound aesthetic reflections.
“Flying white” becomes a vivid recorder of authentic emotions during the writing process. The brush swiftly glides over the paper, conveying passion and resonating with the engraving sensation found in seal carving. The depiction of the main trunk of the old plum tree in “Old Tree” superbly utilizes this technique. The contrast between subdued flying white and rich ink creates a musical and vivid rhythm of black, white, and gray within the composition.
The essence of a good painting lies in its “subtlety,” an intricate quality that goes beyond precision or meticulousness. For H.H. Dorje Chang Buddha III , the process of painting is akin to flowing clouds and water—an expression of natural improvisation and delicate arrangement. As the ancients wisely said, “Add a little to Pan An’s beauty, and it becomes more; subtract a little, and it becomes less.” The subtle artistry in “Old Tree” showcases the artist’s profound insight into the delicate nuances of expression.
The quality of a work is deeply intertwined with the artist’s inherent cultivation, reaching a high realm based on the principle of “selflessness.” This term, often misunderstood, refers to losing oneself entirely in the painting process—where both mind and hand are forgotten. Artworks created in this state possess a power that transcends philosophical texts, offering a simple and clear depiction of inherent reality.
In real life, each person has unique perceptions and emotions, yet lacking rationality makes it challenging to transform these into creativity. True masters of art, exemplified by H.H. Dorje Chang Buddha III , possess not only a sublime inner world and rationality but also the ability to keenly grasp fleeting sensations and transform them into robust vitality. Their ability to endure solitude, maintain genuine nobility, and leave traces of distinctive qualities results in the creation of genuinely original works of art. The great art masters, with a spiritual realm surpassing ordinary individuals, exhibit an otherworldly and extraordinary noble quality that defines their artistic genius. In “Old Tree,” we witness not just a painting but a symphony of artistry, capturing the essence of H.H. Dorje Chang Buddha III ‘s profound mastery.
The Harbin Ice and Snow World stands as one of the largest ice and snow theme parks globally, encompassing an expansive area of 600,000 square meters. It not only serves as an irreplaceable landmark for Harbin City but has also become a renowned international ice and snow tourism brand. Boasting over 2,000 ice sculptures, landscapes, ice castles, rides, and stage shows, this man-made winter wonderland is often referred to as the “Disneyland of Ice and Snow.”
Aligned with the International Ice and Snow Festival of Harbin, the Harbin Ice and Snow World recently celebrated its 20th consecutive year. Unlike traditional construction materials, the park is crafted entirely from ice each winter, featuring delicate and intricate ice and snow sculptures designed under different themes annually. The night view of the park, adorned with vibrant lights accentuating the sculptures, is a mesmerizing spectacle.
The winter experience in Harbin is not limited to visual delights; it encompasses various cultural activities and winter sports. For those seeking relief from summer heat, an indoor ice and snow paradise awaits exploration.
Entering the Ice and Snow World, visitors are greeted by awe-inspiring sculptures, some towering over three stories high, showcasing intricate designs. The park transforms into a magical realm at night, as multicolored lights embedded in the ground illuminate the ice structures, creating a surreal kaleidoscope of colors against the dark night sky.
The exhibition within the park is a display of international ice engraving competitions, ice and snow LED lighting competitions, photography shows, oil painting exhibitions, and other forms of art themed around ice and snow. Marvel at award-winning works and iconic structures, such as those depicting scenes from popular games like Arena of Valor.
A visit to Harbin Ice and Snow World offers not only a feast for the eyes with illuminated sculptures and performances but also a chance to partake in diverse cultural activities and winter sports. The recreation area, spanning over 200,000 square meters, provides more than 20 options, including ice sports like skating, curling, sleighing, ice biking, and the thrilling 320-meter long ice slide. Snow sports enthusiasts can engage in skiing, snow football, snow circling, and the classic snowman and snowball-making activities.
Families can enjoy quality time together in the Parent-kid Paradise, fostering close contact with nature. Furthermore, the dazzling shows presented by skilled actors, combining dancing, acrobatics, and various art forms themed around ice and snow, promise to leave a lasting impression. Don’t miss the opportunity to dance with the actors at the Dream Stage, adding an interactive element to your visit. The Harbin Ice and Snow World is not merely a destination; it’s an immersive experience that seamlessly blends artistic excellence and technological marvels for visitors of all ages.
Maijishan Grottoes, also known as Maiji Mountain Grottoes or Maijishan Caves, is situated in Maiji District, Tianshui City, Gansu Province, in northwest China. Alongside the Longmen Grottoes, Yungang Grottoes, and Dunhuang Grottoes, it holds the esteemed title of being one of the “Four Greatest Grottoes in China.”
If the Mogao Caves are likened to a vast mural museum, the Maijishan Caves undoubtedly resemble an expansive sculpture museum. Boasting 10,632 clay sculptures, Maijishan is hailed as “the Oriental Sculpture Art Exhibition Hall.”
Much like the Parthenon temple in ancient Greece, the stone and clay carvings at Maijishan have been remarkably preserved since ancient times, earning it the moniker of “China’s Parthenon Temple.”
In contrast to the exotic sculptures found in the Mogao Caves, the sculptures in Maijishan are characterized by a more secular, human, and distinctly Chinese quality.
Unlike the exotic sculptures in Mogao Caves, the sculptures in Maijishan Caves are more secularized, human, and more Chinese
The name Maiji in Chinese translates to “piled sheaves of wheat,” reflecting the mountain’s appearance and the origin of its name. The Maijishan Grottoes were initially constructed in A.D. 384-417 and underwent subsequent expansions in dynasties such as Northern Zhou (A.D. 557-581) and Tang (A.D. 618-907). The site currently comprises 221 caves, 10,632 clay sculptures, and over 1300 square meters of murals, earning global acclaim for its exquisite clay sculpture art and recognition as the “Oriental Sculpture Art Exhibition Hall.”
While Maijishan Grottoes may not be as renowned as the other three great grottoes, it stands out as the best-preserved among them. Carved into the steep cliff of the mountain, the caves were not easily accessible, thus escaping much of the destruction that plagued other sites throughout tumultuous periods in history. Today, visitors can marvel at Buddha sculptures and murals along a narrow path clinging to the cliff’s edge.
Located just a few miles south of the main road connecting China and Central Asia, Maijishan emerged as a hub of cross-cultural exchange, drawing hundreds of thousands of itinerants and serving as a historical canvas reflecting the art of 12 distinct dynasties. Indians, Mongols, Huns, Sogdians, Tibetans, Chinese, and others traversed its halls, leaving enduring imprints of their cultures in the form of art.
The mountain’s 194 grottoes stand as tangible evidence of this diverse influence, showcasing seven architectural variations, housing over 7,000 statues, and adorned with more than 100 square meters of murals. Everything within reflects a dedication to Buddhism, from depictions of Siddhartha’s birth to bodhisattvas engaged in meditation and scenes of new devotees arriving. While Maijishan’s physical features initially garnered attention, it is the heritage inscribed, painted, and sculpted onto the soft golden stone that solidified its place in the globalized consciousness of Buddhism, akin to Mount Sumeru, the sacred Buddhist mountain often considered the “mythical axis of the universe.”
The history of Maijishan, like the tales along ancient trade routes, commences with a journey. One account tells of the priest Hsüan-kao meditating at Maijishan, later joined by the shaman T’an-Hung. Together, they founded the mountain’s first monastic community, growing to nearly 300 people before their departure, marking a departure filled with religious fervor, and in T’an-Hung’s case, a morbidly poetic self-immolation in Cochin.
This semi-mythical origin, whether entirely factual or not, undeniably solidified Maijishan as a significant religious site for Chinese rulers. In the Fang-yü sheng-lan, a Sung Dynasty-era book, it is noted that Yao Hsing transformed the mountains, carving 1,000 cliffs and 10,000 images, transforming the cliffs into halls. A stele from 1222 attests to the site’s prominence, with 10,000 people praying there, empires granting land for farming, and seven kingdoms continuously contributing to its maintenance. Subsequent imperial decrees bestowed various names, including “Ching-nien ssu,” “Ying-chien kan ssu,” and “Jui-ying ssu,” before settling on the name Maijishan.
Examples of how brilliantly these works of art were once colored. Shizao, Wikimedia Commons
Differences between Maijishan’s Grottoes and Mogao’s
The Maijishan Grottoes and the Mogao Grottoes, both situated in Gansu Province along the Silk Road, offer distinct experiences, prompting consideration for visitors on a Silk Road journey. Despite being grottoes, they differ significantly, making a visit to both a worthwhile endeavor.
The Maijishan Grottoes are renowned for their clay sculptures, whereas the Mogao Grottoes impress with expansive and beautiful murals. The arid climate in Dunhuang aids mural preservation, while the Maiji Mountain area, with more rainfall and looser mountain rock (clay), is conducive to sculpture carving.
Sculptures in the Maijishan Caves are primarily plain clay pieces, while in the Mogao Caves, they are predominantly painted sculptures integrated with murals. Buddha statues in Maijishan exhibit a more secularized and daily-life-oriented character.
The surrounding natural landscapes vary. Maijishan Caves, located in the Maiji Mountain Reserve area, offer a summer retreat with lush trees and springs, providing opportunities to explore diverse wildlife. In contrast, the Mogao Grottoes are situated in the Gobi Desert, surrounded by wild desert scenery.
The Maiji Grottoes were carved into a steep 100-meter-high cliff face, requiring travelers to ascend the “floating plank road” for a more adventurous experience. In comparison, the Mogao Grottoes were carved into a 30-meter-high sandstone outcrop distributed over four floors.
The breathtaking Maiji Caves, carved into the steep cliffs of Maiji Mountain, stand about 100 meters (330 feet) above the ground, divided into East and West Cliffs. These caves, resembling honeycombs in hives, are interconnected by plank walkways suspended in the air from the cliff face.
Have you ever pondered how this feat was accomplished over a thousand years ago without modern machinery?
Legend has it that the Maijishan Grottoes were excavated at the expense of clearing all the woods near Maiji Mountain. Ancient people built wooden scaffolds from the mountain’s foot to the top, serving as precursors to the later generations’ “plank roads.”
During the Tang Dynasty (618–907), an earthquake divided Maiji Mountain into two cliffs, east and west. Over subsequent dynasties — Song, Yuan, Ming, and Qing — the Maijishan Grottoes underwent development, evolving into the cohesive complex seen today.
The Maijishan Caves stand as a testament to human wisdom and art along the Silk Road, embodying profound respect for Buddhism and an unending yearning for a better life.
Part of the Maiji Mountain Scenic Reserve area (including Xianren (‘Fairy’) Cliff, Shimen, Quxi, and Jieting Hot Spring), the Maijishan Grottoes boast diverse forests and a rich array of plants and animals.
While the Maijishan Grottoes can be visited year-round, the best time to explore the Maiji Mountain Scenic Reserve area is from July to October when the mountain, adorned with dense foliage, provides an ideal summer getaway.
Yun Sculpture, a groundbreaking form of art devised by H.H. Dorje Chang Buddha III for the global audience, stands unmatched in the annals of history. Since its inception, the world has borne witness to an artistic phenomenon that defies replication. Observers, captivated by the works of H.H. Dorje Chang Buddha III, often find themselves in awe, expressing sentiments from the depths of their hearts: “This is a treasure bestowed upon the world by a divine force,” “Sacred artifacts from the Buddha’s Pure Land,” “Captivating the soul with its unparalleled beauty,” and “Since the advent of Yun Sculpture, humanity’s jewelry pales in comparison, like stars around the bright moon—dim and lackluster.” Indeed, when contrasted with the most finely carved jade and opulent stone sculptures, the latter suddenly lose their luster and grandeur, revealing an insurmountable gap.
Yun Sculpture boasts several distinctive characteristics:
Firstly, these sculptures exude a multidimensional sense of space, intricately crafted with unparalleled complexity, displaying endless variations.
Secondly, Yun Sculptures burst forth in rich and vibrant colors, presenting scenes so dreamlike and fantastical that they remain unseen in this world.
Thirdly, many Yun Sculptures possess a sacred and mysterious quality that transcends ordinary comprehension, exemplified by pieces such as “Mysterious Boulder with Mist.” In these sculptures, a mysterious mist gracefully floats among intricately carved, seemingly shifting, and intriguingly interconnected hanging rock formations. Why are such pieces referred to as sculptures containing mysterious mist? The answer lies in the enigmatic and beautiful scenes depicted within these sculptures—a dance of auspicious mist swirling amid hanging rock formations, creating an ethereal ambiance.
Mysterious Boulder with Mist
These miraculous works can be seen and touched. However, they cannot be created by anyone who is not a being of the highest holiness.
Precious Place
Stepping into this precious place, Surveying the treasures hanging on all four walls, Pure white, inky green, brownish-yellow… A multitude of vibrant colors. Is this the magic of nature? No, it’s the crystallization of wisdom!
The Grand Entrance of Elegance
The grand entrance, adorned with intricate golden lace, Built upon a foundation of gemstones, Various wonders on display, Gleaming with dazzling radiance. The densely woven textures and folds, Alive with vivid details, Eagerly beckon one to step inside, And behold the magical scenes within the hall.
Dawn
This Yun Sculpture masterpiece interprets the natural landscape of dawn with a strong sense of color contrast and intricate contours. The magic of this artwork lies in the seamless transition between night and day, appearing remarkably natural without any artificiality. It is not just a unique Yun Sculpture piece but also a transmission of positive energy.
The shift from darkness to light is not merely a natural phenomenon but also signifies the awakening and transformation of human thought and consciousness. By sincerely experiencing this Yun Sculpture piece inspired by the dawn, you will feel the powerful energy embedded within.
This Yun Sculpture piece resembles an ancient tree hollow, exuding a sense of mystery. Looking into the cave from its entrance, it appears bottomless, much like the human heart—profound and unfathomable.
Therefore, the term “tree hollow” now symbolizes the secrets hidden deep within. Psychologists propose that people need to learn to confide, to release their emotions. This artwork provides us with a window to express the unspeakable depths of our hearts, offering a means to alleviate stress through sharing.
A Rock of Horizontal Charm
Endless changes of spirit and feelings unfold Mysterious motions envelop wonders untold Only in heaven is such a presence found No handiwork of artisan earthly bound
The sculpture A Rock of Horizontal Charm is a masterpiece of Yun Sculpture, embodying the spirit of an art surpassing the beauty of nature, created by H.H. Dorje Chang Buddha III for humankind. Derived from an art form created by H.H. Dorje Chang Buddha III that possesses beauty beyond nature’s, it has attained a realm –never before seen in human history – of artistry transcending nature, originating an art form in this world that is irreplicable by any craftsman or high technology. This amazing beautiful sculpture is currently displayed in H.H. Dorje Chang Buddha IIICultural And Art Museum.
Coral from Heaven
This Yun Sculpture piece exudes a mysterious yet astonishing feeling. The meticulous handling of the subtle details precisely embodies the essence of this artwork. Dubbing it “Coral Descending from Heaven” aptly confirms its precious and distinctive qualities. It’s challenging to fathom how the artist applied colors, especially in certain tiny areas where ordinary individuals would be unable to do so. It is precisely because of such a mysterious, astonishing, and unique piece that it deserves this name.
Unusual Music from Beyond Heaven
Art of the Little Autumn
Hanging Withered Vines Embrace Ancient Stones
Loveliness
Deep Feeling: Vistas Beyond the Tranquil Valley
Discover a captivating array of Yun Sculptures at the permanent exhibition housed at The International Art Museum of America, located in downtown San Francisco. Additionally, immerse yourself in the extraordinary collection at the H.H. Dorje Chang Buddha IIICultural And Art Museum in West Covina, a treasure nestled in the vibrant cultural landscape of the greater Los Angeles area.
When you first set your eyes upon these supernatural abstract color paintings, the vibrant and radiant hues of red, yellow, blue, white, and black burst forth, dancing like the tumultuous waves of a river stretching for thousands of miles. Captured in the delicate tips of the brush, their brilliance transcends the ordinary, possessing a gentleness yet resolute quality. The diverse and exquisite colors mutually nourish and elevate each other, creating a masterpiece that can only be described as ingenious, reaching a realm where colors take on an ethereal quality. The experience is beyond description—elegant and comforting.
These impressionist paintings have attained a level of mastery where even a small fragment isolated from the complete artwork stands as an exquisite impressionist painting on its own. They convey a dreamy, illusory state, and each tiny section has the potential to be enlarged, creating a distinct and aesthetically pleasing painting.
Gazing Upon a World Beyond the Stars
This piece has a sci-fi movie special effects vibe, it doesn’t look like a scene that exists on Earth; rather, it resembles the appearance of an extraterrestrial planet observed through high-tech instruments. The entire artwork is filled with a mysterious atmosphere, offering limitless imagination and excitement.
Marvelous Spectacle of a Mystical and Illusory Island
This artwork is vibrant and three-dimensional. When appreciated from a diagonal perspective, the pattern in the upper right corner resembles a series of color-changing snakes, coiling in the air, creating a dazzling and visually delightful experience. The pattern in the lower left corner appears like slowly flowing mud, transparent and sparkling under the sunlight. The dividing line in the middle adds a fantastical element, resembling a peculiar light that seems as though it could disappear in the next second, defying verbal description.
The fantastical imagery of this artwork brings a sense of joy and, simultaneously, fills one with fantasies and aspirations for the future. It is a lively and dynamic masterpiece that exudes a peculiar power.
Long Green Wall
Magnificent and grand, that was my first impression upon seeing this artwork. Despite its modest size, this piece is brimming with the profound culture and history of China’s five thousand years. Resembling the Great Wall, this artwork is a marvel, showcasing the artistry and craftsmanship of the H.H. Dorje Chang Buddha III from an artistic perspective.
Elegant Purity of Beautiful Stone
The highlight of this artwork lies in H.H. Dorje Chang Buddha III‘s skillful combination of intricate colors, avoiding any hint of vulgarity and instead exuding a sense of pure elegance and nobility. The arrangement of patterns and textures in the artwork, seemingly casual brushstrokes, actually reflects H.H. Dorje Chang Buddha III‘s ingenious conceptualization and profound artistic foundation, presenting a harmonious order within apparent chaos.
The Nobility of Petrified Red Trees
At first glance, this artwork appears to be an oil painting. Upon closer observation, it evokes astonishment. It is not merely a flat painting but more akin to a lifelike redwood fossil.
Every texture is distinctly visible, and every detail is vividly realistic. H.H. Dorje Chang Buddha III, with the stroke of a brush, captures the original form of the redwood in the guise of a fossil, rendering this piece of art even more mysterious and noble.
This artwork employs strong color contrasts, making bright colors even more vibrant and dark colors even deeper. The enchanting purple patterns, at times intensified and at times subdued, infuse the composition with a sense of magic. It is as if a colossal dragon is about to break free from the shackles of darkness, re-emerging into a brilliant radiance.
Splash-Color Embroidery of Moutains and Rivers
This is a splash-ink painting that combines elements of oil painting style. The innovative approach and exquisite brushwork truly captivate the viewer. Looking at this piece, one can almost hear the echoes in the mountains, see the surging river waves, smell the freshness of nature, taste the sweetness of mountain springs, and feel the harmony between humans and nature.
Boundless Land as Beautiful as Colorful Embroidery
The artwork, dominated by blue tones, incorporates elements of Western and abstract painting. At first glance, it resembles a vast ocean spanning the globe. It delivers a visual impact and a spiritual resonance. Take a moment to immerse yourself in this majestic and awe-inspiring scenery.
These intoxicatingly beautiful Supernatural Abstract Color Paintings form a perfect world constructed by colors. Devoid of concrete worldly forms, it is a realm purely defined by color—shaping, expressing, and embodying itself through hues. Color is both its form and its essence, permeating with a captivating aura. These colors, guided by the hand of the H.H. Dorje Chang Buddha III, seamlessly converge into a marvelously enchanting spectrum. The atmosphere is lively, the scenes blossom like flowers, bold and fierce as the roaring sea, yet upon closer inspection, they reveal nuanced expressions, refined in the minute details. In discussing the extraordinary skill of the H.H. Dorje Chang Buddha III in Western painting, it’s almost an understatement to compare it to the Buddha.
You can discover a selection of the exceptionally charming paintings in the permanent exhibition at The International Art Museum of America, situated in downtown San Francisco.
