Category: Chinese Culture

Kumbum Monastery: The Sacred Birthplace of a Master and the “Three Wonders” of Tibetan Art

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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:

Link:https://peacelilysite.com/2025/12/26/kumbum-monastery-the-sacred-birthplace-of-a-master-and-the-three-wonders-of-tibetan-art/

Source: https://www.chinadiscovery.com/qinghai/xining/kumbum-monastery.html

The Enlightened Woodcutter: The Story of Huineng, the Sixth Patriarch of Zen

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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.

Link：https://peacelilysite.com/2025/12/25/the-enlightened-woodcutter-the-story-of-huineng-the-sixth-patriarch-of-zen/

Zhenru Chan Temple: Where Chan Practice Lives in Mountains and Daily Life

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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.

Here, mountains teach stillness.
Labor teaches humility.
Meditation teaches clarity.

And together, they point quietly back to true suchness—not somewhere else, but right where we are.

Click here for more details about Gaomin Temple Chan meditation

Link:https://peacelilysite.com/2025/12/19/zhenru-chan-temple-where-chan-practice-lives-in-mountains-and-daily-life/

Xiaoxitian Temple: A Masterpiece Carved into the Mountain

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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.

Link:https://peacelilysite.com/2025/12/17/xiaoxitian-temple-a-masterpiece-carved-into-the-mountain/

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

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Forwarded Article-- Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

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?

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

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 (1)
Sunflowers by Van Gogh (2)
Sunflowers by Van Gogh (2)
Sunflowers by Qi Baishi (1)
Sunflowers by Qi Baishi (1)
Sunflowers by Qi Baishi (1)
Sunflowers by Qi Baishi (1)
Ink-wash Painting Sunflowers by H.H. Dorje Chang Buddha III
Ink-wash Painting Sunflowers by H.H. Dorje Chang Buddha III
Oil Painting Sunflowers by H.H. Dorje Chang Buddha III
Oil Painting Sunflowers by H.H. Dorje Chang Buddha III

Jiguang Lin

October 26, 2018

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

Link: https://dharma-hhdorjechangbuddhaiii.org/vincent-van-gogh-qi-baishi-and-h-h-dorje-chang-buddha-iii-compared-whose-artwork-is-the-best/

#DorjeChangBuddhaIII #VincentVanGogh #QiBaishi #Art #ArtComparison #MasterArtists #ChinesePainting #WesternArt #ArtHistory #HighValueArt

Museum Celebrates Unprecedented “A Rock of Horizontal Charm” Display with Complimentary Admission

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West Covina, CA (PRWEB) June 01, 2017

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.

For more information about “A Rock of Horizontal Charm“ or the cultural and art museum, visithttp://www.hhdcb3cam.org or call (626) 281-6378.

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.

For the original version on PRWeb visit: http://www.prweb.com/releases/2017/06/prweb14390138.htm 

Link: https://dharma-hhdorjechangbuddhaiii.org/museum-celebrates-unprecedented-a-rock-of-horizontal-charm-display-with-complimentary-admission/

#DorjeChangBuddhaIII #HHDorjeChangBuddhaIIICulturalandArtMuseum #YunSculpture #RockOfHorizontalCharm #Art #ArtExhibition #SpiritualSculpture #ArtMuseum #SacredArt #PeerlessTreasure

The Monk Who Remembered His Past Lives: A Tale of Karma, Awakening, and Renewal

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In the Tang Dynasty, there lived a monk named Jian Kong (Venerable “Mirror-of-Emptiness”), who in his previous life had been a diligent spiritual practitioner. Yet after reincarnating, he was born not as a monk, but as a poor scholar—one who, despite twenty long years of effort, could not pass the imperial examinations. He had no money, no connections, and often struggled even to find a simple meal. Hunger followed him like a shadow.

One day, after days of near-starvation, he set out toward a nearby temple, hoping to find something—anything—to eat. But halfway there, by the side of a river, his strength gave out completely. Weighed down by exhaustion and despair, he collapsed on the riverbank and began to cry. He was already around forty-five years old, and life felt unbearably harsh.

As he wept, a Brahmin monk suddenly appeared before him, radiant and calm.

“Venerable Dharma Master,” the monk said, “are you satisfied with the taste of wandering through worldly life?”

The scholar was startled.
“Satisfied? It has been nothing but suffering! But I am a layman—why do you call me “Dharma Master”? That title doesn’t belong to me.”

The Brahmin monk smiled gently.
“You are starving and confused now, so you’ve forgotten everything.”

He reached into his bag and took out a large, fist-sized date.
“This is a special fruit from my homeland. Eat it. Then you’ll understand.”

The scholar ate the date. Sleepiness washed over him at once, and he lay down beside the river. When he awoke, something astonishing had occurred—
his entire past life came flooding back.

He remembered that he, the Brahmin monk standing before him, and three others had all been fellow practitioners in their previous lives. Filled with emotion, he asked:

“What about Monk Zhen? How is he doing in this life?”

The Brahmin monk replied, “In his past life he had not yet cut off worldly attachments, nor had he achieved realization. In this life, he has become a monk again in Sichuan. He has now completely severed his desire for fame and fortune. He will attain accomplishment in this very life.”

The scholar asked about another of their five companions.
“And Master Shen? What about him?”
“His wishes remain unfulfilled,” the monk answered.

Then he asked about the third companion, Master Wu.
The monk sighed gently:
“You know him. In our past life, he once joked before a stone Buddha statue: ‘If I cannot attain supreme enlightenment, then at least let me become a mighty nobleman.’
Well, his vow has come true. Just yesterday, I heard he was appointed a general. He has completely forgotten he was once a monk.*”

Finally, the Brahmin monk turned to him and said:

“Among the five of us, I alone have attained liberation. And you—of all of us—you alone have fallen to such a state that you cannot even find enough food to fill your stomach.”

The scholar was bewildered.
“In my past life,” he said, “for decades I ate only one meal a day and wore one tattered robe for over thirty years. I practiced diligently and lectured on the Dharma tirelessly. I was a well-known Dharma Master. How could my karma now be so miserable?”

The Brahmin monk answered with unmistakable compassion:

“Yes, you cultivated hard. But when you taught the Dharma, you often mixed in ideas from Daoist and other non-Buddhist teachings. This confused your listeners. You also held back special teachings out of stinginess, unwilling to share them openly. And although you kept the precepts, you broke them in many subtle ways. Given all this, your current life’s hardship is already a fortunate result.”

Hearing this, the scholar felt deep remorse and sadness. But instead of despair, a new resolve arose within him.

He vowed to renounce worldly life and become a monk once more.

Seeing his sincerity, the Brahmin monk took out a mystical mirror from his bag.
In it, the scholar saw with clarity:

  • his own past lives,
  • the karmic results of all beings’ actions,
  • even the future rise and fall of the Dharma.

The mirror was said to be like the Seven-Jewel Trees of the Pure Land, which reveal the karmic truths of the universe with perfect brightness.

With this profound vision, his conviction became unshakable.
He immediately entered monastic life, practiced with genuine diligence, and in time became a highly respected and accomplished master.

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Miao New Year: A Grand Celebration of Harvest, Heritage, and Harmony

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Among China’s many vibrant ethnic cultures, few festivals shine as brilliantly as the Miao New Year — the most important and joyous celebration of the Miao people.
It marks the end of a year’s hard work and the beginning of a season filled with gratitude, reunion, and hope.

Since ancient times, the Miao people have followed their own lunar calendar, considering the tenth month of the traditional Chinese lunar year as the beginning of a new year. In Leishan County of Guizhou Province, the Miao New Year usually falls on the Mao Day during the first half of the tenth lunar month, which is roughly equivalent to Chinese New Year’s Eve. The festivities typically last from three to nine days, turning the Miao villages into a sea of song, dance, and laughter.

The Miao New Year carries deep layers of meaning. It is not only a celebration of the harvest but also a time to honor their ancestors and deities, and to commemorate Chi You, the legendary ancestor of the Miao people who perished in tribal wars over five thousand years ago. Through ceremonies and offerings to nature — sacred trees, bamboo groves, rocks, and wells — the Miao express their respect and gratitude toward the forces that sustain life.

In the valleys of the Qingshui River and Duliu River in Guizhou, the Miao New Year is the highlight of the year.
The Miao calendar differs from the Han Chinese lunar calendar, and the beginning of the Miao year is determined through communal discussions so that different villages celebrate at different times. This ensures that every year, one village becomes the center of a grand regional celebration, while neighboring communities come to join in.

After the autumn harvest and the completion of farm work, the Miao New Year marks both an ending and a joyful beginning. During the festival, villagers visit relatives and friends, slaughter pigs, make sticky rice cakes, worship their ancestors, share reunion feasts, and exchange cups of homemade rice wine.

Traditional activities include bullfighting, bird fighting, and singing contests, each bringing a unique charm to the celebration. One village’s festivities flow seamlessly into another’s, creating a continuous wave of joy that sometimes lasts until the early spring “Drum-Turning Festival” in February.

The Grand Parade and Thrilling Bullfights

  

  

The opening day of the Miao New Year is marked by a spectacular parade. People from the eight main Miao branches put on their most elaborate traditional attire — shimmering silver headdresses, embroidered costumes, and ornaments that glisten in the sun. Through music and dance, they showcase their unique local traditions and the living heritage of Miao culture, offering visitors from across China and beyond an unforgettable feast of color and rhythm.

Among the most popular events is the bullfighting competition, a traditional custom symbolizing courage and vitality. Two strong water buffaloes face off, locking horns in a contest of strength and spirit. Thousands gather around the arena to cheer, and the air is electric with excitement. With generous prizes for the winners, the event attracts participants and spectators from far and wide, adding a thrilling edge to the festive atmosphere.

The Long Table Banquet: Sharing Joy, Building Connection

If there’s one experience that perfectly embodies the hospitality of the Miao people, it’s the Long Table Banquet.
This grand feast, dating back to ancient times, is more than just a meal — it’s a powerful symbol of unity, friendship, and celebration.

In Danzhai County’s Wanda Town, whenever guests arrive from afar, locals line the streets with long tables stretching as far as the eye can see. Each table is filled with Miao specialties such as smoked pork, sour fish soup, and sticky rice. Hundreds of people sit together, strangers becoming friends over shared food, laughter, and conversation.

The air fills with the tangy aroma of sour soup and the joyful clinking of cups. Everyone, regardless of origin or language, becomes part of one big family — a living expression of the Miao New Year’s spirit: warmth, generosity, and togetherness.

The Miao New Year is far more than a festive occasion — it is a heartfelt tribute to life, nature, and ancestry.
Through its rituals, music, and communal joy, it reflects the Miao people’s enduring gratitude for the land, their reverence for their roots, and their love of harmony.

As the lush hills echo with the sound of lusheng flutes and the silver ornaments sparkle under the sun, one realizes that the Miao New Year is not only the celebration of a people — it is a celebration of humanity itself, reminding us all of the beauty of connection, gratitude, and joy.

Link：https://peacelilysite.com/2025/11/14/miao-new-year-a-grand-celebration-of-harvest-heritage-and-harmony/

Compassion in Action: Life Release Day Observed Through Prayer, Education, and Service

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November 4, 2025 San Francisco Post

Photo Courtesy: Hua Zang Si (Community members unite across California to honor the Life Release Day Designated by Buddha, transforming compassion into action through ceremonies, education, and charitable outreach.)

        Buddhist communities across California came together on October 29 to honor “The Life Release Day Designated by Buddha,” a global observance dedicated to compassion, the protection of life, and the collective aspiration for peace. 

        On the morning of October 29, 2025, the H.H. Dorje Chang Buddha III Cultural and Art Museum hosted a life release event at the Marina Del Rey harbor, drawing spiritual leaders and community members from across Southern California. The event was led by Venerable Master Ruzun Ruohui, Abbess of Hua Zang Si Temple and Hongfa Temple.

        Participants gathered in unity to chant praises and recite the  Great Compassion Mantra of Avalokiteshvara Bodhisattva. Venerable Master Ruzun Ruohui blessed the fish awaiting release with consecrated Dharma water, offering prayers that these sentient beings be freed from suffering and karmic obstructions. Upon release, the fish were returned to the ocean with the hope that they would find safety and live free from harm and predators. 

        The Life Release Day Designated by Buddha originated on October 29, 2009, when H.H. Dorje Chang Buddha III personally led His disciples in a life release ceremony following a significant Buddhist event. He compassionately declared this day as “Life Release Day” to promote the protection of life and the practice of compassion.

        The H.H. Dorje Chang Buddha III Cultural and Art Museum upholds the compassionate teachings of H.H. Dorje Chang Buddha III. The museum urges all sectors of society to transform empathy into action—promoting the safeguarding of life, the cessation of killing, and the daily practices of kindness as a fundamental way of living. Venerable Master Ruzun Ruohui emphasized that life release practices are not confined to specific days or locations. Whenever a life is in danger, we are called to act—to return it to a suitable environment, to grant it freedom, and to relieve it from fear.

        On October 29, 2025, San Francisco’s Hua Zang Si Temple also held a life release ceremony at San Rafael. Participants from diverse cultural backgrounds gathered to recite the Heart Sutra and the Great Compassion Mantra before gently releasing fish back to their natural habitat. Organizers emphasized that life release is not only a spiritual practice, but also a call to awaken society’s compassion and deepen our care for the sentient beings. 

Photo Courtesy: H.H. Dorje Chang Buddha III Cultural and Art Museum
Venerable Master Ruzun Ruohui blesses fish awaiting release with Dharma water during the Life Release Day ceremony at Marina Del Rey.

Photo Courtesy: H.H. Dorje Chang Buddha III Cultural and Art Museum
Upon release, the fish were returned to the ocean.

        To nurture compassion in the next generation, Hua Zang Si Temple held a Buddhist children’s story class on October 19. Through storytelling and interactive learning, the program guided young participants to understand the core values of “equality of all life” and “compassion without harm.” The initiative was warmly received by parents, who expressed deep appreciation for the temple’s commitment to meaningful and values-based education.

        On October 26, Macang Monastery in San Francisco held a special “Life Release Day Blessing and Food Donation Ceremony” in honor of the Life Release Day Designated by Buddha. Following collective sutra recitation and prayers by both monastics and lay practitioners, the temple donated food supplies to unhoused individuals and low-income families—embodying the Buddhist spirit of compassion and service to those in need.

        This year’s Life Release Day Designated by Buddha brought together Buddhist disciples and compassionate leaders from all walks of life through a range of activities—including life release ceremonies, prayer gatherings, educational outreach, and food donations. Participants were reminded that cultivation is not merely a slogan, but a continuous practice through every kind thought and virtuous deed.

The Cause of War and the Law of Karma

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Xu (Hsu) Yun (1840-1959), Patriarch of Wei Yang, Lin Ji, Fa Yan, Cao Dong, and Yu Men Chan Schools

A teaching by the Great Zen Master Xuyun, delivered in 1947 at a middle school

In 1947, shortly after Japan’s surrender and withdrawal from China, the great Zen Master Xuyun (Empty Cloud) gave a profound speech at a middle school. The nation was still recovering from the devastation of war, and hearts were heavy with both relief and sorrow. With deep compassion, Master Xuyun used the timeless wisdom of the Buddha to explain the law of cause and effect (karma) — reminding people that wars do not arise by chance, but are the result of humanity’s collective actions.

He taught that true peace cannot be achieved through force or politics alone. Only by transforming our hearts and purifying our minds through virtue, compassion, and the practice of Buddhist teachings can we bring real and lasting peace to the world.

War does not arise by chance — it is the collective karma of all beings that brings it forth.

Dear friends, during the years of occupation, we endured immense suffering under the enemy’s oppression — our lives were steeped in water and fire, hardship and pain. Now that our nation has regained its light, we should feel endless gratitude and reflection. We must understand that the outbreak of war is not accidental; it is the result of the shared karma created by all individuals.

The ancient masters said, “If you wish to know the causes of your past lives, look at what you are experiencing in this life. If you wish to know the results of your future lives, look at what you are doing now.”
They also said, “Even after hundreds or thousands of eons, the karma one has created will not disappear. When the conditions ripen, the results will be experienced by oneself.”

When people lose their moral compass and commit all kinds of evil, they plant the seeds for calamities such as war, floods, fires, and famine. If we wish to change the will of Heaven and eliminate disasters, we must begin by transforming human hearts — by restoring virtue and morality. When everyone practices the Five Precepts and the Ten Good Deeds, cultivates upright minds and pure conduct, and lives with benevolence, trust, and righteousness, then the hearts of men and the will of Heaven will naturally align.

But if people persist in wrongdoing and refuse to repent, how can hostility and suffering ever be dissolved? The Buddha said, “The sea of suffering has no end, but when one turns around, there is the shore.” This means awakening from delusion and returning to goodness — the essential path to liberation.

We must truly believe in the law of cause and effect. It is not fiction but reality. If everyone understood that good deeds bring good results, and evil deeds bring suffering — that when one plants melons, one harvests melons; when one plants beans, one harvests beans — then no one would dare to act against conscience or break the law. Out of great compassion for all beings, Shakyamuni Buddha renounced his royal life and underwent arduous practice to save the world from ignorance and suffering.

If we understand the principle of cause and effect and wish to avoid future suffering, we must now create good causes. The hardships we experience today are the results of past evil actions. Therefore, we should now sow good seeds, and in time, we will naturally reap good fruits.

The scriptures speak of “Anuttara-samyak-sambodhi,” meaning “unsurpassed perfect enlightenment.” In its essence, it transcends the distinction of self and others — there is no “you” and “me.” But this state must be cultivated from one’s own heart. If our minds remain filled with greed, anger, and ignorance, unable to abandon all evil and practice all good, the barriers of self and ego become like iron mountains, preventing us from reaching the Pure Land or true harmony. This is the most crucial point — one we must all remember well.

The Sanskrit word “Buddha” means “the Awakened One.” Enlightenment has three aspects: awakening oneself, awakening others, and perfecting both understanding and conduct.

To awaken oneself is to realize that all experiences of good and evil, joy and suffering, arise from cause and effect. Once a person truly understands this, delusion fades, the four attachments dissolve, and one becomes enlightened.

To awaken others means recognizing that all living beings — whether born from the womb, from eggs, from moisture, or by transformation — all possess Buddha nature. They are called “sentient beings” only because they are deluded and unaware. We should therefore cherish and respect ourselves, and in keeping with the Buddha’s great vow of compassion and universal salvation, share these truths with others, guiding them out of the sea of suffering.

As stated in the Śūraṅgama Sūtra: “Regard all men as your fathers and all women as your mothers.” If we cultivate such deep reverence and love, especially for widows, orphans, and those who are lonely or destitute, and show them kindness and compassion through giving and aid, we can realize true equality and the ideal of great harmony.

To perfect both understanding and conduct means to live according to the Buddha’s teachings and precepts until one’s virtue and merit are complete. After the Buddha’s passing, he left behind the Three Baskets of Scriptures — Sutra, Vinaya, and Abhidharma — as our priceless raft to cross the sea of suffering. All the rules and precepts should be faithfully practiced. When one fulfills them completely, that is the perfection of wisdom and conduct.

Thus, the Buddha is the awakened one, while sentient beings are the deluded. The distinction between delusion and enlightenment marks the boundary between beings and Buddhas. To turn away from delusion and return to truth — that is awakening, and that is Buddhahood.

To further illustrate the law of karma, there is a story from one of Shakyamuni Buddha’s past lives.

Long ago, in the city of Rajagaha, there was a fishing village with a large pond. One year, a great drought struck, and the pond began to dry up. The villagers caught and ate almost all the fish, until only one giant fish remained, which was finally killed and eaten. Only one eight-year-old boy refused to eat the fish; he simply watched and laughed.

In his later life as the Buddha, King Prasenajit of Kosala, a devoted follower of the Buddha, married a princess of the Shakya clan, and they had a son named King Virudhaka. After ascending the throne, Virudhaka led his army to attack the Shakya capital of Kapilavastu and slaughtered all its inhabitants.

During that time, the Buddha suffered a severe headache for three days. His disciples begged him to use his powers to save the Shakya people, but he refused. Even when Maudgalyayana repeatedly pleaded, the Buddha said no. Maudgalyayana tried to rescue some survivors with his alms bowl, but when he put it down, all he found was a pool of blood.

When the disciples asked why, the Buddha revealed the cause: in a past life, during a great drought in Rajagaha, the villagers had killed and eaten the fish in that pond. The giant fish was reborn as King Virudhaka, and the villagers were reborn as the Shakyas who were killed. The young boy who merely watched and laughed was reborn as Shakyamuni Buddha himself. Because this karma had matured, the outcome was unchangeable.

The Buddha fully understood this karmic connection and taught it to his disciples as a warning. Chan Master Yuan Yun wrote in verse:

“For hundreds of years, the soup in your bowl
Is filled with deep hatred, hard to dissolve.
If you wish to know why wars arise,
Listen to the cries from the butcher’s gate at midnight.”

Reflect on this story and recite the verse, and you will awaken to the true causes of war and violence — and learn to guard your conduct with mindfulness.

If we wish to transform the world and move toward true harmony, everything must begin with our hearts. Students should study diligently, yet never forget the greater mission of saving the world. And the first step to saving the world is saving the heart — correcting one’s own wrong thoughts and firmly believing in the law of cause and effect, avoiding all evil paths.

By cultivating sincerity, righteousness, self-discipline, and harmony within the family, one can extend peace to the nation and the world. If all the people of every country sincerely believe in karma and practice the Eight Virtues and Ten Precepts, then oppression, violence, and wars will cease to arise. True peace, equality, and the Pure Land of Great Harmony will appear, free from the Five Defilements and all suffering.

For the original Chinese speech, please click here. This English translation is by Linda Chang and is provided for reference only.

Link：https://peacelilysite.com/2025/11/07/the-cause-of-war-and-the-law-of-karma/