Xiaoxitian, originally known as Qianfo’an (The Hermitage of a Thousand Buddhas), was founded in the second year of the Chongzhen reign of the Ming Dynasty (1629). It stands atop Phoenix Mountain, about one kilometer west of Xixian County in Linfen, Shanxi Province.
Built entirely in harmony with the mountain, the temple unfolds in layers, as if it had grown naturally from the slope itself. Stone steps lead visitors upward, passing through courtyards divided by arched cave-like gateways. The upper, middle, and front courtyards are connected yet distinct, creating a spatial rhythm that is winding, intimate, and quietly profound. As one walks through the complex, footsteps instinctively slow, and time itself seems to soften.
The architecture of Xiaoxitian is restrained rather than ostentatious, yet its mastery reveals itself everywhere. Painted beams are elegant and dignified, and many of the halls are ingeniously built as two-story structures, creating a rich sense of vertical space within the limited mountain terrain. The bell and drum towers stand in stillness, inviting the imagination to wander back to an age when morning bells and evening drums echoed through the valley.
Stepping into the Mahavira Hall is a moment of sudden awe. Nearly the entire interior is filled with suspended polychrome sculptures—more than 1,900 figures, layered from floor to ceiling. From towering Buddhas over three meters high to figures no larger than a thumb, the sculptures are densely arranged yet never chaotic, solemn yet vibrantly alive. In that instant, one understands why Xiaoxitian is revered as the “Museum of Chinese Hanging Sculpture Art.”
Unlike many Buddhist temples that draw attention primarily to their principal Buddhas, the Mahavira Hall at Xiaoxitian is celebrated for the immersive world it creates as a whole. At its core stand the Medicine Buddha, Amitabha, Shakyamuni, Vairocana, and Maitreya, but surrounding them unfolds an entire celestial realm: the Ten Great Disciples, six young novices, the Ten Wisdom Kings, the Six Desire Heavens, and countless heavenly musicians dancing through the air.
Most unforgettable are the celestial musicians suspended within the tiered “sky pavilions” above the altars. Their figures are light and graceful, sleeves flowing as if caught in an eternal breeze, frozen in a moment of unending heavenly music. Some play the pipa, others hold flutes, while some seem to dance midair. One pipa-playing figure, leaning slightly forward with fingers poised on the strings, radiates such focus and elegance that one can almost hear the melody drifting across centuries.
Looking up toward the roof, the tri-colored glazed chiwen ornaments—yellow, green, and blue—gleam softly in the light. Their refined brilliance reflects the unmistakable aesthetic of the Ming Dynasty. Here, architecture, sculpture, and color merge seamlessly, and one forgets that this is a mountain temple at all. It feels instead like stepping into a floating Buddha realm, suspended between earth and sky.
That these sculptures have survived nearly four hundred years in such vivid detail inspires deep reverence. They represent not only the pinnacle of craftsmanship, but also a profound devotion—to faith, to beauty, and to a harmonious vision of the cosmos.
Perhaps what truly moves the heart at Xiaoxitian is not only the astonishing number of its hanging sculptures or the rare Ming Yongle Northern Buddhist Canon once preserved here, but something more enduring: a spiritual presence that has remained vibrant across centuries. It quietly reminds us that beyond the noise of the modern world, there still exists a place of serenity and dignity—carefully upheld by time itself.
Please see below the answer of whose work is the best amongVincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III
I have spent more than 60 years of my professional life in the field of painting. During the many decades of practice and experiences, I have come to know many famous painters. That is especially the case since I became the Head Consultant for authenticating paintings and calligraphy at the National Museum of China in Beijing. As an appraiser and authentication officer of paintings and calligraphy, the bulk of my work is to verify the authenticity of Eastern and Western paintings. I have reviewed tens of thousands of famous paintings, especially the rare and precious works of the maestro Vincent van Gogh of the Netherlands, and those of the champion of Eastern paintings, Qi Baishi of China.
Both Van Gogh and Qi Baishi were great world-renowned masters in art. One represented the apex of Western art and the other was a master of an extreme class in the field of Eastern paintings. Both artists had drawn from the essence of the classical traditions of their respective cultures. They created new styles of art and new ways of seeing the universe. They broke new grounds and became pioneers of new eras, each becoming a creative guru of his time, developing a distinct style of his own and leading new trends that inspired later generations. Their works reflect the different essences of the Eastern and Western traditions. To what extent can their works influence the artistic civilization of the world? What kind of artistry did they achieve that made them upright monuments in art history and admired by so many people?
Some art critics compared the works of Van Gogh and Qi Baishi to see which of them reached a higher level of accomplishment. They concluded that both have their own merit, both are undefeated champions in the art and both reached the pinnacle of artistry. Recently, some art critics also brought up the oil painting Sunflowers and the ink-wash painting Sunflowers, both created by H.H. Dorje Chang Buddha III, and gave them rave reviews. They went on to compare the works by Vincent van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, trying to establish which of the three artists is the champion of the champions. The result of comparing the works by Van Gogh, Qi Baishi and H.H Dorje Chang Buddha III is tremendously inspiring.
Ever since the Renaissance, Western artists had placed emphases on rational analysis and the realist portrayal of forms. They used light, texture and details to present the realistic, three-dimensional perspective. A few centuries later, Van Gogh rejected the monotony of such use of light and shadow and the realistic portrayal of figures. He pioneered the movement of impressionism that suited him well by applying a mix of colorful, brilliant, splendid and vigorous brushstrokes. He became a great master of his time and his name was forever etched onto the monument of Western civilization and art.
Whenever people think of Van Gogh, they think of his unique character, the sparkles in his eyes that emit lightning, his vigor and his incessant pursuit of inspiration in art without any regard to external hardships. Van Gogh was an artist by birth. He was of exceptional confidence and was somewhat neurotic. Having such traits, he pursued the art that he loved without any reservation or hesitation. He loved his works and regarded everything else with disdain. He preferred to be a loner in the world and did not care to make acquaintance of other painters of his time. His works are full of luminous colors, the brushstrokes are like rising winds and racing clouds in the sky. In his art, he depicted pasture, figures, flowers and other subject matters with brisk colors. Every brushstroke was transformed from his inner emotions. Such emotions were fully and colorfully captured in his Self-Portrait as well as in the transcendental Sunflowers that he painted. These works contain an animated spirit that is deeply moving.
From Van Gogh’s artistic spirit and intent, we can detect that he was profoundly knowledgeable about Chinese ink-wash paintings. Precisely because of this, while depicting forms and applying colors, he employed the skills of using the center tip of the brush and parallel brushstrokes. His Still Life with Bible was created with parallel brushstrokes. In his Self-Portrait, he portrayed his face filled with lines and plaques that are extraordinary. It is not hard for us to discover that he drew inspirations from the substance and essence of Chinese painting in those brushstrokes. That is why Van Gogh is such a distinguished, unparalleled artist of his time and his works are superior to those by the other Western oil painters such as Cezanne, Gauguin or Picasso of the same era.
Van Gogh’s artistic style was closely linked not only to Chinese civilization in the East, but also to the classical Renaissance art, Pointillism, German Expressionism, and Impressionism in the West. Toward the end of his life, he came into oneness with the universe and immersed himself in a carefree state of mind to “follow wherever nature might lead.” As such, he was no longer aware of his own existence. In his mind, there was only the art and the universe. “Following where the nature may lead” is the essence of the ideology of the Chinese philosopher Laozi. Van Gogh cut off his ear with a knife. He lost himself completely in painting. That was his unspoken resentment and rejection of the unfair treatment imposed on him by the society.
Qi Baishi was profoundly knowledgeable about impressionist, fauvist, and realist paintings. By adopting the essence of Western painting and incorporating the traditional spirit of Eastern art, he developed his unique style and became the master of Chinese painting of the twentieth century. His brushstrokes were solid and poised, evincing a sense of power that went all the way through the paper. Using sheep-hair brushes, he elicited calligraphic skills to create his paintings. Qi Baishi’s lines are bold and robust, embodying a forceful spirit that can move mountains. At the same time, these lines are flexible, sturdy and round, with similar qualities to the lines of wire-drawing. His compositions emerged naturally from the spontaneous movement of the brushes. Such compositions are accompanied by vigorous calligraphy resembling the strength, power and fluidity of stone inscriptions.
The artistic concept of spontaneously “following where nature may lead” is precisely derived from Laozi’s philosophy and the artistic civilization of the Chinese ethnicity. Qi Baishi favored the use of white space in his paintings. The white space in black-and-white Chinese ink-wash paintings is considered a solid color. Ink can be differentiated in nine shades (or five shades according to ancient Chinese text.) That is to say, the white of the paper per se and the black of the ink are all considered as colors. There is a sense of meticulous precision in the artworks by Qi Baishi. He depicted insects such as grasshoppers, mantises and butterflies in meticulous and vividly colorful ways. In some of his artworks, the artist was able to express his ideas by putting down just a few brushstrokes without any conscious intent, while arriving at a state of oblivion of his own existence. Anything depicted by his brushes was vivid and vibrant, with the subject matter coming alive on the paper. There is an aura that moves our heart and soul. All in all, Qi Baishi’s paintings were executed with a confident brushwork that naturally achieved a kind of childlike charm.
Recently, some people compared the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III to see whose works are more superior and outstanding, or will have a broader and more far-reaching influence on later generations. I have viewed quite a lot of the artworks by Van Gogh, Qi Baishi and H.H. Dorje Chang Buddha III. I started the study and appreciation of the paintings by Qi Baishi under the enlightening guidance of my teacher when I was 9, and when I was 14, I began to study and appreciate the works by Van Gogh. It has since been several decades!
At the same time, since I have admired the art of H.H. Dorje Chang Buddha III for a long time, to satisfy my desire and wishes I flew from New York to San Francisco to visit the International Art Museum of America, and to Los Angeles to visit the H.H. Dorje Chang Buddha III Cultural and Art Museum in order to see their collections. I was profoundly impressed by the architecture of both museums which is grand and dignified. Both museums have a collection of the authentic works by H.H. Dorje Chang Buddha III. There are various artworks that are created with different kinds of material. Some are bold and forthright, some are charmingly meticulous and astounding. The oeuvre is not made up of just one single style.
Yet, the only artwork that was not available for viewing is the Sunflowers painted by H.H Dorje Chang Buddha III. When I hear that some art critics are comparing the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, I naturally feel, from my experience of having studied the works by Van Gogh and Qi Baishi for a number of decades, that although their artistry are similar in levels, it is possible to say who is the best if we are just to compare the sunflowers painted by the three artists, when we include in the compositions, colors, brushwork, lines, vitality, spirit and so on. With all these elements in consideration, it is possible to do the comparison and conclude who painted the best, or in other words, whose works can bring the most joy and delight to people, or whose art will be most influential to the philosophy, artistic concept and entire civilization of this world.
Therefore, without any ambiguity, we concluded. In terms of character and morality, Van Gogh would be the last of the three. In terms of level of skills, Qi Baishi would also be ahead of Van Gogh, who is, however, already the cream of the crop in western civilization. Being the Buddha living in the current century,H.H. Dorje Chang Buddha III saves living beings with great loving compassion. He is not embodied in an ordinary being. Needless to say, the level of cultivation of the Buddha is superior to that of Van Gogh and Qi Baishi. In terms of creativity and painting skills, how can any ordinary being even hold a candle to the Buddha? In this way, the comparison result is immediately determined.
When those art critics carried out the detailed research of the Sunflowers by Van Gogh and Qi Baishi as well as H.H. Dorje Chang Buddha III, they copied the artworks by all three artists. After copying the works by Van Gogh and Qi Baishi, they felt deeply that through hands-on practice, they indeed gained more understanding of their works. It would not be easy but not so difficult either for one to really reach their artistic level. As for the Sunflowers by H.H. Dorje Chang Buddha III, they found it rather difficult to copy. Even though they tried many times, they had a hard time just copying the form, let alone the spirit.
The Sunflowers by H.H. Dorje Chang Buddha III clearly show the artist’s solid foundation and prolific skills in the Eastern and Western painting traditions. They comprise the essences in both traditions and display a brushwork, sentiment and colors that are one of a kind. The color tones and brushstrokes are rich, dense, soothing and elegant. Lively brushwork paints an animated charm that is whole, evincing a miraculous and expansive spirit and aura as well as a strong vitality. As for the Sunflowers oil painting in which H.H. Dorje Chang Buddha III depicted some flowers inside a vase, the artistry is extraordinary and full of variations; the composition is simple yet abstruse. The flowers are natural and gracious, such that they give an impression of unpredictability, reaching a state of oneness with the universe and emanating a sharp animated spirit.
The ink-wash painting Sunflowers by H.H. Dorje Chang Buddha III has an uninhibited, natural, and spontaneous brushwork that is dense, bold, and robust, but also elegant and agile. It exhibits a charm that is like stone and bronze inscriptions. Overall, the whole painting manifests a harmonious and moving imagery, naturally emanating a lively vivaciousness and a carefree, spirited aura.
In comparing the works by Van Gogh of the Western civilization, Qi Baishi of the Eastern culture, and H.H. Dorje Chang Buddha III, we can see the artists are distinguished in their unique own ways owing to their different cultures. However, only the artist who can continue to influence the world two to three hundred years from now will be the everlasting monument. There is a saying, “Talents emerge in every era and they all will each have 500 years of fame!” For people of the present day, the one whose work you like the best would be the one that is the most extraordinary!
Please see the contrast of six paintings below:
Sunflowers by Van Gogh (1)Sunflowers by Van Gogh (2)Sunflowers by Qi Baishi (1)Sunflowers by Qi Baishi (1)Ink-wash Painting Sunflowers by H.H. Dorje Chang Buddha IIIOil Painting Sunflowers by H.H. Dorje Chang Buddha III
The H.H. Dorje Chang Buddha III Cultural and Art Museum is pleased to announce its exhibition of “A Rock of Horizontal Charm“, a masterpiece of Yun Sculpture that embodies the spirit of art in a truly dis-tinctive way. In honor of this extraordinary form of art, the museum is offering free admission to the public for a limited time.
“A Rock of Horizontal Charm” was created by the world-renowned and internationally-revered highest leader of Buddhism, H. H. Dorje Chang Buddha III. The Yun Sculpture is a piece of original artwork that expresses a unique set of qualities. Various art experts and professors who have viewed the sculpture art say it has surpassed natural beauty and represents a level of perfection that extends well beyond what can be described as superb craftsmanship or inspired artistry.
The H.H. Dorje Chang Buddha III Cultural and Art Museum is exhibiting A Rock of Horizontal Charm, an unparalleled masterpiece of Yun Sculpture. For a limited time, visitors can receive free admission to the museum and witness the unsurpassed natural beauty of the superb sculpture art first hand.
When viewed from different angles, the Yun Sculpture’s colors, structure, and atmosphere change completely, inexhaustibly transforming in unpredictable ways. Furthermore, it possesses multidimen-sional spatial structures that are complex yet delicate and intricate, and exquisite to the utmost. In addi-tion, its colors—kaleidoscopic and majestic, yet mature and assured—manifest a supernatural, visionary beauty. “A Rock of Horizontal Charm“, alone, is so endlessly variegated that it provides thousands of beautiful vistas.
The astounding beauty of this amazing sculpture art goes far beyond mere words. Therefore, it is no surprise that it has distinguished itself as the “emperor” of the four great Yun Sculptures. In fact, the creation of “A Rock of Horizontal Charm“ is considered to be a miracle in human history because no craftsman in the ancient or modern world—or even high technology—has been able to devise such ex-traordinary works of divine art. Consequently, this original artwork has been designated a “peerless treasure” that cannot be replicated, and the museum has named the room in which it is being displayed, Peerless Treasure.
“Even the “He Shi Bi (the Jade Disc of He) “, recorded in history as a treasure of monumental value, does not fit the title of ‘peerless treasure,’ since it is completely replicable—and if it can be replicated, it is not unique; if it is not unique, it is not peerless,” states the museum’s website. “In fact, any master sculptor’s magnum opus can be recreated; thus, only “A Rock of Horizontal Charm“ is the true peerless treasure.”
Despite an invitation to create an identical replica Yun Sculpture for a $50 million prize, no human sculpture master or technology has successfully duplicated “A Rock of Horizontal Charm“. From this, one can see how H.H. Dorje Chang Buddha lll’s artistic level has far exceeded the summit of sculptural art in human history.
The exhibit featuring “A Rock of Horizontal Charm“ will allow visitors to experience the divine charm of H.H. Dorje Chang Buddha lll’s original artwork in person. The unreplicatable sculpture exudes an inex-plicable amalgamation of color, motion, energy and spirit. “A Rock of Horizontal Charm“ has transcend-ed the category of highest human sculptural attainment and entered into the enjoyments of a mystical world.
Located in Covina in East Los Angeles, the H.H. Dorje Chang Buddha III Cultural and Art Museum is housed in a building with a 117-year history. The structure was renovated in 2014 and transformed into the cultural and art museum that occupies the space today. Since then, the museum’s world-class, un-matched treasures have attracted a steady stream of culture and art lovers from around the globe.
The mission of the cultural and art museum is to promote the exceptional accomplishments of an Amer-ican with outstanding talent—H.H. Dorje Chang Buddha III—by displaying his achievements in culture, literature, philosophy, art, science, technology, and other fields. Visitors to the museum can learn about the noble ethics and morality of H.H. Dorje Chang Buddha III and the holy character of this magnificent, selfless Buddha who altruistically contributes to society through his vast achievements and who advances world peace as well as the happiness of people. In addition, visitors can be guided by the teachings of H.H. Dorje Chang Buddha III and model themselves after him to elevate their own moral character and benefit the public.
About H.H. Dorje Chang Buddha III H.H. Dorje Chang Buddha III has been recognized by the most highly realized practitioners of Buddhism as the third incarnation of the original Buddha, Dorje Chang Buddha. His accomplishments transcend religion, healing and art. As the first in history to manifest real accomplishments in the five vidyas, He meets the highest standard of Buddhism. He is recognized for his devotion to a wide scope of cultural and religious activities, which enrich the lives of people from communities throughout the world. His Holiness has mastered 16 unique painting styles or schools, representing an unprecedented pioneering achievement in the history of art. Additionally, He is the pioneer of a new class of artwork that cannot be duplicated by any living being: Yun Sculpture. Experts predict that His paintings and sculptures will become increasingly valuable.
In the Tang Dynasty, there lived a monk named Jian Kong (Venerable “Mirror-of-Emptiness”), who in his previous life had been a diligent spiritual practitioner. Yet after reincarnating, he was born not as a monk, but as a poor scholar—one who, despite twenty long years of effort, could not pass the imperial examinations. He had no money, no connections, and often struggled even to find a simple meal. Hunger followed him like a shadow.
One day, after days of near-starvation, he set out toward a nearby temple, hoping to find something—anything—to eat. But halfway there, by the side of a river, his strength gave out completely. Weighed down by exhaustion and despair, he collapsed on the riverbank and began to cry. He was already around forty-five years old, and life felt unbearably harsh.
As he wept, a Brahmin monk suddenly appeared before him, radiant and calm.
“Venerable Dharma Master,” the monk said, “are you satisfied with the taste of wandering through worldly life?”
The scholar was startled. “Satisfied? It has been nothing but suffering! But I am a layman—why do you call me “Dharma Master”? That title doesn’t belong to me.”
The Brahmin monk smiled gently. “You are starving and confused now, so you’ve forgotten everything.”
He reached into his bag and took out a large, fist-sized date. “This is a special fruit from my homeland. Eat it. Then you’ll understand.”
The scholar ate the date. Sleepiness washed over him at once, and he lay down beside the river. When he awoke, something astonishing had occurred— his entire past life came flooding back.
He remembered that he, the Brahmin monk standing before him, and three others had all been fellow practitioners in their previous lives. Filled with emotion, he asked:
“What about Monk Zhen? How is he doing in this life?”
The Brahmin monk replied, “In his past life he had not yet cut off worldly attachments, nor had he achieved realization. In this life, he has become a monk again in Sichuan. He has now completely severed his desire for fame and fortune. He will attain accomplishment in this very life.”
The scholar asked about another of their five companions. “And Master Shen? What about him?” “His wishes remain unfulfilled,” the monk answered.
Then he asked about the third companion, Master Wu. The monk sighed gently: “You know him. In our past life, he once joked before a stone Buddha statue: ‘If I cannot attain supreme enlightenment, then at least let me become a mighty nobleman.’ Well, his vow has come true. Just yesterday, I heard he was appointed a general. He has completely forgotten he was once a monk.*”
Finally, the Brahmin monk turned to him and said:
“Among the five of us, I alone have attained liberation. And you—of all of us—you alone have fallen to such a state that you cannot even find enough food to fill your stomach.”
The scholar was bewildered. “In my past life,” he said, “for decades I ate only one meal a day and wore one tattered robe for over thirty years. I practiced diligently and lectured on the Dharma tirelessly. I was a well-known Dharma Master. How could my karma now be so miserable?”
The Brahmin monk answered with unmistakable compassion:
“Yes, you cultivated hard. But when you taught the Dharma, you often mixed in ideas from Daoist and other non-Buddhist teachings. This confused your listeners. You also held back special teachings out of stinginess, unwilling to share them openly. And although you kept the precepts, you broke them in many subtle ways. Given all this, your current life’s hardship is already a fortunate result.”
Hearing this, the scholar felt deep remorse and sadness. But instead of despair, a new resolve arose within him.
He vowed to renounce worldly life and become a monk once more.
Seeing his sincerity, the Brahmin monk took out a mystical mirror from his bag. In it, the scholar saw with clarity:
his own past lives,
the karmic results of all beings’ actions,
even the future rise and fall of the Dharma.
The mirror was said to be like the Seven-Jewel Trees of the Pure Land, which reveal the karmic truths of the universe with perfect brightness.
With this profound vision, his conviction became unshakable. He immediately entered monastic life, practiced with genuine diligence, and in time became a highly respected and accomplished master.
Among China’s many vibrant ethnic cultures, few festivals shine as brilliantly as the Miao New Year — the most important and joyous celebration of the Miao people. It marks the end of a year’s hard work and the beginning of a season filled with gratitude, reunion, and hope.
Since ancient times, the Miao people have followed their own lunar calendar, considering the tenth month of the traditional Chinese lunar year as the beginning of a new year. In Leishan County of Guizhou Province, the Miao New Year usually falls on the Mao Day during the first half of the tenth lunar month, which is roughly equivalent to Chinese New Year’s Eve. The festivities typically last from three to nine days, turning the Miao villages into a sea of song, dance, and laughter.
The Miao New Year carries deep layers of meaning. It is not only a celebration of the harvest but also a time to honor their ancestors and deities, and to commemorate Chi You, the legendary ancestor of the Miao people who perished in tribal wars over five thousand years ago. Through ceremonies and offerings to nature — sacred trees, bamboo groves, rocks, and wells — the Miao express their respect and gratitude toward the forces that sustain life.
In the valleys of the Qingshui River and Duliu River in Guizhou, the Miao New Year is the highlight of the year. The Miao calendar differs from the Han Chinese lunar calendar, and the beginning of the Miao year is determined through communal discussions so that different villages celebrate at different times. This ensures that every year, one village becomes the center of a grand regional celebration, while neighboring communities come to join in.
After the autumn harvest and the completion of farm work, the Miao New Year marks both an ending and a joyful beginning. During the festival, villagers visit relatives and friends, slaughter pigs, make sticky rice cakes, worship their ancestors, share reunion feasts, and exchange cups of homemade rice wine.
Traditional activities include bullfighting, bird fighting, and singing contests, each bringing a unique charm to the celebration. One village’s festivities flow seamlessly into another’s, creating a continuous wave of joy that sometimes lasts until the early spring “Drum-Turning Festival” in February.
The Grand Parade and Thrilling Bullfights
The opening day of the Miao New Year is marked by a spectacular parade. People from the eight main Miao branches put on their most elaborate traditional attire — shimmering silver headdresses, embroidered costumes, and ornaments that glisten in the sun. Through music and dance, they showcase their unique local traditions and the living heritage of Miao culture, offering visitors from across China and beyond an unforgettable feast of color and rhythm.
Among the most popular events is the bullfighting competition, a traditional custom symbolizing courage and vitality. Two strong water buffaloes face off, locking horns in a contest of strength and spirit. Thousands gather around the arena to cheer, and the air is electric with excitement. With generous prizes for the winners, the event attracts participants and spectators from far and wide, adding a thrilling edge to the festive atmosphere.
The Long Table Banquet: Sharing Joy, Building Connection
If there’s one experience that perfectly embodies the hospitality of the Miao people, it’s the Long Table Banquet. This grand feast, dating back to ancient times, is more than just a meal — it’s a powerful symbol of unity, friendship, and celebration.
In Danzhai County’s Wanda Town, whenever guests arrive from afar, locals line the streets with long tables stretching as far as the eye can see. Each table is filled with Miao specialties such as smoked pork, sour fish soup, and sticky rice. Hundreds of people sit together, strangers becoming friends over shared food, laughter, and conversation.
The air fills with the tangy aroma of sour soup and the joyful clinking of cups. Everyone, regardless of origin or language, becomes part of one big family — a living expression of the Miao New Year’s spirit: warmth, generosity, and togetherness.
The Miao New Year is far more than a festive occasion — it is a heartfelt tribute to life, nature, and ancestry. Through its rituals, music, and communal joy, it reflects the Miao people’s enduring gratitude for the land, their reverence for their roots, and their love of harmony.
As the lush hills echo with the sound of lusheng flutes and the silver ornaments sparkle under the sun, one realizes that the Miao New Year is not only the celebration of a people — it is a celebration of humanity itself, reminding us all of the beauty of connection, gratitude, and joy.
Photo Courtesy: Hua Zang Si (Community members unite across California to honor the Life Release Day Designated by Buddha, transforming compassion into action through ceremonies, education, and charitable outreach.)
Buddhist communities across California came together on October 29 to honor “The Life Release Day Designated by Buddha,” a global observance dedicated to compassion, the protection of life, and the collective aspiration for peace.
On the morning of October 29, 2025, the H.H. Dorje Chang Buddha III Cultural and Art Museum hosted a life release event at the Marina Del Rey harbor, drawing spiritual leaders and community members from across Southern California. The event was led by Venerable Master Ruzun Ruohui, Abbess of Hua Zang Si Temple and Hongfa Temple.
Participants gathered in unity to chant praises and recite the Great Compassion Mantra of Avalokiteshvara Bodhisattva. Venerable Master Ruzun Ruohui blessed the fish awaiting release with consecrated Dharma water, offering prayers that these sentient beings be freed from suffering and karmic obstructions. Upon release, the fish were returned to the ocean with the hope that they would find safety and live free from harm and predators.
The Life Release Day Designated by Buddha originated on October 29, 2009, when H.H. Dorje Chang Buddha III personally led His disciples in a life release ceremony following a significant Buddhist event. He compassionately declared this day as “Life Release Day” to promote the protection of life and the practice of compassion.
The H.H. Dorje Chang Buddha III Cultural and Art Museum upholds the compassionate teachings of H.H. Dorje Chang Buddha III. The museum urges all sectors of society to transform empathy into action—promoting the safeguarding of life, the cessation of killing, and the daily practices of kindness as a fundamental way of living. Venerable Master Ruzun Ruohui emphasized that life release practices are not confined to specific days or locations. Whenever a life is in danger, we are called to act—to return it to a suitable environment, to grant it freedom, and to relieve it from fear.
On October 29, 2025, San Francisco’s Hua Zang Si Temple also held a life release ceremony at San Rafael. Participants from diverse cultural backgrounds gathered to recite the Heart Sutra and the Great Compassion Mantra before gently releasing fish back to their natural habitat. Organizers emphasized that life release is not only a spiritual practice, but also a call to awaken society’s compassion and deepen our care for the sentient beings.
Photo Courtesy: H.H. Dorje Chang Buddha III Cultural and Art Museum Venerable Master Ruzun Ruohui blesses fish awaiting release with Dharma water during the Life Release Day ceremony at Marina Del Rey.
Photo Courtesy: H.H. Dorje Chang Buddha III Cultural and Art Museum Upon release, the fish were returned to the ocean.
To nurture compassion in the next generation, Hua Zang Si Temple held a Buddhist children’s story class on October 19. Through storytelling and interactive learning, the program guided young participants to understand the core values of “equality of all life” and “compassion without harm.” The initiative was warmly received by parents, who expressed deep appreciation for the temple’s commitment to meaningful and values-based education.
On October 26, Macang Monastery in San Francisco held a special “Life Release Day Blessing and Food Donation Ceremony” in honor of the Life Release Day Designated by Buddha. Following collective sutra recitation and prayers by both monastics and lay practitioners, the temple donated food supplies to unhoused individuals and low-income families—embodying the Buddhist spirit of compassion and service to those in need.
This year’s Life Release Day Designated by Buddha brought together Buddhist disciples and compassionate leaders from all walks of life through a range of activities—including life release ceremonies, prayer gatherings, educational outreach, and food donations. Participants were reminded that cultivation is not merely a slogan, but a continuous practice through every kind thought and virtuous deed.
In 1947, shortly after Japan’s surrender and withdrawal from China, the great Zen Master Xuyun (Empty Cloud) gave a profound speech at a middle school. The nation was still recovering from the devastation of war, and hearts were heavy with both relief and sorrow. With deep compassion, Master Xuyun used the timeless wisdom of the Buddha to explain the law of cause and effect (karma) — reminding people that wars do not arise by chance, but are the result of humanity’s collective actions.
He taught that true peace cannot be achieved through force or politics alone. Only by transforming our hearts and purifying our minds through virtue, compassion, and the practice of Buddhist teachings can we bring real and lasting peace to the world.
War does not arise by chance — it is the collective karma of all beings that brings it forth.
Dear friends, during the years of occupation, we endured immense suffering under the enemy’s oppression — our lives were steeped in water and fire, hardship and pain. Now that our nation has regained its light, we should feel endless gratitude and reflection. We must understand that the outbreak of war is not accidental; it is the result of the shared karma created by all individuals.
The ancient masters said, “If you wish to know the causes of your past lives, look at what you are experiencing in this life. If you wish to know the results of your future lives, look at what you are doing now.” They also said, “Even after hundreds or thousands of eons, the karma one has created will not disappear. When the conditions ripen, the results will be experienced by oneself.”
When people lose their moral compass and commit all kinds of evil, they plant the seeds for calamities such as war, floods, fires, and famine. If we wish to change the will of Heaven and eliminate disasters, we must begin by transforming human hearts — by restoring virtue and morality. When everyone practices the Five Precepts and the Ten Good Deeds, cultivates upright minds and pure conduct, and lives with benevolence, trust, and righteousness, then the hearts of men and the will of Heaven will naturally align.
But if people persist in wrongdoing and refuse to repent, how can hostility and suffering ever be dissolved? The Buddha said, “The sea of suffering has no end, but when one turns around, there is the shore.” This means awakening from delusion and returning to goodness — the essential path to liberation.
We must truly believe in the law of cause and effect. It is not fiction but reality. If everyone understood that good deeds bring good results, and evil deeds bring suffering — that when one plants melons, one harvests melons; when one plants beans, one harvests beans — then no one would dare to act against conscience or break the law. Out of great compassion for all beings, Shakyamuni Buddha renounced his royal life and underwent arduous practice to save the world from ignorance and suffering.
If we understand the principle of cause and effect and wish to avoid future suffering, we must now create good causes. The hardships we experience today are the results of past evil actions. Therefore, we should now sow good seeds, and in time, we will naturally reap good fruits.
The scriptures speak of “Anuttara-samyak-sambodhi,” meaning “unsurpassed perfect enlightenment.” In its essence, it transcends the distinction of self and others — there is no “you” and “me.” But this state must be cultivated from one’s own heart. If our minds remain filled with greed, anger, and ignorance, unable to abandon all evil and practice all good, the barriers of self and ego become like iron mountains, preventing us from reaching the Pure Land or true harmony. This is the most crucial point — one we must all remember well.
The Sanskrit word “Buddha” means “the Awakened One.” Enlightenment has three aspects: awakening oneself, awakening others, and perfecting both understanding and conduct.
To awaken oneself is to realize that all experiences of good and evil, joy and suffering, arise from cause and effect. Once a person truly understands this, delusion fades, the four attachments dissolve, and one becomes enlightened.
To awaken others means recognizing that all living beings — whether born from the womb, from eggs, from moisture, or by transformation — all possess Buddha nature. They are called “sentient beings” only because they are deluded and unaware. We should therefore cherish and respect ourselves, and in keeping with the Buddha’s great vow of compassion and universal salvation, share these truths with others, guiding them out of the sea of suffering.
As stated in the Śūraṅgama Sūtra: “Regard all men as your fathers and all women as your mothers.” If we cultivate such deep reverence and love, especially for widows, orphans, and those who are lonely or destitute, and show them kindness and compassion through giving and aid, we can realize true equality and the ideal of great harmony.
To perfect both understanding and conduct means to live according to the Buddha’s teachings and precepts until one’s virtue and merit are complete. After the Buddha’s passing, he left behind the Three Baskets of Scriptures — Sutra, Vinaya, and Abhidharma — as our priceless raft to cross the sea of suffering. All the rules and precepts should be faithfully practiced. When one fulfills them completely, that is the perfection of wisdom and conduct.
Thus, the Buddha is the awakened one, while sentient beings are the deluded. The distinction between delusion and enlightenment marks the boundary between beings and Buddhas. To turn away from delusion and return to truth — that is awakening, and that is Buddhahood.
To further illustrate the law of karma, there is a story from one of Shakyamuni Buddha’s past lives.
Long ago, in the city of Rajagaha, there was a fishing village with a large pond. One year, a great drought struck, and the pond began to dry up. The villagers caught and ate almost all the fish, until only one giant fish remained, which was finally killed and eaten. Only one eight-year-old boy refused to eat the fish; he simply watched and laughed.
In his later life as the Buddha, King Prasenajit of Kosala, a devoted follower of the Buddha, married a princess of the Shakya clan, and they had a son named King Virudhaka. After ascending the throne, Virudhaka led his army to attack the Shakya capital of Kapilavastu and slaughtered all its inhabitants.
During that time, the Buddha suffered a severe headache for three days. His disciples begged him to use his powers to save the Shakya people, but he refused. Even when Maudgalyayana repeatedly pleaded, the Buddha said no. Maudgalyayana tried to rescue some survivors with his alms bowl, but when he put it down, all he found was a pool of blood.
When the disciples asked why, the Buddha revealed the cause: in a past life, during a great drought in Rajagaha, the villagers had killed and eaten the fish in that pond. The giant fish was reborn as King Virudhaka, and the villagers were reborn as the Shakyas who were killed. The young boy who merely watched and laughed was reborn as Shakyamuni Buddha himself. Because this karma had matured, the outcome was unchangeable.
The Buddha fully understood this karmic connection and taught it to his disciples as a warning. Chan Master Yuan Yun wrote in verse:
“For hundreds of years, the soup in your bowl Is filled with deep hatred, hard to dissolve. If you wish to know why wars arise, Listen to the cries from the butcher’s gate at midnight.”
Reflect on this story and recite the verse, and you will awaken to the true causes of war and violence — and learn to guard your conduct with mindfulness.
If we wish to transform the world and move toward true harmony, everything must begin with our hearts. Students should study diligently, yet never forget the greater mission of saving the world. And the first step to saving the world is saving the heart — correcting one’s own wrong thoughts and firmly believing in the law of cause and effect, avoiding all evil paths.
By cultivating sincerity, righteousness, self-discipline, and harmony within the family, one can extend peace to the nation and the world. If all the people of every country sincerely believe in karma and practice the Eight Virtues and Ten Precepts, then oppression, violence, and wars will cease to arise. True peace, equality, and the Pure Land of Great Harmony will appear, free from the Five Defilements and all suffering.
For the original Chinese speech, please click here. This English translation is by Linda Chang and is provided for reference only.
Cabbage is one of the most common vegetables in our daily lives. Because it is so ordinary, many people tend to overlook its remarkable health benefits. While people often say “rarity makes things precious,” the truth is that some of the simplest, most affordable foods are also the most nourishing — and cabbage is one of them.
Once considered “the food of the poor,” cabbage has long been underestimated. In the 15th century, a Parisian writer even remarked that the poor ate cabbages and turnips instead of bread. Perhaps that old prejudice lingers today — many still see cabbage as plain and unrefined. Yet, with rising grocery costs and a renewed interest in wholesome eating, it’s time to rediscover this modest, versatile vegetable and bring it back to our tables.
A Traditional View: Cabbage in Chinese Medicine
According to Traditional Chinese Medicine (TCM), cabbage has a neutral nature and a sweet flavor. It nourishes the stomach and intestines, promoting healthy digestion and balanced energy.
Let’s explore some of its wonderful health benefits:
1. Anti-Aging Properties
Cabbage is rich in antioxidants that combat cellular oxidation and delay the aging process. For those seeking to maintain youthful vitality, a simple bowl of cabbage may hold more power than any expensive serum.
2. Boosts Immunity
Packed with vitamin C, cabbage strengthens the immune system, helping the body fend off colds and infections while enhancing overall energy and resilience.
3. Supports Healthy Blood Pressure
Cabbage contains high levels of potassium, which helps regulate blood pressure by balancing sodium levels and supporting cardiovascular health.
4. Prevents Osteoporosis
Abundant in vitamin K, cabbage aids in blood clotting and calcium absorption, strengthening bones and teeth while preventing osteoporosis.
5. Promotes Digestive Health
Cabbage contains vitamin U, known as the “anti-ulcer factor.” It helps regulate stomach acid, heal ulcers, and soothe the digestive tract. Japanese studies have found that cabbage’s glucosinolates can inhibit Helicobacter pylori, the bacteria linked to gastritis and ulcers.
6. Cancer Prevention
The sulfur-containing compound isothiocyanate gives cabbage its distinctive aroma — and its powerful anti-cancer properties. This compound helps neutralize toxins, protect cells, and reduce cancer risk.
7. Rich in Folic Acid
Folic acid in cabbage is essential for pregnant women, helping prevent fetal malformations and supporting healthy red blood cell production.
8. Anti-Bacterial and Anti-Inflammatory Effects
Cabbage contains natural phytoncides — plant-based antibacterial compounds — that reduce inflammation, fight infections, and even soothe sore throats or small wounds.
Culinary Versatility
Cabbage’s mild flavor and satisfying crunch make it a versatile kitchen staple:
Salads and Slaws: Shred cabbage with carrots, apples, or nuts for a refreshing, colorful slaw.
Stir-Fry: Sauté with garlic and soy sauce for a simple yet delicious side.
Soups and Stews: Add chopped cabbage for extra nutrition and heartiness.
Fermented Foods: The star ingredient in sauerkraut and kimchi — both rich in probiotics and flavor.
Stuffed Dishes: Use cabbage leaves to wrap rice, lentils, or meats for comforting stuffed rolls.
Lightly Pickled Cabbage: A Liver Cleanser and Detox Aid
Cabbage contains indoles, anti-cancer nutrients that also protect the liver and enhance detoxification. When cabbage is lightly pickled, its benefits multiply.
In Traditional Chinese Medicine, sour flavors are believed to nourish the liver. Lightly pickled cabbage helps detoxify the body, strengthen immunity, beautify the skin, and support cardiovascular and digestive health.
Fermented cabbage is also a powerful probiotic food. Lactobacillus plantarum, a beneficial bacteria from fermented cabbage like kimchi, supports the gut microbiome — the foundation of our immune system and overall well-being.
Easy Recipe: Lightly Pickled Cabbage
Ingredients
500 g cabbage
2 teaspoons salt
1 teaspoon sugar
Instructions
Wash and drain the cabbage, then slice it finely.
Divide into two portions. Place half in a bowl, sprinkle with 1 teaspoon of salt, and gently knead until softened.
Add the remaining half, the rest of the salt, and sugar. Continue kneading until juicy.
Pack into a clean glass jar with its liquid.
Seal and leave in a cool place for half a day to lightly ferment, then refrigerate. Serve chilled.
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Cabbage may not have the glamour of kale or the trendiness of arugula, but it carries quiet strength and wisdom — a reminder that simplicity often hides great value. In a world obsessed with novelty and luxury, perhaps we can learn from this humble vegetable: to nourish deeply, give generously, and thrive quietly.
This book by H.H. Dorje Chang Buddha III was released in Chinese in 2014 but is not yet available in English. It is based on a series of very famous discourses given in China in 1992, using the text, meaning, and principles of the Heart Sutra to transmit Dharma. It clearly explains the relationships between mind, Buddha, and living beings. It tells everyone what the absolute truth of Buddha-dharma and liberation is. Several years ago, His Holiness told a number of Western disciples that this is the only book you need to read to understand emptiness and become enlightened. This text is for acquiring prajna or transcendental wisdom, although it also teaches the importance of cultivating character.
To stress how important this holy book is, we must remember that just before the Buddha left this world His Holiness told us that “. . . At all times, we must think about bringing auspiciousness, serenity, happiness, and peace to living beings and to the world, to the extent of giving our all and even our lives. I have already brought true Buddha Dharma to this world. Everyone who practices in accordance with The Supreme and Unsurpassable Mahamudra of Liberation and Expounding the Absolute Truth Through the Heart Sutra will surely attain liberation. That’s all. I wish all living beings happiness.”
Venerable Master Puguan’s Reflection After Listening to Expounding the Absolute Truth Through the Heart Sutra
Below is the heartfelt reflection of Venerable Master Puguan, the abbot of Kaihua Monastery on Mount Wuzhong—the first site of Southern Transmission Buddhism and the thirteenth-generation patriarch of Mount Emei—after listening to the Dharma discourses of Expounding the Absolute Truth Through the Heart Sutra spoken by H.H. Dorje Chang Buddha III.
Venerable Master Puguan said:
“No matter what words I use today, they cannot fully express the supreme joy and wonder in my heart. My most magnificent and compassionate Buddha Master, the Great Dharma King Yangwo, once visited Mount Wuzhong in person. At that time, my junior Dharma brother, Dharma Master Guozhang, and I were on the third day of a Zen retreat with the four assemblies of disciples when suddenly the Dharma protector came and told me, ‘The greatest holy being has arrived! He is wearing white clothes. Quickly cancel the Chan session and lead everyone to greet Him with full ceremony!’
Dharma Master Guozhang also received the same message—that the highest Holy One had come. We immediately announced to all disciples that the Zen session was to be stopped, and we prepared the ceremonial welcome with drums and bells. Indeed, about ten minutes later, a group of dozens of people arrived at the foot of the mountain—it was my revered Master, the Great Dharma King Yangwo (H.H. Dorje Chang Buddha III).
When I supported my Master while walking toward the Bright Moon Pool, He gently took hold of my hand instead and said, ‘I am younger than you; you should not support me. It is I who should support you, the elder.’
At that moment, I felt deeply ashamed. How could a disciple ever deserve to be supported by his Master, the Great Dharma King?
Now, after listening to Expounding the Absolute Truth Through the Heart Sutra, I finally realize that what my Master said back then was the very expression of ultimate truth! We practitioners must rely on our Master’s steadfast guidance, never letting go of His compassionate hand, until we are led to the pure Buddha-land of ultimate Nirvana. How could we ever imagine supporting our Master?
Having repeatedly listened to this Dharma discourse, I can only say that my Master has explained the very essence of all 600 volumes of the Prajnaparamita Sutras and the two essential provisions of precepts and practice. The Dharma He expounded is so profound that the deep will see its depth and the shallow will see its shallowness—it is wondrous beyond description, extraordinary within the ordinary. In truth, it is the supreme teaching of the ultimate truth since the beginning of time.
After listening to this unparalleled Dharma spoken by my Buddha Master, I was instantly and completely awakened—the bottom of the bucket had fallen out! Unfortunately, my age has deprived me of the condition to attain rainbow-body ascension, but I rejoice that I have realized the state of indestructible flesh body. After my parinirvana, this body can serve as evidence to the world that my Great Dharma King, my Buddha Master, is truly the Dharma King who unites all Buddhas of the ten directions.
When I think back on my earlier misunderstandings, I feel deeply ashamed. I once mistakenly believed that only Tibetan Esoteric Buddhism possessed the Great Dharma that enables enlightenment within one lifetime. Now that I have attained realization, I truly understand that the authentic Dharma of the Tathagata transcends all schools and sects.
In fact, the true Buddha Dharma is a wondrous treasure existing independently of any tradition. It is neither exclusive to nor absent from any particular school—because genuine Dharma is not governed by sects but by Buddhas and Bodhisattvas themselves. Wherever a Buddha or Bodhisattva manifests as a teacher, that school naturally possesses the Great Dharma.
When I recall my past cultivation at the Golden Summit of Mount Emei, I can only remain speechless in humility. Today, immersed in the bliss of Dharma joy, I can only pray:
May all Buddhas bless that the great karmic conditions of the Tathagata ripen soon. May all sentient beings swiftly hear the teachings of my Buddha Master—the Mother of All Buddhas’ Dharmas, Expounding the Absolute Truth Through the Heart Sutra— so that their blessings and wisdom may swiftly and perfectly flourish, attaining Bodhi and liberation in this very life, and achieving freedom from life and death!
Namo Amitabha Buddha! Namo Avalokiteshvara Bodhisattva!
Note: 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.
The following is the English translation of Venerable Master Pu Guan’s Dharma discourse, rendered into English by Linda Chang. The original Chinese version is provided below.
Hidden in the quiet county of Yixian in northern China, Fengguo Temple has stood for over a thousand years as a living testament to ancient Chinese wisdom and spiritual devotion. Its magnificent Mahavira Hall, the largest single-story wooden structure of its time, houses seven colossal clay Buddhas that have miraculously survived the centuries. This temple is not only an architectural marvel but also a sacred symbol of harmony, resilience, and faith that continues to inspire all who visit.
A Thousand Years of Faith and Architecture
Beyond the Shanhai Pass, in the northern part of Jinzhou City, Liaoning Province, stands the quiet county of Yixian, home to one of China’s most magnificent ancient temples — Fengguo Temple. This remarkable site, founded over a millennium ago, is not only a masterpiece of Liao Dynasty Buddhist architecture but also a living testament to the extraordinary ingenuity of ancient Chinese builders and the enduring power of faith.
In 2020, Fengguo Temple celebrated its thousandth anniversary. Through a thousand years of wind, snow, wars, and earthquakes, its grand Mahavira Hall still stands tall — a miracle in both architecture and spirituality.
The Majestic Great Hall
The heart of Fengguo Temple is its Mahavira Hall (Great Buddha Hall), one of the Eight Great Structures of the Liao Dynasty. Built in 1020 CE, it measures 49.5 meters wide, 26.6 meters deep, and 19.9 meters high, covering an area of 1,317 square meters. Standing on a 3.2-meter-high platform, the hall is the largest single-story wooden structure of ancient China — magnificent, solemn, and breathtaking.
Ingeniously designed, the hall uses a “reduced-column” method to maximize interior space while maintaining perfect stability. Ancient builders applied advanced techniques known as “side-foot” and “rising beam”, ensuring the building’s balance and graceful proportions. The massive bracket sets under the eaves are bold yet refined, exuding strength and elegance.
Thanks to its precise structural mechanics, the Great Hall has remained perfectly upright for a thousand years, without any sign of warping or tilting — an unparalleled achievement in the history of wooden architecture.
The Seven Buddhas: Eternal Clay Sculptures
Inside the Great Hall, seven colossal clay Buddha statues, each about nine meters tall, sit side by side upon a brick platform. From east to west, they are: Kashyapa Buddha, Krakucchanda Buddha, Sikhin Buddha, Vipashyin Buddha, Visvabhu Buddha, Kanakamuni Buddha, and Shakyamuni Buddha.
These are the “Seven Buddhas of the Past” mentioned in Buddhist scriptures, symbolizing the eternal cycle of enlightenment in our world. Each Buddha exudes solemn dignity, with serene expressions and graceful postures, reflecting the Liao Dynasty’s continuation of Tang-style Buddhist artistry. Two bodhisattvas stand beside each Buddha, adding vitality and compassion to this sacred tableau.
This magnificent ensemble is the oldest and largest group of colored clay Buddha statues in the world. Despite being made of fragile clay, they have miraculously survived for over a thousand years, their colors still soft and luminous. This endurance is nothing short of a miracle — a union of artistic mastery and the blessings of faith.
The Legend of the Buddha Catching a Shell
During the Liaoshen Campaign in the late 1940s, Yixian became a battlefield. Amid the chaos, a shell pierced through the roof of the Great Hall and fell directly into the right hand of the Shakyamuni Buddha statue. Miraculously, the shell did not explode.
Locals still tell this story as “The Buddha Caught the Shell with His Hand.” Whether fact or legend, it adds an aura of mystery and divine protection to the temple’s long history — as if the Buddhas themselves were silently safeguarding their sacred home.
The Flying Devas of Liao
The beams and rafters inside the Great Hall are adorned with over 4,000 square meters of original Liao Dynasty murals. Among them, the heavenly maidens — the Flying Devas — are the most enchanting. With radiant faces and flowing ribbons, they drift gracefully through clouds, offering flowers and fruits to the Seven Buddhas below.
Their movement contrasts beautifully with the Buddhas’ stillness, creating a breathtaking scene of divine harmony and devotion. The surrounding walls also preserve Yuan and Ming dynasty murals depicting ten Buddhas, eight Bodhisattvas, and the Eleven-Faced Avalokiteshvara, adding even more layers of spiritual and artistic richness to this timeless sanctuary.
A Thousand Years of Wonder
Standing before this majestic hall — a wooden structure that has endured a millennium — and gazing upon the clay Buddhas whose serene faces have survived a thousand winters, one cannot help but wonder:
How can a wooden palace withstand ten centuries of storms and wars? How can clay sculptures remain whole and radiant after a thousand years?
Is it the wisdom of the ancients? The strength of art? Or the blessing of the Dharma itself?
Perhaps the answer lies within every beam, every brushstroke, and every tranquil smile of the Buddhas.
May the Buddhas and Bodhisattvas bless all beings with peace, compassion, and happiness. Namo Amitabha.
Peace LiLy 