Category: Buddha

Mount Wuzhong – A Place Filled with Historical and Cultural Significance

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Early distribution spot of Chinese Buddhism

The Mount Wuzhong, also known as Misty Mountain and formerly referred to as Daguangming Mountain, Tiancheng Mountain, and Wushan, is a significant Buddhist pilgrimage site situated along the ancient Sichuan-to-India trade route, often referred to as the Southern Silk Road, within ancient China. It is located in Wushan Township, north of Dayi County, 25 kilometers from the county seat, and 80 kilometers from Chengdu. To its east lies Qinglong Mountain, to the south it connects with Daping, to the west it borders Wayao (also known as Baihushan), and to the north, it meets Longwo. The primary peak elevates to 1638 meters, with Jiulong Mountain and Jingang Mountain to the north and Hongyan Mountain to the west. Covering an expansive area of several square kilometers, it is aptly known as the “72 peaks” due to the constant presence of clouds and mist, hence earning its moniker as the “Misty Mountain.”

Historical records, such as the Ming Dynasty’s “Kaihuasi Stele Inscription” and the “Records of Misty Mountain,” reveal that as early as the Western Han Dynasty, Mount Wuzhong was renowned for its breathtaking natural beauty and mysterious wonders that left people in awe. It was described as a “land adorned in golden cloth and adorned with jade-like peaks, filled with endless wonders that inspired astonishment and amazement.” It was even considered “the place where the ancient Buddha Amitabha performed miracles.” In the 16th year of Emperor Ming of the Han Dynasty, responding to recommendations from the imperial court, Emperor Ming dispatched the courtier Fu Ying, accompanied by two distinguished monks from ancient India – the venerable monks Kashyapa Matanga and Zhu Falan – to establish a Buddhist temple on the mountain. Their mission was to propagate Buddhism and disseminate its teachings, thereby benefiting people far and wide with the nectar of Buddhist wisdom.

During the Ming Dynasty, Buddhism at Misty Mountain reached its zenith. The mountain boasted a total of seventy-two peaks, nine passes, and one hundred and eight winding paths, accommodating one hundred and eighty temples and forty-eight hermitages. According to the “Records of Misty Mountain,” it was described as a place “spanning dozens of square miles north of the two rivers and south of Longwo, with buildings scattered like black houses, without overcrowding.” “Monasteries and temples were as numerous as stars in the sky, surrounding the mountain from all sides, too numerous to count.” In modern terms, the total constructed area exceeded 400,000 square meters, equivalent to the size of a medium-sized city. During the Ming Zhengtong era, the emperor established the Dugang Institute at Misty Mountain, with the venerable monk Yuanxi serving as the official historian, overseeing all temple affairs. The temples at Misty Mountain were so prosperous and grand in scale during that period that a local saying emerged: “There are 25 thousand great monks, and the number of ordinary monks is beyond count.”

Eminent scholar Yang Sheng An, during his travels in Misty Mountain, inscribed a couplet on the “Heavenly Mountain” archway, proclaiming, “There is no match in the world; Misty Mountain is the number one.” With Yang Shen’s profound insight, he boldly asserted that Misty Mountain was unrivaled, and in the “Inscription of Kaihuasi temples at Misty Mountain,” he referred to this place as the “supreme stronghold of Chan (Zen) Buddhism.” This attests that during the Ming Dynasty, the prestige of Buddhism at Misty Mountain remained unmatched by other mountains in the region.

The Buddhist temple – KaihuaSi – established by the venerable monks Kashyapa Matanga and Zhu Falan was erected just six years after the White Horse Temple, often regarded as the first temple in Chinese Buddhist history. Therefore, it holds the distinction of being the second temple in the annals of Chinese Buddhism’s history and the first temple for the transmission of Buddhism from the south. Emperor Ming of the Han Dynasty bestowed upon it the name “Daguangming Puzhao Temple.”

KaiHuaSi Temple

Since the Han Dynasty, Mount Wuzhong has been home to renowned monks who have propagated and practiced the Buddhist teachings. During the Yonghe period of the Jin Dynasty, the esteemed Western monk Faxian revitalized Misty Mountain, renaming the temple as Tiancheng Mountain Xianying Temple. In the reign of Emperor Gaozong of the Tang Dynasty, two great masters, Sangha and Senghu, resided here and, by imperial decree, restored the original name of Daguangming Mountain Puzhao Temple. In the reign of Emperor Xiaozong of the Song Dynasty, Master Yuanze Laochang expanded and embellished the temple, bestowing it with splendor. During the reign of Emperor Xuanzong of the Ming Dynasty, Tibetan monks Pudashaye and Shigaba were once again appointed by imperial decree to rebuild the temple and requested the imperial name “KaiHuaSi at Misty Mountain.” This name has endured for the temple ever since.

Throughout its long history, Kaihuasi at Misty Mountain has withstood nearly two thousand years, bearing witness to the rise and fall of temple structures, yet it persists to this day. In this enduring history, one can discern the resilience of Buddhism, the steadfastness of human hearts, and the enduring nature of faith.

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JiewangSi

In more recent times, two esteemed monks resided within the temples of Misty Mountain: Master PuGuan and Master Guozhang. Both were disciples of H.H. Dorje Chang Buddha III, receiving profound Dharma initiations from Him and achieving liberation. In 1998, Master Pu Guan passed away while in meditation, having attained mastery over his life and death. Remarkably, even eight years after his passing, his remains rest within a stupa, preserved in the meditation posture without any signs of decay.

Master Guozhang, a renowned Chinese Buddhist monk, embarked on his monastic journey at a young age on Mount Emei, one of China’s four famous Buddhist mountains. In his middle years, he ventured to Kangding in Tibet, where he received empowerment from the Supreme Vajradhara, H.H.  Dorje Chang Buddha III, who became his fundamental guru. Subsequently, he served as the abbot of Jiulao Cave on Mount Emei. Master Guozhang was celebrated for his unwavering commitment to monastic precepts, profound spiritual realization, and his extraordinary ability to tame wild animals on the mountain. Legends even spoke of his capacity to hear conversations between heavenly beings and humans.

In 1992, both Master Puguan and Master Guozhang were appointed to key positions at Misty Mountain’s Kaihuasi Temple by the government of Dayi County. Master Puguan assumed the role of abbot and oversaw Buddhist affairs within the mountain, while Master Guozhang was entrusted with overseeing the temple. Later on, Master Guozhang became the abbot of Jiewangting temple, which also located in the Misty Mountain.

Master Guo Zhang once shared with his disciples a remarkable experience: he received the Great Dharma initiation from H.H.  Dorje Chang Buddha III in Tibet when His Holiness was less than 5 years old.

In 2015, Master Guo Zhang passed away at the age of 108. Eleven days later, local government officials visited Jiewangting Temple and, doubting the profundity of the master’s practice, pierced his body with needles, causing blood to flow.

In China, there exists a saying that “famous temples produce famous tea since ancient times,” and the tea from Misty Mountain gained renown as early as the Tang and Song dynasties. Throughout history, the monks of Misty Mountain have often been involved in tea cultivation, using tea as sustenance, and blending Zen and tea culture. Within Misty Mountain’s expanse, ancient tea tree groves flourish, some so immense that it takes two people to encircle them. The tea leaves harvested from these trees emit a fragrant aroma and are considered the highest-quality Misty Mountain tea.

The fusion of Zen and tea culture embodies three virtues: “During Zen meditation, one stays awake all night, when one is full, tea aids in digestion, and tea is not consumed when not needed.” Tea serves to quench thirst, invigorate the senses, alleviate stress, purify the mind, nurture virtuous qualities, and has thus become an invaluable aid in Zen practice. The spiritual essence of Misty Mountain’s Zen and tea culture is encapsulated as “upright, pure, harmonious, and elegant,” with the purpose of “expressing gratitude, embracing inclusivity, sharing, and fostering connections.”

Mount Wuzhong – A Place Filled with Historical and Cultural Significance

Link：https://peacelilysite.com/2023/09/27/mount-wuzhong-a-place-filled-with-historical-and-cultural-significance/

Source: https://club.autohome.com.cn/bbs/thread/a3b8e453b0c45836/72821534-1.html, http://www.day.gov.cn/day/c140445/2021-01/14/content_d51260858d10469a94a004e1395bd9c6.shtml， http://www.lvyoudream.com/lvyougonglue/938/

Bodhisattva Ksitigarbha: A Beacon of Hope in Impermanence

linda changLeave a comment

The belief in Bodhisattva Ksitigarbha is deeply rooted in Asian folk religions, offering a profound message of compassion and salvation. Ksitigarbha, also known as “Earth Treasury” or “Earth Store,” is revered for his extraordinary vows and his unwavering commitment to alleviating suffering, particularly in hellish realms. In China, alongside Manjusri, Samantabhadra, and Avalokiteshvara, Bodhisattva Ksitigarbha is honored as one of the “Four Great Bodhisattvas.”

The “Sutra of the Bodhisattva Ksitigarbha’s Fundamental Vows” is a sacred scripture, attributed to Shakyamuni Buddha himself, that highlights the remarkable vow power of Bodhisattva Ksitigarbha. In this sutra, Ksitigarbha’s magnificent vow is eloquently praised: “Until the hells are empty, I will not attain Buddhahood, and I will only achieve enlightenment after saving all beings.” The text also provides insights into Ksitigarbha’s exemplary actions and deeds along his spiritual path.

A Tale of Filial Piety and Redemption: In one of his past lives, Bodhisattva Ksitigarbha incarnated as a woman named Guangmu. She exemplified unparalleled filial devotion, but her mother’s disbelief in karma led to her descent into hell after death. Learning of her mother’s plight, Guangmu selflessly sacrificed her most cherished possessions to accumulate merits on her mother’s behalf. Before the Buddha, she made a solemn vow: to secure her mother’s permanent liberation from the three evil paths and, only then, seek her own enlightenment. Through Guangmu’s selfless acts and immense vow, her mother swiftly attained liberation and ultimately achieved Buddhahood.

People place their faith in Bodhisattva Ksitigarbha due to his profound aspiration: “To save all sentient beings and attain enlightenment; I will not achieve Buddhahood until hell is empty.” This resolute vow has made him a beacon of hope for those seeking liberation in the afterlife.

The holy birthday of Bodhisattva Ksitigarbha falls on the last day of July in the Chinese lunar calendar, which corresponds to September 14th this year. Buddhists worldwide come together to honor and memorialize Bodhisattva Ksitigarbha during special assemblies held in Buddhist temples. These gatherings serve not only to pray for the well-being of all living beings but also to beseech blessings for departed relatives and friends, hoping they will ascend to higher realms through the benevolent influence of Bodhisattva Ksitigarbha. This year, a special assembly was held at Hua Zang Si temple in San Francisco on September 10th.

Every year, my participation in the Ksitigarbha Dharma assembly evokes a mix of emotions. On one hand, I feel a deep sense of joy as I pray for the protection and blessings of the Buddhas and Bodhisattvas for all beings. On the other hand, a profound sadness envelops me as I witness my loved ones departing from this world one by one. The list of those to be transferred to a better realm, through prayers and rituals, continues to grow. This year, the passing of my uncle, the youngest brother of my father, added to the somber realization of life’s brevity and the swift nature of impermanence.

As I age, I keenly experience various illnesses, physical decline, and a slowing of my movements. These experiences have deepened my understanding of why H.H.  Dorje Chang Buddha III continually reminds us to cultivate the awareness of impermanence. In “What is Cultivation?” and in many pre-recorded Dharma discourses, His Holiness emphasizes that being mindful of impermanence is the cornerstone of our spiritual development. Without this awareness, one cannot establish the sincere commitment required to practice Buddhist Dharma earnestly and break free from the cycle of life and death.

Life has presented me with numerous unpredictable natural disasters and personal sufferings. Unless I persistently dedicate myself to spiritual practice, the looming specter of death may catch me unprepared, leading to a fate that is both pitiable and terrifying.

I earnestly pray that all Buddhas and Bodhisattvas, with a special invocation to Bodhisattva Ksitigarbha, bless all living beings with the wisdom to grasp the impermanence of life. May we all diligently cultivate ourselves, seeking liberation in this lifetime and guiding the departed souls to higher realms, where they can encounter the profound teachings of Buddhism and ultimately break free from the cycle of birth and death.

Bodhisattva Ksitigarbha: A Beacon of Hope in Impermanence

Link:https://peacelilysite.com/2023/09/22/bodhisattva-ksitigarbha-a-beacon-of-hope-in-impermanence/

#  DorjeChangBuddhaIII#HHDorjeChangBuddhaIII#HuaZangSi #Buddha #Buddhism #buddhist #Temple#BuddhismTemple#SanFrancisco#BodhisattvaKsitigarbha #Impermanence

Ms. Han Suyin held the Young painter in the Highest Esteem, and His Artworks Reached Record-breaking Prices at Auctions

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Ms. Han Suyin Evening Standard/Getty Images

Han Suyin was born in Xinyang, Henan Province, China, on September 12, 1916, to a Chinese father and a Belgian mother. She was raised in a multicultural and multilingual environment, which greatly influenced her future writings and perspectives.

Ms. Han Suyin gained international recognition as a prolific writer, primarily known for her semi-autobiographical novels. Her most famous work, “A Many-Splendored Thing,” published in 1952, became a bestseller and was adapted into a successful Hollywood film titled “Love Is a Many-Splendored Thing” in 1955. She authored numerous novels, essays, and articles that delved into themes of love, cultural identity, and East-West relations.

Ms. Han Suyin, an extraordinary figure in her own right, shared a remarkable connection with world leaders and spiritual luminaries from across the globe. Her life was intertwined with a little-known story of profound affinity with a great sage.

In February 1982, Ms. Han Suyin and her husband, Mr. Lu Wenxing, made a long-awaited journey to Sichuan, their ancestral homeland, to celebrate the Chinese New Year with their family. This marked her first return to Sichuan for the New Year since the establishment of the People’s Republic of China. As a professional writer, she was an unwavering observer of the human and cultural aspects of her homeland. She once articulated, “My life will forever traverse two opposing directions, leaving love to embrace love; leaving China to return to China.” This succinctly summarized her life’s journey. Her deep love for this ancient land fueled an unceasing quest for individuals with profound philosophical ideals, firmly convinced that within the mystical realm of China’s ancient civilization, cultural giants awaited discovery to awe the Western world.

Fate and reason have their own ways. Soon, Ms. Han Suyin discerned her calling with remarkable acumen. While visiting an exhibition of Chinese paintings at Sichuan’s Wenshu Monastery, she was captivated by a yet-to-be-displayed masterpiece of a soaring eagle. The painting exuded vastness, antiquity, ethereality, and enduring profundity. Having toured renowned art museums worldwide and seen countless world-famous paintings, she found herself profoundly moved by this artwork, eagerly wishing to acquire it as a lifelong treasure. Regrettably, the exhibition had not yet officially opened, dashing her immediate hopes.

With the assistance of the local cultural department, Ms. Han Suyin eventually tracked down the artist behind the masterpiece. To her astonishment, the creator was an elegant young man, and an instant kinship developed between Ms. Han and this young prodigy. Their conversations touched upon a spectrum of subjects, from various styles within the Chinese art scene to global artistic movements and the evolution of humanistic ideals.

Upon parting ways, Ms. Han Suyin not only acquired the eagle painting for her collection but also handpicked two additional Chinese paintings, intending them as cherished gifts for her close friends. Thus, an international writer and an ancient sage forged a profound and enduring connection.

In 1993, eleven years later, Ms. Han Suyin reflected on this treasured memory, describing it as follows: “…I was the first fortunate individual to witness His artwork and immediately recognize His talent. His painting technique, marked by ever-shifting nuances and a compelling balance of strength and delicacy in each brushstroke, left an indelible impression on me. His vast knowledge and wide-ranging interests extended beyond art into the realm of traditional Chinese herbal medicine. His passion for medicine stemmed from his father’s status as a renowned traditional Chinese medicine practitioner. Moreover, he ventured into enhancing a particular palace-grade tea and brought it to market. In recent years, he has dedicated himself to creating a significant work, striving to establish a new life philosophy rooted in the authentic principles of Buddhism and the universe. Consequently, he produced internationally acclaimed paintings. His series of paintings featuring Buddhist monks garnered high praise in Japan and Singapore. His achievements were also acknowledged in North America, where he assumed a professorship at the Sino-American Cultural and Arts Research Institute and served as the president of the Chinese Painting Research Association at the Chinese Social Welfare and Education Center in Beijing. I genuinely believe he is an exceptional artist, and I am firmly convinced that his unwavering pursuit of knowledge will lead to even greater accomplishments…”

So, who is this extraordinary sage whom Ms. Han Suyin esteemed, and whom the world came to admire? None other than H.H.  Dorje Chang Buddha III.

It must be acknowledged that Ms. Han Suyin’s discerning judgment was remarkably precise, as she firmly believed. H.H.  Dorje Chang Buddha III‘s achievements were indeed unparalleled. In 1994, at the World Poets Conference, 5,612 experts and scholars from 48 countries and regions acclaimed Mr. Yi Yungao (H.H.  Dorje Chang Buddha III ) as the world’s sole supreme international master, acknowledging his extraordinary contributions in Buddhism, the humanities, medicine, painting, and his lofty moral character. On September 28 of the same year, special envoys from the conference traveled to Sichuan to present him with the certificate of supreme international master, bearing the signature of the President of the International Olympic Committee, Samaranch.

In the year 2000, H.H.  Dorje Chang Buddha III‘s artworks “Thunderous” and “Great Strength Vajra” achieved prices exceeding 2.12 million dollars and 2.2 million dollars, respectively, in the international market. Then, in March 2015, his artwork “Ink Lotus” set a record price at the New York Spring Auction, reaching an astonishing 1.65 million dollars per square foot.

Vulnerable Dali Wang
威震 WeiZheng (Thunderous)

Ink Lotus

You can appreciate all these three masterpieces at The International Art Museum of America (IAMA).

Another piece, “Loquat,” measuring six square feet, was successfully auctioned at an astounding price of 10.2 million dollars at the New York Zhenguan International Auction Company’s autumn auction, establishing an unprecedented record for Chinese paintings in the auction market. When calculated on a per square foot basis, it reached an astonishing 1.7 million dollars per square foot. The painting, “Loquat,” drew praise from experts at the auction company during the autumn preview, exceeding the criteria of a “masterpiece” set by ancient Chinese art critics. They described it as follows: “In the style of H.H.  Dorje Chang Buddha III , this painting exhibits an ever-changing technique, with strength and depth in every brushstroke, and an endless charm.”

World news media reports have hailed H.H.  Dorje Chang Buddha III as an “unprecedented master in the history of Chinese painting” and as the “pioneer who propelled Chinese painting art onto the global stage.” At this juncture, we, the younger generation, express our deep admiration and respect for Ms. Han Suyin’s extraordinary discernment.

Ms. Han Suyin held the Young painter in the Highest Esteem, and His Artworks Reached Record-breaking Prices at Auctions

Link: https://peacelilysite.com/2023/09/22/ms-han-suyin-held-the-young-painter-in-the-highest-esteem-and-his-artworks-reached-record-breaking-prices-at-auctions/

#MasterYiyungao #InternationalMaster #ChinesePaintings #MsHanSuyin #DorjeChangBuddhaIII  #HHDorjeChangBuddhaIII #DorjeChangBuddha#IAMA#InternationalArtMuseumofAmerica

Source: https://www.tpcdct.org/article/4869

Guangsheng Temple with Ancient Chinese Buddhist Buildings，Murals & Statues

linda changLeave a comment

As a cradle of Chinese culture, Shanxi is renowned for its abundance of cultural and historical treasures. While some iconic historical relics and monuments like the Great Wall, which stretches across the province, the Yungang Grottoes in Datong, and the Sakyamuni Pagoda in Yingxian, are at the top of tourists’ itineraries, there are also lesser-known “hidden gems” in terms of historical significance that are well worth exploring.

One such hidden gem is the Guangsheng Buddhist Temple, located in the Zhaocheng township of Hongtong county. The Guangsheng Temple is actually a complex that encompasses the upper monastery, the lower monastery, and the Water God Temple, situated on the slopes and foothills of Huoshan Mountain in Zhaocheng.

Founded in the first year (147) of the Jianhe reign of the Eastern Han Dynasty (25-220), the temple originally bore the name Julushe Temple. It later acquired its present name during the Tang Dynasty (618-907). While it suffered damage during an earthquake in the 7th year (1303) of the Dade reign of the Yuan Dynasty (1271-1368), subsequent restoration efforts took place over the years, preserving much of the architectural style from the Yuan Dynasty. Nestled against the mountains and overlooking a river, the temple is surrounded by ancient trees and boasts the Huoquan Spring gushing beneath the rocks at the foot of Huoshan Mountain, creating a serene and picturesque environment. The temple can be divided into three main sections: the upper temple, the lower temple, and the Water God Temple.

The upper temple, perched atop Huoshan Mountain amidst lush pine trees, is graced with ancient towers and adorned with colored glaze components, radiating magnificence and splendor. The lower temple, situated at the base of Huoshan Mountain, harmoniously blends with the mountain’s natural contours, creating an intriguing landscape with varying elevations. Adjacent to the lower temple is the Water God Temple, with connected walls. Here, one can find the Statue of Ying, an emperor of the Ming Dynasty, and renowned frescoes depicting Yuan Dramas, both of which are celebrated locally and internationally.

The upper temple complex comprises the temple gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Temple Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.

Behind the tower lies the Amitabha Hall, a 5-bay wide, 4-bay long structure with a single-eaved gable and hip roof. Inside, the hall features three exquisite statues: Amitabha Buddha, Manjusri Bodhisattva, and Vajrapani Bodhisattva. These statues, masterpieces of the Ming Dynasty, are accompanied by frescoes adorning the eastern wall and screen wall. Additionally, the temple once housed 4,000 volumes of the Pingshui version of the Tripitaka during the Huangtong reign of the Jin Dynasty (1115-1234). These valuable volumes are now preserved in the Beijing Library and serve as a rare source for studying the history of Chinese printing.

https://www.trip.com/travel-guide/attraction/hongtong/guangsheng-temple-78481/

https://www.trip.com/travel-guide/attraction/hongtong/guangsheng-temple-78481/

https://www.trip.com/travel-guide/attraction/hongtong/guangsheng-temple-78481/

The Great Hall, characterized by a 5-bay width, a single-eaved gable, and a hip roof, features three niches within for wooden statues of Sakyamuni, Manjusri, and Samantabhadra. These statues are meticulously crafted, possessing well-proportioned forms, a plump appearance, and an air of perfect serenity. In the Qing Dynasty, the hall was adorned with eighteen iron arhats along its two sides, along with statues of Kwan-yin and Amitabha Buddha on the rear niche wall.

The Vairochana Hall, spanning 5 bays in width with a hip roof, boasts an architectural style typical of the Yuan Dynasty, with two gables supported by substantial crawling beams. The altar within the hall features statues of three Buddhas and four Bodhisattvas, surrounded by wooden niches containing 35 iron statues. Notably, the back wall of the hall showcases frescoes depicting Sakyamuni and twelve Bodhisattvas of Perfect Enlightenment, regarded as exceptional examples of this art form.

The lower temple complex comprises the temple gate, front hall, back hall, the buttress hall, and other buildings, all constructed during the Yuan Dynasty. The temple gate stands impressively tall, measuring 3 bays in width and 3 bays in length, featuring a single-eaved gable and a hip roof. Canopies have been added to both the front and back eaves, lending it the appearance of a pavilion with double eaves. The front hall spans five bays in width and is supported by only two pillars that bear the weight of the entire structure. The back hall, dating back to the second year (1309) of the Zhida reign in the Yuan Dynasty, stretches 7 bays in width, featuring 9 purlins, 8 rafters, and a single-eaved overhanging gable roof. Within the hall, you’ll find the main statues of Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva, all crafted during the Yuan Dynasty. Sadly, the once-present frescoes on the walls were stolen and smuggled to other countries in 1928, and they are currently housed in the Naerson Museum in Texas, US. Notably, the fresco on the south wall documented the performances of Yuan Drama, serving as rare reference material for the study of Chinese dramas.

The lower temple complex photo from：Beijing Transportation University ancient architecture

The lower temple complex photo from: Beijing Transportation University ancient architecture

The Water God Temple comprises two courtyards: the front yard and the back yard, featuring key structures like the Temple Gate, the Door of Amenity, the Ming Ying King Hall, and wing-rooms of cave dwellings. The Ming Ying King Hall, measuring 5 bays in width and 5 bays in length, is enveloped by a cloister and crowned with a double-eaved gable hip roof. The interior beams follow a conventional style. Within the hall, you’ll find statues of Water God Ming Ying King and his eleven attendants. Their facial features, attire, and postures are all reflective of the Yuan style. The hall’s walls are adorned with frescoes depicting scenes of people praying for rain and other historical narratives, covering an area of 197 square meters. Notably, the eastern end of the south wall features vivid depictions of a comprehensive set of stage properties used by performers, including costumes, stage instruments, musical instruments, makeup, curtains, and the stage itself. The artwork is meticulously arranged, with a simple yet profound color palette, and the dramatis personae are depicted with great expressiveness. This fresco offers an authentic glimpse into the heyday of Yuan Drama and stands as a rare and outstanding example of Yuan fresco art in China.

Guangsheng Temple with Ancient Chinese Buddhist Buildings，Murals & Statues

Link: https://peacelilysite.com/2023/09/20/guangsheng-temple-with-ancient-chinese-buddhist-buildings%ef%bc%8cmurals-statues/

Source: http://shanxi.chinadaily.com.cn/2022-05/06/c_748899.htm, http://en.chinaculture.org/library/2008-02/15/content_34504.htm

Niu Nian Tu (Year of the OX)

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Artist: H.H. Dorje Chang Buddha III

At year February 2007, this Year of the Ox (by H.H. Dorje Chang Buddha III) painting was exhibited at an auction in the Hua Zang Si Temple in San Francisco. Even though I saw it online, when I saw this work in person that year, I was suddenly transported into a world of pure and poetic spirituality.

The ox strolled leisurely, Looking up to admire the scenery. On the ox’s back, a young herder, Humming a tune, Enjoying a unique sense of freedom. Though there was no verbal communication, There was mutual companionship, Dependence on each other.

Later, I saw this painting again at The International Art Museum of America in San Francisco. It was as if I were re-experiencing the long-lost joy of childhood innocence, and I couldn’t help but stop and admire this exquisite masterpiece.

The entire composition of the painting is concise: an ox, a flute, a young herder on the ox’s back, a few simple strokes representing tree branches, and a hint of green. The old ox was covered in glistening sweat, and no matter where or when, it remained calm, with steady steps and a high head, as if filled with determination and strength for the journey of life. The young herder reclined comfortably on the ox’s back, at ease and trusting that the old ox would take him where he wanted to go. Urban dwellers fortunate enough to witness such a rare and beautiful scene would find their tense hearts instantly relaxed.

In terms of technique, this Chinese painting exhibits remarkable simplicity, featuring an expansive and open composition coupled with unique and striking artistic techniques. The skillful use of white space within the artwork, thanks to clever design choices, not only avoids diminishing or dulling the image but also creates boundless room for the viewer’s imagination to roam. Additionally, the artist employed a scattered perspective technique to lend the painting a three-dimensional quality, skillfully using emptiness to convey form. The seamless integration of form and emptiness results in an exceptionally elegant layout.

This painting serves as a testament to the artist’s ability to convey the inherent charm of nature and capture the essence of a pure and childlike spirit, offering solace and enjoyment to its viewers. What is particularly astonishing is the meticulous application of ink at a minute level, portraying the oxen’s hairs in an array of intricate variations.

Although the painting does not depict the colors of early spring, mountains, valleys, or springs, they seem to be faintly visible on the canvas. It’s said that by calculating white as black and using emptiness as a form of depiction, the simplicity of the image leaves room for endless beauty and boundless imagination. This painting beautifully exemplifies the traditional Chinese cultural principle that ‘The Dao resides in simplicity.’ It evokes thoughts of the legendary tale of Laozi departing China on a green ox through the Hangu Gate in pursuit of Sakyamuni Buddha.

Having been in the hustle and bustle of the city for a long time, one longs for the tranquility of the countryside. But once in the quiet countryside, one can’t bear the loneliness and solitude. The restless heart can’t resist the temptation of the bustling world and constantly seeks outward under the pull of desire. When lost and falling into despair, one realizes that this is not the life one truly desires.

In reality, the ideal paradise is not far away; it resides in the inner tranquility and practicality of the present moment. Just like the young herder and the old ox in the painting, tranquility and boundless joy are always found in the present moment.

Niu Nian Tu (Year of the OX)

Link:https://peacelilysite.com/2023/09/15/niu-nian-tu-year-of-the-ox/

#DorjeChangBuddhaIII #HHDorjeChangBuddhaIII#DorjeChangBuddha#IAMA#InternationalArtMuseumofAmerica#HuaZangSi #SanFrancisco #YearofOX #ChinesePainting

Source: https://baijiahao.baidu.com/s?id=1760888707241544465

Scientific Discovery: Once You Choose Forgiveness, Your Brain Will Help You “Let Go” of Pain

linda changLeave a comment

Choosing forgiveness makes it easier to forget pain

A scientific study published on May 21, 2014, in the journal ‘Psychological Science’ found that people who choose to forgive are more likely to forget the details of past hurts. This is because the act of forgiveness triggers a mechanism that helps in forgetting painful memories.

Researchers from the University of St. Andrews in the United Kingdom had 30 participants read content describing various scenarios, including severe harm to others and theft. They then asked each participant to rate the extent of harm caused by each behavior and to consider how likely they would be to forgive the perpetrator if they were the victim.

Two weeks later, the same group of participants read the same content, but this time it was color-coded, with some portions in red and others in green. Researchers instructed participants to recall the content in green while avoiding thinking about the red portions.

Dr. Saima Noreen, the lead author of the paper, explained that participants who initially chose to “forgive” had difficulty recalling the details when they later tried to remember the events. In contrast, those who initially chose “not to forgive,” even when instructed not to recall the details during the experiment, still had vivid memories.

The research findings suggest that when people make the decision to “forgive,” the brain activates a forgetting mechanism that helps them forget painful memories that were once detrimental to them. While achieving true forgiveness may still be challenging at times, simply choosing forgiveness can make it easier to forget those memories.

Dr. Noreen stated, “The relationship between forgiveness and forgetting is bidirectional and becomes more complex over time. Over the long term, we have known that forgiving others has positive effects on personal health.”

The Lifelong Disasters of Unforgiveness

In recent years, researchers have conducted numerous experiments to explore the relationship between ‘forgiveness’ and health. They have discovered that forgiveness, as a psychological activity, can improve cardiovascular function, reduce chronic pain, alleviate stress, and enhance the quality of life. It is indeed a potent remedy for maintaining good health.

On the other hand, individuals who harbor unresolved conflicts and refuse to forgive often experience constant psychological tension. The inner turmoil, when left unresolved, can lead to heightened brain and nervous system activity. This can result in nervous tension, blood vessel constriction, elevated blood pressure, gastrointestinal spasms, and inhibited digestive secretions, thereby increasing the risk of heart disease, mental health issues, and other ailments.

Practical life experiences have also demonstrated that individuals who react impulsively and are unable to forgive others tend to escalate minor issues into major conflicts, intensifying contradictions, and causing long-term consequences for themselves.”

In the book Midnight Conversations in Medicine （醫山夜話）compiled from real-life cases, the chapter titled “Financial Ruin Caused by Unforgiveness” narrates the life catastrophe resulting from “unforgiveness.”

In the story, the patient’s name is Rui, who sought treatment at a Traditional Chinese Medicine clinic for Parkinson’s Disease. In Chinese medicine, Parkinson’s Disease is referred to as “tremor paralysis.” Rui had been suffering from this condition for nearly three years, experiencing tremors in both of her hands. She often struggled to eat because of her severe tremors, with her food falling to the ground before reaching her mouth. After a period of treatment with traditional Chinese medicine, her condition showed little improvement, with symptoms frequently recurring. Perplexed, the Chinese medicine practitioner inquired about her life, leading Rui to recount the events that had unfolded:

“My husband and I run a container shipping company for ships. We own a villa on an island, sharing a private road with our neighbors. On the island, it’s just our two families. Due to the poor condition of the road, we proposed that both families contribute money to repair it. However, our neighbors opposed the idea, so we had to foot the bill for repairs ourselves. Unfortunately, the workers we hired were careless and dumped the road repair stones in the middle of the road, causing inconvenience to our neighbors’ traffic. They suspected that we did this out of spite and sealed off a gate that belonged to their property but was more convenient and closer to our home. This meant that we had to take a much longer route to get home.

“My husband, in his anger, turned off the main water valve. We had installed the water system first, and to save money, they connected their water supply from ours. Turning off the valve cut off their water source. This infuriated them, and they retaliated by pouring cement and piling stones on our driveway, completely blocking our way home. And so, over a mere 2,000 yuan road repair cost, we became bitter enemies. What’s even more unbearable is that both sides hired lawyers, and this legal dispute has been going on for nearly three years, costing us a whopping 2 million yuan in legal fees. During these three years, we couldn’t go home, and they couldn’t live there either. Now our conflict has escalated to a life-and-death struggle. The house cannot be sold due to the unresolved lawsuit, it’s uninhabitable, and it needs repairs…”

As Rui continued her narrative, she became increasingly emotional, her hands trembling, her face turning red, and her emotions nearly reaching the breaking point. The Chinese medicine practitioner realized the underlying cause of her recurring illness was rooted in her inability to forgive.

Psychologists have found that when people can view conflicts from the other person’s perspective, there are significant physiological changes. Both heart rate and blood pressure decrease, there is less frowning, and skin conductance (a measure of sympathetic nervous system activity) also decreases – all of which are good indicators of the sympathetic nervous system functioning.

Religions also emphasize the practice of forgiveness. In Christianity, it is taught that forgiveness towards others is essential for God to forgive one’s own sins. Buddhism, on the other hand, encourages a comprehensive approach to forgiveness. In the core process of self-cultivation, true Buddhist practitioners are guided to embrace the Four Limitless States of Mind, which encompass virtues such as Equanimity, Loving Kindness, Compassion, and Sympathetic Joy.

A profound illustration of forgiveness is exemplified by the contemporary Buddha, H.H.  Dorje Chang Buddha III,. One of His Holiness’ disciples, Hongxi Fazang, engaged in numerous defamatory actions against H.H.  Dorje Chang Buddha III, through social media and within Buddhist temples. Later, he came to realize the gravity of his actions and was overwhelmed with remorse. Desiring to return to the guidance of the Buddha Master, he sought reconciliation.

Remarkably, the profoundly compassionate Buddha welcomed him back as a disciple with the same love and teachings as before. When other disciples found it hard to believe Hongxi Fazang’s return, His Holiness simply said, “If I don’t forgive him, who can?” The following video showcases Hongxi Fazang’s heartfelt repentance and deep gratitude towards H.H.  Dorje Chang Buddha III, at the Holy Miracle Temple.

Scientific Discovery: Once You Choose Forgiveness, Your Brain Will Help You “Let Go” of Pain

Link:https://peacelilysite.com/2023/09/13/scientific-discovery-once-you-choose-forgiveness-your-brain-will-help-you-let-go-of-pain/

#DorjeChangBuddhaIII #HHDorjeChangBuddhaIII #Forgivness #Christianity #HolyMiracleTemple

Source: https://www.tpcdct.org/article/4458#comment-1080

The cultural Heritage of Hanshan Temple

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HanShan Temple photo from https://www.quanjing.com/image/hanshansi.html

The cultural Heritage of Hanshan Temple

Hanshan Temple (寒山寺), which translates to Cold Mountain Temple, is situated in the Gusu District of Suzhou city. Originally named “Miaoli Puming Temple,” it dates back to the Liang Dynasty of the Southern Dynasties, specifically from A.D 502-519. Covering an area of approximately 13,000 square meters, the temple boasts a construction area exceeding 3,400 square meters.

During the Tang Dynasty’s Zhenguan period (A.D. 627-649), two prominent monks of the time, Hanshan and Xiqian, founded Hanshan Temple. Over its more than 1,300-year history, the temple has suffered five fires (some versions claim seven), with its most recent reconstruction occurring during the Guangxu period (A.D. 1875-1908) of the Qing Dynasty. Historically, Suzhou’s Hanshan Temple held a prestigious position among China’s top ten famous temples. Its fame extends beyond borders due to a poem composed by Zhang Ji, a Tang Dynasty poet, which is taught in Chinese primary schools. This poem is also included in the curriculum of Japanese schools, further elevating Hanshan Temple’s renown in Japan, attracting numerous Japanese visitors who come to pay their respects to the Buddha. The temple features numerous historic buildings and tablet inscriptions authored by calligraphers, making it a popular destination for those seeking peace and spiritual solace.

Hanshan Temple holds a distinguished place in China’s Buddhist history, chiefly because of the famous poem by Tang Dynasty poet Zhang Ji. This poem is part of the curriculum in primary schools in both China and Japan.

The Night Lodging at Maple Bridge
By Zhang Ji

月落乌啼霜满天
The moon sinks in the frosty sky and ravens caw far and near

江枫渔火对愁眠
Riverside maples and fishing lamps gloomily make me drowsy

姑苏城外寒山寺
From the Han-Shan temple siting at outside of the Gu-Su town

夜半钟声到客船
Come midnight bell rings as a passenger boat is arriving 

Apart from the legends of Hanshan and Shide, Hanshan Temple boasts a collection of treasures that have been cherished throughout its extensive history. Among these treasures, one of the most renowned is the poetic stele of ‘Night Mooring at Maple Bridge,’ crafted by the esteemed scholar and calligrapher Yu Yue during the late Qing Dynasty. It stands as an invaluable asset to Hanshan Temple.

It must be acknowledged that this piece of calligraphy represents the apex of ‘Night Mooring at Maple Bridge’ renditions throughout history. The lines of regular script flow seamlessly, displaying an inherent elegance and freshness, achieved with seemingly effortless brushwork. Engraved upon the stele, it emanates a subtle, age-old charm and an evocative poetic atmosphere. Each time I gaze upon this stele, it evokes a different emotional response within me. As I have delved into the art of calligraphy myself, I have even attempted to replicate ‘Night Mooring at Maple Bridge.’ While I deeply appreciate Yu Yue’s extraordinary skill and find it visually pleasing, there has always been a sensation of something missing, an ineffable aspect I couldn’t articulate. My pursuit has persisted, a continuous quest to discover calligraphic masterpieces that could genuinely satiate my aesthetic sensibilities, and this aspiration remains deeply rooted within me.

The other day, I had a sudden encounter with ‘Night Mooring at Maple Bridge,’ personally penned by H.H. Dorje Chang Buddha III, and it was as if I had stumbled upon a divine masterpiece! This artwork utilizes cursive script, showcasing the grandeur reminiscent of dragons and serpents, seasoned with masterful brushwork, conveying both a majestic ruggedness and a subtle elegance. What elevates its worth even further is its dynamic and ceaseless artistic allure, reaching monumental proportions. It can be aptly described as the highest sacred creation, far beyond the grasp of ordinary individuals. This represents the embodiment of the Five Vidyas, as expressed by the Buddhas and Bodhisattvas in the realm of Prajna, offering an extraordinary experience to those who behold it and serving as the ultimate exemplar for calligraphy enthusiasts like myself to aspire to emulate.

In this lifetime, I am profoundly fortunate to have encountered the authentic and unwavering Dharma of the Tathagata. The achievements of H.H. Dorje Chang Buddha III stand unparalleled on a global scale. When it comes to providing tangible evidence of wisdom and realization attained through proficiency in both exoteric and esoteric Buddhism, as well as mastery of the Five Vidyas, there is simply no one within the realm of Buddhism who can be mentioned in the same breath as His Holiness.

The Buddha’s criterion for measuring one’s level of accomplishment in the Buddha-dharma is rooted in the extent of proficiency in both exoteric and esoteric Buddhism, as well as the mastery of the Five Vidyas. However, throughout the history of Buddhism up to the present day, only H.H. Dorje Chang Buddha III Holiest Tathagata has truly and comprehensively demonstrated complete proficiency in exoteric and esoteric Buddhism, along with perfect mastery of the Five Vidyas. His Holiness unmistakably presents, for all to witness, a myriad of achievements that exemplify his complete proficiency in exoteric and esoteric Buddhism and his impeccable mastery of the Five Vidyas, as stipulated by the Buddha.

His Holiness, an ancient Buddha, holds the distinction of being the first being of holy virtue in history to genuinely manifest such lofty and all-encompassing realization. The undeniable proof of this is found in the numerous accomplishments single-handedly achieved by H.H. Dorje Chang Buddha III, as detailed within the thirty main categories listed in this book, “H.H. Dorje Chang Buddha III — A Treasury of True Buddha-Dharma.”

I earnestly pray that all sentient beings may embark upon the ‘vessel’ of liberation and achieve enlightenment.

The cultural Heritage of Hanshan Temple

Link:https://peacelilysite.com/2023/09/08/the-cultural-heritage-of-hanshan-temple/

#DorjeChangBuddhaIII #HHDorjeChangBuddhaIII  #HanShanTemple #ChineseCalligraphy #Buddhism #ExotericandEsotericBuddhism #AcientBuddha #TreasureBook #FiveVidyas

Source： https://blog.wenxuecity.com/myblog/77953/202108/16124.html, https://www.chinadiscovery.com/jiangsu/suzhou/hanshan-temple.html

I have Attained A very Special and Sacred Assembly

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The Dharma of Selection in Dark Confinement

In esoteric Buddhism, a multitude of Dharma categories exists. Among these, within the realm of decision by selection, “the Dharma of Selection in Dark Confinement” holds a prestigious position as an advanced and profound teaching. This particular Dharma surpasses other practices such as “the Dharma of Inquiry by a Flying Lot,” “the Dharma of Selection with Mani Stone,” “the Dharma of Lot Drawing from a Golden Vase,” and “the Dharma of Card Drawing Across the Curtain.” It even stands above the esteemed “Dharma of Vajra Selection,” second in rank only to “the Dharma of Divine Forecasting.”

It’s important to note that participating in the ceremony of “the Dharma of Selection in Dark Confinement” does not inherently imply a person’s high status or identity. The determination of one’s status relies on the outcomes of the selection process. The exceptional aspect of “the Dharma of Selection in Dark Confinement” lies in its ability to precisely unveil an individual’s true identity with absolute certainty.

On December 12th, 2012, a remarkable opportunity graced my life as I attended a live assembly centered around this sacred teaching. The event took place within a magnificent edifice that now houses the H.H.Dorje Chang Buddha Culture and Art Museum. Illuminated against the night sky, the gathering attracted several hundred disciples. Led by an anonymous yet revered figure of great holiness and virtue, the ceremony aimed to bestow the initiation of “Selection Made in Dark Confinement from One-Hundred Dharmas to Choose the Door toward Enlightenment” upon Dharma Master Zhengda (Awang Deji Rinpoche).

The enigmatic spiritual leader entered the assembly hall donning a cone-shaped bamboo hat veiled in darkness, evoking the aura of a martial arts hero from cinematic lore. His countenance remained shrouded, a mystery to all. Swiftly, he proceeded into a petite Buddha hall, safeguarded by a group of rinpoches. The shroud of anonymity around his true identity remained impenetrable to everyone present.

H.H. Dorje Chang Buddha III, the figure whom everyone awaited with the utmost anticipation, graced the hall of the dharma assembly with His presence. The profound sense of blessedness and gratitude that welled up within me was immeasurable, as I had the privilege to worship and attentively listen to the Buddha from such a close vantage point. Furthermore, every attendant could witness to the remarkable transformation of His Holiness into a youthful appearance, an occurrence that transpired in October of that very year, 2012. (For more intricate details, refer to the “Truth about Reversing An Old Age Back to Youth“).


First, dharma masters presented a manuscript containing all one hundred letters of petition to this great holy and virtuous one who would practice the dharma for this dharma assembly. The great holy and virtuous one circled three of the one hundred letters of petition using a pen with red colored ink as the predictions made ahead of time for publishing at the conclusion of the dharma assembly. When the disciple who was subject to the decision by selection drew three letters of petition, the three circled ones would be verified that they all matched the letters of petition actually selected by the disciple. These three then represented this disciple’s correct karmic conditions at that time.
The other ninety-seven letters of petition did not match karmic conditions of the disciple receiving the initiation this time and were all crossed out, indicating they were at least irrelevant if not untrue.
Additionally, a required procedure was to make a seal on the spot. This was very rigorous and was done by dharma masters in person. An un-carved stone seal was rested on both of its ends and unsupported in the middle. With a strike by a hammer, the seal was broken into two pieces. The uneven face of one of the two pieces was ground slightly with sandpaper, while still preserving enough lines and contours from the break. A seal made this way could never be duplicated, even if you attempted to do it ten thousand times. Once the seal was made, it was used at the scene to stamp the one hundred letters of petition written by hand by the disciple. Every letter of petition was stamped so no one could make any falsification.


Dharma Master Zhengda drew three letters of petition by herself in complete darkness. Later with lights on, dharma masters opened them up to verify them. As expected, they all completely matched the three that were circled by the great holy and virtuous one earlier. Then the three were rolled and squeezed again into nubs in front of the public and put together with the other ninety-seven nubs with the same appearance. After mixing them together by shaking the golden vase, they were sent to the great holy and virtuous one for selection. In less than one minute, the great holy and virtuous one selected three. Dharma masters again opened them in public. They were the same ones that Dharma Master Zhengda had drawn earlier. Moreover, they were all stamped by the seal made on the spot.
To verify that the other ninety-seven pieces did not have the same contents, dharma masters opened them all to verify. They were all stamped with the seal made on the spot. Each one was read out by the dharma masters. There wasn’t any repetition at all. All were unique and agreed with the contents in the common manuscript. This fact proved that the Dharma of Selection in Dark Confinement conducted by the great holy and virtuous one was completely carried out by perfect holy realization.


These one hundred letters of petition were all written by the person undergoing the decision by selection, Dharma Master Zhengda. The most important fact was that Dharma Master Zhengda had to take an oath against severe consequences, in front of the offering table and before all people present, to all Buddhas and Bodhisattvas in the ten directions, the eight types of celestial beings, and deities in all heavens.


Her oath swore that these one hundred letters of petition were written by her and kept by her; all letters of petition were never touched by the great holy and virtuous one; the drawing of the three letters of petition was done by her in complete darkness without any visibility and were arbitrarily picked; and there was not any falsification from the beginning to the end. If what she said were false, she would definitely descend into the Vajra Hell to suffer forever without any chance of being saved.
This dharma assembly determined for certain Dharma Master Zhengda’s karmic conditions.

The numbers and contents of the three letters of petition selected were respectively:
No. 4: H.H. Dorje Chang Buddha III is the holiest. I am a trusted aide of the Tara. A cultivator building temples has great merit. You will be brought to see the Buddha and become a holy one.




No. 13: Transcribing and copying the recorded dharma lessons was a foolish violation. Making errors in sentences to cause the loss of true meanings made me a person of guilt. I must repent earnestly and correct completely. Otherwise the outcome would be being detained in the mundane world.

No. 69: The dharmas of Lamdre have many levels. The Dharma of Mud-Pill Lamdre is the highest. Having passed the exam proctored by seven monastic masters and ten witnesses, my status is at the summit of esoteric Buddhism.

The selections made by the Dharma of Selection in Dark Confinement concluded that Dharma Master Zhengda was a reincarnated holy one and a trusted aide of the Tara. Her status of the dharma was extremely high, at the upper level representing the summit of esoteric Buddhism.
H.H. Dorje Chang Buddha III conducted “the Dharma of Divine Forecast-ing’ using a golden vase for an anonymous great holy and virtuous one who did not reveal his identify. The forecast was repeated three times without discrepancy, proving its correctness. “The Dharma of Divine Forecasting” showed that this great holy and virtuous one possessed master’s qualifications at the middle level of holy realization with Three Sun-Moon Wheels. That represented a truly rare great holy and virtuous one. Even Dharma King Gar Tongstan who is the chairperson of the United International World Buddhism Association Headquarters, Kaichu Rinpoche, and Holy and Virtuous One La Zhen possessed just master’s qualifications represented by One Sun-Moon Wheel. Even Mozhi Rinpoche’s realization was only at the level of Two Sun-Moon Wheels. He surpassed the status of Mozhi Ripoche and truly deserved the title of great holy and virtuous one. To achieve the status of “Great Holy and Virtuous One,” one must possess master’s qualifications at the middle level of holy realization with Sun-Moon Wheels.
The United International World Buddhism Association Headquarters issued a document for receiving the certificate of Three Sun-Moon Wheels to the great holy and virtuous one on the spot. After the dharma assembly had ended, people were all very excited and thought that they would have the opportunity of paying respect to the great holv and virtuous one in person and knowing who He actually was.
However, the great holy and virtuous one did not leave his name and did not meet with people. He left quietly without accepting the document. People were very disappointed. So far no one knows who He really was. People only learned that this was a selfless great holy and virtuous one possessing master’s qualifications with Three Sun-Moon Wheels. The demeanor of a true Mahasattva and a true great holy and virtuous one was definitely not what those who chased fame and gain, those who faked being holy ones by boasting and self-promotion, and those dharma kings, venerable ones, and great dharma kings who used false initiations to cheat believers for money and property could even slightly resemble.
Master’s qualifications with Sun-Moon Wheels are very amazing and indicate the levels of realization and status of master’s qualifications.

The Dharma of Selection in Dark Confinement

Link:https://peacelilysite.com/2023/08/31/i-have-attained-a-very-special-and-sacred-assembly/

#Buddha ##HHDorjeChangBuddhaIII #DorjeChangBuddhaIII #BuddhaDharma #MasterZhengDa #H.H.DorjeChangBuddhacultureandartmuseum #EsotericBuddhism

Decades ago, Master Yi Yungao Embarked on a Visit to Taiwan and was Greeted with an Unprecedented and Fervent Welcome

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Unveiling the Unparalleled Acupuncture Technique of Our Time: The Galloping Horse Wonderful Needle – An Exclusive Interview

Back in May 1995, a remarkable event unfolded that showcased the extraordinary acupuncture technique of our era, the Galloping Horse Wonderful Needle. This revelation occurred through an exclusive interview that shed light on this unparalleled medical practice.

The context of this revelation traces back to a significant cultural and artistic exchange initiative between mainland China and Taiwan. Master Yi Yungao(H.H. Dorje Chang Buddha III), a distinguished figure, received an invitation from the Olympia Sports and Cultural Foundation and the Yun Chi Zenjue Society to lead a delegation of eight individuals on a journey to Taiwan. The initial intention was to maintain a low profile upon their arrival, yet fate had different plans. The Taiwanese public welcomed them with an unprecedented fervor at Chiang Kai-shek International Airport, creating a sight that defied expectations.

Wu Jingguo, the Chairman of the Olympia Foundation, recounted the astonishing scenes that unfolded. More than 4,000 people gathered at the airport to extend their warm welcome, and an escort of over 1,300 vehicles accompanied them as they departed from the airport. This culminated in an astonishing journey of approximately 3.5 hours from the airport to the Grand Hyatt Hotel, where Master Yi Yungao was lodged. The hotel’s premises were adorned with a vibrant assembly of well-wishers, offering flowers and orchestrating musical performances in a grand welcoming procession. This spectacle vividly captured the deep respect and reverence that the people of Taiwan held for Master Yi Yungao, underscoring the profound impact he had on their hearts and minds.

The question arises: what attributes define Master Yi Yungao and evoke such genuine admiration from the public? The answer lies in his multifaceted accomplishments that span diverse domains, including art, philosophy, Buddhism, ethics, morality, and literature. It’s these exceptional contributions that have led to his esteemed recognition as a “master.” His acclaim is far-reaching, and a testament to this is his official designation as a “Special International Grand Master” in 1994. This recognition was conferred by a consortium of 5,612 experts and scholars representing 48 countries and regions, each hailing from diverse academic backgrounds and institutions.

In essence, the unparalleled Galloping Horse Wonderful Needle technique and the reverence for Master Yi Yungao are emblematic of his profound impact on both medical science and human hearts, resonating through time.

During his participation in the art exhibition as part of the Taiwan delegation, Master Yi Yungao’s mastery of the painting realm spans a broad spectrum of subjects. He showcases remarkable expertise in landscapes, figures, flowers, animals, and beyond. His artistic styles encompass meticulous detailing, freehand expression, and daring color palettes. His ink strokes flow seamlessly, and his depictions emanate from the essence of their forms, exuding an inherent elegance and vibrant spirituality. For instance, a showcased artwork titled “Tiger” presents a dynamic portrayal of a tiger seemingly in motion from any angle, aptly named “Versatile in All Directions.” Another piece, “Homage to Guanyin Bodhisattva,” exudes an extraordinary beauty. Upon inquiry, he modestly likened it to Dunhuang paintings, acknowledging certain resemblances while highlighting the distinctive cloud composition in the attire, drawn with a single, uninterrupted stroke. The divergence extends to the treatment of color ribbons. Moreover, his splashed-ink paintings, acclaimed by some connoisseurs as akin to Zhang Daqian’s works, radiate an authenticity that resonates harmoniously.

Although Master Yi Yungao and Zhang Daqian have never crossed paths, he attested to observing Zhang Daqian’s splashed-ink paintings and learning from them. He expressed his intent to emulate and glean insights from Zhang Daqian’s works.

Venerable Master Yi Yun granted our publication an exclusive interview at the Grand Hyatt Hotel, where he shared the following insights:

Question: What is the primary purpose of your visit to Taiwan this time?

Answer: My main reason for visiting Taiwan this time was in response to an invitation from the Olympia Foundation to participate in an art exhibition and engage in cross-strait cultural exchanges.

Question: What are your impressions after experiencing Taiwan?

Answer: The warm reception I’ve received from the Taiwanese people during this visit has deeply moved me. Whether it was at the airport or the hotel, the reception was overwhelming, resembling a sea of people. Even as I ventured outside the city, to places like Xizhi and Nankan in Taipei County, the warm welcome persisted. They celebrated with firecrackers, fireworks, and tremendous enthusiasm. Some individuals even crafted flags bearing my likeness to welcome me. I’m genuinely touched by this reception, which vividly demonstrates the growing harmony in cross-strait cultural exchanges. This harmony is pivotal for the cause of Chinese reunification and significantly fosters the profound emotional connections between people on both sides of the strait, connections that cannot be severed.

Question: How did the art exhibition fare this time?

Answer: Our visit to Taiwan this time was prompted by an invitation from the Olympia Foundation to organize an art exhibition. The primary objective was to enhance cultural and artistic exchanges between the two sides. The exhibition turned out to be a resounding success. During the opening ceremony on May 12th, we were honored by the presence of notable individuals, including Mr. Chiang Yen-shih, a member of the Presidential Office’s Advisory Council, and General Song Changzhi, a strategic advisor to the Presidential Office. We deeply appreciate this reception and believe that this exchange in the realm of painting will yield fruitful outcomes for both sides.

Question: What is your perspective on art?

Answer: Discussing art is a profound endeavor that cannot be encapsulated within a mere hour or two. In fact, I’ve delved into this subject in my previous writings. (Quoting from the master’s work, “I’ve previously mentioned that I don’t consider myself an artist. This assertion is in response to the prevailing perception of artists today. My journey began under the tutelage of a master in my childhood, driven not solely by artistic interest. Through exploring the universe, life, and society, I ventured into the realm of wisdom development and gained insights. Naturally, artistic skills and perspectives emerged. Art contributes to the diverse world, adorning the multifaceted fabric of human existence with vibrant hues. Its function shouldn’t be overly exaggerated.”)

Entrance to the Master Wan Ko Yee Museum-China

Question: A “Master Yi Yun Gao Museum” has been established in Dayi County, Sichuan Province. Building a memorial hall for someone who is alive is quite rare. Could you elaborate on the process and motives behind establishing this hall?

Answer: After being bestowed with the title of “Special International Master” by 5,612 experts and scholars from 48 countries and regions at the 4th World Poets Culture Conference, and receiving the affection of individuals from my hometown, suggestions emerged to create a memorial hall. The completion of this hall has genuinely humbled me, and I’m profoundly aware of the goodwill and kindness of the people. It amplifies my sense of responsibility. To further the common good, I’m motivated to invest more effort. While I can be perceived as a “caretaker” of this hall, it truly belongs to the public, serving the greater societal welfare. Displaying artworks and cultural exhibits in this venue primarily aims to promote ethics, morality, and art. It seeks to inspire young students to delve into cultural arts, thereby nurturing Eastern philosophy, propagating Chinese culture, and enhancing the well-being of the populace. Visitor numbers to the hall continue to rise steadily.

Question: Your prowess in acupuncture, particularly the “Galloping Horse Wonderful Needle” technique, is widely recognized. Could you elucidate this technique?

Answer: The “Galloping Horse Wonderful Needle” technique in acupuncture is genuinely a “seeing is believing” situation. Its effects can be witnessed firsthand by those with physical ailments. (At that moment, Ms. Jiang Chengling Hui, the publisher of this magazine, expressed her willingness to experience it. Venerable Master Yi Yun inserted an acupuncture needle between the thumb and index finger of her right hand. As he exclaimed “swell,” Ms. Jiang echoed “swell.” Then, with a “go” from him, she exclaimed “it’s gone.” The needle had moved up her arm. Those present, including our magazine colleagues and others, were astonished.) This “Galloping Horse Wonderful Needle” technique is truly unparalleled globally.

Due to the late hour, as a substantial audience awaited Venerable Master Yi Yun and the clock struck midnight, our group of interviewers, filled with awe about the “Galloping Horse Wonderful Needle” acupuncture technique, concluded the visit.

(Note: Galloping Horse Wonderful Needle is a unique healing technique of Buddhism requiring special powers, and it is used to cure people of their illnesses. It is said that common people cannot master this technique. In order to apply this technique, one must have reached a very high state of training in the Vajra Fist Dharma of esoteric Buddhism. One must also have entered the phase that transcends the generation and completion phases. Through special skills, one produces a power that adjusts the “external four great elements.” (earth, water, fire, and wind) One then uses one’s concentration powers to bring about needle treatment reactions that course through the body like a galloping horse. Additionally, one must use thought to guide the “internal four great elements” of the patient’s body so that his body undergoes acute changes in an instant. Using the energy channels and acupuncture points, the obstructions of illness are expelled one after another. Why does that treatment produce such amazing effects? It has to do with the ultimate truths of the universe.)

Decades ago, Master Yi Yungao Embarked on a Visit to Taiwan and was Greeted with an Unprecedented and Fervent Welcome

Link:https://peacelilysite.com/2023/08/25/decades-ago-master-yi-yungao-embarked-on-a-visit-to-taiwan-and-was-greeted-with-an-unprecedented-and-fervent-welcome/

Source: https://hzbi.org/10928.html

Fanjing Mount

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A view of the New Golden Summit, looking west. Costfoto / Barcroft Media via Getty

Clouds roll past the New Golden Summit on Mount Fanjing.  Clkraus / Shutterstock

Fanjingshan, also known as Mount Fanjing, is situated in the eastern part of Guizhou Province, China, within Tongren City. It is positioned approximately 248 kilometers away from Guiyang and 220 kilometers from Zhangjiajie. Mount Fanjing proudly claims the title of being the highest peak within the Wuling Mountains, with an impressive elevation of 2572 meters. The mountain stands adorned with primitive vegetation, its landscape characterized by majestic peaks, a continuous succession of towering summits, babbling streams interwoven with cascading waterfalls.

Moreover, Fanjingshan holds great spiritual significance as a revered Buddhist site. It’s widely believed among Buddhists that Fanjingshan is a place where spiritual enlightenment akin to that of Maitreya Buddha can be attained.

The appellation “Fanjing” finds its origins in “Fantian Jingtu,” a Buddhist term that translates to “Brahma’s Pure Land.” This hallowed mountain has been acclaimed as China’s Fifth Buddhist Mountain, a distinction following the likes of Mount Wutai in Shanxi Province, Mount Putuo in Zhejiang Province, Mount Emei in Sichuan Province, and Mount Jiuhua in Anhui Province. With a history spanning over 2000 years, embellished by extraordinary rock formations and abundant biodiversity, Mount Fanjing unveils itself as a serene, distinct haven. A sojourn to this tranquil expanse offers a revitalizing and spiritual respite from the bustling clamor of urban life.

Unique geological landforms, including the “Mushroom Stone” at right. Sanyanwuji / Shutterstock

In geological terms, Mount Fanjing assumes the form of a “fold belt,” an arrangement akin to stacked layers of rock resembling an assemblage of intricate shapes, an occurrence seldom witnessed elsewhere. The Mushroom Stone serves as a prime exemplar, where layers of rock have taken on the semblance of a towering mushroom.

Throughout antiquity, Fanjing Mountain stood as a venerable hub of Buddhist culture within the Wuling Mountain range. Historical records attest to the proliferation of numerous Buddhist temples along its slopes, catering to pilgrims from around the world. Yet, during the 16th century in the Ming Dynasty, a substantial number of these temples met destruction, effectively suppressing Fanjing Mountain’s renown. The subsequent Qing Dynasty saw a revival of fortunes, with governmental initiatives aimed at temple reconstruction and expansion along the mountain’s pathway to the “Red Clouds Golden Summit.” Notable temples such as Cheng’en Temple and Baoguo Temple were erected. By 1896, the fifth phase of Fanjingshan Temple reconstruction reached its culmination, bestowing upon Fanjing Mountain an esteemed status in the global Buddhist sphere and solidifying its position as China’s “No. 5 Great Buddhist Mountain.”

Mount Fanjing boasts three soaring summits that pierce the heavens – the Red Clouds Golden Summit (2336 meters), the Old Golden Summit (2493 meters), and the Phoenix Golden Summit (2572 meters). From these majestic pinnacles, visitors are treated to breathtaking panoramic vistas of Mount Fanjing’s expansive landscape. Crowning the preeminent “Red Clouds Golden Peak” stands the remarkable Fanjingshan Temple, perched at a daring elevation of 2,336 meters above sea level. Nestled atop the columnar peak, this temple’s elusive location beckons travelers to witness its ethereal presence firsthand and capture mesmerizing, novel photographs.

Fanjingshan Temple, encompassing the revered Temple of the Buddha (释迦殿) and the Maitreya Temple (弥勒殿), graces the summit of the “Red Clouds Golden Summit” (also known as the New Golden Summit) on Fanjing Mountain. The former is dedicated to the worship of Sakyamuni, symbolizing the present, while the latter venerates Maitreya, representing the future. These two temples trace their origins back to the Yongle period of the Ming Dynasty, over five centuries ago. Presently, they have been meticulously reconstructed to echo their original splendor, their structures fortified with iron tiles to withstand the mountain’s formidable winds. Each temple is embodied by a single hall, constructed from meticulously arranged stone pieces measuring 5.4 meters in width and 5.55 meters in depth. A bridge gracefully connects the two temples, spanning the depths of the Gold Sword Gorge.

For pilgrims journeying to Fanjingshan, the ascent involves ascending thousands of steps to initially reach the Temple of the Buddha on the southern facet. Subsequently, crossing the bridge leads to the Maitreya Temple on the northern side of the “Red Clouds Golden Summit.” This sequence mirrors the Buddhist concept of transition from the present (Sakyamuni) to the future (Maitreya). As the “Red Clouds Golden Summit” often finds itself enshrouded by mist and enveloped in sea of clouds, standing upon the terrace outside Fanjingshan Temple offers a surreal experience of gazing upon the world from above, capturing an otherworldly perspective amidst the natural elements.

Much like the iconic Avatar Hallelujah Mountain in Zhangjiajie National Forest Park, Fanjingshan stands as a towering pinnacle, slender and vertically oriented, evoking the image of a pencil standing upright on a desk. Scaling its summit requires ascending over 8,000 steps or opting for a cable car ride up from the road below. Most visitors opt for a full day to thoroughly explore this remarkable sacred mountain. Its attractions span a diverse range, encompassing the Red Cloud Golden Peak, Old Golden Summit, Ten-Thousand Sleeping Buddha, Mushroom Stone, Jiulong Pond, Fenghuang Mountain, Numerous Rolls of Books, and more.

Situated in the mountainous expanse of Guizhou Province, Fanjingshan falls within the ambit of a subtropical humid monsoon climate, distinctly marked by four seasons. Throughout the year, the average annual temperature oscillates between 13.1°C and 14.7°C. July witnesses the hottest days, with an average temperature hovering around 24°C, while January holds the chilliest nights, registering an average temperature of approximately 4.6°C. On the whole, Fanjingshan enjoys a temperate climate, graced by ample sunlight and rainfall. Summers remain moderate, and winters remain mild, with neither excessive heat nor biting cold. Rainfall predominantly occurs from May to October, while the frost-free period spans a generous 270 to 278 days annually.

The prime window to explore Mount Fanjing extends from March to November. For those seeking to capture stunning photographs, the early morning hours are particularly enchanting. The aftermath of rain unveils captivating spectacles, such as the Sea of Clouds, Zen Fog, Buddha Light, and breathtaking sunrises, which contribute to the mountain’s mystique and allure.

Fanjing Mount

Link: https://peacelilysite.com/2023/08/22/fanjing-mount/

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Source: https://www.chinadiscovery.com/guizhou/fanjingshan.html, https://www.theatlantic.com/photo/2019/04/a-photo-visit-to-mount-fanjing/586879/, https://www.chinadiscovery.com/guizhou/fanjingshan/fanjingshan-temple.html