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.
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.
“Imagine a child’s brain as a garden. Every word you speak is like a drop of water nurturing growth.”
One cold winter morning in 1995 at a Chicago hospital, Dr. Dana Suskind, a cochlear implant surgeon, held the small hand of a boy who had just undergone surgery. Technically, the boy could now hear. Yet weeks passed, and he still didn’t speak a word. Dr. Suskind wondered—what was missing? She discovered that while technology could restore hearing, it could not replace something even more vital: the daily language environment a child grows up in. Without rich and loving conversation, the boy’s world remained silent in a deeper sense.
This experience led Dr. Suskind to research the profound role parents play in shaping their children’s language and cognitive development. She founded the Thirty Million Words (TMW) initiative, inspired by a groundbreaking 1995 study by child development researchers Betty Hart and Todd Risley. Hart and Risley discovered a striking reality: by the age of three, children from higher-income families had heard about thirty million more words than children from lower-income families.
From birth to age three, a child’s brain forms 1 million neural connections every second. Every conversation is brain-building—especially when it’s warm, eye-to-eye, and responsive.
Quantity matters—more words create more neural connections.
Quality matters more—it’s not just talking to a child, but engaging with them in responsive conversations.
Children who heard more words also experienced more encouraging interactions, richer vocabulary, and emotionally supportive tones from their parents. Meanwhile, children who heard fewer words were often exposed to more negative or directive language (“Stop that!” “Don’t do this!”) and fewer warm, conversational exchanges. By the time these children entered school, the gap had already set the stage for differences in learning, confidence, and future opportunities.
Dr. Suskind’s TMW initiative encourages parents to intentionally fill their children’s early years with abundant, meaningful, and loving conversation. She emphasizes the Three T’s:
Tune In – Notice what your child is focused on and talk about it.
Talk More – Use a rich variety of words to describe, explain, and explore the world together.
Take Turns – Engage in back-and-forth conversation, even before your child can speak words.
For example:
Instead of saying, “Don’t touch that!” try: “That’s sharp, sweetie. Let’s find something safer to play with.”
Instead of a quick “Good job,” you might say: “I love how you stacked those blocks so high! You worked so carefully.”
During a walk, point to things you see—“Look at that big red leaf!”—and let your child respond, even with just a gesture or sound.
But there’s another crucial element—how you speak. A gentle tone, warm facial expressions, and genuine interest create an emotional space where a child feels safe and valued. Neuroscience shows that when a child feels emotionally secure, their brain is more receptive to learning and language development.
Dr. Suskind’s work reminds us that parents are a child’s first and most influential teachers—not because of expensive toys or formal lessons, but because of the warmth, curiosity, and attention they share through conversation.
You don’t need a degree or a script. Your voice, attention, and curiosity are enough. Whether in the supermarket, on a walk, or during bedtime, every exchange plants seeds for your child’s future thinking, confidence, and empathy.
The goal isn’t to force constant chatter but to weave language naturally into your shared life—reading together before bed, singing songs in the car, talking about the day while cooking dinner. Over time, these small, daily moments accumulate into millions of words, building both vocabulary and a deep sense of connection.
The Thirty Million Words message is clear: Every word you speak to your child is a gift that shapes their mind and heart.
Because one day, those little ears won’t just remember the words you spoke—they’ll carry the mindset, resilience, and love you planted with them.
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.
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.
What is love? What is marriage? What is happiness?
These are questions that have echoed through time. The Greek philosopher Plato once asked his teacher Socrates these very questions. The answers he received were not in the form of lectures or definitions, but through simple, thought-provoking experiences that revealed profound truths about life.
What Is Love?
When Plato asked, “What exactly is love?” Socrates didn’t reply with words. Instead, he told Plato to walk through a wheat field and pick the biggest, fullest ear of wheat he could find. There was only one rule: he could pick only once, and he couldn’t turn back.
Plato returned empty-handed.
“I saw some very large and golden ears of wheat,” he explained, “but I kept thinking that there might be an even better one ahead, so I didn’t pick any. As I walked further, none of the wheat looked as good as what I had already passed. In the end, I walked out with nothing.”
Socrates smiled and said, “That is love. We often think something better lies ahead, so we pass by the one who may have been most right for us. And when we finally realize it, it’s too late to turn back.”
What Is Marriage?
Next, Plato asked, “Then what is marriage?”
Socrates responded, “Walk through the forest and cut down the biggest, strongest tree to use as a Christmas tree. Remember—you may only choose once, and you cannot turn back.”
This time, Plato returned with a tree that wasn’t the tallest or thickest, but still sturdy and pleasing.
When Socrates asked why he had picked it, Plato said, “I remembered the lesson from the wheat field. When I saw this tree and thought it was good enough, I cut it down. I was afraid that if I kept looking, I’d again end up with nothing. It may not be the best, but it’s mine—and I’m content with it.”
Socrates nodded and said, “That is marriage. It may not be perfect, but it’s real, reliable, and something you can walk through life with.”
What Is Happiness?
Finally, Plato asked, “What is happiness?”
Socrates told him to walk through a meadow and pick the most beautiful flower he could find, again under the same rule: choose only once, and no turning back.
After some time, Plato returned with a lovely flower in his hand.
Socrates asked, “Is this the most beautiful flower you saw?”
Plato answered with certainty: “When I saw this flower, I felt it was the most beautiful, so I picked it. Even though I saw other beautiful flowers later, I didn’t regret my choice. I stayed firm in my decision. This one, to me, is the most beautiful.”
Socrates smiled and said, “That is happiness. When you choose to see something as your happiness and cherish it, happiness is already yours.”
Through these three simple parables, Plato came to understand love, marriage, and happiness—not as things to chase endlessly, but as choices to recognize, embrace, and be content with.
Love is like the perfect ear of wheat you keep hoping to find ahead, only to realize—often too late—that what you passed by may have been the best match for you.
Marriage is like the tree that may not be flawless, but stands strong with you through the everyday winds and storms of life.
Happiness isn’t about always having the best. It’s about choosing something, valuing it, and finding contentment in it.
In a world driven by comparison, desire, and constant pursuit of “more,” true happiness arises when we stop looking outward and begin appreciating what we already have. When we make peace with our choices and nurture them with gratitude, we come to see: we already possess love, marriage, and happiness in their truest forms.
Sometimes, the smallest gifts carry the greatest meaning—and plant the seeds for something extraordinary.
In the late 1800s in Philadelphia, a little girl named Hattie May Wiatt was heartbroken. She loved attending Sunday school at Grace Baptist Church, led by Reverend Russell H. Conwell, but the room was too small to hold all the children who wanted to come. Some Sundays, children were turned away for lack of space. Hattie dreamed of a bigger Sunday school where every child could learn and feel welcomed.
Determined to help, Hattie began saving what she could. Little by little, she set aside pennies, nickels, and dimes—eventually saving up 57 cents. It was a humble offering, but a heartfelt one. Sadly, Hattie became ill and passed away at just seven years old before she could see her dream come true.
After her passing, her mother brought the small purse of coins to Reverend Conwell, explaining Hattie’s wish. Deeply moved by the child’s devotion and generosity, Reverend Conwell shared Hattie’s story with his congregation. Her simple act of love touched hearts far and wide.
Inspired by her story, the congregation began to give. Donations poured in. That small sum of 57 cents became the spark that lit a fire. With the funds raised, Reverend Conwell purchased a house that would serve as the site for Sunday school classes. But the vision didn’t stop there.
That humble beginning became the foundation of Temple College, an institution built on the belief that education should be accessible to all. Over the years, it grew and evolved into Temple University, one of the leading public research universities in the United States today.
And it all began with one little girl and her 57 cents.
The Power of a Small Act
Hattie May Wiatt’s story is a powerful reminder that no contribution is too small when it comes from the heart. Her tiny savings became the cornerstone of an institution that has educated thousands and impacted countless lives. More than just a tale of generosity, it’s a lesson in faith, hope, and the incredible potential of selfless giving.
In a world where people often feel powerless to make a difference, Hattie’s story whispers a timeless truth: every effort matters. Every kind deed, no matter how small, can ripple outward and change the world.
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.
Award recipients from the youngest age group (five- to six-years-old) at the 2025 International Youth Art Contest, pictured with Mr. KC Hsieh, IAMA President.Photo by Johnny Trieu
(Ad) On July 13th, 2025, San Francisco’s International Art Museum of America (IAMA) hosted the awards ceremony for the Second Annual International Youth Art Contest and Exhibition. The museum hosted nearly 400 attendees who were eager to see this year’s exhibition of youth artworks from around the world. Distinguished guests included Mr. Guy Djoken, Executive Director of UNESCO Center for Peace of Washington D.C.; San Francisco District Six Supervisor Matt Dorsey; and Professor Adam Caldwell, Chair of the Jury Committee and faculty member at the Academy of Art University, San Francisco. The ceremony spotlighted the creative achievements of young artists and underscored the museum’s role in fostering cultural exchange and youth artistic expression. Now, in its second year, the International Youth Art Contest and Exhibition continues to expand its reach and impact, advancing IAMA’s mission to champion emerging talent and foster intercultural connection through the arts.
This year, 1,600 youth participants submitted over 3,800 artworks to the Youth Art Contest. Artists from sixty-five countries across five continents competed within four age groups. After a rigorous selection process evaluating creativity, technical skill, and overall presentation, 477 young artists from seventeen countries were selected to exhibit a total of 616 outstanding works in IAMA’s Grand Exhibition Hall. The artistic caliber and thematic richness of the selected pieces left the jury in awe.
Attendees of the 2025 International Youth Art Contest viewing the installation in the Grand Exhibition Hall located at 1025 Market Street in San Francisco.Photo by Johnny Trieu
During his address at the awards ceremony, Mr. Guy Djoken offered high commendation for IAMA and its dedicated team, applauding their ongoing commitment to promoting international artistic exchange and cultivating a space where the public can find joy and renewed hope through art. Reflecting on the global turbulence and widespread uncertainty facing today’s global community, Mr. Djoken declared, “At a time when many live in fear—especially of war—just for us to be here at the museum, smiling and happy, and most importantly hopeful about the future—this is the best thing about this competition.” Mr. Djoken’s heartfelt message set a hopeful tone for the awards ceremony and attendees alike.
Executive Director of the UNESCO Center for Peace, Guy Djoken, was deeply impressed by the exceptional quality of the young artists’ work, finding both joy and hope for the future in their creativity.Photo by Johnny TrieuAward recipients in the eleven – fourteen age group at the 2025 IAMA International Youth Art Contest, joined by Mr. Guy Djoken, Executive Director of the UNESCO Center for Peace in Washington, D.C., who presented the honors during the ceremony.Photo by Johnny Trieu
Matt Dorsey, San Francisco’s District Six Supervisor, also addressed the audience, expressing his appreciation for the International Art Museum of America as a true hidden gem of San Francisco’s art landscape, and pledged his continued support for the museum’s mission and contributions to the community. Supervisor Dorsey offered words of encouragement to all participating youth artists, urging them to pursue their creative passions with perseverance—regardless of the outcome—and to never stop pursuing their artistic dreams.
Award recipients in the fifteen–eighteen age group of the contest were presented with their honors by San Francisco District Six Supervisor Matt Dorsey during the awards ceremony.Photo by Johnny Trieu
Professor Caldwell praised the range of themes and talent amongst all submissions and ages, which made selecting the winners of each age group challenging for the judges. Professor Caldwell noted the importance of international art exchange, stating “It’s a great way to bridge gaps between countries. The artistic community has always crossed political, social, and ethnic borders. Art and music are among the most universal forms of expression. They allow us to feel what others felt… Art brings people together across divides.” Professor Caldwell’s wise words perfectly captured the mission and outcome of the International Youth Art Contest.
Award recipients from the seven – eleven age group honored by Prof. Adam Caldwell—Chair of the Jury Committee, and faculty member at the Academy of Art University, San Francisco.Photo by Johnny Trieu
In this year’s contest, a newly introduced category for the youngest age group—participants ages five to six—garnered enthusiastic engagement from a remarkable number of budding artists. Through their sincere brushwork and vibrant imagination, these children demonstrated an extraordinary innate talent that captivated both audiences and judges alike.
Dr. Amy Hughes, Jury Committee Member and Director of Student Services at the New York Academy of Art, recognized the courageous creativity of the youth artists reflecting, “I was struck by the fearless creativity on display — the young artists did not shy away from complex themes, experimenting with materials, and expressing deeply personal narratives. Each piece felt authentic and fresh, demonstrating both technical skill, and emotional depth. The entries explored themes ranging from family, community, and environmental justice to dreams, culture, and identity—powerfully reflecting the younger generation’s keen insights and profound emotional connection to the world around them.
Charlotte Wu, third place award recipient in the five- to six-year-old age group, looks up at her winning painting, The Garden Where She Waits.Photo by Johnny Trieu
Lucas Shao, the first place winner of the five- to six-year-old age group, depicted himself joyfully swinging through the air in his painting, Wonderland. When asked about his hopes for his art, Lucas enthusiastically declared “I hope my art makes people happy, warm, big smiles just like me!”
Five-year-old Lucas Shao, winner of first place in the five- to six-year-old age group, stood proudly beside his painting Wonderland, depicting his happiness while swinging on the playground.Photo by Tong Shao
Third place winner of the five- to six-year-old age group, Kedarnath Kalidindi depicted a goldfish in a small fishtank in his painting, Freedom in Captivity, inspired by “finding inner freedom during incarceration.” The addition of this age group was an exciting component of this year’s event, and underscored the value of shining a spotlight on youth artwork, and garnering the wisdom of today’s youth.
Five-year-old Kedarnath Kalidindi, third-place winner in the five- to six-year-old age group, introduced his painting, Freedom in Captivity, to the audience.Photo by Johnny Trieu
Ten-year-old Irina Elena Dobrota from Romania was honored with third place in the seven- to ten-year-old age group for her painting, Flight of Dreams, which was selected for the final exhibition at IAMA. Celebrated for its gentle spirit and imaginative vision, the piece radiates themes of kindness, freedom, and hope. Irina’s achievement brought pride and joy to her local community, and she hopes her work will inspire others to believe that every heartfelt wish can take flight—if we have the courage to let it soar.
Third place winner of the seven- to ten-year-old age group, Irina Elena Dobrota’s painting, Flight of Dreams.Photo by IAMA
Ashley Hein, second place winner of the fifteen-to-eighteen-year-old age group, impressed the jury with her painting, Animal Instinct, distinguished by its mature composition and outstanding execution. Professor Caldwell commented that he had shown several of the entries to his university art students, who were deeply moved and inspired by the technical skill and creativity on display.
Ashley Hein’s artwork, Animal Instinct, won second place in the fifteen- to eighteen-year-old age group.Photo by IAMA
Seventeen-year-old Kate Fieldhouse from South Africa received an honorable mention for her painting Between Worlds, which depicts a striking worldscape through an intense and creative exploration of breaking the canvas.
Seventeen-year-old Kate Fieldhouse from South Africa received an Honorable Mention for her painting Between Worlds.Photo by Johnny Trieu
Sixteen-year-old Polina Larina received an Honorable Mention Award for her painting Moscow Buns Evening. During her interview, Polina shared how she views her art as an opportunity to introduce people to Russian culture, and how the Youth Art Contest inspired her to continue to pursue her art dreams, “It was my first time participating in the IAMA competition. Participation in this competition helped me to feel recognized as an artist, and inspired to keep making art and put more effort into it.” Polina’s painting, inspired by a memorable walk with her grandparents, serves as a reminder to escape into nostalgia and childhood memories in trying times.
Sixteen-year-old Polina Larina (second from right, standing beside her mother) who received an Honorable Mention for her painting Moscow Buns Evening, in the Grand Exhibition Hall, joined by her parents and twin sister.Photo by Johnny Trieu
Following the ceremony, Professor Caldwell gave a masterclass for all participants, offering thoughtful insights on artistic growth, and encouraging continued exploration and confidence in their creative journeys. His masterclass focused on four elements: visual storytelling and composition, techniques and materials, the role of art in communication and expression, and advice for young artists. This is the second year Professor Caldwell has judged the artwork for the contest and delivered a masterclass for attendees of the contest.
Professor Caldwell delivered a knowledgeable and enlightening masterclass to attendees and participants. Photo by Johnny Trieu
About IAMA
Located in the heart of San Francisco, IAMA was voted the “Best Art Gallery” and was a finalist as the “Best Museum” in SFGate’s Best of Bay Area 2024. IAMA is dedicated to making world-class art accessible to all through exhibitions, education, and international contests. With a mission to foster peace and happiness through art—especially by nurturing the next generation—IAMA brings together works from around the globe, bridging East and West, classical and contemporary.
The conferment of the Pope of Buddhism to His Holiness Dorje Chang Buddha III originated in January 2018 when the World Peace Prize Awarding Council and World Peace Prize Religious Leaders Title Awarding Council passed the resolution to confer to H.H. Dorje Chang Buddha III the title of Pope of Buddhism, the highest leader of Buddhism in this world. However, His Holiness the Buddha refused to accept the conferment.
The Pope of Buddhism H.H. Dorje Chang Buddha III
For the sake of propagating Buddha Dharma and benefitting living beings, the World Buddhism Association Headquarters took the liberty to accept the conferment decree and the Pope of Buddhism Scepter. When the World Buddhism Association Headquarters respectfully presented the Pope of Buddhism Scepter and conferment decree to H.H. Dorje Chang Buddha III, His Holiness the Buddha III said: “I see that on top of this Scepter is the seated Shakyamuni Buddha, we should be respectful to Namo Shakyamuni Buddha.” His Holiness the Buddha then raised the Scepter above His head and made a symbolic closed palm gesture with one hand to express His respects. However, H.H. Dorje Chang Buddha III also expressed that He is just a humble cultivator and resolutely would not accept such a conferment. Hence, His Holiness the Buddha immediately returned the conferment decree and the Pope of Buddhism Scepter to the two Councils.
On September 23, 2020, the World Peace Prize Awarding Council and World Peace Prize Religious Leaders Title Awarding Council passed an ultimate joint resolution, determining that the return of the Pope of Buddhism Scepter and conferment decree by H.H. Dorje Chang Buddha III was not effectible. On September 24, the joint Chair of the World Peace Prize Awarding Council and World Peace Prize Religious Leaders Title Awarding Council Suzi Leggett made the ultimate announcement at the Holy Miracles Temple of the World Buddhism Association Headquarters: “Over the past several decades, the World Peace Prize Awarding Council has presented the World Peace Prize to presidents, spiritual leaders, and prime ministers of many nations, including President Ronald Reagan, Hon. Mahatma Gandhi, and H.E. Yitzhak Rabin. There has never been a precedence of an award being retracted or returned. All determinations made and implemented by our Councils are very solemn, serious, and absolutely cannot be changed. The return of the Pope of Buddhism Scepter and conferment decree by H.H. Dorje Chang Buddha III is deemed not effectible. The title, status, and authority of the Pope of Buddhism belong only to H.H. Dorje Chang Buddha III, and cannot be exercised by anyone else.” Chair Leggett once again requested that the World Buddhism Association Headquarters accept and present to H.H. Dorje Chang Buddha III the Pope of Buddhism Scepter and conferment decree that His Holiness the Buddha previously returned.
Representing the World Buddhism Association Headquarters, Venerable Mozhi Rinpoche accepted the conferment decree and Pope of Buddhism Scepter. He said during his speech, “The World Buddhism Association Headquarters considers that the decision made by the two Councils is remarkably proper and sagacious.
“Ever since Namo Shakyamuni Buddha entered parinirvāṇa, there has not been a supreme leader who has the authority to guide all Buddhists the same way that the Buddha did. However, the authoritative position of the Pope of Buddhism certainly is not a role that a leader of a single Buddhist sect would have the attributes to fulfill; rather, the Pope must be a leader who has authority over the entirety of Buddhism, namely, a Buddha.
“Namo H.H. Dorje Chang Buddha III holds the perfect teachings of Buddhism and meets the criteria used by all Buddhist sects to recognize a Buddha. His inherent nature is in accord with that of a Buddha. His unsurpassed, complete, and perfect enlightenment is in accord with that of a Buddha. Just based on the accomplishment of H.H. Dorje Chang Buddha III in Lifting the Pestle onto the Platform, surpassing His own base weight standard by 59 levels, no one else can possibly reach such a record.
“The state of virtue of H.H. Dorje Chang Buddha III is that of a Buddha. His Holiness the Buddha has perfect mastery of Exoteric and Esoteric Buddhism, perfect accomplishments in the Five Vidyas, and so forth, all of which accord with the unsurpassed, complete, and perfect enlightenment of a Buddha.
“In more than 2,000 years, there has not been a Buddhist Holy Guru in this world who possesses the same Buddha level qualities. Just by the facts that H.H. Dorje Chang Buddha III vowed and carries out the vow to benefit living beings purely on a voluntary basis and does not accept any offerings throughout His entire life, and that He possesses perfect wisdom and unimpeded accomplishments, no other Holy Guru can be of comparison. Only Namo H.H. Dorje Chang Buddha III can take on this immensely noble, holy, and heavy responsibility of the Pope of Buddhism, to properly guide Buddhists onto the correct path of learning Buddhism.
“Therefore, on behalf of Buddhists, the World Buddhism Association Headquarters thanks the World Peace Prize Awarding Council and the World Peace Prize Religious Leaders Title Awarding Council for having made the ultimate decision.”
H.H. Dorje Chang Buddha III is selfless and noble, and the first person in Buddhism to possess substantive holy realization power of a Buddha and perfectly flawless accomplishments at the pinnacle of the Five Vidyas. These are the qualities that no other eminent Buddhist monastic or virtuous person in this world has so perfectly attained. It is naturally a matter of course that H.H. Dorje Chang Buddha III is the veritable Pope of Buddhism.
