IAMA presents Be Your Own Spotlight by Yen’s Art Studio
Walking into Be Your Own Spotlight, presented by Yen’s Art Studio, at IAMA (The international Art Museum of America), I didn’t feel like I was entering a typical student art exhibition. Instead, it felt more like stepping into 150 honest conversations—each one visual, brave, and deeply personal.
The exhibition features 150 outstanding works by young students, created across a wide range of mediums—acrylic, watercolor, pencil, and mixed media. But what moved me most was not the variety of techniques; it was the sense that every piece quietly declared: this is who I am right now.
These students are not just learning how to paint or draw. They are learning how to trust their voices, how to take up space, and how to stand behind what they create. Their works reflect growth, self-discovery, and the joy—and sometimes uncertainty—of becoming. Whether you are a parent, an educator, a collector, or simply someone searching for inspiration, this exhibition offers something meaningful to feel, not just something pleasant to see.
As I moved through the gallery, I was delighted by the sheer range of imagination: striking portraits, fantastical worlds, playful animals in sunglasses, thoughtful reflections on global issues, and moments of pure joy. The diversity of themes reminded me of a beautiful truth that Yen’s Art Studio expresses so well: “In the world of art, there are no boundaries of age or race. Children’s artwork can reach—and sometimes surpass—the technical ability and creative understanding typically associated with adults.”
One piece that stayed with me was a self-portrait by 8th-grade student Cynthia Liu. It stood out not only for its technical sensitivity, but for its emotional depth. Cynthia is known for her perfectionist nature, something many of us—artists or not—can relate to. Her work quietly reflects a universal truth: no artwork is ever truly finished. Without a clear endpoint, a piece can be revised endlessly, sometimes at the cost of the original vision.
Self-Portrait by Cynthia Liu, 8th grade Yen’s Art Studio
Hanni from Newjeans by Sophie Sun, 9th grade. Yen’s Art Studio
Another story that deeply touched me was Sophie’s. Once a shy student who nearly gave up on art altogether, she found her way back through the creative process at the studio. Through painting, Sophie rediscovered calmness, confidence, and inner strength—one of the most meaningful transformations I learned about in this exhibition. Her journey reflects the studio’s commitment not only to technical excellence, but to nurturing the inner lives of its students.
Lovers by Nova Cui, 9th grade Yen’s Art Studio
Among the more than 150 works, one painting stood out to me for its quiet presence rather than immediate visual impact. Created by Nova, a student dedicated to becoming a professional ballet dancer, the piece carries a sense of discipline, restraint, and inner resolve. Acknowledging the intensity of her dance training, her art education focused less on technical display and more on observation, sensitivity, and emotional understanding.
Her painting reveals genuine emotion and determination, qualities she will undoubtedly carry into her future as a dancer, where movement and art meet as a shared language of expression.
Be Your Own Spotlight is ultimately not just about showcasing talent. It is about honoring courage—especially the quiet kind. It reminds us that every young artist is learning not only how to create, but how to believe in themselves. And as viewers, we are fortunate to witness these moments of bravery, growth, and becoming.
Don’t miss the museum’s permanent exhibition, where world-class artworks offer far more than visual beauty. Here, art becomes a quiet refuge—inviting tranquility, reflection, and a subtle elevation of the spirit. Especially moving are the paintings by H.H. Dorje Chang Buddha III, whose works gently awaken the mind, soothe the heart, and leave the soul deeply inspired long after you depart.
Standing before the massive screen at the exhibition, I raised my arm and waved upward.
On the screen, a white whale responded instantly—leaping out of the water. Its enormous body traced a graceful arc through the air before crashing back down, sending waves of spray in every direction.
At the recently concluded art exhibition in Shenzhen, Whale Room: A Blue Dream Confined, nearly every visitor briefly stepped into the role of a “whale trainer” through multimedia interaction.
What We Call Beauty May Be Their Burden
In the wild, white whales rarely leap repeatedly out of the water. Their heavy bodies are not meant for frequent, high jumps.
What humans describe as “graceful” or “awe-inspiring” may, for them, be exhausting, oppressive, even a cycle of repeated pain.
The exhibition’s founder, Shao Ran, once worked as a whale trainer for five years. She stood by the pool countless times, receiving applause and cheers.
This time, however, she chose to tear open the surface of the “blue dream.”
When the decorations are removed, steel and concrete are revealed beneath. No matter how vast an artificial pool may appear, to a whale, it is still an inescapable prison.
Their suffering is carefully packaged as entertainment.
When a Life Was Entrusted to a White Whale
What truly changed Shao Ran’s life was a moment of life and death beneath the water.
That day, she entered the pool to perform with a white whale named Sophie. Suddenly, Sophie lost control—clamping onto her foot and dragging her downward again and again.
Fear. Powerlessness. Suffocation. All magnified in that endless blue.
“The only thing I could do was wait,” she later said. “To gamble on her kindness.”
She did not escape—not out of bravery, but because for the first time, she fully understood:
In the water, she was no longer the one in control. She was utterly vulnerable.
She looked into Sophie’s eyes. No commands. No intimidation. Only one thought remained:
I want to live.
In the end, Sophie stopped. She slowly swam closer, lifted Shao Ran’s foot with her mouth, and gently pushed her back to shore.
In that moment, Shao Ran understood what compassion truly means.
Not weakness— but the choice not to harm, even within extreme injustice and oppression.
Who, Then, Is Truly Being Tamed?
Sophie was not the only one who resisted.
Another dolphin, Huahua, after enduring prolonged loneliness and stress, eventually chose to stop breathing.
That day, as Shao Ran sat beside Huahua’s body, she could no longer persuade herself with words like “work,” “regulations,” or “procedure.”
She began to see clearly:
So-called training does not only tame animals. It slowly tames the human heart as well.
When violence becomes institutionalized, when suffering is rationalized, when harm is renamed “normal work”—
Humans, like the captive animals, lose freedom and awareness.
There is a line in Buddhism: All beings suffer. Ignorance causes beings to harm one another.”
The Buddhist teaching of non-harming calls us to awaken from this very ignorance.
Walking the Path of Compassion in Another Way
Shao Ran left the marine park.
She no longer stands beside a pool, but walks into schools, bookstores, and quiet corners of the city, telling stories about animals.
No stage. No applause. Sometimes, only a handful of listeners.
Still, she speaks.
She founded a nature protection community called “Ran Ai Tong Sheng” (“All Beings, One Compassion”).
“Ran” is not her name. It means following what is natural— respecting the original state of all beings.
The image of that white whale pushing her gently back to shore has stayed with me ever since.
After long confinement and deprivation, it did not choose destruction— it chose kindness.
Buddhism teaches us:
Compassion is not a result—it is a direction.
If we consider ourselves more intelligent, more civilized, more faithful—
Then perhaps we should also learn:
Not to build our joy upon the suffering of others. Not to hide harm behind habit. Not to allow violence through silence.
Buddhist compassion is not mere sympathy. It is a lucid responsibility.
May we, toward every life, give rise to respect, and cultivate a heart of non-harming.
When non-harming becomes a choice, when compassion becomes action, only then can this world truly move toward freedom.
Recently, I watched a short video that stayed with me far longer than I expected.
The scene took place in a small shop in Pakistan. A robber walked in, grabbed money and a phone, and prepared to leave. Sitting beside the shop owner was a little girl. She looked at the robber calmly, without screaming or hiding, and gently offered him the lollipop she was holding.
For a brief moment, everything seemed to stop.
The robber froze. He looked at the child, then slowly put the money and phone back down. Before leaving, he leaned over and kissed her on the forehead.
I don’t know whether the girl acted out of fear, nervousness, or pure instinct. But her simple, innocent gesture touched something deeply human in him. Perhaps, in that fleeting moment, his life took a different turn.
What moved me most was this realization: Even those who appear hardened or dangerous may still carry a seed of kindness within them. And sometimes, it only takes the smallest act to awaken it.
A single lollipop opened a door in the human heart.
Lately, I’ve been noticing more and more of these quiet sparks of goodness appearing around the world.
In the United States, a group of Buddhist monks has been walking on foot, praying for peace. Without slogans or confrontation, they offer presence, humility, and sincerity. Their journey has inspired many people to reflect on peace in a deeper way, and countless strangers have stepped forward to support them.
Guided by the teachings of Namo Dorje Chang Buddha III, and with deep respect for the great mercy and loving-kindness through which Buddhas and Bodhisattvas benefit all living beings, the World Buddhism Association Headquarters (W.B.A.H.), Holy Miracles Temple (at Pasadena CA) and Sanger Mission sincerely to carry out Charitable Acts to Benefit Our Community Together: 2026 Food and Goods Drive, to collectively plant goodness. All donations will be sent to support local food banks, homeless shelters, and animal shelters in the Los Angeles area.
I also read about Jon Stewart, who announced an extraordinary donation of $116 million to help address homelessness across the United States—providing housing and dignity to people who have long been forgotten by society. It was a reminder that compassion, when paired with courage, can bring real and lasting change.
And then there is the story that expanded my sense of hope even further.
Johan Eliasch, a Swedish billionaire, acquired approximately 400,000 acres of the Amazon rainforest by purchasing the company that held its logging rights. Instead of continuing operations for profit, he immediately halted all logging activities.
Just like that, the chainsaws stopped.
That vast stretch of forest was allowed to remain intact—continuing to absorb carbon, protect biodiversity, and sustain one of the planet’s most vital ecosystems. His action demonstrated something profound: that private ownership, when guided by conscience, can become a powerful force for environmental protection.
This act of kindness may not be immediately seen by everyone, yet it will have a profound impact on the Earth’s ecological balance—and it is, in its own quiet way, safeguarding a future our children and grandchildren will still be able to breathe in.
From a child offering a lollipop… to a monk walking for peace… to a philanthropist sheltering the homeless… to a forest saved from destruction—
These acts may differ in scale, but they arise from the same source: the human longing to protect, to heal, and to do what is right.
In Buddhist teachings, compassion is not passive emotion—it is action. It is wisdom expressed through kindness.
As a new year begins, I sincerely hope we will witness more of these compassionate and righteous choices—choices that quietly warm the world.
May we walk together, letting kindness extinguish the fires of war, allowing love to dissolve hatred and conflict, and using compassion to heal sorrow, fear, and pain.
The world does not change all at once. But every gentle act—no matter how small—adds light.
And sometimes, that light begins with something as simple as a child’s open hand.
Long ago, deep in the mountains, there lived a Zen master named Wuguo（无果）, a practitioner wholly devoted to meditation. For more than twenty years, he was supported by a humble mother and daughter who offered him food and daily necessities so he could cultivate the Way without distraction.
As the years passed, Master Wuguo reflected deeply on his practice. Although he had dedicated his life to meditation, he felt he had not yet realized his true nature. A quiet fear arose in his heart: If I have not awakened, how can I truly repay the kindness of these offerings?
Determined to resolve the great matter of life and death, he decided to leave the mountain to seek instruction from other masters.
When the mother and daughter heard of his departure, they asked him to stay a few more days. They wished to sew him a monastic robe for his journey. At home, the two women worked carefully, chanting the name of Amitabha Buddha with every stitch, their hearts filled with sincerity. When the robe was finished, they also wrapped four silver ingots to serve as his travel funds.
Master Wuguo accepted their offerings and prepared to leave the next morning.
That night, as he sat quietly in meditation, a vision appeared. A young man dressed in blue stood before him, holding a banner. Behind him came a procession playing music and carrying a magnificent lotus flower.
“Zen Master,” the youth said, “please ascend the Lotus Seat.”
Master Wuguo remained calm. He reflected inwardly: I am a Zen practitioner, cultivating meditative concentration. I have not practiced the Pure Land path. I should not become attached to visions. Even for a Pure Land practitioner, such an experience could be a delusion.
He ignored the vision.
Yet the youth returned again and again, urging him earnestly not to miss this rare opportunity. Finally, Master Wuguo picked up his small hand-bell (yinqing) and placed it on the lotus seat. Soon after, the youth and the entire procession vanished.
The next morning, as Master Wuguo prepared to depart, the mother and daughter hurried toward him in distress. Holding the hand-bell, they asked anxiously:
“Master, is this yours? Something very strange happened last night. Our mare gave birth to a stillborn foal. When the groom cut it open, he found this bell inside. We recognized it immediately and rushed to return it—but we cannot understand how it came from a horse’s belly.”
Upon hearing this, Master Wuguo broke into a cold sweat. Deeply shaken, he composed a verse:
One monastic robe, one sheet of hide; Four silver ingots, four hooves inside. Had this old monk lacked the power of Zen, Your stable is where I would have been.
In that moment, he clearly understood the law of cause and effect. By accepting the robe and the silver, he had created a karmic debt. Had his mind been even slightly attached—to the vision, to the offerings, or to the idea of reward—he would have been reborn as a horse in that very household, laboring to repay what he had received.
Immediately, Master Wuguo returned the robe and the silver to the women and departed.
Because he did not cling to extraordinary visions, he escaped rebirth in the animal realm. An ordinary person, upon encountering such sights, would have grasped at them, fallen into delusion, and continued revolving in the cycle of rebirth.
This story reveals a profound truth: the realms are not distant places—they arise from the mind itself.
When the mind dwells in craving and greed, it becomes the realm of the Hungry Ghosts, endlessly desiring yet never satisfied. When the mind dwells in anger and resentment, it becomes the Asura realm, filled with conflict and struggle. When the mind is clouded by ignorance and confusion, it sinks into the Animal realm, driven by instinct and karmic habit.
In our daily lives, we often fixate on external things—lust, fame, wealth, comfort, indulgence—believing we cannot live without them. Yet we fail to see that all phenomena arise from causes and conditions. When conditions gather, things appear; when conditions disperse, they vanish. None possess a fixed or permanent essence.
Reflect carefully: Is there anything in this world we can truly hold onto forever?
Since nothing produced by conditions can be owned, lasting happiness cannot be found through possession or attachment. True happiness arises from non-attachment, from seeking nothing and clinging to nothing. When the mind releases its grasp, it becomes light, clear, and free.
So we may ask ourselves:
Can we remain at peace amid changing emotions? Can we stay calm in the face of conflict? Can we remain unmoved by fame and profit? And when the moment of death arrives, can our mind remain clear and mindful?
The law of cause and effect never errs. What we cultivate in the mind today shapes the world we inhabit tomorrow.
In the southwestern suburbs of Xining, where the air grows thin and the spirit grows light, stands one of the most significant sites in the Buddhist world: Kumbum Monastery.
Known in Tibetan as Kumbum Jampa Ling, meaning “A Supreme Temple of a Hundred Thousand Lion’s Roar Buddha Images,” this sprawling complex is far more than just a collection of buildings. It is a living monument to Lama Tsongkhapa, the revered founder of the Gelug (Yellow Hat) sect of Tibetan Buddhism.
The Legend of the Golden Tree
Unlike many temples built to house statues, Kumbum was built to house a pagoda.
Legend tells us that Tsongkhapa was born here in 1357. When his mother cut his umbilical cord, drops of blood fell to the earth, and from that spot grew a miraculous sandalwood tree—the “Tree of Great Merit.” It is said this tree had 100,000 leaves, each bearing a natural image of the Buddha.
Years later, when Tsongkhapa was studying in Tibet, his mother sent a letter begging him to return. He replied that he could not leave his studies, but sent a self-portrait and a “Lion’s Roar” image, instructing her to build a pagoda over his birthplace. “Seeing this pagoda,” he promised, “is the same as seeing me.” In 1379, the Julian Pagoda was built, forming the sacred heart of what would become Kumbum Monastery.
Kumbum is world-renowned for its harmonious blend of traditional Tibetan and Chinese Han architectural styles.
1. The Eight Pagodas of Buddha Shakyamuni
Greeting visitors in the front square are eight gleaming white pagodas. Built in 1776, they commemorate the eight great merits and virtues of Buddha Shakyamuni. Each stands 6.4 meters tall, decorated with delicate Sanskrit scriptures and guardian lions, serving as a powerful symbol of the monastery’s spiritual authority.
2. The Grand Golden Tiled Hall
This is the soul of the monastery. With its gilded copper roof and emerald glazed-tile walls, the hall radiates a celestial glow. Inside, you will find an 11-meter-tall golden tower wrapped in white sandalwood and encrusted with jewels. At its peak sits a statue of Tsongkhapa. For pilgrims, meeting this tower is considered a direct meeting with the Master himself.
3. The Main Assembly Hall
Spanning nearly 2,000 square meters, this is the center of monastic life. Under a flat roof adorned with gilded bronze bells and “Aquarius” vases, hundreds of monks gather to recite sutras. The interior is a sensory masterpiece of colorful streamers and intricate carvings.
Dhammapala Hall
The “Three Artistic Wonders” of Kumbum
Kumbum is celebrated throughout Asia for its “Three Arts,” which represent the peak of Tibetan craftsmanship and devotion.
I. Vivid Yak Butter Sculptures
In the freezing depths of winter, when fresh flowers were unavailable for offerings, monks began carving flowers from yak butter. This evolved into a sophisticated art form. In the Yak Butter Sculpture Hall, you can see entire landscapes, pavilions, and deities crafted with impossible detail. To keep the butter from melting while they work, monks must dip their hands in ice water—a true testament to their endurance and faith.
II. Imaginative Barbola (Embroidered Appliqué)
Barbola is a unique form of 3D silk embroidery. By layering silk and cotton, artists create raised patterns that give the figures of Buddhas and animals a lifelike, three-dimensional appearance. The “Sixteen Disciples of Buddha” housed in the Main Assembly Hall are considered national treasures.
III. Exquisite Murals
The walls of Kumbum are alive with color. Using special mineral pigments that remain vibrant for centuries, these murals depict the life of Shakyamuni and scenes from the sutras. During the Sutra-viewing Festival, a massive 30-meter-long Buddha scroll is unfurled on the hillside, a breathtaking sight known as the “Great Buddha Exhibition.”
Kumbum Monastery hosts four major Dharma assemblies annually, held during the first, fourth, sixth, and ninth months of the lunar calendar. These gatherings are a blend of traditional festivals and grand religious events unique to the monastery. During these times, the temple comes alive with sacred activities, including monastic debates, mask dances, and sutra chanting.
A highlight of these fairs is the Cham Dance, where monks wear ornate masks and vibrant costumes, using dramatic gestures to express profound Buddhist teachings to the rhythm of cymbals and suonas (traditional horns). One of the most awe-inspiring sights is the Giant Thangka Unveiling, where a massive, delicate image of Tsongkhapa is unfurled down the mountainside. For the faithful, witnessing this Thangka is considered a direct and holy encounter with the Master himself.
Thangka Exhibition during the Buddha Festival
In July 2006, this sacred temple issued its formal recognition and congratulations to H.H. Dorje Chang Buddha III
United International World Buddhism Association Headquarters:
Under auspicious circumstances, we were happy to learn of the publication of A Treasury of True Buddha-Dharma—Complete Proficiency in Exoteric and Esoteric Buddhism and Perfect Mastery of the Five Vidyas about the Buddha Vajradhara, H.H. Master Yangwo Wan Ko Yeshe Norbu. His Holiness’s outstanding accomplishments are unprecedented. We respectfully send this letter of congratulations and joyfully offer our praise.
His actions and mind are pure, and His good fortune and wisdom are limitless. He benefits myriad living beings, and His willpower never tires. His powerful virtue is widespread, and His appearance is completely dignified. He truly abides in peace and His accomplishments are perfect!
Qinghai Skuvbum Monastery An auspicious day in July of 2006
Below is the original copy of the recognition letter in Chinese:
In the annals of spiritual history, few figures are as revolutionary as Huineng (慧能), the Sixth Patriarch of Zen (Chan) Buddhism. His life story is a profound testament to the idea that enlightenment is not reserved for the elite or the scholarly, but is the inherent birthright of every human being.
Known for the iconic verse you mentioned—“Bodhi originally has no tree”—Huineng transformed Zen from a complex Indian philosophy into the direct, spontaneous practice we recognize today.
Huineng’s journey did not begin in a monastery. He was born into a poor family in 7th-century China and worked as an illiterate woodcutter to support his widowed mother.
His life changed in an instant when he overheard a traveler reciting the Diamond Sutra. Upon hearing the line, “Depending upon nothing, the mind arises,” Huineng experienced a sudden moment of clarity. This “sudden awakening” became the hallmark of his future teachings.
Driven by this experience, he traveled to the Dongshan Monastery to seek guidance from the Fifth Patriarch, Hongren.
Huineng’s status as an illiterate outsider meant he was initially assigned to the kitchen to hull rice. When the time came for the Fifth Patriarch to choose a successor, he asked his disciples to write a “mind-verse” to demonstrate their understanding.
The lead disciple, Shenxiu, wrote a verse emphasizing constant, diligent practice:
“The body is the Bodhi tree; the mind is like a bright mirror on a stand. Take care to wipe it always, and let no dust collect.”
Huineng, hearing the verse, realized it missed the ultimate truth of emptiness. He dictated his now-famous response to be written on the wall:
“Bodhi originally has no tree.The bright mirror on a stand is also not real.From the beginning, not a single thing exists.Where, then, can dust collect?”
Hongren recognized Huineng’s superior realization and secretly passed him the robe and bowl—the symbols of the Patriarchy—in the middle of the night, instructing him to go into hiding until the time was right to teach.
Huineng eventually emerged from hiding and began teaching at Nanhua Temple. His impact on Buddhism was so immense that his teachings were recorded in the Platform Sutra of the Sixth Patriarch. This is the only Buddhist scripture not spoken by a Buddha to be officially granted the title of a “Sutra.”
His major achievements include:
The Southern School of Zen: He founded the “Southern School,” which emphasizes “Sudden Enlightenment” (Dunwu) over gradual study.
Democratizing Wisdom: He taught that the “Buddha-nature” is present in everyone, regardless of literacy or social status.
The Foundation of Zen: Nearly all surviving Zen lineages (including Japanese Zen and Korean Seon) trace their ancestry back to Huineng.
A Living Legacy: The Whole-Body Relic
Perhaps the most miraculous aspect of Huineng’s story is his physical departure from this world. In 713 AD, Huineng entered Nirvana, but his body did not decay.
To this day, his whole-body relic (mummy) is enshrined and preserved at Nanhua Temple in Shaoguan, Guangdong Province. For over 1,300 years, devotees have traveled to the temple to pay respects to the Sixth Patriarch. His physical presence remains a powerful symbol of the “Diamond Body”—the incorruptible nature of a truly enlightened mind.
Huineng reminds us that we do not need to look outside ourselves for wisdom. As he famously taught, our original nature is pure, and enlightenment is simply the act of seeing through the “dust” to the emptiness that was there all along.
Zhenru Chan Temple is nestled on the southwestern slopes of Yunju Mountain in Jiangxi Province. Surrounded by peaks said to resemble unfolding lotus petals, the landscape is poetically described as “lotus peaks clustering around Huatai.” Huatai, the mountain’s central peak, anchors this natural harmony. Here, architecture, terrain, and spiritual intention merge seamlessly, creating a setting that feels both grounded and quietly transcendent.
Even before understanding its history, one senses that this is a place shaped not to dominate nature, but to listen to it.
The name Zhenru (真如) means “True Suchness”—a fundamental concept in Chan Buddhism that points to ultimate reality as it is, beyond words, labels, or conceptual thinking. It is not something to be grasped intellectually, but something to be directly experienced.
Founded during the Tang Dynasty (806–810), Zhenru Chan Temple is regarded as the cradle of the Caodong School of Chan Buddhism, which later spread to Japan as the Soto Zen tradition. Revered as one of China’s three great model Chan monasteries, the temple has long been a center for authentic practice. Though the present structures were rebuilt in the 1950s, they preserve the simplicity and elegance of traditional Chinese monastic architecture.
Chan in Action: Meditation and Farming as One Path
One of Zhenru Temple’s defining characteristics is its embodiment of the Chan principle that “agriculture and meditation are equally emphasized.” Monks here did not retreat from life; they engaged it fully.
Alongside meditation, monks cultivated tea fields and farmed the land. This was not merely practical—it was spiritual. Farming ensured self-sufficiency in the remote mountains, freeing the monastery from reliance on external donations. More importantly, working the soil was understood as a form of Chan practice: repetitive, mindful, intimate with the rhythms of nature.
In the Caodong tradition, there is no division between the sacred and the ordinary. Plowing a field is no less sacred than chanting a sutra. The monks alternated between sitting meditation and physical labor, living out the Chan maxim:
“A day without work is a day without food.”
This principle is traditionally attributed to the Tang-dynasty Chan master Baizhang Huaihai (720–814), a disciple of Mazu Daoyi and a key figure in establishing Chan monastic regulations. His teaching reminds us that awakening is not found apart from daily life, but revealed within it.
Master Xu Yun: Reviving the Living Dharma
Zhenru Chan Temple is also inseparably linked to Master Xu Yun (1840–1959), one of the most revered Chan masters of modern China, often described as a rare master who embodied and transmitted the lineages of five Chan schools in a single lifetime.
When Master Xu Yun arrived at Zhenru in the early 20th century, the temple lay largely in ruins. With unwavering resolve, he led an extensive restoration—rebuilding halls, pagodas, and monastic quarters with the support of disciples and lay donors. More than physical reconstruction, he revived strict monastic discipline and rigorous meditation practice, restoring the temple’s spiritual vitality.
Zhenru ultimately became the place where Master Xu Yun passed away, completing a life devoted to the Dharma.
Earlier in his life, Master Xu Yun experienced a profound awakening during intensive meditation at Gaomin Temple in Yangzhou at the age of fifty-six. In his autobiography, he described the experience with clarity and restraint:
“In the purity of my single-mindedness, I forgot my body entirely. After twenty days, my illness disappeared. From that moment on, my practice continued day and night without interruption… One evening after meditation, I opened my eyes and saw a brightness like broad daylight, in which everything inside and outside the monastery was clearly visible.”
Yet what makes his account especially powerful is what followed. Master Xu Yun did not cling to the experience. He recognized it as a mental state—not an ultimate attainment—and continued his investigation with humility and perseverance, asking relentlessly:
“Who is mindful of the Buddha?”
Later, he commemorated a moment of deep insight triggered by the simple sound of a teacup breaking in the Chan hall, capturing Chan’s direct and unadorned wisdom in a verse:
A cup fell to the ground, The sound rang clear and sharp. Space itself shattered— The restless mind came to rest.
This is primarily a video demonstration of the moving meditation practiced at Zhen Ru Chan Temple.
Zhenru Chan Temple is more than a historical site. It is a living reminder that Chan practice is not confined to silence or retreat, but woven into how we walk, work, and meet the ordinary moments of life.
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.
Peace LiLy 