Category: Chinese Culture

A Hidden Buddhist Wonderland in China: Discover the 1,600-Year-Old Grand Buddha Temple of Xinchang

linda changLeave a comment

Sometimes, the most unforgettable travel experiences begin with the simplest reasons.

I first became interested in visiting the Grand Buddha Temple in Xinchang (新昌大佛寺), Zhejiang Province, after watching several popular Chinese costume dramas, including Ninefold Purple (《九重紫》), Chasing Jade (《逐玉》), One and Only (《周生如故》), and Mysterious Lotus Casebook (《莲花楼》).

I was curious to see the beautiful locations where these dramas were filmed. But when I finally arrived, I was completely blown away!

I had expected to see some beautiful ancient buildings and filming locations. Instead, I discovered an extraordinary world of ancient Buddhist sculptures, mysterious caves, magnificent rock formations, waterfalls, peaceful gardens, and towering pagodas.

This was not simply an ancient temple. It felt like stepping into another world.

A Temple With More Than 1,600 Years of History

Located in Xinchang County, Shaoxing, Zhejiang Province, the Grand Buddha Temple dates back to the Eastern Jin Dynasty, around 345 AD. With a history spanning more than sixteen centuries, it is one of the important centers of Buddhist culture in the Jiangnan region of southeastern China.

According to historical accounts, an eminent monk named Tanguang (昙光) came to this beautiful mountainous area in the fourth century and established a small monastery. Over the centuries, the temple developed into an important center for Buddhist practice and scholarship.

The surrounding landscape is particularly beautiful. Ancient trees, green hills, rocky cliffs, winding pathways, and quiet valleys create an atmosphere that feels both peaceful and mysterious.

The temple is also famous for its extraordinary rock-carved Buddhist sculptures, earning it the nickname “The Dunhuang of Yue.” This comparison reflects the remarkable artistic and historical value of its Buddhist carvings.

Four Highlights You Should Not Miss

1. The Grand Buddha of Jiangnan – A Masterpiece Carved Into the Mountain

The most famous treasure of the temple is its magnificent stone Maitreya Buddha.

Carved directly into a natural rock cliff during the Southern Qi and Liang dynasties, between approximately 486 and 516 AD, this enormous statue stands about 16.3 meters tall.

The remarkable project took three generations of Buddhist monks and approximately thirty years to complete.

What makes this sculpture so extraordinary is not simply its size. Its serene expression, elegant proportions, and gentle smile convey a remarkable sense of compassion and wisdom.

Standing before this ancient Buddha, one cannot help but feel a sense of reverence. It is amazing to realize that this masterpiece was created more than 1,500 years ago, long before modern construction equipment and technology existed.

2. The Reclining Buddha – A Majestic Image of Nirvana

Another breathtaking attraction is the Reclining Buddha inside the Twin Pines Grottoes (双林石窟).

At approximately 37 meters long and 9 meters high, it is described as Asia’s largest indoor reclining Buddha.

Unlike the ancient rock-carved Maitreya Buddha, this impressive sculpture was created in modern times, using the natural cave environment as its setting.

The Buddha rests peacefully in the traditional reclining posture, representing the Buddha’s entry into Parinirvana.

The surrounding rock formations, stone carvings, pools, and waterfalls create an atmosphere that feels almost otherworldly.

It is easy to understand why filmmakers are attracted to this location. The combination of natural rock architecture, Buddhist imagery, and dramatic lighting makes the entire space feel like a scene from a fantasy world.

3. Buddha Heart Square and the Beautiful Jiangnan Corridor

Buddha Heart Square (佛心广场) is another popular destination.

Here, visitors can see a magnificent large Chinese character “佛” (Buddha), created by the renowned monk and artist Master Hongyi.

Photo by: Steven Hsu 北極熊羽球

The nearby corridor, with its traditional yellow walls, dark tiled roofs, and beautiful “福” (fortune and blessings) character, is especially photogenic.

Walking through this corridor feels like stepping into an ancient Chinese painting.

It is also a wonderful place to photograph traditional Chinese clothing, especially Hanfu. The combination of yellow walls, traditional architecture, and surrounding greenery creates an elegant and timeless atmosphere.

4. The Ten Thousand Buddhas Pagoda – A Landmark in the Sky

The Ten Thousand Buddhas Pagoda (万佛宝塔), standing approximately 73 meters tall, is another spectacular landmark.

Its nine stories, traditional Chinese rooflines, and impressive height make it one of the most recognizable structures in the scenic area.

The pagoda has also appeared in several popular costume dramas, including Mysterious Lotus Casebook and Ninefold Purple.

Looking up at this magnificent structure, surrounded by mountains and traditional buildings, I could understand why filmmakers love this location.

If climbing the pagoda is permitted during your visit, it is worth checking whether you can enjoy the views from above.

5. Prajna Valley – A Mysterious Underground Buddhist World

One of the most surprising attractions is Prajna Valley (般若谷).

Unlike the traditional temple halls, this area was developed from an old Ming Dynasty quarry. Its dramatic rock walls, caves, waterfalls, and elaborate Buddhist sculptures create a fascinating underground-like landscape.

There are colorful relief sculptures depicting Buddhist history and important figures, as well as an impressive Guanyin statue.

Walking through the valley, surrounded by towering rock walls and flowing water, feels like entering a hidden Buddhist kingdom.

This is also one of the filming locations associated with Ninefold Purple. For fans of Chinese historical dramas, recognizing familiar scenes here makes the visit even more exciting.

Travel Tips: How to Make the Most of Your Visit

The scenic area is quite large, so I recommend allowing at least three to four hours. If you enjoy photography, exploring Buddhist art, or simply taking your time, you may want to spend half a day here.

A suggested sightseeing route is:

Buddha Heart Square → Release Pond (放生池) → Grand Buddha of Jiangnan → Thousand Buddha Zen Temple → Twin Pines Reclining Buddha → Prajna Valley.

You can also explore the Ten Thousand Buddhas Pagoda and other scenic spots along the way. Since the attractions cover a large area, wear comfortable walking shoes and be prepared for stairs and uphill paths.

Best Time to Visit

Spring and autumn are particularly pleasant seasons, when the weather is generally comfortable for walking and exploring.

Early morning is a wonderful time to arrive. There are usually fewer visitors, and the soft natural light makes the ancient buildings and mountain scenery especially beautiful.

If you enjoy photography, allow extra time to explore the corridors, gardens, and mountain pathways.

Getting There

The temple is located in Xinchang County, Shaoxing City, Zhejiang Province.

Visitors can travel by high-speed train to Shengzhou-Xinchang Railway Station (嵊州新昌站), then take a taxi or local public transportation to the temple.

If traveling from Hangzhou or Shaoxing, you can also consider a private car or a local tour.

Tickets and Opening Hours

Admission has been listed at approximately RMB 80 per adult, although prices and promotional policies may change.

The scenic area generally opens around 6:00 a.m. and closes between 5:00 and 5:30 p.m., depending on the season. Check the official scenic area’s latest announcements before visiting, especially if you plan to climb the pagoda.

What to Eat

You can enjoy vegetarian noodles inside the temple. When I visited, a bowl cost RMB 28. It was a simple, light, and refreshing meal.

Afterward, consider exploring Wozhou Street and trying some of Xinchang’s local specialties:

  • Xinchang fried rice cakes – a delicious local specialty.
  • Taro dumplings (芋饺) – chewy dumplings made with taro and filled with savory ingredients.
  • Guolatou (锅拉头) – a traditional local snack made with glutinous rice dough.

These local foods are a wonderful way to experience the culinary culture of the region.

More Than a Filming Location

What impressed me most about the Grand Buddha Temple was that its beauty went far beyond the scenes I had watched on television.

Popular dramas may bring people here, but the real treasures are the centuries of history, the extraordinary Buddhist sculptures, and the peaceful atmosphere that has been preserved through generations.

The ancient Maitreya Buddha, carved patiently into the mountain more than 1,500 years ago, reminds us of the devotion, determination, and artistic talent of those who came before us.

In our modern world, where everything moves so quickly, places like this invite us to slow down, look more carefully, and appreciate the beauty of history, art, nature, and spiritual culture.

I came here because of a television drama, but I left with something much more meaningful: a deeper appreciation of China’s remarkable Buddhist heritage.

Sometimes, a journey that begins with curiosity leads us to discover something truly extraordinary.

If you ever travel to Zhejiang, don’t miss the Grand Buddha Temple of Xinchang. It may surprise you, just as it surprised me.

Link：https://peacelilysite.com/2026/10/30/a-hidden-buddhist-wonderland-in-china-discover-the-1600-year-old-grand-buddha-temple-of-xinchang/

A Wonderland Beyond This World: A Chinese Ink Painting That Touches the Soul

linda changLeave a comment

The first time I saw this extraordinary Chinese ink painting, Look at my home I was moved to tears. The Artist is H.H. Dorje Chang Buddha III. Before me was a wonderland that seemed to exist beyond the boundaries of the ordinary world—a place so pure, peaceful, and beautiful that I wished I could live there forever.

The painting evoked a profound sense of holiness and transcendence. Its majestic mountains, flowing waters, mist-shrouded forests, and serene atmosphere seemed to belong to a sacred realm where enlightened beings and reclusive sages might dwell, free from worldly entanglements.

As I gazed at the scene, I felt as though a clear spring were flowing through my body, washing away the dust of everyday life and gently purifying my soul. The painting offered more than a beautiful landscape. It opened a doorway to an inner world of stillness, freedom, and spiritual clarity.

People often say that a great painting is like a beautiful poem or an elegant piece of music. This masterpiece brought those words to life for me. As I looked at the mountains and drifting clouds, I could almost hear the graceful melodies of traditional Chinese music, Flowing Waters from High Mountains. I could also imagine the soft whisper of clouds moving through the forest and the quiet murmur of water winding through the valley.

The scene reminded me of a poem attributed to the Tang Dynasty poet Hanshan, or Cold Mountain:

Clambering up the Cold Mountain path,
The Cold Mountain trail goes on and on:
The long gorge choked with scree and boulders,
The wide creek, the mist-blurred grass.
The moss is slippery, though there’s been no rain;
The pine sings, but there’s no wind.
Who can leap the world’s ties
And sit with me among the white clouds?

These final lines seem to express the very spirit of the painting: the longing to rise above worldly concerns and discover a place where the mind can rest in complete freedom.

The Artistry Behind the Wonderland

What makes this painting especially remarkable is the artist’s mastery of traditional Chinese painting techniques and the ability to unite them with the visual depth and realism associated with Western art.

In traditional Chinese painting, the brush is far more than a tool for outlining shapes. The movement of the brush, the pressure applied, the amount of ink it carries, and the rhythm of each stroke all contribute to the work’s character and expressive power.

The center-tip brush technique directs the tip of the brush along the center of a stroke, creating controlled, balanced lines that convey strength and refinement. The side-tip technique, by contrast, uses the side of the brush to produce broader, more varied marks, making it especially effective for suggesting rugged rocks, textured trees, and the changing forms of mountain slopes.

The painting also incorporates freehand brushwork, in which bold, expressive strokes capture the spirit of a scene rather than laboriously describing every detail. Through splash-ink techniques, the artist allows ink to spread, merge, and flow across the surface, creating atmospheric effects that suggest mist, clouds, and the mysterious depth of distant mountains. More delicate brushwork adds definition and texture, bringing selected details into focus.

The mountain landscape is rendered in black ink and rich green tones. The contrast between dark, powerful forms and softer, misty passages gives the scenery both grandeur and serenity. Some areas appear solid and tangible, while others dissolve into the surrounding atmosphere, allowing the viewer’s imagination to complete what the brush has left unspoken.

This interplay between precision and freedom, detail and suggestion, is central to the beauty of Chinese ink painting. What is not painted can be just as important as what is shown. Empty spaces become mist, open sky, or the boundless realm beyond the visible landscape.

Where East Meets West

Traditional Chinese landscape painting often employs scattered perspective, a distinctive approach that allows the viewer to experience a landscape from multiple viewpoints rather than from a single fixed position. Mountains, rivers, and pathways may unfold as though the eye were traveling through the scene, discovering one vista after another.

Western painting, particularly its realist traditions, often emphasizes a consistent viewpoint, spatial depth, light, shadow, and the three-dimensional appearance of objects.

Bringing these approaches together is no simple task. Yet in this artwork, the artist combines the shifting viewpoints and expressive brushwork of Chinese painting with the depth, dimensionality, and realistic effects associated with Western painting. Bold freehand strokes coexist with careful details; traditional ink techniques interact with rich color and carefully constructed space.

The result is neither simply a traditional Chinese landscape nor a Western-style realistic painting. Instead, the two traditions appear to complement one another, creating a distinctive artistic language.

The mountains seem to rise into real space, the forests possess a palpable depth, and the landscape invites the eye to travel farther and farther into its mysterious distance. At the same time, the painting retains the poetic spirit of Chinese shanshui—literally, “mountains and water”—in which nature is not merely scenery to be observed but a realm through which one may contemplate the deeper relationship between humanity and the universe.

Looking at this painting, I imagine a pristine land where mountains, rivers, forests, sun, and moon exist in harmonious balance. It feels like a sanctuary untouched by the noise and restless ambitions of the modern world—a place where one could live simply, listen to nature, and rediscover the peace within.

Perhaps this is why the painting moves me so deeply. Its beauty is not only visual. It awakens a longing for something that everyday life can make us forget: a state of purity, freedom, and quiet joy that cannot be measured by wealth or worldly achievement.

There is an old saying that a place becomes home when our hearts grow attached to its people, customs, and way of life. But sometimes, a painting can make us feel at home in a place we have never visited—a place that seems to exist somewhere between the natural world and the realm of the spirit.

When I look at this masterpiece, I find myself asking: What if such a place were not merely a distant dream, but a reminder of the peace and freedom we can cultivate within ourselves?

Wouldn’t you, too, wish to call this wonderland home?

This remarkable artwork is part of the permanent collection of the International Art Museum of America (IAMA), where visitors can encounter art that bridges cultures, traditions, and ways of seeing the world.

Link: https://peacelilysite.com/2026/10/23/a-wonderland-beyond-this-world-a-chinese-ink-painting-that-touches-the-soul/

A Hidden Treasure in China: The Dazu Rock Carvings and a 31-Meter Reclining Buddha

linda changLeave a comment

Beyond Chongqing’s dazzling skyline lies an extraordinary world of ancient Buddhist art, spiritual wisdom, and forgotten stories carved into stone.

When people visit Chongqing, China, they often come for its spectacular mountain cityscape, glowing skyscrapers, and famous spicy hot pot. But about a journey away in Dazu lies a treasure that deserves far more international attention: the Dazu Rock Carvings, one of China’s most remarkable collections of ancient religious art.

Here, along the cliffs of Baodingshan, thousands of figures tell stories of the Buddha, compassion, karma, filial devotion, and the consequences of our actions. Created mainly during the Song Dynasty, these remarkable sculptures have survived for centuries, preserving not only religious teachings but also glimpses of everyday Chinese life.

The Dazu Rock Carvings were inscribed on the UNESCO World Heritage List in 1999. Their artistic beauty lies not only in their scale and craftsmanship, but also in the way Buddhist, Taoist, and Confucian ideas come together in a uniquely Chinese expression of spiritual life.

The Dazu Rock Carvings are not a single cave or monument. They comprise more than 70 protected sites, with five principal groups: Baodingshan, Beishan, Nanshan, Shizhuanshan, and Shimenshan.

The carvings date mainly from the late ninth through the thirteenth century. Baodingshan, the focus of this visit, reached its artistic height during the Southern Song Dynasty, particularly under the direction of the Buddhist monk Zhao Zhifeng.

Walking along the great cliff at Baodingshan, visitors encounter an astonishing procession of sculpted figures. Buddhas sit in meditation, bodhisattvas offer protection, and heavenly beings fill elaborate niches. Some figures are monumental, while others are small details that reward a closer look.

Unlike a collection of isolated statues, the carvings form a connected visual narrative. Each scene has a purpose, inviting visitors to contemplate the Buddha’s teachings through images rather than words alone.

For people who love Buddhist history, this is a place where ancient stone seems to speak.

The Giant Reclining Buddha: A Vision of Peace

One of Baodingshan’s most extraordinary masterpieces is the monumental image of Shakyamuni Buddha entering parinirvana, the final passing of a fully enlightened Buddha beyond the cycle of rebirth.

The reclining Buddha measures approximately 31 meters in length. Yet one of the most ingenious features of the sculpture is that much of the figure remains concealed within the cliff. Only part of the Buddha’s body is visible, suggesting a vastness that extends beyond what the eye can see.

This is more than an impressive feat of ancient engineering. The image carries a profound spiritual meaning.

The Buddha lies peacefully on his side, his expression calm and composed. Around him, figures gather in response to his final passing. The scene invites us to reflect on impermanence: everything that comes into being will eventually change.

In Buddhist teaching, death is not simply an ending to be feared. It is a reminder to understand the nature of existence and to use the precious time we have wisely.

Standing before this enormous figure, we may find ourselves thinking less about how long we will live and more about how we choose to live.

Can we be kinder while we have the opportunity? Can we let go of unnecessary resentment? Can we bring more peace to the people around us?

Perhaps the Buddha’s quiet presence offers a lesson that no words could express more clearly.

The Thousand-Hand Guanyin: A Thousand Ways to Help

Another masterpiece at Baodingshan is the magnificent Thousand-Hand, Thousand-Eye Guanyin, the bodhisattva of compassion.

In Buddhist tradition, Guanyin (Avalokiteshvara) represents compassionate awareness of the suffering of sentient beings. The many hands symbolize the ability to reach out in countless ways, while the eyes represent the wisdom to recognize where help is needed.

The Baodingshan sculpture is especially remarkable. Its carved composition covers approximately 88 square meters and includes 1,007 hands and eyes. The gilded image, with its intricate details and radiant appearance, demonstrates the extraordinary skill of the artisans who created it.

Imagine the patience required to shape and decorate so many delicate details into a cliff face centuries ago, without modern machinery.

The work has also required care across generations. Because of its delicate condition, the sculpture underwent a major restoration completed in 2015, helping preserve this irreplaceable treasure for future visitors.

But its deepest beauty lies in its message.

Compassion is not merely feeling sorry for someone. It is recognizing suffering and responding when we can. Sometimes help means giving money; sometimes it means offering food, listening without judgment, or protecting a vulnerable being.

We may not possess a thousand hands, but we can each find small ways to make life easier for others.

Ancient Stone Tells Stories About How We Should Live

What makes Baodingshan especially fascinating is that its sculptures do not focus exclusively on Buddhas and heavenly beings. They also portray ordinary human experiences, making the teachings relevant to everyday life.

Some panels illustrate filial devotion and the sacrifices parents make for their children. Others portray farmers, herders, animals, and scenes from ordinary life.

The famous scenes associated with the Sutra on Parental Love remind viewers of the immense care and sacrifice involved in raising a child. These images invite reflection on gratitude toward our parents and the responsibilities we have toward those who have cared for us.

Other carvings illustrate Buddhist teachings about karma and the Wheel of Life. They show how actions have consequences and how ignorance, attachment, and harmful behavior can perpetuate suffering.

In traditional Buddhist depictions of the realms of suffering, the consequences of harmful actions are portrayed vividly. Such images were not simply intended to frighten people. They offered moral instruction to communities in which many people could learn through visual storytelling.

The cliffs function almost like an ancient illustrated book. Each carving presents a lesson about cause and effect, compassion, family responsibility, and the choices that shape our lives.

There is something remarkable about this approach to teaching. The artists transformed abstract philosophy into images that people could see, contemplate, and remember.

Ox herding story (scene 1–2), Niche 30, Dafowan, Mt. Baoding, Dazu. Southern Song Dynasty (photos: G41rn8, CC BY-SA 4.0)

Centuries later, the questions remain relevant. How do our actions affect others? How should we treat our parents, our neighbors, and animals? What kind of world are we helping to create through our daily choices?

A Quiet Encounter with History

One of the pleasures of visiting Baodingshan is the opportunity to experience the carvings at a slower pace.

Although the site can attract tour groups, it may feel quieter than China’s most famous grotto destinations, particularly outside peak travel periods. The path follows the sculpted cliff, allowing visitors to examine the works in sequence.

Instead of rushing from one photo opportunity to another, take time to notice the expressions on the statues’ faces, the folds of their robes, and the relationships between the figures in each scene.

Look for the small details. A single gesture may communicate reverence, compassion, fear, or devotion. A group of ordinary people carved into stone can reveal as much about the society that created the monument as a grand Buddha does.

Photography rules and access restrictions may vary around individual carvings, so follow the site’s instructions and avoid touching the sculptures.

For visitors interested in Buddhism, art, or Chinese history, Baodingshan offers a rare chance to experience these subjects together.

What to Eat in Dazu: A Taste of Local Chongqing

A visit to Dazu would not be complete without exploring the region’s food culture. Chongqing is famous for bold flavors, chili peppers, and the numbing fragrance of Sichuan peppercorns, but Dazu also has specialties of its own.

Dazu winter-preserved vegetables (Dazu dongcai)

If you try only one local specialty, consider Dazu dongcai. Made from local mustard greens and traditionally fermented for years, these preserved vegetables have a distinctive savory fragrance and deep flavor. They appear in dishes such as fried rice, noodles, steamed buns, and braised pork.

The traditional preparation is a recognized part of Dazu’s food heritage. It is a wonderful example of how local ingredients and preservation techniques can become part of a region’s identity.

Chongqing noodles

Photo from :https://www.sohu.com/a/741212639_100283037

For a quick, satisfying meal, try xiaomian, Chongqing-style noodles commonly served with chili oil, garlic, scallions, and other seasonings. They are especially popular for breakfast, though they can be enjoyed at any time of day.

If you prefer less spice, ask for a mild version. The chili oil and Sichuan peppercorns can be surprisingly intense for first-time visitors.

Youting crucian carp

For travelers who enjoy fish, Youting crucian carp is another regional specialty, often prepared with pickled ginger, chili, and fermented black beans. Its flavor combines freshness, spice, and the characteristic numbing sensation of Sichuan-style cooking. Hot pot and local street food

If you are continuing to Chongqing, save time for the city’s famous hot pot. Diners cook ingredients in a bubbling broth at the table, often choosing between a fiery spicy broth and a milder one.

One practical tip: many local dishes contain meat, fish, animal broth, or lard, even when vegetables are prominent. Vegetarian travelers should ask clearly about ingredients and request a vegetable-based broth when available.

Food is another way to understand a place. The ingredients, flavors, and cooking methods of Dazu tell a story of local agriculture, tradition, and the creativity of generations of cooks.

Shengshou Temple & Dazu Rock Carvings Museum

Travel Tips: Planning Your Visit

How much time should you allow?

Allow at least half a day for Baodingshan, including time to appreciate the major carvings without rushing. If you are particularly interested in Buddhist art, consider spending a full day in Dazu or adding another major carving site, such as Beishan.

How do you get there?

Dazu is part of Chongqing Municipality, but it lies outside the central urban area. From downtown Chongqing, the journey commonly takes around 1.5–2 hours by road, depending on traffic and your starting point.

You can travel by intercity bus or arrange a private car. High-speed rail services to the Dazu area may also be useful, but check the station and onward transportation carefully: a train station serving the district is not necessarily close to the rock-carving entrance. A taxi or prearranged transfer may be needed.

When is the best time to visit?

Spring and autumn are generally comfortable seasons for walking and sightseeing. Summer can be hot and humid, so bring water, sun protection, and comfortable shoes.

Arriving early can help you enjoy the main carvings before the busiest hours, although visitor numbers vary by day and season. Check the official opening hours and ticket arrangements before traveling.

Can you combine Dazu with Chongqing?

Absolutely. A two-day itinerary is a practical option:

  • Day 1: Explore Chongqing’s mountain-city streets, river views, Hongyadong, and local food.
  • Day 2: Travel to Dazu and spend the day discovering Baodingshan’s cliff carvings. If time permits, consider visiting Beishan as well.

If you have a deeper interest in Chinese Buddhist art, an overnight stay near Dazu can make the experience more relaxed.

A Treasure Worth Discovering

The Dazu Rock Carvings remind us that great works of art can be much more than beautiful objects. They can preserve a civilization’s beliefs, record the lives of ordinary people, and communicate moral lessons across centuries.

The 31-meter reclining Buddha invites us to contemplate impermanence. The Thousand-Hand Guanyin reminds us that compassion must find expression in action. The scenes of family life and everyday labor encourage us to consider gratitude, responsibility, and the consequences of our choices.

These teachings remain meaningful regardless of where we come from or what faith we follow.

If your travels take you to Chongqing, consider setting aside time for Dazu. Beyond the city’s dazzling skyline lies a quieter world where stone preserves the wisdom, artistry, and aspirations of generations long gone.

Some treasures are not discovered by looking up at the tallest buildings. They are found by slowing down, looking closely, and listening to the stories history has left behind.

Link：https://peacelilysite.com/2026/10/22/a-hidden-treasure-in-china-the-dazu-rock-carvings-and-a-31-meter-reclining-buddha/

The Monk Whose Body Survived Five Days in the Fire

linda changLeave a comment

What happens to the body after death?

For most of us, the answer seems obvious. The body eventually returns to the elements. Yet in Buddhist history, there are extraordinary stories of great practitioners whose remains have been preserved in ways that inspire generations of people.

One such story is that of the Seventeenth Ganjurwa Khutukhtu, a highly respected Tibetan-Mongolian Buddhist master whose life eventually brought him to Taiwan.

A Life Devoted to Buddhism

Ganjurwa Khutukhtu was born in 1914 in the Amdo region of Qinghai. According to historical accounts preserved by the Ganjurwa Hermitage, he was recognized as a reincarnated spiritual master when he was very young.

As a child, he entered the monastery and devoted himself to Buddhist study and practice. He later studied at Wudangzhao, one of Inner Mongolia’s important Buddhist monasteries, and received full Buddhist monastic ordination from the Ninth Panchen Lama.

In 1949, he came to Taiwan. From there, he spent many years teaching Buddhism, giving Dharma teachings and initiations, and traveling to places including Hong Kong, Thailand, Cambodia, Canada, and the United States.

He was also elected chairman of the Buddhist Association of the Republic of China in 1957, following the passing of the Seventh Zhangjia Khutukhtu. Yet despite his respected position, accounts of his life describe him as a person who preferred spiritual practice and a quiet life to fame and status.

Eventually, he settled at Ganjurwa Hermitage (甘珠精舍) in Xindian, Taiwan, where he continued his practice and taught the Dharma.

Five Days and Five Nights in the Fire

The most extraordinary chapter of his story came after his death.

Ganjurwa Khutukhtu passed away peacefully at Ganjurwa Hermitage on June 13, 1978, at the age of 65.

On June 29, his body was taken to Fayusi Temple in Beitou for the traditional Buddhist cremation ceremony, known as tuhuo or j̄hāpiṭa (荼毗).

According to accounts preserved by the hermitage and Taiwan’s Veterans Affairs Council, the fire continued for five days and five nights.

When the cremation chamber was opened, those present were reportedly astonished. Rather than finding only ashes, they found that the master’s body had remained largely intact. His robes and prayer beads were reportedly still recognizable.

His disciples regarded this as an extraordinary manifestation of a vajra-indestructible body and preserved the remains as sacred relics.

For Buddhists, such accounts are not simply about the physical body. They point toward a deeper question:

Can spiritual practice transform the way we understand life, death, and impermanence?

A Sculpture Created to Preserve His Sacred Remains

There is another remarkable part of this story.

To preserve the master’s remains, his disciples invited two of Taiwan’s most important modern sculptors, Yang Ying-Feng (楊英風) and Ju Ming (朱銘), to create a bronze statue.

The sacred remains were placed inside the sculpture, and the statue was installed at Ganjurwa Hermitage so that devotees could continue to pay their respects.

According to the Veterans Affairs Council, the full-body relics of Ganjurwa Khutukhtu remain enshrined there today.

It is an unusual meeting of Buddhism, history, sculpture, and faith—a spiritual legacy preserved not only through religious practice, but also through the hands of two remarkable Taiwanese artists.

Whether one approaches this story through faith, history, or simply human curiosity, it raises a profound question:

What remains of a person after the body is gone?

A building can disappear. Wealth can be lost. Fame eventually fades.

But wisdom, compassion, and the example of a life devoted to helping others can continue long after a person has left this world.

Perhaps this is the deeper meaning behind the story of Ganjurwa Khutukhtu.

The most precious legacy of a spiritual master may not be the physical remains left behind.

It may be the Dharma he taught, the lives he touched, and the goodness he inspired in others.

And perhaps that is the kind of legacy worth leaving behind.

A glowing lotus flower with pastel colors floating on water under moonlight.

Link：https://peacelilysite.com/2026/10/09/the-monk-whose-body-survived-five-days-in-the-fire/

Source： https://www.storm.mg/article/4494305， http://m.fosss.net/SheLi/GanZhu/Index.html

Are We Already Happier Than We Think? A Lesson in Contentment

linda changLeave a comment

“There is no greater calamity than not knowing what is enough. Therefore, knowing that enough is enough is always enough.”
— Laozi, Tao Te Ching, Chapter 46

How often do we overlook the blessings we already have because we are always wishing for something more?

The ancient wisdom of Laozi offers a simple but profound answer: knowing what is enough is itself a blessing.

Century calendar listing years 2001 to 2100 with months and days, surrounded by decorative fantasy elements

There is a beautiful story from the Ming Dynasty about a man named Hu Jiushao.

Hu was a farmer who also taught his son to read and study. His family lived simply, with enough to meet their basic needs. Every day, however, Hu would burn incense and offer prayers, thanking Heaven for blessing his family with another day of peace and contentment.

His wife found this amusing.

“We eat vegetable porridge for all three meals,” she said. “How can you call this a blessed life?”

Hu smiled and replied:

“First, we live in a time of peace. We do not have to suffer through war.

Second, our family has food to eat and clothes to wear. We are neither hungry nor cold.

Third, everyone in our family is healthy, and none of us has suffered the misfortune of imprisonment.

“Aren’t these blessings?”

His simple words carry a profound lesson.

Hu did not measure happiness by wealth, luxury, or abundance. He looked at what he had—and recognized how precious it was.

We often think happiness comes from having more—more money, a bigger house, greater success, better possessions, or fewer problems. Yet when we constantly focus on what we lack, we can easily overlook the blessings already present in our lives.

As Namo H.H. Dorje Chang Buddha III has taught:

“A person not appreciative of the good life he is living is one who has forgotten his past miseries. A person in good health is not aware of its blessings until he loses it.”

How true this can be.

When we are healthy, we may hardly think about what a precious gift good health is. We go about our daily lives without giving it much attention. But when illness comes, something as simple as getting out of bed, walking freely, enjoying a meal, or sleeping peacefully can suddenly become deeply precious.

The same is true of many other things.

When we have peace, we may take it for granted. When we have enough food, a safe home, family, friends, and the freedom to live our daily lives, these things can seem ordinary simply because they are always there.

But ordinary does not mean insignificant.

Sometimes, we only recognize a blessing after it is gone.

Perhaps true happiness does not always require us to acquire something new. Sometimes it begins by seeing what we already have with a grateful heart.

Peace. Health. Food. Shelter. Family. The ability to wake up each morning and live another day.

These may sound like simple things, but they are among life’s greatest treasures.

Hu Jiushao’s story reminds us to pause and ask ourselves:

What blessings am I enjoying today that I have stopped noticing?

Contentment does not mean giving up our dreams or never seeking a better life. It means learning to appreciate the life we have while continuing to grow.

When we learn to cherish what is already in our hands, we may discover that happiness was never as far away as we thought.

Perhaps the secret to a happier life is not always having more, but learning to recognize, appreciate, and cherish what we already have.

Laozi’s ancient words still speak beautifully to us today:

When we truly know what is enough, we may discover that we already have much more than we realized.

Link: https://peacelilysite.com/2026/10/02/are-we-already-happier-than-we-think-a-lesson-in-contentment/

A Hidden Wonderland: The World Within a Landscape

linda changLeave a comment

An Chinese Ink Painting by H.H. Dorje Chang Buddha III

The first time I saw this magnificent landscape painting, A Hidden Wonderland (別有洞天), I was immediately captivated by its dreamlike atmosphere and dazzling colors. For a moment, I even forgot to ask myself: Is this an oil painting or a traditional Chinese landscape?

The more I looked, the more fascinating the painting became.

Its colors, composition, and harmonious overall tone have the richness and realism of a Western oil painting. The luminous, almost surreal forms in the foreground appear to glow with extraordinary depth and texture. Creating such a convincing visual world requires a strong foundation in realistic Western painting.

Yet at the same time, the spirit of the work is unmistakably that of traditional Chinese landscape painting. Its atmosphere, poetic feeling, and especially its central landscape are deeply rooted in the aesthetics of Chinese shanshui—the art of expressing not only mountains and rivers, but also the spirit and energy of nature.

The longer I studied A Hidden Wonderland, the more I sensed that there was something beyond visual beauty. The composition seemed to contain a philosophical idea about perspective—about how the world can look completely different when we change where we stand.

It reminded me of a famous poem by the Chinese poet Bian Zhilin:

You stand upon the bridge, looking at the scenery;
The one looking at the scenery from the tower is looking at you.
The bright moon decorates your window;
You, in turn, decorate another’s dream.

The poem presents two perspectives at once. Someone believes they are simply observing the scenery, while from another viewpoint, they themselves have become part of someone else’s scenery. With this subtle shift in perspective, the poet reminds us that what we see depends greatly on where we stand.

A Hidden Wonderland carries a similar idea, but takes it even further.

The space surrounding the central landscape seems like a world beyond ordinary human life—a peaceful, radiant realm resembling a paradise. At the center, however, lies the familiar human world.

The artist creates a kind of visual frame within the painting. By changing the viewer’s position, the distance between “here” and “there,” between the world we inhabit and the world we imagine beyond it, suddenly becomes much greater.

For a moment, we seem to be standing outside the ordinary world, looking back at it from a higher and more peaceful place.

And then something remarkable happens.

After allowing our eyes to wander through the magnificent scenery beyond the frame, we look back toward the human world—and discover that it, too, is beautiful.

The morning sun has just appeared. Golden light gently pushes away the soft white mist floating above the river. Quiet sails drift across the water. Lush vegetation covers the riverbanks, while graceful trees partially conceal small houses scattered among them.

On the fertile hillsides, peach and plum blossoms fill the air with fragrance. In a beautiful pond, groups of geese and ducks play and call to one another. A winding mountain path leads into the distance, while the familiar sounds of village life—roosters crowing and dogs barking—rise and fall in the peaceful landscape.

Suddenly, the ordinary world we thought we had left behind no longer seems ordinary at all.

It is beautiful.

Perhaps this is one of the deepest messages hidden within A Hidden Wonderland. Sometimes we need to step outside our familiar perspective before we can truly appreciate the beauty of the world in which we live.

The artist, H.H. Dorje Chang Buddha III, has not only created a visually breathtaking landscape, but also a kind of window through which we can look at our own lives from a different perspective. The radiant world beyond the frame resembles a pure and luminous realm, while the human world below gradually reveals its own extraordinary beauty.

After being immersed in such a magnificent vision, we return our eyes to everyday life with a changed heart.

Perhaps the world itself has not changed.

Perhaps we have.

This brings to mind a profound teaching from the Vimalakirti Sutra:

“If a bodhisattva wishes to attain a pure land, he should purify his mind. As the mind becomes pure, the Buddha-land becomes pure.”

Maybe the “hidden wonderland” is not simply somewhere far away.

Perhaps it begins with the way we see.

When the mind becomes peaceful, the ordinary becomes beautiful. When the heart becomes pure, the world we see may also appear more pure.

And perhaps that is the true masterpiece hidden within A Hidden Wonderland—not only a beautiful landscape to look at, but a quiet invitation to look at ourselves, our world, and life itself from a higher perspective.

Link: https://peacelilysite.com/2026/10/02/a-hidden-wonderland-the-world-within-a-landscape/

Under the Full Moon: The Beauty and Traditions of China’s Mid-Autumn Festival

linda changLeave a comment

Every autumn, when the moon shines bright and round in the night sky, millions of people celebrate one of China’s most beloved traditional festivals—the Mid-Autumn Festival, or Zhongqiu Jie (中秋节), also known as the Moon Festival.

In 2026, the festival falls on September 25, the 15th day of the eighth month of the Chinese lunar calendar. It is celebrated in China and by Chinese communities around the world, including Singapore, Malaysia, and the United States.

More than a celebration of the moon, this festival is a time for family reunion, gratitude, and remembering the people we love.

A Festival of Reunion and Gratitude

The Mid-Autumn Festival has deep roots in Chinese agricultural traditions. It takes place during the autumn harvest season, when families gather to celebrate the fruits of their labor and give thanks for the abundance of the earth.

The full moon has a special meaning in Chinese culture. Its round shape symbolizes completeness, harmony, and family reunion. Even when family members live far apart, they can look up at the same moon and feel connected.

For many Chinese people, this festival is a little like Thanksgiving. Families prepare a special dinner, share stories, and express their love and appreciation for one another.

In Chinese, the word tuányuán (团圆) means reunion. During the Mid-Autumn Festival, it is one of the most cherished wishes: May the family be together, may everyone be safe, and may life be filled with peace and happiness.

No Mid-Autumn Festival would feel complete without mooncakes.

These traditional pastries are usually round, representing the full moon and family unity. Their beautifully patterned surfaces often feature Chinese characters expressing good fortune, longevity, or harmony.

Traditional mooncakes come in many varieties. Some contain sweet lotus seed paste, red bean paste, or salted egg yolks. Others are filled with nuts, dried fruits, or savory ingredients. Different regions of China have developed their own styles and flavors.

Mooncakes are not only enjoyed at home but are also exchanged as gifts among relatives, friends, and colleagues. Sharing a mooncake is a way of expressing affection and sending good wishes.

Families often cut a mooncake into small pieces so everyone can share it together—a simple gesture that reflects the festival’s spirit of togetherness.

The Beauty of Traditional Chinese Costumes

One of the most beautiful ways to experience Chinese culture is through its traditional clothing.

During cultural celebrations and festival events, people may wear Hanfu (汉服), traditional clothing associated with the Han Chinese and inspired by styles from different historical periods. Although most people today wear modern clothing in everyday life, Hanfu has become increasingly popular at cultural festivals, historical performances, and special photo events.

Hanfu is known for its graceful silhouettes, flowing sleeves, layered robes, and elegant fabrics. Depending on the historical style, an outfit may include a long robe, a wraparound skirt, a sash, or a decorative belt.

The colors are especially beautiful during the Mid-Autumn Festival. Soft ivory, pale blue, blush pink, and lavender can evoke the gentle beauty of moonlight. Deep red, emerald green, and gold create a more festive appearance. Embroidered flowers, clouds, or delicate patterns may add another layer of elegance.

Women may wear long skirts with flowing outer robes, while men may choose long robes with wide sleeves and traditional belts. Hair ornaments, jade accessories, and delicate fans can complete the look.

Some people choose styles inspired by the Tang or Song dynasties, while others prefer Ming-style clothing. Each period has its own distinctive shapes and details, making traditional Chinese clothing a fascinating expression of history and artistry.

It is important to remember that Hanfu is not one single costume. Chinese clothing changed across centuries, and different styles belong to different historical periods. Modern festival outfits may also combine historical inspiration with contemporary design.

When people wear these garments beneath the autumn moon, the experience becomes more than dressing beautifully. It is a way of connecting with cultural heritage, appreciating traditional craftsmanship, and allowing history to come alive.

Lanterns, Moonlight, and Ancient Legends

Another lovely tradition is carrying lanterns.

Children may walk with colorful lanterns shaped like rabbits, flowers, or animals. In some communities, lantern displays illuminate parks and streets, creating a magical atmosphere. Families may also enjoy solving lantern riddles together.

The rabbit lantern is especially meaningful because of the famous Chinese legend of Chang’e and the Moon.

According to one version of the story, Chang’e was the wife of the heroic archer Hou Yi. After taking an elixir of immortality, she ascended to the moon, where she became associated with the Moon Palace. Her companion is often depicted as the Jade Rabbit, who is said to prepare medicine for immortality.

The story has been told and retold for generations. Although versions differ, it has become one of the most recognizable legends associated with the festival.

On Mid-Autumn night, families may also place fruits, mooncakes, and other offerings on a table to appreciate the moon. These customs reflect older traditions of honoring the moon and expressing wishes for a good harvest and a happy life.

Today, some families continue these practices, while others simply enjoy moon-viewing together.

Woman gazing at a glowing full moon over terraced hills

Perhaps the most touching part of the Mid-Autumn Festival is the simple act of looking at the moon.

The moon reminds people that even when we are separated by distance, we share the same sky. A parent working in another city, a child studying abroad, or a friend living across the ocean can all look up at the same moon.

This feeling has inspired Chinese poets for centuries. The moon often appears in poetry as a symbol of longing, friendship, love, and the passage of time.

The festival also arrives when the sweet fragrance of osmanthus flowers fills the autumn air in many parts of China. Their delicate scent, the cool evening breeze, and the bright moon create a peaceful atmosphere that is difficult to forget.

For those who cannot return home, the moon may bring a little sadness. Yet it also offers comfort: the people we love remain part of our lives, even when we cannot be physically together.

The Mid-Autumn Festival reminds us that happiness does not always come from grand celebrations or expensive gifts.

Sometimes, it is found in sharing a simple meal, offering a piece of mooncake, watching children carry lanterns, or sitting quietly beneath the moon with someone we love.

In a busy modern world, this ancient festival invites us to slow down and appreciate what truly matters: family, friendship, gratitude, and the beauty of nature.

Whether we celebrate in China or thousands of miles away, the full moon connects us through a shared tradition that has endured for generations.

May the bright autumn moon bring peace to every home, warmth to every heart, and reunion to all those who long to be together.

Happy Mid-Autumn Festival! 中秋节快乐！

Link: https://peacelilysite.com/2026/09/25/under-the-full-moon-the-beauty-and-traditions-of-chinas-mid-autumn-festival/

There Is No Generation Gap—Am I the North Wind or the Sun?

linda changLeave a comment

I Chose to Be the Sun—and My Relationship With My Father Changed

There is a saying that has stayed with me:

“If you have never experienced what others have gone through, do not be quick to judge their faults. If you have never endured their suffering, do not be quick to tell them how they should behave. If you had suffered what I have suffered, you might not have done any better than I did.”

It sounds like such a simple truth. Yet for many years, I failed to truly understand it.

Growing up, my father was strict and authoritative. My relationship with my mother was completely different—we were close, comfortable, and deeply connected.

As I grew older, conflicts between my parents became more frequent. I instinctively took my mother’s side and rarely tried to understand my father’s perspective. Over time, my judgments about him became deeply rooted.

Even when I became seriously ill and my father cared for me tirelessly, without complaint, I still struggled to let go of my resentment. I continued to hold on to painful memories of the arguments between my parents.

I was looking at my father through the lens of the past.

After my mother passed away, my father was overwhelmed with grief. Yet he tried to remain strong for me, knowing that talking about my mother might make me sad.

Suddenly, there were only the two of us.

When we went for walks together, my father often talked about things that had happened many years ago. Instead of recognizing the loneliness behind his words, I became impatient. I corrected him, contradicted him, and sometimes lost my temper.

Eventually, he quietly said something that touched me deeply:

“If you don’t like talking to me, at least don’t lose your temper with me.”

His words made me stop and look at myself.

One day, I suddenly saw my own behavior clearly.

I realized that I had been holding on to the painful history of my parents’ marriage and using it to justify my inability to understand my father.

But how could I possibly know all the causes and conditions behind their relationship? How could I know everything my father had experienced, feared, endured, or carried silently in his heart?

I began asking myself a different question:

Instead of waiting for someone else to change, can I change myself first?

I decided that I could.

I wanted to become a more patient and understanding daughter. I wanted to listen instead of judge, to let go instead of cling to the past, and to practice filial love through my everyday actions.

I remembered Aesop’s fable The North Wind and the Sun. The North Wind tried to force a traveler to remove his coat, but the Sun simply warmed him, and eventually the traveler took it off himself.

I decided that I wanted to be the sun.

Little by little, something changed.

When I was away from home, I began calling my father at the same time each day just to check on him. When I was with him, I made a conscious effort to sit down, listen, and talk rather than hurry away.

I did not change him.

I changed myself.

And as I changed, our relationship changed too.

The coldness between us gradually softened. The two people who had once struggled to communicate began sharing a much more peaceful and harmonious life.

Looking back, I realize that sometimes the distance between two people is not created by a lack of love. Sometimes it is created by old judgments, unresolved attachments, and our unwillingness to see beyond our own version of the past.

This transformation came through sincerely learning and practicing Buddhism, and through receiving guidance from the Dharma discourses of Namo H.H. Dorje Chang Buddha III.

I came to understand more deeply that Buddha Dharma is not separate from ordinary life. It is practiced in the way we speak to our parents, how we respond when someone frustrates us, and whether we can recognize our own faults before pointing out the faults of others.

We often wish that other people would become more patient, more understanding, or more compassionate.

But perhaps the first question should be:

Have I become the person I am asking others to be?

Every person carries a story we may never fully know. Before judging someone, perhaps we should remember that we have not walked in their shoes.

There may be painful knots in our relationships that seem impossible to untie. But sometimes the first knot begins to loosen when we stop asking, “Why doesn’t this person change?”

And instead ask:

“What can I change in myself?”

Sometimes, one small change in ourselves can bring warmth into an entire relationship.

And sometimes, becoming the sun is enough.

Link: https://myhappylifestyle.net/2026/09/08/there-is-no-generation-gap-am-i-the-north-wind-or-the-sun/

#DorjeChangBuddhaIII #Spirituality #Buddha #Buddhism

Can a Cow Painted on a Wall Give Milk?

linda changLeave a comment
Indian monk milking a painted cow

Bodhisattva Candrakīrti: Milking a Cow in a Painting

Recently, I came across a video about Bodhisattva Candrakīrti, one of the great Buddhist masters of ancient India.

The video told a remarkable story: according to Buddhist tradition, Candrakīrti was able to obtain milk from a cow that existed only in a painting.

When I first heard this, I was amazed.

How could a cow painted on a wall or in a picture possibly give milk?

Curious, I looked into the story and discovered that it is more than a fascinating Buddhist legend. Behind it stands a great master in the history of Buddhism and, more importantly, a profound teaching about emptiness.

Candrakīrti lived in India around the sixth or seventh century. He was one of the most important masters of the Madhyamaka, or Middle Way, school of Buddhist philosophy, and an important commentator on the teachings of Nagarjuna.

His best-known work, Madhyamakāvatāra (Introduction to the Middle Way), became an important text for the study of Madhyamaka philosophy.

Candrakīrti deeply explored a central Buddhist teaching:

All things arise in dependence upon causes and conditions. Nothing exists with an independent, permanent, unchanging essence.

This is one of the meanings of emptiness.

According to a story preserved in Buddhist tradition, Candrakīrti once lived and practiced at a monastery. Because some people did not understand his way of practicing, they misunderstood him.

Later, he was given responsibility for providing milk for the monastery. It is said that Candrakīrti released the cows into the forest, allowing them to roam freely.

Yet somehow, milk continued to appear at the monastery.

People were puzzled.

If the cows were far away in the forest, where was the milk coming from?

Some people secretly followed Candrakīrti.

According to the traditional story, they saw him approach a painting of a cow—and somehow draw milk from the painted cow.

It is an extraordinary story.

But perhaps the most important question is not whether the event sounds miraculous.

It is what the story invites us to think about.

We normally think:

A real cow can give milk.

A painted cow cannot.

That seems obvious.

Yet the story of the painted cow quietly asks us:

What exactly do we mean when we say something is “real”?

This question goes to the heart of Candrakīrti’s teachings on emptiness.

Emptiness does not mean that nothing exists.

Rather, it means that things do not exist independently, permanently, or entirely on their own. Everything depends upon causes, conditions, relationships, and the way we designate and understand it.

For example, someone is called a “teacher” because there are students. Someone is called a “parent” because there is a child. These identities arise through relationships and conditions.

When we look more deeply, we begin to see that many things we regard as fixed and permanent are actually dependent upon countless conditions.

What I find most meaningful about this story is that it encourages us not to be too quick to conclude:

Person meditating with illustrated thoughts about present moment, past memories, future dreams, sensations, and emotions

“Things must always be this way.”

“That is absolutely impossible.”

“I already know the answer.”

Our understanding of the world is often shaped by our past experiences, habits, assumptions, and fixed ideas.

Buddhist practice encourages us to hold our views more lightly—to have less attachment, more observation; less prejudice, more humility.

When we loosen our attachment to the belief that “I must be right,” we may begin to see possibilities and truths that we could not see before.

So when I think about the story of Candrakīrti and the painted cow, I no longer see it simply as a miraculous tale.

To me, it feels more like a doorway.

A doorway inviting us to question our ideas about reality, to recognize our own attachments, and to explore the deeper wisdom of dependent origination and emptiness.

Perhaps the story was never meant simply to leave us amazed.

Perhaps it is inviting us to look more deeply.

Just when we think we have completely understood the world, there may still be much more for us to discover.

And perhaps that is one of the most beautiful lessons we can receive from the wisdom of Bodhisattva Candrakīrti.

Link: https://peacelilysite.com/2026/09/09/bodhisattva-candrakirti-milking-a-cow-in-a-painting/

Source： https://www.fjdh.cn/wumin/2009/04/06452346128.html?utm_source=chatgpt.com， https://tricycle.org/magazine/truth-about-truth/?utm_source=chatgpt.com， https://baike.baidu.com/item/%E6%9C%88%E7%A7%B0/9958686

The Yongle Bell: A 600-Year-Old Marvel of Chinese Civilization

linda changLeave a comment

At the Ancient Bell Museum in Beijing stands one of China’s most remarkable national treasures—the Yongle Bell（永乐大钟）.

Commissioned by the Yongle Emperor, Zhu Di （永乐皇帝朱棣）, the bell is believed to have been designed and supervised by Yao Guangxiao（姚广孝）, a highly respected Buddhist monk whose Dharma name was Daoyan（道衍）. Yao Guangxiao was much more than a religious figure. He was also a scholar, strategist, and trusted adviser to Emperor Zhu Di.

Their relationship began before Zhu Di became emperor, when he was still the Prince of Yan. Yao Guangxiao became one of his trusted advisers and continued to serve him after Zhu Di ascended the throne. He was closely involved in major projects of the Yongle era, including the construction of Beijing and the compilation of the monumental Yongle Encyclopedia（永乐大典）.

It is remarkable that one of the most ambitious Buddhist bells in Chinese history was connected to a monk who stood so close to the emperor and played such an important role in the cultural and political life of the Ming Dynasty.

Cast during the Yongle era, around 1420, the Yongle Bell stands approximately 6.75 meters (22 feet) high and weighs about 46.5 metric tons (over 102,000 pounds).

More than six centuries later, it remains an extraordinary testament to the sophistication of ancient Chinese craftsmanship.

A Casting Technique That Seems Almost Impossible

How could ancient craftsmen have created such a gigantic bell more than 600 years ago?

The Yongle Bell was produced using a traditional Chinese technique known as the pit-mold ceramic casting method, or clay-mold method.

First, the craftsmen dug a massive casting pit several meters deep. Inside the pit, they constructed the bell’s inner mold using clay and other organic materials, while the outer ceramic mold was built up layer by layer.

One of the most fascinating features is the Pulao-shaped bell knob at the top.

In Chinese mythology, Pulao is one of the nine legendary sons of the dragon. It was believed to have a powerful voice, which is why its image became associated with bells.

The Pulao knob of the Yongle Bell was reportedly cast separately using the lost-wax casting technique. It was then carefully incorporated into the casting mold so that it became an integral part of the finished bell.

Then came the most critical moment.

Dozens of furnaces were fired simultaneously. Molten bronze, glowing like rivers of fire, flowed through specially prepared channels and surged into the enormous mold.

The operation demanded extraordinary coordination. Temperature, the flow of molten metal, pouring time, and the structure of the molds all had to be carefully controlled.

A single major error could have ruined the entire project.

The successful casting of the Yongle Bell was therefore an extraordinary engineering and organizational achievement.

The bell’s achievement lies not only in its enormous size.

Scientific analysis shows that its alloy contains copper, tin, and lead as its principal metals, along with smaller amounts of elements including gold, silver, and nickel.

The carefully formulated alloy contributed to the bell’s strength, toughness, ductility, and acoustic properties.

A bell of this size must support its own enormous weight while withstanding repeated powerful impacts. If the metal were too brittle, cracks could develop; if the alloy composition were unsuitable, the bell’s resonance could also be affected.

Yet after more than 600 years, the Yongle Bell remains remarkably well preserved.

Its condition offers an impressive glimpse into the advanced metallurgical knowledge possessed by ancient Chinese craftsmen.

A “Bell of Scriptures”

If the bell’s size is astonishing, its inscriptions are even more extraordinary.

The inner and outer surfaces, as well as areas around the rim, are densely covered with Buddhist scriptures, sacred texts, and mantras.

According to historical descriptions, the bell contains more than 230,000 Chinese characters and Buddhist inscriptions.

Even more remarkable, these inscriptions were not carved onto the finished bell. They were incorporated directly into the casting process.

This meant that hundreds of thousands of characters had to be accurately prepared in the molds before the molten bronze was poured.

According to tradition, the inscriptions were associated with the celebrated Ming Dynasty calligrapher Shen Du. The characters display the dignified and elegant style associated with guan’ge ti, the formal calligraphic style favored by the imperial court.

To transform such delicate calligraphy into cast inscriptions, craftsmen had to reproduce the writing in the mold, creating corresponding recessed characters. After the molds were prepared and fired, molten bronze was poured into them, producing the raised inscriptions on the finished bell.

Imagine doing this without computers, laser engraving, digital typesetting, or modern precision machinery.

More than 230,000 characters had to be arranged across the curved surfaces of a gigantic bronze bell.

Every character had to be carefully formed and every line precisely positioned.

On one side was the art of the calligrapher.

On the other was the skill of the craftsman.

In the end, calligraphy, Buddhist scripture, and bronze became one.

The Yongle Bell is therefore not simply a gigantic bronze artifact.

It is almost like a Buddhist scripture cast in metal.

The Deep and Resonant Voice of the Bell

Perhaps the most captivating feature of the Yongle Bell is not what we see, but what we hear.

When struck by a massive bell striker, the thick bronze produces a deep, powerful, and extraordinarily sustained resonance.

According to accounts of its acoustic properties, under appropriate striking conditions, the resonance can continue for nearly three minutes. In the relatively quiet environment of ancient Beijing, its sound was reportedly capable of traveling for many kilometers.

Imagine Beijing more than six centuries ago.

At dawn, the first powerful note of the Yongle Bell rises into the air. Its deep, solemn sound travels beyond walls, streets, and fields, gradually fading into the distance.

The bell’s voice was not simply a means of marking time. It also carried religious meaning and occupied an important place in the spiritual culture of the period.

One Bell, Many Arts

The Yongle Bell brings together an extraordinary range of human skills.

Metallurgy transformed tons of raw materials into a strong and resilient bronze structure.

Casting technology made it possible to create an enormous bell with remarkable precision.

Calligraphy turned more than 230,000 characters into an intricate work of art.

Buddhist culture gave the inscriptions their profound spiritual meaning.

And acoustical craftsmanship gave the massive bronze its deep, sustained voice.

More than six centuries later, the Yongle Bell remains a remarkable achievement—not simply because of its size, but because of the extraordinary combination of engineering, artistry, religious culture, and craftsmanship embodied in a single object.

The Yongle Bell brings together the vision of an emperor, the knowledge of a scholar and Buddhist monk, the artistry of calligraphers, and the extraordinary skill of generations of craftsmen.

Standing before it today, one can see far more than a massive bronze bell.

One sees thousands of carefully formed characters, intricate craftsmanship, and the physical evidence of an ambitious undertaking carried out more than 600 years ago.

And then there is the sound.

A single strike can set this enormous bronze body into motion, allowing its resonance to linger long after the initial impact has disappeared.

The Yongle Bell is history cast in bronze, scripture transformed into art, and ancient craftsmanship given a voice.

It remains one of China’s extraordinary cultural treasures—and a remarkable achievement that deserves to be known and appreciated by people around the world.

Link：https://peacelilysite.com/2026/09/07/the-yongle-bell-a-600-year-old-marvel-of-chinese-civilization/

Source: https://zhuanlan.zhihu.com/p/547435529, https://wwj.beijing.gov.cn/bjww/wwjzzcslm/1737418/1738090/wwgs/325966413/index.html, https://news.cctv.com/program/tgkw/20040329/102069.shtml