Category: Chinese Culture

Guangsheng Temple — The Hidden Gem of Shanxi’s Ancient Treasures

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Shanxi is often called the cradle of Chinese civilization, a province with one of the richest collections of cultural and historical relics. Guangsheng Temple is part of that story. First built during the Eastern Han Dynasty (25–220 CE), it is one of the earliest Buddhist temples in China. Over the centuries, it has endured wars, fires, and devastating earthquakes, yet it still stands, its beauty renewed through reconstructions in the Yuan (1271–1368) and Ming (1368–1644) dynasties.

The temple complex is composed of three main parts:

  • The Upper Monastery — home to its most famous landmark, the glazed pagoda.
  • The Lower Monastery — housing grand halls and statues.
  • The Water God Temple — known for its remarkable Yuan Dynasty murals.

Rising in the upper monastery is the Flying Rainbow Pagoda (Feihongta), an octagonal, 13-story glazed brick tower reaching 47.31 meters high. Built in 1527 during the Ming Dynasty, it’s an explosion of color in the sunlight. The walls and roofs are covered in multi-colored glazed tiles — deep emerald, golden yellow, sapphire blue, and rich purples — that glisten like jewels, casting rainbow-like reflections on sunny days.

Every tier of the pagoda is adorned with intricate glazed reliefs — Buddhas in serene meditation, fierce guardian kings, bodhisattvas in flowing robes, mythical beasts, and dragons coiled in eternal motion. Inside, the foundation hall houses a five-meter-tall bronze statue of Sakyamuni Buddha, radiating quiet majesty.

This pagoda is not only beautiful — it’s a survivor. It withstood the catastrophic 1556 Shaanxi earthquake and the 1695 Pingyang earthquake, both exceeding magnitude 8.0. Its resilience is as awe-inspiring as its artistry. In 2018, it was recognized by the London-based World Record Certification as the tallest multicolored glazed pagoda in the world.

Murals of the Yuan Dynasty — Life Painted in Color

The temple’s murals are a vivid window into the Yuan Dynasty. In the Water God Temple, nearly 200 square meters of wall space is alive with color: scenes of divine processions, farmers at work, musicians playing, and children at play. One remarkable panel shows “Cuíwán” (捶丸) — a sport similar to golf — offering a glimpse into pastimes of the Yuan era.

The mural on the gable wall of the Great Hall of Sakyamuni Buddha in the lower monastery is equally stunning, painted with an expressive style that blends religious devotion with snapshots of daily life. Researchers prize these works for their artistry and for the wealth of cultural detail they reveal — clothing, architecture, social customs — all preserved in pigment for more than 700 years.

The Zhaocheng Buddhist Canon — A Literary Treasure

In 1930, during restoration work, the temple revealed another extraordinary surprise—a cache of ancient relics now preserved in the Shanxi Museum. These included Buddhist scriptures, statues, and ritual objects, some dating back hundreds of years earlier. Printed during the Yuan Dynasty, this monumental project took 24 years and the collaboration of countless monks and artisans to engrave the wooden printing blocks. The texts preserve Buddhist thought, philosophy, and art from centuries ago, making them one of China’s most precious Buddhist literary relics.

The discovery deepened Guangsheng Temple’s reputation as one of the great guardians of China’s Buddhist heritage.

Today, whether you approach as a pilgrim, an art lover, or simply a traveler drawn by curiosity, the moment you first see the rainbow-like shimmer of the Glazed Pagoda through the mountain mist is unforgettable. It is not merely a structure—it is a bridge between centuries, a beacon of faith, and a reminder that beauty, once created with devotion, can endure against time itself.

Link: https://peacelilysite.com/2025/08/15/guangsheng-temple-the-hidden-gem-of-shanxis-ancient-treasures/

Source: http://shanxi.chinadaily.com.cn/2022-05/06/c_748899.htm?utm_source=chatgpt.com

Childlike Delight — A New Vision of the Owl

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Owls have always fascinated me with their air of enigma. Creatures of the night, they rest in the shadows by day and emerge only after dusk, rarely granting humans more than a fleeting glimpse. Across cultures, they have inspired legends both wondrous and foreboding. In ancient Greece, the wise and fearless goddess Athena chose the owl as her emblem, making it an enduring symbol of wisdom. So revered was this bird that Greek coins bore Athena’s face on one side and the owl on the other. Yet, in other parts of the world, the owl has been shrouded in darker associations, seen as a harbinger of misfortune or an omen of ill will.

In Chinese culture, the owl’s symbolism is particularly layered—holding both shadows and light. In ancient times, owls were often viewed as inauspicious creatures, linked to misfortune, death, and the old saying, “When the night owl enters a home, it never comes without cause.” And yet, in certain cultural contexts, they also stand for wisdom, keen insight, and even mysterious, almost magical power.

A Chinese ink painting by H.H. Dorje Chang Buddha III

When most people picture an owl, they think of its round, unblinking eyes and penetrating gaze—features that can feel cold, even intimidating. But my perception shifted entirely when I encountered the Chinese ink painting Childlike Delight by H.H. Dorje Chang Buddha III.

This is no ordinary artwork. With the freehand grace of traditional Chinese brushwork infused with a touch of dreamlike realism, it bridges the poetic subtlety of Eastern art and the fresh, luminous clarity of Western modernism.

With just a few effortless strokes, the artist creates a whimsical, pure, and gently humorous world—a dreamscape that seems to invite the viewer into the peaceful slumber of childhood. The small owl, covered with delicate ink spots of varying sizes and shades, appears almost as if glimpsed through a soft morning mist. Look closely, and you might see the tender image of a sleepy child, finger to lips, caught in that sweet moment before surrendering to dreams.

This is not a literal portrayal of nature, but rather nature reflected through the artist’s own heart—capturing not merely the physical form of a creature, but its spirit, vitality, and essence.

Here, the owl is reborn—not as the ominous figure of superstition, but as a symbol of innocence, purity, and quiet wisdom. The artist’s compassionate and unblemished inner world radiates through the painting, gently cleansing the heart of the viewer until it feels as fresh and clear as morning dew.

Childlike Delight reminds us that we can close the sharp, competitive eyes of rivalry and open instead the eyes of kindness, innocence, and warmth—gifts that have the power to heal, to inspire, and to light the world.

Link:https://peacelilysite.com/2025/08/15/childlike-delight-a-new-vision-of-the-owl/

Dancing with Flames — The Yi Torch Festival

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The air is warm and scented with pine smoke. In the distance, a line of golden lights winds its way down the mountainside, swaying and flickering like a living dragon. Drums beat in a steady rhythm, mingling with laughter and song. Children dash through the night clutching small torches, their faces glowing in the firelight. Elderly women hum old tunes, while young men and women steal glances beneath the shelter of bright yellow oil-paper umbrellas. This is not just a night—it is a living river of fire. You’ve just stepped into the Yi Torch Festival.

Every summer, when the moon of the sixth lunar month reaches its 24th day, the mountains and valleys of Yunnan, Guizhou, and Sichuan come alive with a sea of flickering light. This is the Yi Torch Festival, the grandest celebration of the Yi people and one of the most dazzling ethnic festivals in China.

The Yi, along with the Bai, Naxi, Jinuo, Lahu, and other ethnic groups, have celebrated this fiery tradition for centuries. For the Yi, fire is not just a source of warmth—it is a symbol of light, strength, and hope. The Torch Festival is their way of honoring fire, driving away evil, and praying for peace and abundant harvests.

On this special day, towering torches rise high in the center of each village, while every household lights their own smaller torches. As night falls, villagers carry these flames into the fields, circling the crops to symbolically chase away pests and misfortune, leaving behind protection and blessings.

The Torch Festival lasts three magical days and nights, each with its own unique charm.

Day One – Fire Worship
Morning preparations are lively, feasts are prepared, and wine and meat are offered to ancestors. At dusk, villagers gather at a site chosen by the elders. There, a sacred fire is lit using the ancient method of striking stones, and the flame is blessed by a bimo (Yi priest) chanting sacred verses. Then, torches made from mugwort are passed to each household. Children and elders alike carry them to the edges of fields, reenacting the old legend of Ashimo, the heroine who once used fire to drive away destructive insects.

Day Two – Playing with Fire
If Day One is solemn, Day Two is pure joy. Under the glow of the sacred flame, villagers gather for horse races, wrestling matches, bullfights, and singing contests. Young men compete like the legendary hero Atilaba, known for his courage and strength. Young women, dressed in vibrant handmade dresses and carrying delicate butter umbrellas, dance the graceful “Duoluohe” and Dati dances, just as Ashimo once did.
The highlight? A traditional beauty contest where elders select the most handsome man and the most beautiful woman of the year—chosen not only for looks, but also for kindness, bravery, and skill. As the night deepens, couples stroll by the streams and through the mountains, plucking moon lutes and jaw harps, their music and whispers floating into the starry sky.

Day Three – Sending Off the Fire
The final night is the festival’s grand finale. Villagers rush through the darkness carrying blazing torches, eventually gathering them into massive bonfires. Around these roaring flames, they sing, dance, and laugh until the stars fade and dawn arrives.

Beyond the rituals and dances, the Torch Festival is also a season of romance. Young men and women meet, flirt, and sometimes begin lifelong partnerships. According to tradition, a man may “steal” a token—such as a scarf or ornament—from the woman he loves as a sign of affection. For the rest of the night, they sing and dance together, expressing their feelings until sunrise.

In the end, the Torch Festival is more than just a cultural event—it is a living expression of the Yi people’s spirit: their love of life, reverence for nature, devotion to tradition, and unquenchable hope for the future. And as the last embers fade in the early morning light, the warmth of the flames lingers—both in the fields and in the hearts of the people.

If you’ve ever dreamed of seeing thousands of torches glowing like fire dragons weaving through the dark mountains, this is the place to be. The Yi Torch Festival is not only a feast for the eyes but also a journey into the beating heart of a culture that celebrates life in the glow of fire.

Video： https://fb.watch/BrJd5yhukt

Link:https://peacelilysite.com/2025/08/12/dancing-with-flames-the-yi-torch-festival/

Living with Wolves: A Wild Artist’s Journey of Love, Respect, and Coexistence

linda chang1 Comment

If you are willing to look with your heart, you will see starlight in a wolf’s eyes.

On this planet, humanity is not the only protagonist.
Every forest, every river, every creature shares the same sky and breath with us. True civilization is not the conquest of nature, but the choice to live in harmony with it.

Li Weiyi, a wildlife animator, has spent years drifting between forests and grasslands, sketching the fleeting emotions in an animal’s eyes and the untamed spirit in its movements. Her brush captures not just form, but soul. Gentle and perceptive, she treats animals as friends and believes, with unshakable conviction: all beings are equal.

The Call of the Grassland

In April 2010, she arrived in the vast Ruoergai grasslands of Sichuan. The wind bent the grass like waves, silver mountains gleamed under the sun, and the openness was almost intoxicating. But behind the beauty was a brutal truth—conflicts between humans and wildlife were pushing many animals toward tragedy.

Then she heard a story that broke her heart.
A male wolf, desperate to feed his mate who had just given birth, ventured into a human settlement in search of food. He was caught in a trap, killed by herders, and skinned. His mate waited for days before realizing he was gone. In grief, she ate poisoned bait and followed him in death, leaving six starving pups behind.

Li Weiyi resolved to find them. Days of searching through freezing wind and endless grass finally brought her to the den. Five pups had already died. The last survivor lay weak and trembling, barely breathing. When she whispered, it crawled toward her with eyes full of trust. At that moment, she became its only family.

She named him Green—for the color of the grasslands, for life, hope, and freedom.

Life Between a Woman and a Wolf

In Chengdu, Green grew into a curious, spirited companion. He swam instinctively the first time he fell into water, learned to press the TV remote with his paws, and loved wolf documentaries—howling whenever his kind appeared on screen.

But a wolf will always be a wolf. Green chewed through wires, stole raw meat from neighbors, and refused a leash with stubborn pride. On the streets, he walked with head held high, as if declaring to the world: I am a wolf, not a pet.

A walk with a stray dog ended in tragedy when the dog was hit by a car, sending Green into a panicked dash through traffic. Authorities warned Li Weiyi that Green could no longer live in the city.

Preparing for the Return

She briefly considered a zoo, but one look at an old wolf with dull eyes, torn ears, and walls scarred with escape attempts ended that thought. She sold her home, bought an off-road vehicle and a camera, and returned to the Ruoergai grasslands with Green to begin his rewilding.

There, he sparred with Tibetan mastiffs, relearned the fight for survival, and endured nights of hunger in temperatures as low as –15°C. Li Weiyi stayed by his side through it all, determined to awaken the wolf within him.

Parting and Return

One month later, Green’s howl was answered by a wild pack. He walked toward the mountains, pausing to look back, eyes filled with reluctance. Li Weiyi waved him on, tears blurring her vision, and he vanished into the snow.

He became a ruler of the grassland, fathering pups of his own—but three were killed by humans, a grim reminder that coexistence was still far away.

Two years later, she saw him again from a distance, carrying hares—her favorite food. He stood watching her, not approaching. He belonged to the wild now. His eyes held both sadness and something unspoken.

Li Weiyi began returning to the grassland each year to help wolves like Green survive. And in August 2020, after a decade of intertwined lives, Green ran back into her arms. She held him tightly, tears streaming—warmth, reunion, and harmony made flesh.

Li Weiyi turned her story into the book and film Back to the Wolf Pack. It ends with a haunting question:

“We can rescue a wolf, but can we change the fate of the entire pack?”

This is not only a question for wolves—it is a question for humanity. Every time we expand our territory, every time we place our wants above the needs of other life, we risk silencing the very voices that make this planet alive.

We are not the masters of the Earth. We are one part of a vast, breathing community of life.

In 2020, China’s first wild wolf sanctuary was established—a small but hopeful echo of Li Weiyi’s ten years of dedication. But the work is far from over.

If we truly wish for harmony with nature, it begins with a choice—to see, to care, and to act—before the howls fade forever.

Link: https://peacelilysite.com/2025/08/08/living-with-wolves-a-wild-artists-journey-of-love-respect-and-coexistence/

Source: https://www.sohu.com/a/355779509_99965884, https://m.thepaper.cn/newsDetail_forward_20560520

Lingyan Temple: A Millennium of Buddhist Grace and Sculptural Treasures in the Heart of Mount Tai

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Photo from Wikipedia

Located in the northwest of Mount Tai, Lingyan Temple was founded during the Eastern Jin Dynasty and boasts a history of over 1,600 years. It is regarded as one of the most important sacred sites of Chinese Buddhist culture. Since the Tang Dynasty, Lingyan Temple has enjoyed great renown, and together with Qixia Temple in Nanjing, Guoqing Temple on Mount Tiantai in Zhejiang, and Yuquan Temple in Dangyang, Hubei, it has been hailed as one of the “Four Great Temples of China.” The eminent monk Tang Xuanzang once resided here to translate Buddhist scriptures. From Emperor Gaozong of Tang onward, many emperors stopped to worship at this temple on their way to perform imperial rites at Mount Tai, a testament to its revered historical status.

Although I personally prefer the majestic beauty of untouched natural landscapes, I was deeply moved by the profound cultural and religious artistry of Lingyan Temple. Within the temple grounds, ancient trees such as Chinese wingnut, cypress, and banyan rise skyward, creating a tranquil and sacred atmosphere. As an integral part of the World Natural and Cultural Heritage site of Mount Tai, Lingyan Temple is especially renowned for its colored clay sculptures of Arhats, which hold a prominent place in the history of Chinese sculpture.

Stepping into the solemn Thousand Buddha Hall, one is struck by the breathtaking sight of the Arhat statues—40 lifelike clay figures arranged in a semicircle along the inner walls. Among them, 29 represent disciples of Shakyamuni and Indian masters such as Bodhidharma and Kumarajiva. The remaining 11 depict eminent Chinese monks, including Huiyuan, Huike, Huichong, and various abbots of Lingyan Temple. According to inscriptions and scholarly research, the original set consisted of 32 statues, first created in the third year of the Zhiping reign of Emperor Yingzong of the Song Dynasty (1066). Additional painting and sculpting were done in the first year of the Zhiyuan reign (1328) during the Yuan Dynasty. The Thousand Buddha Hall was renovated in the 15th year of the Wanli reign (1587) in the Ming Dynasty, at which time the number of Arhats was increased to 40. The final touch-up was completed in the 13th year of the Tongzhi reign (1874) of the Qing Dynasty.

Each statue stands about 1.6 meters tall and is seated on a waist-high brick pedestal roughly 80 centimeters in height, with the top of each statue rising 105 to 110 centimeters above the seat. The overall sculptural style is remarkably realistic, emphasizing the individuality and inner spirit of each figure: square faces, prominent noses, distinct facial features, and dynamic, textured robe patterns. The ancient artisans broke away from conventional, stylized Buddhist iconography and instead grounded their work in real life, endowing each Arhat with unique expressions and postures—some sit in meditation, others clasp their hands or hold staffs; some appear ragged and emaciated, while others exude noble dignity and elegance. Each figure is infused with spirit and personality, appearing almost alive, as if they might speak or move at any moment.

What’s even more astonishing is the meticulous attention to detail in both facial expressions and bodily movement, as well as the relationship between the robes and the human form. The flowing lines of the garments, the way the folds respond to motion, and the tactile quality of the fabric all reflect a masterful understanding of form and rhythm. One medical expert even remarked that, “Through the Arhats’ robes, one can perceive the ancients’ precise grasp of human anatomy.”

The Arhat sculptures at Lingyan Temple are not only masterpieces of religious art but also represent the pinnacle of ancient Chinese realistic sculpture. The renowned scholar Liang Qichao once visited the site and inscribed a stone tablet calling them “The finest sculptures in the land.” Famed art master Liu Haisu also praised them, writing: “The Arhats of Lingyan—first under heaven—vivid and lifelike, with flesh and spirit.”

Lingyan Temple is more than a place of worship—it is a living chronicle of Buddhist heritage carved from clay and shaped by the hands of genius. Whether you are a devout practitioner, a history enthusiast, or an art lover, a visit to Lingyan Temple will surely leave you moved by its rich cultural legacy and breathtaking artistic beauty.

Link:https://peacelilysite.com/2025/07/31/lingyan-temple-a-millennium-of-buddhist-grace-and-sculptural-treasures-in-the-heart-of-mount-tai/

The True Measure of Wealth: A Life of Kindness and Spiritual Uplift

linda changLeave a comment

In life, wealth is not measured solely by what we own. True richness lies in the harmony between material comfort and inner peace. Across every social and economic class, we meet people who radiate kindness and resilience—and others who, despite outward success, feel spiritually empty.

Let’s explore four types of people through the lens of both outer wealth and inner fulfillment.

1. The Poor Among the Poor

Struggling both financially and spiritually.

Imagine someone living in a rundown apartment, surviving paycheck to paycheck. The hardship of their material life is evident—but the deeper burden lies within. Stress, anxiety, and hopelessness weigh heavily on their heart.

Perhaps their past holds trauma, loss, or abandonment. With little support or healing, bitterness takes root. Trust feels dangerous. Joy seems unreachable. They may withdraw or act out, living not only in material scarcity but also emotional desolation.

This is a soul in need of compassion, connection, and light—a reminder that true poverty is not just economic, but also spiritual.

2. The Spiritually Rich in Modest Circumstances

Materially humble, yet inwardly joyful.

Now envision someone of limited means, yet abundant in heart. Their home may be small, their income meager—but their spirit shines. They greet life with gratitude, take joy in the sunrise, the warmth of a shared meal, the laughter of a friend.

They live by faith or a strong set of values. They give generously, even when they have little. Their kindness is sincere, their joy resilient. They find meaning in helping others and walk through life with dignity and grace.

Yan Hui, one of Confucius’s most cherished students, is a timeless example. Confucius admired Yan Hui for his ability to remain joyful despite poverty, exclaiming:
“How virtuous Hui is! With just a bowl of rice and a ladle of water in a humble alley, others could not endure such hardship, yet Hui never let go of his joy. How virtuous Hui is!”

His life shows us that true wealth comes from within.

3. The Restless Among the Rich

Surrounded by luxury, yet inwardly unfulfilled.

This person owns much—prestigious homes, expensive cars, elite status. But their heart feels hollow. They may look successful, yet their joy is shallow and fleeting.

They chase more: more titles, more possessions, more recognition—but the emptiness remains. Relationships feel strained. Peace eludes them. Their days are filled with doing, but not being. They struggle to find meaning.

Despite all they have, they feel poor in spirit. What they truly long for is connection, authenticity, and inner peace.

4. The Truly Abundant

Blessed with both material wealth and spiritual fullness.

Finally, imagine someone who has both outer success and a heart full of wisdom and compassion. Their generosity extends beyond money to love, time, and care. Their worth isn’t measured by what they own, but by the good they do.

They uplift others, listen deeply, and lead with humility. They use their resources to heal, not to boast. When they fall, they grow. When others suffer, they respond with empathy.

Their life radiates meaning because it is guided by the heart. They show us what true abundance looks like.

Prince Siddhartha is the ultimate role model. Born into luxury, he had everything—nobility, intelligence, beauty, and unmatched talent in both scholarship and martial arts. Yet, he realized that worldly pleasures are fleeting illusions.

Compelled by compassion, he renounced his royal life to seek a path of liberation for all beings trapped in the cycle of birth and death. Through profound wisdom and practice, he attained complete enlightenment and became the Buddha—a being of perfect wisdom and boundless compassion.

His life teaches us that the richest journey is one that leads to awakening and selfless love.

So, What Is True Wealth?

True wealth is not just what we possess—but who we are.
You can have little and still be truly rich.
You can have much and still feel deeply poor.

In the end, the real measure of success is not our bank account, but how much kindness we carry—and how we uplift others through it.

Let us not chase only riches.
Let us seek a full heart.
Let us build lives that inspire, comfort, and heal.

Are you walking a path of kindness and uplift?

Link: https://peacelilysite.com/2025/07/25/the-true-measure-of-wealth-a-life-of-kindness-and-spiritual-uplift/

Mountain Village with Memories of Mother”: A Painting That Speaks to the Soul

linda changLeave a comment

This is a deeply moving landscape painting by H.H.Dorje Chang Buddha III, marked by smooth, flowing brushwork and a natural rhythm. The undulating crimson cliffs seem to rise freely from the artist’s heart, while the vigorous lines brim with vitality and strength. Ink strokes form the skeletal structure of the mountains and rocks, while delicate willows hang softly across the scene, adding a quiet touch of green serenity. The overall palette is vivid but never garish, exuding a warm and nostalgic atmosphere.

In the painting, two thatched cottages nestle beside the mountains and water. Their deep-set doors and silent windows seem to hold untold, quiet stories. It was under these eaves, by these doors, that a loving mother once stood—sending her children off into the world with silent heartache, and waiting countless times in patient hope for their return. That wordless farewell, those tears of longing, have gently seeped into the fabric of time. Among all human emotions, none is greater than a mother’s love. Our memory of that love stirs an innate sense of gratitude—a sacred emotion that transcends the ordinary.

This work embodies the style known as the “Childlike Native School”, which embraces the beauty of rural life through the innocence of a child’s heart. Though the brushstrokes appear naïve and spontaneous, they conceal great depth and mastery. The painting style is free and unrestrained, exuding both boldness and tenderness. The soft, flowing lines connect seamlessly—like a mother’s love, endlessly enduring, gentle yet firm. Its simple composition holds rich emotional meaning and invites the viewer’s imagination to wander. The scene pulses with a childlike liveliness that fills the heart with joy.

The painting’s pure and innocent imagery evokes a return to the carefree days of childhood. No matter where you are, simply gazing at this piece can bring the scene and its emotions vividly before your eyes, awakening the deepest tenderness and longing in your soul.

In creating Mountain Village with Memories of Mother, the artist approached the work with the pure heart of a child, yet painted with the maturity and finesse of a seasoned master. The brush technique draws from traditional Chinese calligraphy—guided by the wrist, powered by the arm—each stroke flowing naturally with graceful spontaneity. This painting was not created for show or technical display, but as a sincere outpouring of emotion and inspiration. Every application of ink and color arises from genuine feeling.

What is art?
At its essence, art is the ability to immediately evoke inner peace, comfort, joy, or spiritual fulfillment in the viewer. But where does this feeling come from? Is it merely the subject matter or visual beauty of the work? Certainly not. A painting does not become great simply because it looks pleasing.

In the context of Chinese painting, the true heart of art lies in a quality called “spiritual resonance” (shen yun). It is vivid, yet elusive—a mysterious charm and subtle power that cannot be described with words. It is born when the artist’s personal cultivation, emotional depth, and spiritual awareness infuse the work, allowing spirit and technique to merge. The result is an artistic vitality that transcends mere form.

Only when viewers are moved by this spiritual resonance do they begin to explore the painting’s formal elements—its composition, color palette, brush technique, balance between painting and calligraphy, and the portrayal of the subject in both spirit and form. While these aspects matter, they ultimately serve a deeper, more profound experience.

In Chinese art, the true value of a painting—its ability to soothe the soul—does not depend on technical skill alone. It lies in whether the work can touch the heart and stir the spirit. Mountain Village with Memories of Mother beautifully embodies this artistic spirit. Every brushstroke gently stirs the viewer’s emotions, evoking tender memories and inviting the soul to linger in its serene beauty.

This exceptional work is housed in the permanent collection of the International Art Museum of America, located in San Francisco—a fitting home for a piece that speaks a universal language of love, nostalgia, and spiritual beauty.

Link:https://peacelilysite.com/2025/07/11/mountain-village-with-memories-of-mother-a-painting-that-speaks-to-the-soul/

Discover Longxing Temple: A Timeless Treasure of Chinese Buddhism

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Longxing Temple, also known as the Great Buddha Temple, is one of China’s oldest, largest, and best-preserved Buddhist temples. This extraordinary complex is not only a sacred site but also a magnificent testament to the architectural genius and spiritual devotion of ancient China.

Located at No. 109 Zhongshan East Road in Zhengding County, Shijiazhuang, Hebei Province, Longxing Temple sprawls across an impressive 82,500 square meters.

Originally established in 586 CE during the Sui Dynasty under the name Longcang Temple, it was later renamed Longxing Temple during the Tang Dynasty. In 971 CE, Emperor Taizu of the Northern Song Dynasty issued an edict to cast an enormous bronze Thousand-Armed Avalokiteshvara Bodhisattva and build the splendid Hall of Great Compassion to house it.

This marked the beginning of large-scale expansion, culminating in a grand Song Dynasty architectural complex centered on the hall. Through the Jin, Yuan, and Ming Dynasties, the temple saw continued renovation and growth. In the Qing Dynasty, both Kangxi and Qianlong Emperors decreed extensive rebuilding, shaping the temple’s current layout:

  • The eastern section served as monks’ quarters
  • The central axis hosted Buddhist ceremonies
  • The western area functioned as the imperial palace quarters

In 1710, Emperor Kangxi personally inscribed the name “Longxing Temple,” an honor that reflects its enduring importance.

Today, visitors can trace a north–south axis that passes through a series of majestic structures: the Hall of Heavenly Kings, Mani Hall, the Ordination Altar, the Revolving Sutra Library, and more than a dozen other halls and pavilions. The complex is celebrated as a textbook example of ancient Chinese Buddhist temple design.

Recognized among China’s ten most famous temples, Longxing Temple was declared a Major National Historical and Cultural Site in 1961 and later designated a National AAAA Tourist Attraction.

Highlights Not to Miss

Hall of Heavenly Kings

First built in the Northern Song Dynasty, this is the oldest surviving structure of its kind within the temple. Even after a major renovation in 1780, its main timber frame remains original.

Above the entrance, plaques bearing the calligraphy of the Kangxi Emperor read:

“Imperially Established Longxing Temple”
“Hall of Heavenly Kings”

Inside stands the famous Big-Bellied Maitreya Buddha, a Jin Dynasty wood carving over 800 years old. Thoroughly localized in Chinese style, this smiling figure derives from the legendary monk Qici, known for his benevolence and laughter.

On either side stand the Four Great Heavenly Kings, each symbolizing auspicious natural forces:

  • Wind (Southern King, with a sword)
  • Harmony (Eastern King, with a lute)
  • Rain (Northern King, with a precious umbrella)
  • Compliance (Western King, with a coiled snake)

Together, they express the blessing of abundant harvests and national peace.

Mani Hall

Built in 1052, Mani Hall has an unusual cross-shaped floor plan created by four gabled annexes extending from its square central chamber.

Inside, five golden clay Buddha statues preside over the altar, with Shakyamuni Buddha at the center.

The hall’s north wall showcases a breathtaking polychrome relief nearly 16 meters long, depicting swirling clouds, celestial beings, and Avalokiteshvara stepping onto a lotus—symbolizing the entrance to the Western Pure Land.

At the heart of this scene sits the Backward-Facing Avalokiteshvara, so named because she faces north instead of south. Far from a supernatural image, this Avalokiteshvara appears as a serene, youthful woman with an expression so vivid and gentle it moves all who gaze upon her.

Visitors often remark:

“How beautiful—how extraordinary! She sits so naturally, one leg casually crossed, her eyes meeting yours wherever you stand. Her smile is as enigmatic as the Mona Lisa—truly ‘The Most Beautiful Avalokiteshvara.’”

Ordination Altar

Reserved for the most important temples, the Ordination Altar was where monks received their vows.

Inside the altar stands a unique double-sided bronze Buddha statue. Facing south is Amitabha Buddha, and facing north is Medicine Buddha. The two figures share a single body, seated back to back in lotus posture.

The statues are depicted in full lotus position, wearing five-leaf crowns, with round, gentle faces. Their necks are adorned with necklaces and their arms with bangles, while flowing sashes drape gracefully from their shoulders. Amitabha’s hands form the meditation mudra, while Medicine Buddha’s hands display the gesture of compassion.

Their expressions are serene and tranquil, exuding a quiet dignity and solemn beauty in their elegant simplicity.

Longteng Garden

To the northeast lies Longteng Garden, a Ming and Qing–style garden combining cultural heritage and tranquil scenery.

Here you’ll find:

  • Northern Dynasties stone statues
  • A Jin Dynasty scripture pillar
  • A Yuan Dynasty mural tomb
  • The Ming Dynasty Longquan Well Pavilion
  • The “Three Generations of Vice Ministers” stone archway

Meandering through its pavilions, terraces, and lush paths feels like stepping into a living scroll of history.

Cultural Traditions

Imperial Buddhist Ceremony Performance

Zhengding’s Longxing Temple is an imperial temple that was visited and funded for repairs by emperors over many dynasties. According to The Chronicles of Longxing Temple, in the 49th year of Emperor Kangxi’s reign (1710 CE), the emperor ordered funds to be allocated from the national treasury to restore Longxing Temple. After the renovations were completed, Emperor Kangxi personally came to pay homage and bestowed 19 inscribed plaques, including one reading “Longxing Temple Constructed by Imperial Decree,” all handwritten by himself.

At the end of 2011, drawing on historical records, the Cultural Heritage Office re-created the Grand Imperial Buddhist Ceremony, reenacting the scene of Emperor Kangxi’s arrival at Longxing Temple, the local officials welcoming the imperial entourage, and the emperor bestowing plaques, offering incense, and performing rituals to honor the Buddha.

Thousand-Armed Avalokiteshvara Performance

Inside the Great Compassion Pavilion of Zhengding’s Longxing Temple stands a bronze statue of the Thousand-Armed, Thousand-Eyed Avalokiteshvara, measuring 21.3 meters in height. Cast in the 4th year of the Kaibao era of the Northern Song Dynasty (971 CE), this towering bronze figure is remarkable both for its immense size and its exquisite craftsmanship.

It is the tallest and oldest ancient bronze Buddha statue of its kind in the world. It is not only a symbol of Longxing Temple but also an emblem of the ancient city of Zhengding.

The Thousand-Armed Avalokiteshvara Performance features graceful melodies and captivating dance that vividly convey the divine presence and compassion of the bodhisattva.

Longxing Temple is more than a historical monument—it is a living symbol of Chinese Buddhist art, architecture, and spirituality. Whether you come for quiet reflection, cultural discovery, or simply to stand before centuries of devotion, this magnificent temple will leave a lasting impression on your heart.

Link:https://peacelilysite.com/2025/07/04/discover-longxing-temple-a-timeless-treasure-of-chinese-buddhism/

Buddhism, Multidimensional Space, and the Science of Consciousness

linda chang1 Comment

Modern scientists suggest there may be multidimensional spacetime. The world we perceive in our daily lives consists of three dimensions of space—length, width, and height—plus one dimension of time, forming what we call four-dimensional spacetime.

For most people, it is nearly impossible to imagine what multidimensional space could be like. Even scientists struggle to describe how such realms might appear.

Yet once, while I was reading a Buddhist sutra, I felt as though I glimpsed something of this mysterious idea.

In the Vimalakirti Sutra, it is recorded that Manjushri Bodhisattva led 8,000 bodhisattvas, five hundred arhats, and countless heavenly beings to visit the ailing lay master Vimalakirti.

Vimalakirti lived in a small chamber. He invited everyone to enter. Miraculously, they all went inside, but the room did not grow any larger. No one felt crowded or obstructed, and everyone saw Vimalakirti sitting directly before them.

Manjushri and Vimalakirti engaged in profound dialogue about the Dharma. Later, Vimalakirti displayed astonishing spiritual powers, bringing seats, exquisite foods, and treasures from distant worlds into that same room.

It was absolutely astonishing—like witnessing the seamless merging of multiple dimensions.

Throughout Buddhist history, many great masters have demonstrated abilities that seem to transcend space and time.

For example, there is the story of Milarepa, Tibet’s most renowned yogi. When he was welcoming his disciple Rechungpa back from India—where Rechungpa had traveled to collect scriptures—an incredible event took place.

Rechungpa carried the scriptures on his back as he crossed the vast grasslands. When he saw Milarepa waiting for him, he was overjoyed. Eagerly, he described how he had met the great master Tilopa. With visible pride, he declared:

“In the past, Tilopa did not transmit this Dharma to Master Marpa, but now he has passed it on to me!”

His words brimmed with arrogance.

As they walked together, Milarepa noticed a broken yak horn on the ground and asked Rechungpa to pick it up. Rechungpa couldn’t see the point and made excuses not to touch it. Silently, Milarepa bent down, picked it up himself, and carried it along.

Suddenly, the sky darkened. Thunder boomed, lightning flashed, and hailstones the size of eggs pounded them mercilessly. Rechungpa was battered and bruised.

When the storm finally ended, he looked around—Milarepa had vanished. Alarmed, he began calling out.

Then, Milarepa’s calm voice rose from the little yak horn at his feet:

“Why are you so flustered? Come in here and take shelter.”

Rechungpa stared in disbelief. The opening of the horn was barely larger than a fist. How could he possibly fit inside?

He bent down to look, and to his amazement, he saw an endless green meadow within—stretching as far as the eye could see. Milarepa sat serenely in meditation.

But no matter what he tried, Rechungpa could not enter.

In that instant, all his pride dissolved. Humility and awe took its place.

Milarepa finally emerged and said with a gentle smile, “Did you see? My little yak horn turned out to be quite useful after all.”

Even in our time, extraordinary manifestations still occur.

H.H. Dorje Chang Buddha III has demonstrated countless inconceivable displays of supreme Buddha Dharma.

Ruzun Ruo Hui, the abbess of Hua Zang Si (in San Francisco) shared one remarkable example in Interviews with Buddhist Disciples (Episode 78).

Around 1995, about a dozen people were gathered together in a room, respectfully listening to the recorded Dharma discourse Expounding the Absolute Truth through the Heart Sutra.

Halfway through, the entire house vanished. All the walls and structures simply disappeared, and everyone found themselves sitting under the open sky.

Above them, Avalokiteshvara Bodhisattva appeared, standing in the air, radiating boundless light while auspicious clouds billowed around.

For nearly an hour, Avalokiteshvara remained visible, bestowing blessings. No sounds of the street—no passing cars or footsteps—could be heard. The only sound was the voice of H.H. Dorje Chang Buddha III expounding the Dharma.

It was clear that everyone present had entered another dimension altogether.

Moments like these show us that the universe is far more profound than what our senses can grasp.

I believe Buddhism is deeply scientific—not superstition. Just because today’s scientists cannot yet explain these phenomena does not mean they are unscientific.

On the contrary, Buddhist wisdom offers an entirely different lens through which to explore reality. It can inspire modern science to uncover new methods and fresh insights to understand the universe’s deepest mysteries.

If we open our hearts and minds, perhaps Buddhist teachings will one day help humanity discover shortcuts to truths that today seem unimaginable.

Link:https://peacelilysite.com/2025/07/03/buddhism-multidimensional-space-and-the-science-of-consciousness/

The Power of a Good Mindset in Times of Conflict

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My friend Wendy used to be very emotional and overly cautious. But in recent years, she has undergone an astonishing transformation.

One day, when we met up, she shared a story that showed me just how much she has changed.

At the end of last year, Wendy finally decided to buy her daughter-in-law the new car she had dreamed of for so long. The whole family welcomed the New Year with excitement and joy.

That day, her daughter-in-law drove the car out to register it, while Wendy stayed home reading stories to her granddaughter.

Not long after, the phone rang. On the other end, her daughter-in-law’s voice trembled with panic:

“While turning, I got hit by a truck going straight. The entire front bumper is smashed. It’s all our fault. Mom, I’m too scared to come home—your son is going to be furious.”

Wendy replied calmly, “As long as you’re okay, that’s what matters. Just come home.”

A while later, her son returned from work. Before he could react, Wendy sent her granddaughter over to ask him to tell her a story about a carpenter.

He couldn’t resist her pleading eyes and began reading in an animated voice:

“There was a kind-hearted carpenter who, though already old, still had no house and couldn’t find a wife. His elderly mother was terribly worried. Finally, a young woman agreed to marry him—but only if he could provide a home.

So the carpenter worked tirelessly, chopping and hammering for two months until he built a beautiful wooden house. One day, while he was out, a fire broke out next door and burned his house to the ground.

People thought he would collapse in despair, but instead, he searched through the charred remains. Everyone was puzzled—what could he possibly be looking for? At last, he found an unburned axe and exclaimed with relief, ‘I finally found you!’

People thought he must be crazy—his house was gone, and he was happy just to find an axe? The carpenter said, ‘As long as I’m here and I have my axe, why would I worry about not having a house?’”

Just then, the daughter-in-law slipped quietly back into the house, looking like a child who had done something wrong.

When her son learned what had happened, he exploded:

“You’re such a spendthrift! No brains at all! So careless—on the very first day, you wrecked a car worth hundreds of thousands!”

Wendy looked at her son calmly and asked:

“Are you done yet? The car is already damaged—will shouting fix it?

Just a minute ago, you were telling your daughter that as long as you have an axe, you can build another house. Now you’ve turned into a chameleon—how will you teach her in the future?

What’s more important: people or cars? A damaged car can be repaired or replaced. But if something had happened to your wife, this family would be over.

It’s the New Year. What matters most is that we are safe, healthy, and together. Everything else is just material. You should be grateful she came home without a scratch. So many people are facing life-and-death partings right now. Be content.”

Her son made a face and joked, “Mom, ever since you started practicing Buddhism, you’ve changed. You’re always siding with your daughter-in-law—have you forgotten you have a son? I feel like I’m adopted!”

Wendy rolled her eyes at him, and the whole family burst into laughter as they sat down to dinner.

Later, Wendy told me that after studying Buddhism, she finally understood how to let go of the suffering that comes from clinging to the self and how to transform afflictions into wisdom.

I watched in amazement as what could have been a chaotic family argument dissolved effortlessly in her hands. In the end, everyone was able to celebrate the New Year in peace and joy.

Life will always bring troubles and joys. A grateful and content mindset makes happiness bloom everywhere, while a lack of appreciation can turn even good fortune into heartache.

Hearing Wendy’s story reminded me how powerful a positive mindset can be in times of conflict. I hope more families can draw on the wisdom of the Dharma to transform challenges into understanding, live long lives free from illness, and enjoy peace, prosperity, and lasting happiness.

Link:https://peacelilysite.com/2025/07/01/the-power-of-a-good-mindset-in-times-of-conflict/