Discover the Beauty of Qinghai This Summer

Entering summer, the northwest is like a fairyland, and as the gateway to this paradise, Qinghai is so breathtaking that one forgets the passage of time. Snow-capped mountains, lakes, grasslands, deserts, Yadan landforms, temples, prayer flags…

Countless unique landscapes make Qinghai a place worth exploring in depth. Here, you can easily encounter breathtaking scenery: lakes, flower fields, deserts, and starry skies, along with six vibrant colors: blue skies, green lakes, white mountains, golden deserts, green grasslands, and yellow rapeseed flowers. Walking on this vast land, the vitality and colors continually surprise you. Qinghai is a place you’ll fall in love with and never want to leave. In July, Qinghai Lake is romantic and poetic, with vast fields of rapeseed flowers along the lakeshore, blue water blending with the sky, and smoke rising from small wooden houses by the shore, resembling a pastoral landscape painting.

Qinghai Lake or Ch’inghai Lake, also known as Lake Koko Nor, is the largest lake in China (the size of Rhode Island or three Greater Londons). Located in the northeast of the Tibetan Plateau, this huge alkaline salt lake is usually No. 1 on “Most Beautiful Lakes in China” lists.

Spectacular Sunrise of Qinghai Lake

Erlangjian Scenic Area

Fairy Bay Area – The Sea of Flowers

Fairy Bay Area is a wet land located in the northern coast of Qinghai Lake. There are two legends about how Fairy Bay Area got its name. In one old legend, the queen of the west area fell in love with the King of Central Plains. The queen always served a feast for the king in Qinghai Lake with pretty fairies singing and dancing for them. Another ancient poem showed that the Queen of the west had been waiting for the king of Central Plains in Qinghai Lake for thousands of years but he never kept his appointment. The sad queen left for Heaven, but she ordered the fairies to guard Qinghai Lake. Later, these fairies masqueraded as swans living in Fairy Bay Happily. Might be attracted by these beautiful swans, a dozen of other birds also prefer Fairy Bay as a habitat.

Apart from various birds, different kind of flowers blooms here from every June to October. Just like a carpet waved by fairies, Fairy Bay presents on white, yellow, orange, pink, red etc., really deserving its name of Flowers’ Ocean. Because of the magic legends and amazing landscape, local people regard it as sacred ground and several solemn rituals are held here. So, you can feel a strong cultural fragrance.

Sand island in the lake

Great Scenery in the Biking Trip

There’s a Tibetan folk custom that Buddhists should walk around the lake in the Year of Goat, circle the mountains in the Year of Horse, and circle the forest in the Year of Monkey. Some believe it’s a decree left by Buddha. Qinghai Lake is a sacred lake for Buddhist pilgrimages. Especially in Horse years of the 12-year cycle, many Buddhists will take a kora around the Qinghai Lake which is believed to be helpful to lead a safe and happy life. By traveling to Qinghai Lake you can get close to the devoted Tibetans and appreciate Tibetan culture. When the weather is warm in the summer months, there are ethnic festivals of the Tibetans and Muslims. Nowadays, there are still lots of minority tribes and herdsman families living beside the Lake. You can feel the strong nomadic ethnic culture there.

Buddhist Pilgrims Worshiping Qinghai Lake

Besides Qinghai Lake, there are many lakes in Qinghai, such as Chaka Salt lake, ChaErHan Salt lake, etc.

Qinghai has many mountains, 3,600 mountain peaks, clustered together, resemble giant petals in full bloom, tracing graceful arcs across the sky. Up close, they resemble ancient castles, pyramids, animal shapes, and cylindrical pillars. Being there feels like entering a maze, making it difficult to distinguish directions.

In July and August, large fields of rapeseed flowers bloom beneath Zhuo’er Mountain. Standing at the top of the mountain, the view is incredibly expansive and unobstructed. As far as the eye can see, the earth is covered with a golden-yellow carpet.

This summer, embark on a pilgrimage to Qinghai.

On this vibrant land, there exists a power, ancient and resolute, with the solemn sound of bells echoing in all directions, suppressing all disturbances. The 400-year-old Kumbum(or Ta’er Monastery ) is one of the most important temples of the Gelug sect of Tibetan Buddhism. Entering the incense-filled Ta’er Monastery, one begins to feel detached from the mundane world. Devout followers, serene temples, and vivid Buddha statues all convey the weight of faith. The monastery’s buildings are grand, blending Han palace and Tibetan flat-top styles. With over 4,500 rooms, it forms a unique architectural complex that integrates Han and Tibetan craftsmanship.

The most captivating event is the annual “Shai Da Fo” or “Shai Da Thangka,” also known as the “Buddha Exhibition Festival.” This involves displaying a large Buddha image outdoors to prevent mold and insect damage, and more importantly, as a special way for monks and followers to pay homage to the Buddha. The image is actually a special type of large Thangka, a rare treasure among scroll paintings. The best time to unfold the Buddha image is at dawn when the first rays of sunlight hit the earth, hence the name “Shai Fo,” which means “Sun Buddha.”

Held twice a year during the lunar fourth and sixth months, the festival commemorates the birth, enlightenment, and nirvana of Shakyamuni, the emergence of Maitreya, and the birth and nirvana of Tsongkhapa. By displaying the Buddha image, followers can gaze upon it, receive its blessings, and protect it from damage. Ta’er Monastery has four large embroidered Buddha images: “Lion’s Roar,” “Shakyamuni,” “Tsongkhapa,” and “Vajrasattva,” with only one displayed each time on the monastery’s hillside. The ceremony is grand, attracting many spectators and creating a spectacular scene.

Link:https://peacelilysite.com/2024/07/15/discover-the-beauty-of-qinghai-this-summer/

Source: https://www.chinahighlights.com/xining/attraction/qinghai-lake.htm, https://www.chinadiscovery.com/qinghai/xining/qinghai-lake.html, photos from https://fashion.sina.cn/l/ds/2022-07-06/detail-imizmscv0155077.d.html

Zhulin Temple (Chuk Lam Sim Yuen) at Hong Kong

Standing on Fuyung Mountain Road in Tsuen Wan, Hong Kong, Zhulin Temple (also known as Chuk Lam Sim Yuen) proudly upholds the lineage of the Linji School of Zen Buddhism. Rooted in tradition, the temple seamlessly integrates teachings from the Tiantai and Pure Land traditions, thereby spreading the Buddha’s wisdom far and wide. Nestled within the heart of the Fragrant Harbour, it fosters a unique spiritual atmosphere known as the “Bamboo Grove Family Style,” where the Dharma is generously shared, benefiting both locals and visitors alike, serving as a haven for Buddhist study and practice.

Encompassing an expansive area exceeding 400,000 square feet, Zhulin Temple commands a serene and majestic presence, making it one of the largest and most beautiful temples in Hong Kong. Its origins trace back to 1928 when the founding master, prompted by three visionary dreams from Bodhisattva Ksitigarbha, embarked on the mission to erect a temple on Fuyung Mountain. Inspired by unwavering Bodhi resolve, six devoted followers generously donated funds to procure the land and construct the temple. Drawing inspiration from the architectural marvels of ancient Chinese mountain temples, the Pagoda Hall was completed on October 23, 1932, housing the largest statue of Ksitigarbha Bodhisattva on a lotus throne in Hong Kong. Thus, Zhulin Temple was formally inaugurated, marking the beginning of its sacred journey to illuminate sentient beings.

The architectural layout of Zhulin Temple embraces a harmonious three-section courtyard design. Upon crossing the mountain gate, visitors are greeted by the monastery’s serene courtyard garden, offering a space for worshippers to procure incense, candles, flowers, and fruits for offerings. Ascending the steps leads to the grand Hall of Heavenly Kings, where the jovial Maitreya Buddha stands at the central entrance, extending a warm welcome to all. Within the hall, the Four Heavenly Kings stand guard, with the central altar adorned by Bodhisattva Virūpākṣa, safeguarding the monastery under the benevolent gaze of Maitreya Buddha.

steps leads to the Grand Hall of Heavenly Kings,

Maitreya Bodhisattva

Further beyond lies a spacious courtyard flanked by a bell tower and drum tower. Ascending the stairs unveils the majestic Grand Hall, where the Triple Gem (Amitābha Buddha, Śākyamuni Buddha, and Bhaiṣajyaguru Buddha) resides on the central altar, accompanied by eighteen Arhats on either side. Adorning the rear of the Triple Gem altar is a depiction of the transformative scene from the Avalokiteśvara Sūtra, illustrating the manifestation of Avalokiteśvara Bodhisattva.

Bell Tower and Drum Tower

The Grand Hall

Adjacent to the main hall, worshippers find solace in a pavilion, while the Guan Yin Hall and Jade Buddha Hall flank its sides. Upstairs, the Pagoda Hall, now known as the Ksitigarbha Hall, stands adjacent to the Ancestral Hall and the Kitchen. Surrounding the monastery are additional halls including the Five Hundred Arhats Hall, the Dharma Hall, the Chan Hall, and the Scripture Repository, nestled along the outskirts and mountain slopes.

Guan Yin Hall

Ksitigarbha Hall
Five Hundred Arhats Hall

Four faced Buddha Statue 由Hkgalbert – 自己的作品,公有领域,https://commons.wikimedia.org/w/index.php?curid=9932768

Throughout its century-long history, Zhulin Temple has been overseen by five abbots. Notably, the fourth Abbot Master YiZhao emerged as an eminent monk of his time. Venerable Dharma Master Yizhao (1927-2013), born in Guangdong, China, embarked on his spiritual journey by joining Zhulin Zen Monastery in Hong Kong in 1940, formally becoming a monastic in 1941.

Under the guidance of Master Xuyun, he received the transmission of Viyana at Nanhua Temple in 1944, subsequently inheriting the Linji (Rinzai) Dharma lineage and becoming its 44th holder. Establishing the Guyan Pure Monastery in 1952, he later returned to Zhulin Temple to assist in its renovation, eventually assuming the role of abbot. He peacefully passed away in 2013, leaving behind a legacy of enlightenment and compassion.

Master YiZhao (left) and Master XuYun (right) were together at KaiYuan Temple in ChaoZhou, GuangDong , in 1946

Venerable Dharma Master Yizhao, the successor to H.E. Dharma Master Xuyun, exemplifies profound virtue within contemporary Zen Buddhism. Having attained the supreme state of Bodhi, he relinquished all ties to further reincarnation long ago. Inspired by the compassionate vow of Ksitigarbha Bodhisattva, he pledged “As long as there is any living being in the earthly realm, I vow not to become a Buddha.” Renowned as the nirmanakaya of Ksitigarbha Bodhisattva, he received the Amrit Empowerment Initiation from H.H.  Dorje Chang Buddha III, lauded as an exceptional monk who ardently upholds precepts.

In June 2000, Venerable Dharma Master Yizhao seized the opportunity to participate in the Buddhas Bestowing Nectar Dharma Assembly presided over by H.H.  Dorje Chang Buddha III. (The very left in the photo is Master Yizhao)

Following the conclusion of the assembly, Venerable Dharma Master Yizhao graciously shared his personal insights and expressed his profound admiration and gratitude towards H.H.  Dorje Chang Buddha III. For more details, please refer to the interview titled “Interview with Elder Monk Yi Zhao After the Buddhas Bestowing Nectar Dharma Assembly.

Zhulin Temple stands as a testament to beauty and sanctity, inviting visitors to immerse themselves in Buddhist culture, prayers, and blessings, offering a profound spiritual experience.

Link:https://peacelilysite.com/2024/03/14/zhulin-temple-chuk-lam-sim-yuen-at-hong-kong/

#Buddhist #BuddhaDharma #ZhulinTemple #HongKong #ZenBuddhism #YiZhaoMaster #Nectar #MasterXuYun #DorjeChangBuddhaIII  #HHDorjeChangBuddhaIII #ChukLamSimYuen #Abbot #LinjiSchool

Source: https://chuklam.org/, https://baike.baidu.com/item/%E7%AB%B9%E6%9E%97%E7%A6%85%E9%99%A2/19659656

The Abbess of Hua Zang Si– Venerable Ruo Hui RuZun

The abbess of Hua Zang Si is Venerable Ruo Hui RuZun (Golden Button Stage I). She is a disciple of H.H. Dorje Chang Buddha III. She is deeply and broadly proficient in the sutras, abides by the precepts with pure cultivation, upholds correct views, and possesses high and profound virtue and conduct.

Driven by her endowed wisdom and firm aspiration, Venerable Ruo Hui RuZun started learning Buddhism since her childhood. While she was a young person facing a splendid future, Venerable Ruo Hui RuZun decided without hesitation to abandon worldly life to become a monastic practitioner. She respectfully quested for the practice of Buddhism, studied the sutras deeply, and cherished the goal of benefiting living beings in her cultivation and practice. Additionally, she demonstrated outstanding virtue and talent in her diligent study and research in the academic arena and received a Master’s degree from the Department of Philosophy of Taiwan University. She made a vow to dedicate her life to grandly propagating Buddha-dharma and broadly saving living beings. She served as the dean of the Chien Fo Shan Girl Buddhist College in Taiwan in her early years and have been continuously making contributions to the education of Buddhist monastics. However, Venerable Ruo Hui RuZun was deeply aware of the widely prevalent chaotic phenomena in the current Buddhist world, such as confusing views, non-unified sects and schools advocating their own tenets, miscellaneous teachings that are complex but incomplete, and promoting false doctrines as authentic Buddhism. Consequently, pious Buddhist disciples are searching and questing in vain and still unable to learn the true dharma of the Tathagata. Their lifetimes are thus wasted! Therefore, Venerable Ruo Hui RuZun was continuously concerned about this situation day and night and eagerly beseeched to find the genuine lineage from the Buddha that transmits the true teachings of the Tathagata.

In 1996, Ruo Hui RuZun had the good fortune to listen respectfully to the recorded dharma discourses expounded by H.H. Dorje Chang Buddha III. At that time, she sensed strongly and received the bright manifestation of the supremely and perfectly enlightening Buddha-dharma from His Holiness the Buddha! Later, guided by the karmic affinity to true Buddha-dharma, she fulfilled her wish to become a disciple of H.H. Dorje Chang Buddha III. Since then, she eagerly and respectfully listened to the recorded dharma discourses expounded by His Holiness the Buddha day and night. Through studying deeply with reference to the sutras, she eventually became enlightened by the teaching! She also received a holy inner-tantric initiation from the Buddha Master, which enabled her to personally realize the absolute truth of Buddha-dharma as if seeing the blue sky after pushing the blocking dark clouds aside. Since then, Ruo Hui RuZun abided by the teachings to benefit living beings with loving compassion in cultivation and practice. Shortly after that, she was delighted to learn that the Buddha Master was grandly publicizing and propagating the true dharma of the Tathagata in the Western world. After deep thinking and careful pondering, Ruo Hui RuZun decided to resign from the duty of the Dean of the Buddhist College to take up the mission to serve living beings. She traveled across the ocean to the United States to follow her Buddha Master, H.H. Dorje Chang Buddha III. She piously and deeply cultivated in the authentic lineage of Buddhism and engaged in the undertaking of propagating the true dharma of the Tathagata to benefit living beings.

Through the many years, Ruo Hui RuZun received true Buddha-dharma transmitted by H.H. Dorje Chang Buddha III in person and realized the key attainment of the dharma. In the dharma mandala, she manifested deeply cultivated power and superior state of realization. Once, she fortunately attended a grand and magnificent Vajra obstruction-removing dharma assembly. At that time, dharma masters and abbots of many monasteries and rinpoches were present. When stepping forward to receive empowerment, almost all of them were subdued by the power of the Buddha-dharma to show a suffering appearance and unable to support themselves by their power of concentration. Only Ruo Hui RuZun remained firmly unperturbed and successfully went through the holy power of Samadhi. She handled the situation magnificently and perfectly by calm without even any change in her facial expression. For that, she was praised by H.H. Dorje Chang Buddha III! Additionally, Ruo Hui RuZun also received a dharma of state practice transmitted by the Buddha Master in person and attained the accomplishment of crown-opening within two hours.

Since the grand opening of Hua Zang Si in December 2004 to now, Ruo Hui RuZun has served at the positions of prior (warden), deputy abbess, and abbess at this temple, which is the first temple of true dharma of Buddhism established in the Western world by H.H. Dorje Chang Buddha III. Since the temple’s establishment, her responsibilities cover a wide range of the temple’s dharma affairs and operations including various dharma assemblies, training and education of the monastic personnel, defining the system and rules to manage the temple, and so on.

With her abundant and solid knowledge in the theory of Buddhism and the teaching of practicing in silence, experience in managing and operating a temple, as well as deeply cultivated power in meditative concentration, she continuously serves since the beginning as the karma monastic master in awarding the complete set of grand precepts through three dharma assemblies and the professor/teacher of various courses in precepts, rituals, meditation, group practice, education of monastics and others at the Academy of Exoteric Buddhism of Hua Zang Si. She also conducted teaching and training at Buddhist institutions in the United States and overseas. Many of the disciples she taught have now become dharma masters or monastic practitioners. Actually, quite a number of them have even become excellent managerial personnel at some temples in different countries.

Ruo Hui RuZun consistently maintains a low-key demeanor in her cultivation and practice, exemplifying patience in the pursuit of her significant mission. She remains humble and modest, avoiding self-promotion or publicity. Through her words and actions, she serves as an exemplary teacher for Buddhist disciples, embodying the principles of loving compassion. Devoting herself quietly to the welfare and joy of sentient beings, she seeks enlightenment for both herself and others.

Adhering to the teachings and true dharma of H.H. Dorje Chang Buddha III, Ruo Hui RuZun upholds principles, follows rules rigorously, and engages in concrete cultivation to guide disciples on the path of accomplishment and liberation. She is an accomplished and eminent Buddhist monk whose example we should emulate and learn from.

Since September 2015, Ruo Hui RuZun has officially served as the abbess of Hua Zang Si. Recognizing the immense responsibility entrusted to her, especially given that Hua Zang Si is not an ordinary temple but a true dharma temple established in the Western world by H.H. Dorje Chang Buddha III, her Buddha Master, she is acutely aware of the need for unwavering commitment. Determined to lead the monastics and lay followers, she strives to transform Hua Zang Si into a temple faithfully practicing the teachings of H.H. Dorje Chang Buddha III and Sakyamuni Buddha, benefitting and nurturing sentient beings. In pursuing this mission, Hua Zang Si aims to contribute tangibly to compassion, happiness, peace, and joy in America and worldwide, fostering the perfect good fortune and wisdom, liberation, and accomplishment of living beings. The temple is committed to meeting the high expectations of Buddhas, Bodhisattvas, and sentient beings alike.

The Abbess of Hua Zang Si– Venerable Ruo Hui RuZun

Link:https://peacelilysite.com/2023/12/01/the-abbess-of-hua-zang-si-venerable-ruo-hui-ruzun/

#DorjeChangBuddhaIII #HHDorjeChangBuddhaIII#HuaZangSi#HolyManifestation #RuoHuiRuZun

#Abbess #Temple

XuanKongSi – The most Dangerous Monastery

Hanging Temple, China [huanqiu.com]

Some ancient structures were purposely and skillfully constructed at the riskiest of locations or sometimes just had their appearance altered to reflect a sense of danger and awe. These ancient buildings are so remarkable that even modern scientists are amazed and astounded by them.

There are 10 most dangerous structures in the world, XuanKongSi Temple in China is one of them. Temples and monasteries were usually built on the ground, and if there was no money or it was necessary to hide from someone, then under the ground in caves. It seems impossible to think of anything else, but the temple tells us otherwise. It turns out that in one of the northern provinces of China, there is a so-called Hanging Temple which seems to be attached to the Rock at a height of 75 meters. It was built almost 1500 years ago in 491 during the northern Wei Dynasty. The Chinese call this Temple complex XuanKongSi.

The temple is located in Shanxi Province, 65 kilometers southeast of the city of Datang, it looks as if the entire Temple is held up on a steep Cliff by the power of Prayer. Perhaps prayers help because the temple is unique; it is the only Temple of three religions in China. It combines Buddhist, Taoist, and Confucian altars. It has everything that other temples have: the main gate, the bells, and drum Towers, the main and side Halls. The largest structure of the monastery is called sangana, and it stands on a stone ledge. There are also 40 halls in Pavilions, but they are smaller than the sangana. They are built on pallets that lie on beams hammered into the Rocks. The rock is used as the back wall of the rooms, and niches are made in it for statues. The larger the niches, the more statues they contain, and the larger they are.

Upon first glance, the temple’s buildings seem to have been partially swallowed by an expanding mountain rather than built onto and into it. Some of the pathways that connect the separate buildings are hewn into the mountain. Others feature the same design as the buildings themselves – parked atop seemingly impossibly-thin wooden poles.

It is composed of three main sections:

North Pavilion

This pavilion is three storeys tall, 4 metres (13 feet) wide and 7 metres (23 feet) in length. Wufo Hall, which is located on the lowest floor is dedicated to the Five Dhyani Buddhas. Above it is Guanyin Hall and on the top storey is Sanjiao Hall. Sanjiao Hall, or the Hall of the Three Religions is widely regarded as the most important room in the Hanging Temple, at least in terms of symbology. It contains large statues of Buddha Shakyamuni, Lao-Tze and Confucius standing together.

SanJiao Hall

Given that the Hanging Temple is the only surviving example of the concept of the Three Teachings Harmonious as One, the Hall of Three Religions is perhaps the most important of these chambers. The idea of Three Teachings Harmonious as One, which emphasises the complementary nature and unifying ideas of Buddhism, Taoism and Confucianism, flourished during the Ming and Qing Dynasties.

Accordingly, the hall features sculptures of deities of all three religions. Three large statues take centre stage here: Buddha Shakyamuni in the middle, flanked by Lao-Tze on his left and Confucius on his right.

GuanYin Hall

South Pavilion

Slightly larger than the North Pavilion, it is also three storeys tall and 4 metres wide but longer at 8 meters (26 feet). The North Pavilion contains Sanguan Hall. It is the biggest hall of the Hanging Temple and is home to a 2-metre tall clay sculpture, the largest in the complex. On the middle storey is Chunyang Palace, which is dedicated to Lü Dongbin, one of the Eight Immortals of Taoism. He is the most popular Taoist character in Chinese culture. Leiyin Hall, which is dedicated to Buddhist deities is on the top storey.

The Long Bridge

The top storeys of the two pavilions are linked by a 10-metre (30 feet) bridge (a stairway has been cut into the mountainside to link the lowest storeys). A small balcony for worshipping sits above the bridge.

XuanKongSi007

However, as impressive as the Hanging Temple appears from the outside, the bulk of the builders’ efforts went into the portion of the complex that is ensconced within the rock. 40 halls and pavilions lie inside, covering an area of 125 m2.

The biggest and most prominent halls are the Hall of Three Religions, Guanyin (Avalokiteshvara) Hall, Hall of Shakyamuni, Qielan Hall (Hall of Sangharama), Sanguan Hall (Hall of the Three Officials) and Chunyang Hall.

Spread throughout the other halls are 78 sculptures made from stone, terracotta, copper and iron. They are remarkable for their vivid and detailed depiction of facial features and clothing.

Construction

Despite its precarious location and the logistical challenges construction must have presented, no design feature that is seen in other temples of the period has been spared. The two main buildings sport traditional multiple-roof designs, eaves and balconies with images of auspicious creatures like dragons common to Chinese holy structures.

Today, the part of the temple that extends beyond the face of the cliff is supported by poles made of oak. These poles have been inserted into holes chiselled out of the rock. From a distance, the brown oaken poles meld into the background, making the temple appear to float in the air.

Amazingly, the real support framework for the temple complex is hidden within the mountain and the structure itself. If these external vertical poles were removed, the hanging temple would continue to hang!

While it’s impossible to overlook the fact that the architecture disrupts the natural rock wall formation, a closer examination reveals something quite astounding. The way the roof, walls, and other structures seamlessly integrate with the rock pattern suggests that significant care and effort were put into minimizing any unnecessary destruction.

A unique mechanical theory guided the construction of the framework. Crossbeams were partially inserted into the rock as the foundation, while the rock in the back provided support. The Hanging Monastery seems to defy gravity, appearing to float in midair.

At certain points, a roof will abruptly end at an outcrop, only to resume on the other side, leaving the stone intact. This not only benefits the structural integrity of the building but also signifies a harmony with nature, a state to which all Buddhists aspire.

Construction experts from countries including Britain, Germany, and Italy have visited the monastery. In their opinion, the Hanging Monastery, which melds mechanics, aesthetics, and Buddhism, is a rarity. The monastery and everything it represents is a significant cultural achievement of the Chinese people.

Source: https://www.tsemrinpoche.com/tsem-tulku-rinpoche/art-architecture/the-hanging-temple.html, https://7wonders.org/asia/china/datong/hanging-temple/

Mount Jizu

Photo From https://www.visityunnanchina.com/attractions/natural-attractions/mount-jizu

In my eyes, Yunnan Province is the most beautiful province in China. Its mild climate throughout the four seasons and its unique geographical location give Yunnan breathtaking natural scenery. The numerous ethnic minorities in Yunnan add to its diverse cultural customs. Yunnan is both romantic and passionately exotic, yet also elegant and graceful. It is truly charming and enchanting. Jizu Mountain is one of my favorite places there.

Mount Jizu (Chicken-foot Mountain) is situated in Dali Prefecture. The mountain is located to the northeast of Erhai and forms the tripoint of three counties:  Heqing,  Binchuan, and Dali City. With three mountain ranges to the front and one range to the rear, it resembles a chicken’s foot, hence its common name is Mount Cock’s Foot or Mt. Cock’s Claw. Yet another name for this mountain is Nine Strata Cliffs.

Mount Jizu is a famed holy mountain in Buddhism. Its main peak, Tianzhu Peak, rises some 3,240 metres above sea level. The mountain is vegetated with dense forests and bamboo groves.

From it, visitors can see the sunrise in the east, floating clouds to the south, Cangshan Mountain to the west and Jade Dragon Snow Mountain in the north. They are described as the “four wonders seen from the mountain top.”

The best viewing spot for the four wonders of Jizu Mountain is at its highest point, the Golden Top Temple. The view from the temple is wide and open, with visibility for more than ten kilometers. Watching the sunrise in the east is the king of the four wonders. Early winter mornings are the best season to witness the sunrise, as the reduced moisture increases visibility.

Before dawn in winter, the stars in the sky gradually dim, and the eastern horizon begins to whiten. A hint of orange appears on the just-yellowing horizon. In just a few minutes, the orange-red sun leaps above the horizon, and its dazzling rays spread across the entire landscape. If there are rolling clouds, they turn into a dazzling orange-red color within seconds. The sun’s rays, like an arrow carrying a force of ten thousand pounds, fly straight at everyone. In an instant, a huge spark bursts open in one’s heart. The ruddy morning sun is so bright that it’s hard to keep one’s eyes open. However, once you get used to it, the earth has already begun to revive, welcoming a new day in the dawn.

The best season to view the silver Cangshan and jade Erhai from the west is still in winter and spring. In these two seasons, snow accumulates on the peaks of Cangshan. Looking west from Golden Top Temple, you’ll see the plateau’s pearl, Erhai Lake, which runs between the mountains and valleys, reflecting silver waves. It’s as if pearls are dancing on the water’s surface. At the place where the water meets the mountains, you’ll find the nineteen peaks of Cangshan neatly arranged. The pure white snow on the mountain peaks becomes even more noble silver under the sunlight. The mountains and the sea echo each other, with the mountains towering and magnificent, and the water soft and charming. This is a masterpiece of beauty that cannot be drawn!

The best time to view the colorful clouds from the south is in the evening when the sun is about to set. Try to choose a time when the clouds are most densely gathered. Standing at the Golden Top Temple and looking south, you’ll see the undulating mountains covered in mist, which either wraps around or disperses in clouds, drifting freely in the blue sky, transforming into various shapes. The afterglow of the setting sun is scattered among the light and leisurely drifting clouds, blooming with a burst of colorful brilliance!

Jade Dragon refers to the “Jade Dragon Snow Mountain,” whose peak is covered in snow all year round, so it can be viewed at any time. Looking north from the Golden Top Temple, the snow-capped mountains stretching for dozens of miles look like an outstretched dragon, crystal clear as jade, pure white and flawless, without a speck of dust.

There are some other scenic views of Jizu Mountain that appear at different times and moments, unique to Jizu Mountain. Every year in the summer and autumn rainy season, sudden storms suddenly stop, and the surrounding mountains are still in the mist, except for a part of the clouds above Jinding Temple which disperse and sunlight reappears. At this time, a circle of seven-colored light circles surrounds Jinding Temple, which is one of the Eight Scenic Views, known as “Tianzhu Buddha Light.” Similarly, during the summer and autumn rainy season, Jizu Mountain sometimes experiences strong winds, thunderous sounds, flashes of lightning, and heavy rain in the valleys. However, Huashou Gate, located under Tianzhu Peak and below the Sheshen Cliff, is still clear and sunny. The sound of thunder echoes here and lingers for a long time. This is the famous “Huashou Qing Lei.”

The most abundant trees on Jizu Mountain are “pine and oak.” These trees come together to form a vast forest.

Whether you look from a distance or up close, the “forest sea” of Jizu Mountain stretches for dozens of kilometers, from the mountain peak to the valley, casting shadows with its pine trees. The forest is deep and lush, and when the wind, whether gentle or strong, blows through, the leaves rustle, creating music reminiscent of the thunderous galloping of a thousand horses. Sitting in the mountain and quietly listening to this has a special charm. This landscape is known as “Wan He Song Tao”.

There are more beautiful scenic views waiting for you to explore.

Besides the beautiful scenery, Jizu mountain is a legendary buddhist holy place.

According to Buddhist scriptures, in ancient times, Shakyamuni Buddha demonstrated to the assembly at the Lingshan Meeting by holding up a flower, and everyone remained silent. Only Venerable Mahakasyapa deeply understood the Buddha’s intention and broke into a faint smile. The Buddha said, “I have the true Dharma eye treasury, the wondrous heart of Nirvana, which I entrust to you.” He also told Mahakasyapa that he would pass on the kasaya robe to him, which would then be transferred to Maitreya when he appears in the world. Venerable Mahakasyapa bowed to the Buddha’s feet and respectfully followed the Buddha’s intention. After the Buddha’s Nirvana, Venerable Mahakasyapa gathered the true Dharma three treasures in the city of Vaishali. He later entrusted the true Dharma three treasures to Ananda and went to Jizu Mountain alone, holding the kasaya robe given to him by the Buddha. He entered meditation at the Huashoumen.

Huashou Gate is 40 meters high, with a sheer cliff face as if cut with a knife. A large stone gate is embedded at the top, and a vertical crack in the middle divides the cliff into two panels, with a “stone lock” hanging in the middle. The stone gate is covered with Hada (ceremonial scarves), and there are prayer flags around it. With an altitude of nearly 3000 meters, the landscape is very similar to that of Tibet.

When Maitreya Buddha is born in this world, he will also climb Jizu Mountain and go to the place where Venerable Mahakasyapa meditated. With a snap of his fingers, the mountain peak will open, and Mahakasyapa will pass on the robe and say his farewell. After the respectful ceremony, he will ascend into the sky, display divine transformations, and enter nirvana.

From the Buddhist scriptures, it can be seen that Jizu Mountain is the place where Venerable Mahakasyapa meditated, and it is also the future place of Maitreya. Its connection with Buddhism will never be severed for billions and trillions of years.

Jizu Mountain’s religious story stretches back nearly 1,000 years. Beginning during the Three Kingdoms period, several nunneries were built upon its slopes. But it was not until the time of the Tang Dynasty, four hundred years later, that the first known Buddhist temple was completed.

Throughout the following centuries, the construction of many other shrines and sanctuaries continued. By the late seventeenth century, during the Qing Dynasty, Jizu Mountain’s religious importance reach its zenith. At that point, according to official historical accounts, there were 42 temples and monasteries, 65 separate nunneries and more than 5,000 religious devotees residing on the mountain.

The mountain enjoys great prestige in South Asia and Southeast Asia, and shares the same fame with Wutai Mountain, Ermei Mountain, Putuo Mountain and Jiuhua Mountain in China. The mountain is a birthplace for Zen Buddhism.

The main sacred sites of Jizu Mountain include: Zhusheng Temple, Huashou Gate, Jinding Temple, Bronze Buddha Hall, Mahakasyapa Hall, Xuyun Zen Temple, Biyun Temple, Huashou Fangguang Temple, etc.

Jinding Temple

Golden Hall at Jinding Temple and LengYan Pagoda

The front entrance of Jinding Temple is typical Baizhu architecture style

Mahakasyapa Hall

From a high vantage point, the Mahakasyapa (Jia Ye) Hall is hidden among the lush green pines and cypresses in the depths of white clouds.

The Mahakasyapa Hall’s main hall houses a statue of the venerable Mahakasyapa, which is carved from camphor wood

Source: https://www.visityunnanchina.com/attractions/natural-attractions/mount-jizu, http://zgt.china.com.cn/v2/content/2022-06/17/content_11117.html, https://www.buli.page/en/article/wechat/0967339c-67be-4d26-bada-c2d7a5bc1709/

Mount Wuzhong – A Place Filled with Historical and Cultural Significance

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/

Guangsheng Temple with Ancient Chinese Buddhist Buildings,Murals & Statues

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.

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

The cultural Heritage of Hanshan Temple

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

Fanjing Mount

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/

#FanjingMount# MountFanjing #Zhangjiajie #Buddha #BuddhistTemple #MaitreyaBuddha #FanTieJingTu #China #Travel #TravelChina #GuiZhou

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

Leshan Giant Buddha

Leshan Giant Buddha

Around a 2-hour drive from downtown Chengdu lies one of the most marvelous ancient wonders of China, the Leshan Giant Buddha, also known as Lingyun Giant Buddha. Carved into a cliff-face along a peaceful river, this imposing figure, at 71 meters (over 200 feet) in height, dates back over a thousand years and is the largest and tallest stone Buddha statue in the world.

Carved in the 8th century during the Tang Dynasty, the Leshan Giant Buddha was built during a peak period of Buddhist culture in ancient China. The sculpture depicts Maitreya, a very popular Buddha in the Tang Dynasty. The sutras say that when Maitreya comes into world, the world will be at peace. The female Chinese female sovereign Wu Zetian even proclaimed she was the reincarnation of Maitreya and was a strong advocate of Maitreya sculptures being built as a way to maintain her rule. People liked to carve Maitreya sculptures and believed that Maitreya would bring light and happiness into their lives in the future.

This remarkable historic site was listed as a UNESCO World Heritage Site since 1996. It is an amazing and immense religious relic that was built over a period of 90 years from 713 to 803 AD. The statue was constructed at the confluence of three rivers notorious for their turbulent waters; it was hoped that the Buddha’s presence would help calm the rivers’ waters.

Hai Tong’s Legacy

The Buddhist monk Hai Tong was concerned about the safety of the local people who earned their living around the three rivers. Many people traveling by boat in the area were killed by the turbulent waters each year before the Leshan Giant Buddha was created. Hai Tong decided to carve a statue of Buddha beside the river and believed that this sculpture would appease the river gods and keep the locals safe.

He had begged for over 20 years to accumulate enough money needed to build this statue. During this hard period in his life, he refused official help because the parties who offered it didn’t just want to help him but wanted to gain personal profits from the project. He even gouged out his eyeball in protest against the local authorities. These officials backed off after this behavior. Fortunately, Hai Tong’s disciples continued his work after he passed away and finally completed the sculpture in 803 AD after 90 years of hard work.

There is a cleverly designed drainage system behind the Buddha’s head and between his two ears. This important design aspect is the reason why the great Buddha of Leshan has not eroded despite having existed for thousands of years. The “spectacle”

Interestingly, there haven’t been any shipwrecks since the Buddha was built. Many stones were actually removed from the cliff and transferred to the rivers during construction, which made the waters calmer and safer than before. The project didn’t end after the Leshan Giant Buddha was finished.

Buddhism had been one of the most important religions in ancient China and many other people built statues around the giant Buddha to thank the gods . Numerous small Buddhas were carved around this huge statue. People even excavated the cliff tombs of the Han Dynasty around the Leshan Giant Buddha. Multiple historic sites make the Leshan Giant Buddha particularly important for archaeologists and researching people’s lifestyles in ancient times.

With the most sunny days and beautiful scenery, April and October are the best months of the year to travel to see the Leshan Giant Buddha.

There are two ways for visitors to see the Giant Buddha. One is to walk down from the top near the head and end at its feet. This involves some waiting in line, sometimes for hours on particularly busy days, and larger crowds, as well as many narrow and steep stairs, but offers you a more intimate perspective of the Buddha. This up-close view will allow you to appreciate the statue’s enormity; its shoulders spread over a width of 28 meters (as long as a basketball court!) and its pinky toe is large enough for a person to sit on.

The other option is to view the statue from a boat on the river immediately in front of it. The boat trip allows you to get the best and fullest front-facing view of the Buddha from a distance and is ideal for those who prefer not to wait in line and climb the stairs. The cruise takes around 30 minutes there and back, stopping for several minutes in front of the Buddha for visitors to appreciate the statue and take pictures. It’s best to sit on the right side of the boat, as the Buddha will end up being on that side once you arrive.

Leshan Giant Buddha

Link:https://peacelilysite.com/2023/02/23/leshan-giant-buddha/

#Travel#China#LeshanGiantBuddha#Buddhism#MarvelousAncientWonder

Source: https://www.trippest.com/chengdu-travel-guide/leshan-giant-buddha/ https://www.thechinaguide.com/sight/leshan-giant-buddha#:~:text=It’s%20best%20to%20sit%20on,worth%20seeing%20from%20both%20angles.