The mystery of what happens after we die has intrigued humanity for centuries. While various belief systems and religions offer their interpretations, the quest for scientific evidence has been an ongoing journey. “Many Lives, Many Masters” by Dr. Brian Weiss takes us on a remarkable voyage through past-life regression therapy, providing substantial evidence that life does not end with death. As a Buddhist who has at times questioned the concept of the life and death cycle, I found this book to be a profound revelation that resonated with my own beliefs.
Dr. Brian Weiss, a prominent psychiatrist and skeptic, had his beliefs challenged when he began treating a patient named Catherine through traditional psychotherapy. Surprisingly, under hypnosis, Catherine began to recall not only her past life experiences but also the concept of reincarnation, which greatly differed from Dr. Weiss’s own beliefs.
What makes “Many Lives, Many Masters” particularly compelling is the abundance of real-life incidents documented throughout the book. Dr. Weiss’s meticulous recording of Catherine’s past-life memories, her interactions with various spirits, and her ability to provide verifiable information from the past all serve as a testament to the reality of her experiences. These experiences create a strong argument for the idea that life continues beyond the physical realm.
Brian Weiss’s background as a trained psychiatrist lends scientific credibility to his exploration of past-life regression therapy. He applies rigorous methodologies to Catherine’s case, ensuring that her experiences are thoroughly documented and verifiable. This scientific approach is essential in making the case for life after death, even to skeptics.
As a Buddhist, I have often contemplated the concept of rebirth and karma, central tenets in Buddhist philosophy. “Many Lives, Many Masters” aligns with these beliefs, providing further validation for the idea of reincarnation and the continuation of life beyond death. The book has given me renewed confidence in the cycle of life and death, offering a fresh perspective on the timeless teachings of Buddhism.
“Many Lives, Many Masters” is a book that challenges the boundaries of conventional thinking and encourages readers to explore the idea that life extends beyond the physical realm. Dr. Brian Weiss’s compelling documentation of real-life instances and his scientific approach make this a captivating read for individuals from all walks of life. Whether you approach this book as a person of faith, a skeptic, or someone in between, it offers a thought-provoking and enlightening journey into the possibility of life after death.
There are certain pieces of writing that strike a chord in us, resonating with our deepest emotions and thoughts. One such masterpiece is Bert Hellinger’s poem “The Life”. As a profound expression of the human experience, it has the power to touch and inspire people from all walks of life. In this blog post, I would like to share this beautiful poem with you and explore its meaning and impact.
The Life
Bert Hellinger
Life destroys everything superfluous, until only the important remains
Life does not leave you in peace, so you stop fighting, and accept everything as it is?
Life takes what you have, until you stop complaining and learn gratitude
Life sends you troubled people so that you can heal and stop projecting what you have inside.
Life lets you fall again and again, until you decide to learn the lesson.
Life takes you out of the way and presents you with crossroads, until you stop wanting to control and learn to flow like a river.
Life puts you enemies on the road, until you stop “reacting”.
Life frightens you and startles you as many times as necessary, until you lose the fear and regain faith.
Life takes away your true love, it does not grant or allow it, until you stop trying to buy it with trinkets.
Life distances you from the people you love, until you understand that we are not this body, but the soul that powers it.
Life laughs at you so many times, until you stop taking everything so seriously and laugh at yourself. Life breaks you and breaks you in as many parts as necessary for the light to penetrate.
Life confronts you with rebels, until you stop trying to control.
Life repeats the same message, even with shouts and slaps, until you finally listen.
Life sends you thunder and storms, so you wake up. Life humiliates and defeats you again and again until you decide to let the EGO die.
Life denies you goods and greatness until you stop wanting goods and greatness and you begin to serve. Life cuts your wings and prunes your roots, until you need neither wings nor roots, but only disappear in the forms and fly from the Self.
Life denies you miracles, until you understand that everything is a miracle.
Life shortens your time, so you hurry to learn to live. Life ridicules you until you become nothing, until you become nobody, and so you become everything.
Life does not give you what you want, but what you need to evolve.
Life hurts you, hurts you, torments you, until you let go of your whims and tantrums and appreciate just breathing.
Life hides treasures from you, until you start your journey, until you go out to look for them.
Life denies you God, until you see it in everyone and everything.
Life shortens you, prunes you, takes you away, breaks you, disappoints you, cracks you, … until only LOVE remains.”
I came across Bert Hellinger’s “The Life” during a time of personal introspection, and it had a profound effect on me. The poem’s words were like a gentle whisper, reminding me of life’s intricate tapestry—its joys, sorrows, challenges, and triumphs. It helped me appreciate the beauty of the journey, the importance of embracing every moment, and the interconnectedness of all things. I believe that this poem has the potential to offer comfort, hope, and a fresh perspective to others who may be seeking it. It is a reminder to live life fully, to love deeply, and to find meaning in every experience.
I hope that Bert Hellinger’s “The Life” has touched your heart and soul as much as it has mine. May you find encouragement and inspiration within its verses to navigate the complexities of life with grace and courage. Life is a gift—a beautiful, ever-unfolding mystery that we have the privilege of exploring. Embrace it with open arms, cherish the moments, and let this poem be a guiding light on your journey. Remember, in the words of Hellinger, “The life that awaits us and that we always wanted, is there, ready for us to enter.”
After learning about Eastern painting, American painter Graves said: “I realized that art and nature are landscapes of the soul, from which we can perceive the essence of human existence.” When you are fortunate enough to encounter these masterpieces, you will gain insight into the essence of Eastern art.
“Bi Shang Zhi Gong (Skillful Brushwork)” is a masterpiece of Chinese flower and bird painting that appears fresh and clear at first glance, profound in meaning after viewing, and unforgettable after further contemplation. The composition is extremely simple: in the center of the painting is a uniquely shaped bird with a flat, long beak and a spotlessly white belly. It sits comfortably and alone on the curved, thick trunk. Its eyes are ethereal and deep, as if completely focused; its posture demonstrates that wherever it is, is the focal point.
Upon careful observation, you will find that everything in the painting is in a state of colorful transformation. The bird’s head and back are painted with two blocks of ink that are close in shade, creating a melting effect, with the ink color seemingly still wet and spreading around.
The trunk’s ink lines are clear and distinct, resembling a tree yet not quite a tree, as if constantly changing in the impermanence. At the bottom left of the tree, a branch twists and turns out, creating an S-shaped composition in the painting that is still in motion. The painting also uses color sparingly, with only a warm and friendly purple-brown color applied to the bird’s beak and the trunk.
This painting has a fascinating story behind it. It was created in 1982 during the filming of a movie in Sanhe, Sichuan. The painting captures an on-the-spot portrayal of a real-life scene. The artist used ink sparingly, treating it as if it were as precious as gold, while still showcasing his exceptional skills. At the time, the News Film Studio of China was producing a documentary exclusively about the artist, Master Yi Yungao (H.H. Dorje Chang Buddha III).
The cameramen and other observers witnessed a wild duck landing on a withered tree trunk. Master Yi Yungao quickly picked up his brush and swiftly completed the entire painting. By the time the wild duck took flight again, the painting had already been finished. Furthermore, the artistic mastery embodied in this artwork is extraordinary. It not only preserves the elegance, purity, and high-quality of traditional paintings but also introduces a new style—expressing the artistic conception of returning to original purity and simplicity. The artist, with an unfettered hand and mind, applies his most mature skills without the slightest attachment and with minimal, natural brushstrokes.
This masterpiece Chinese painting by H.H. Dorje Chang Buddha III is rich in literary atmosphere and varied in layers. It does not merely depict the external world, but rather it serves as a true manifestation of the inner spirit, transcending the natural material form to open up the world through the illumination of life’s spiritual light, reflecting the spiritual world. Appreciating the painting can reveal the pure world behind it, where everything, including the self, is forgotten, remaining untainted.
A Zen practitioner was meditating by the river when he heard struggling sounds. Upon opening his eyes, he saw a scorpion struggling in the water.
He reached out to lift it up, only to be stung by the scorpion’s raised stinger. He placed the scorpion on the bank and continued meditating.
After a while, he heard struggling sounds again. Opening his eyes, he saw the scorpion had fallen back into the water.
He rescued it again, and of course, was stung once more. He continued meditating.
After a while, he had the same unfortunate encounter.
A nearby fisherman said, “You’re so foolish, don’t you know that scorpions sting people?”
The Zen practitioner replied, “I know, I’ve been stung three times.”
The fisherman asked, “Then why do you still save it?”
The Zen practitioner said, “Stinging is its nature, compassion is mine. My nature will not change because of its nature.”
At that moment, he heard struggling sounds again. Looking down, it was the same scorpion.
He looked at his swollen hand, then at the struggling scorpion in the water, and without hesitation, reached out to it again.
This story beautifully illustrates the Buddhist principle of compassion and loving-kindness towards all living beings, regardless of their actions. It embodies the teachings of the Buddha, who emphasized the importance of cultivating a heart full of compassion.
The practice of compassion is central to the Buddhist path. In Mahayana Buddhism, the Bodhisattva ideal embodies the ultimate expression of compassion. A Bodhisattva is one who, motivated by great compassion, has generated bodhicitta, the spontaneous wish to attain Buddhahood for the benefit of all sentient beings.
Moreover, the story reminds us of the great sacrifices made by Siddhartha Gautama, who later became known as Shakyamuni Buddha. He renounced his life of luxury and privilege to seek the ultimate truth of life and the universe. His journey was fueled by the desire to find a way to liberate all beings from the cycle of birth and death, known as samsara.
However, after two and a half millennia, the profound teachings of Shakyamuni Buddha have been gradually forgotten. To revive and propagate the Dharma once more, the primordial Tathagata Buddha, Dorje Chang Buddha, incarnated as H.H. Dorje Chang Buddha III in our world.
H.H. Dorje Chang Buddha III has not only brought the highest form of Buddha Dharma to this world but also set a remarkable example for all disciples through his boundless compassion and humility.
In the past decade, H.H. Dorje Chang Buddha III has endured significant suffering due to long-term persecution for his religious activities. A member country of Interpol once requested that the organization issue a warrant for his arrest. This request was later voluntarily withdrawn by the member country after several years. Following a thorough investigation, in October of 2008, the 72nd session of the Commission for the Control of Interpol’s Files withdrew the arrest warrant and dismissed the entire case against H.H. Dorje Chang Buddha III. Interpol also issued a document stating unequivocally that the arrest warrant against H.H. Dorje Chang Buddha III has been canceled and all member countries have been informed of the cancellation.
Although H.H. Dorje Chang Buddha III received official notification of the withdrawal of the arrest warrant and the removal of the entire case, he has never publicly displayed such documents to prove his innocence. Despite enduring slander, H.H. Dorje Chang Buddha III chose not to disclose this irrefutable evidence. When the World Peace Prize Awarding Council inquired about this, he responded by explaining that his duty is to bear all of the karmic offenses committed by living beings and to bestow upon them all of the good karma and merit that he has cultivated. He expressed concern that if he were to prove his innocence using those documents, those who slandered him would be perceived as guilty. He questioned, “Who, then, will bear their karmic offenses?”
There have been many instances that highlight his holiness’s profound compassion. For example, some of his disciples once left and defamed him, but he still welcomed them back with open arms and treated them no differently than before.
H.H. Dorje Chang Buddha III often reminds his disciples that he harbors no enemies and that all sentient beings are his dearest relatives. He encourages everyone to reflect on their own actions and to strive to lead a life filled with kindness, patience, and understanding.
His Holiness Dorje Chang Buddha III embodies the essence of selflessness and serves as a moral beacon for all to follow. He has also demonstrated how peace can be achieved through determination, humility, and the perseverance to champion its cause even in the face of adversity.
In 64 AD, Emperor Ming of the Eastern Han Dynasty sent Cai Yin and others on a mission to the Western Regions to retrieve Buddhist scriptures. The following year, in 65 AD, Cai Yin, Qin Jing, and others met the esteemed Indian monks She Moteng and Zhu Falan in Greater Yuezhi (present-day Afghanistan), where they were introduced to Buddhist scriptures and statues for the first time. In 67 AD, the Han envoy team returned to Luoyang with the high monks She Moteng, Zhu Falan, and the Buddhist scriptures and statues carried by a white horse. The two high monks were welcomed with a grand reception by Emperor Ming, who also commissioned the construction of China’s first temple, the White Horse Temple in Luoyang, especially for them.
White Horse Temple
On the first day of the first month in the fourteenth year of Yongping, Taoists from the Five Sacred Mountains submitted a petition requesting a competition with the Brahmin monks to determine the superiority of China’s native Taoism versus the foreign Buddhism. Emperor Ming granted the Taoists’ request. In 71 AD, a historic Buddhist-Taoist debate and contest unfolded in Chinese Buddhist history.
As the competition began, the Taoists said, “Let’s start with debating. You monks pride yourselves on eloquently explaining the Dharma, don’t you? So, let’s have a debate! If you can make one point, we will make two; if you raise one, we will counter with three. Go ahead and present your profound arguments!”
She Moteng slowly lifted one foot and raised it towards the sky, smiling, and said, “Amitabha, I have raised one, now it’s your turn to raise three!”
The Taoists looked at each other, stumped, and couldn’t think of a way to counter for a long time. They then changed the subject: “Let’s compare theories. You Buddhists call yourselves ‘Inner Learning,’ while you call us ‘Heterodox.’ But throughout history, when discussing inner and outer, inner has always been smaller than outer. So, your Inner Learning is small, and cannot compare to our great Heterodox!”
She Moteng brought his palms together in a gesture of respect and slowly explained: “The emperor resides in the inner palace, while the common people live in the outer city; although the inner palace is small, the emperor is great. The heart is inside the body, while the hands and feet are outside, the activity of the heart is boundless, while the movements of the hands and feet are limited. This is another example of how the inner is superior to the outer. Think carefully, the Inner Learning of Buddhism is much greater than the Heterodox!”
The Taoists, unable to win the debate, finally said, “Let’s compare magical powers!” How to compare? By placing the scriptures spoken by the Buddha and the scriptures spoken by the Taoist tradition together and burning them with fire. If one’s scriptures burn, then they are false; if one’s scriptures don’t burn, then they are true.
So, in the south of White Horse Temple, two high platforms were set up, one in the east and one in the west. The east platform held the Buddhist scriptures, images, and relics, while the west platform held the Taoist scriptures.
At that time, five hundred Taoist priests gathered the Taoist scriptures and magical texts together and prayed to the Supreme Lord Laozi, saying: “Oh, Taoist Virtuous Sage! Please show great divine power, and make our Taoist scriptures not burn, and let the Buddhist scriptures burn.”
Many of the Taoist priests at that time had supernatural powers – some could ride clouds and fog, some could fly in the sky and hide underground, and some could become invisible. Invisible means that you could see him right in front of you, and then suddenly he’s gone! There were Taoist priests with such abilities. They could use evasion techniques – Qimen Dunjia, to escape, and with Taoist spells and incantations, they had great supernatural powers.
But what happened when the fire was lit? The Buddhist scriptures did not burn; they emitted light! The Buddha’s relics also emitted a five-colored light, and the scriptures emitted light up into the sky, as if the sun was shining upon the world.
What about the Taoist scriptures? They caught fire as soon as they were burned and were completely destroyed by the fire. Those who could ride clouds and fog could no longer ride clouds or exhibit supernatural powers; those who could fly in the sky could no longer fly; those who could hide underground could no longer hide; those who could become invisible could no longer become invisible. Their spells and incantations also lost their effectiveness and had no power.
She Moteng and Zhu Falan, the two venerable monks, were responsible for overseeing this scripture contest, which was of great significance for the rise or fall of Buddhism. To strengthen the faith of the masses, She Moteng and Zhu Falan displayed eighteen divine transformations, levitating in the sky and reciting the following verses:
“The fox is not of the lion’s kind, a lamp is not as bright as the sun and moon; a pond cannot hold the vast sea, a hill cannot match the towering mountain. The Dharma cloud descends upon the world, the Dharma rain nourishes all beings. Supernatural powers are rare, manifesting everywhere to transform sentient beings.”
“The fox is not of the lion’s kind” means that, although the fox spirit is cunning and can change shape, it is far inferior to the lion. The fox and the lion cannot be compared; they are not of the same kind. This is saying that the breadth of Taoism is like the smallness of the fox, different from Buddhism, which has the grandeur of a lion.
“The lamp is not as bright as the sun and moon” refers to how the light of a lamp or a candle, which were small in the past, is far less bright than the light of the sun and moon. This means that the scriptures and teachings of Taoism are like the light of a lamp, while the Buddhist scriptures and teachings are like the light of the sun and moon, incomparable.
“A pond cannot hold the vast sea” means that a small pond has a limited capacity and can only hold a small amount of water, while the vast sea can accommodate many rivers. The pond and the sea cannot be spoken of in the same breath. This is a metaphor comparing the theories of Taoism to a small pond, while the teachings of Buddhism are like the vast and boundless sea.
“A hill cannot match the towering mountain” means that a small hill cannot compare to the grand and towering Mount Song, one of the Five Sacred Mountains of China. If the practice of Taoism is like a small hill, then the profound teachings of Buddhism are like the towering cliffs and deep ravines of ancient trees.
“The Dharma cloud descends upon the world, the Dharma rain nourishes all beings” means that when Buddhism spread to China, it was like a cloud of Dharma, like sweet dew, pervading the world and nourishing all beings.
“Supernatural powers are a rare thing” means that I have now shown supernatural powers, which is a rare and precious thing in the world.
“Everywhere transforming sentient beings” means that in reality, I did not want to show supernatural powers, and I did not want to compete with you. This is a last resort, for the purpose of guiding you and leading you to a brighter path, I am doing this as a convenient means.
After this contest, Buddhism took deep roots in China, not only producing a succession of talented individuals but also establishing a glorious foundation. White Horse Temple became the first and foremost temple in Chinese Buddhist history, and temples began to be built one after another. Ever since then the marvelous fruits and wondrous flowers of Chinese Buddhism have continued to flourish from generation to generation.
Some ancient structures were purposely and skillfully constructed at the riskiest of locations or sometimes just had their appearance altered to reflect a sense of danger and awe. These ancient buildings are so remarkable that even modern scientists are amazed and astounded by them.
There are 10 most dangerous structures in the world, XuanKongSi Temple in China is one of them. Temples and monasteries were usually built on the ground, and if there was no money or it was necessary to hide from someone, then under the ground in caves. It seems impossible to think of anything else, but the temple tells us otherwise. It turns out that in one of the northern provinces of China, there is a so-called Hanging Temple which seems to be attached to the Rock at a height of 75 meters. It was built almost 1500 years ago in 491 during the northern Wei Dynasty. The Chinese call this Temple complex XuanKongSi.
The temple is located in Shanxi Province, 65 kilometers southeast of the city of Datang, it looks as if the entire Temple is held up on a steep Cliff by the power of Prayer. Perhaps prayers help because the temple is unique; it is the only Temple of three religions in China. It combines Buddhist, Taoist, and Confucian altars. It has everything that other temples have: the main gate, the bells, and drum Towers, the main and side Halls. The largest structure of the monastery is called sangana, and it stands on a stone ledge. There are also 40 halls in Pavilions, but they are smaller than the sangana. They are built on pallets that lie on beams hammered into the Rocks. The rock is used as the back wall of the rooms, and niches are made in it for statues. The larger the niches, the more statues they contain, and the larger they are.
Upon first glance, the temple’s buildings seem to have been partially swallowed by an expanding mountain rather than built onto and into it. Some of the pathways that connect the separate buildings are hewn into the mountain. Others feature the same design as the buildings themselves – parked atop seemingly impossibly-thin wooden poles.
It is composed of three main sections:
North Pavilion
This pavilion is three storeys tall, 4 metres (13 feet) wide and 7 metres (23 feet) in length. Wufo Hall, which is located on the lowest floor is dedicated to the Five Dhyani Buddhas. Above it is Guanyin Hall and on the top storey is Sanjiao Hall. Sanjiao Hall, or the Hall of the Three Religions is widely regarded as the most important room in the Hanging Temple, at least in terms of symbology. It contains large statues of Buddha Shakyamuni, Lao-Tze and Confucius standing together.
SanJiao Hall
Given that the Hanging Temple is the only surviving example of the concept of the Three Teachings Harmonious as One, the Hall of Three Religions is perhaps the most important of these chambers. The idea of Three Teachings Harmonious as One, which emphasises the complementary nature and unifying ideas of Buddhism, Taoism and Confucianism, flourished during the Ming and Qing Dynasties.
Accordingly, the hall features sculptures of deities of all three religions. Three large statues take centre stage here: Buddha Shakyamuni in the middle, flanked by Lao-Tze on his left and Confucius on his right.
GuanYin Hall
South Pavilion
Slightly larger than the North Pavilion, it is also three storeys tall and 4 metres wide but longer at 8 meters (26 feet). The North Pavilion contains Sanguan Hall. It is the biggest hall of the Hanging Temple and is home to a 2-metre tall clay sculpture, the largest in the complex. On the middle storey is Chunyang Palace, which is dedicated to Lü Dongbin, one of the Eight Immortals of Taoism. He is the most popular Taoist character in Chinese culture. Leiyin Hall, which is dedicated to Buddhist deities is on the top storey.
The Long Bridge
The top storeys of the two pavilions are linked by a 10-metre (30 feet) bridge (a stairway has been cut into the mountainside to link the lowest storeys). A small balcony for worshipping sits above the bridge.
However, as impressive as the Hanging Temple appears from the outside, the bulk of the builders’ efforts went into the portion of the complex that is ensconced within the rock. 40 halls and pavilions lie inside, covering an area of 125 m2.
The biggest and most prominent halls are the Hall of Three Religions, Guanyin (Avalokiteshvara) Hall, Hall of Shakyamuni, Qielan Hall (Hall of Sangharama), Sanguan Hall (Hall of the Three Officials) and Chunyang Hall.
Spread throughout the other halls are 78 sculptures made from stone, terracotta, copper and iron. They are remarkable for their vivid and detailed depiction of facial features and clothing.
Construction
Despite its precarious location and the logistical challenges construction must have presented, no design feature that is seen in other temples of the period has been spared. The two main buildings sport traditional multiple-roof designs, eaves and balconies with images of auspicious creatures like dragons common to Chinese holy structures.
Today, the part of the temple that extends beyond the face of the cliff is supported by poles made of oak. These poles have been inserted into holes chiselled out of the rock. From a distance, the brown oaken poles meld into the background, making the temple appear to float in the air.
Amazingly, the real support framework for the temple complex is hidden within the mountain and the structure itself. If these external vertical poles were removed, the hanging temple would continue to hang!
While it’s impossible to overlook the fact that the architecture disrupts the natural rock wall formation, a closer examination reveals something quite astounding. The way the roof, walls, and other structures seamlessly integrate with the rock pattern suggests that significant care and effort were put into minimizing any unnecessary destruction.
A unique mechanical theory guided the construction of the framework. Crossbeams were partially inserted into the rock as the foundation, while the rock in the back provided support. The Hanging Monastery seems to defy gravity, appearing to float in midair.
At certain points, a roof will abruptly end at an outcrop, only to resume on the other side, leaving the stone intact. This not only benefits the structural integrity of the building but also signifies a harmony with nature, a state to which all Buddhists aspire.
Construction experts from countries including Britain, Germany, and Italy have visited the monastery. In their opinion, the Hanging Monastery, which melds mechanics, aesthetics, and Buddhism, is a rarity. The monastery and everything it represents is a significant cultural achievement of the Chinese people.
In my eyes, Yunnan Province is the most beautiful province in China. Its mild climate throughout the four seasons and its unique geographical location give Yunnan breathtaking natural scenery. The numerous ethnic minorities in Yunnan add to its diverse cultural customs. Yunnan is both romantic and passionately exotic, yet also elegant and graceful. It is truly charming and enchanting. Jizu Mountain is one of my favorite places there.
Mount Jizu (Chicken-foot Mountain) is situated in Dali Prefecture. The mountain is located to the northeast of Erhai and forms the tripoint of three counties: Heqing, Binchuan, and Dali City. With three mountain ranges to the front and one range to the rear, it resembles a chicken’s foot, hence its common name is Mount Cock’s Foot or Mt. Cock’s Claw. Yet another name for this mountain is Nine Strata Cliffs.
Mount Jizu is a famed holy mountain in Buddhism. Its main peak, Tianzhu Peak, rises some 3,240 metres above sea level. The mountain is vegetated with dense forests and bamboo groves.
From it, visitors can see the sunrise in the east, floating clouds to the south, Cangshan Mountain to the west and Jade Dragon Snow Mountain in the north. They are described as the “four wonders seen from the mountain top.”
The best viewing spot for the four wonders of Jizu Mountain is at its highest point, the Golden Top Temple. The view from the temple is wide and open, with visibility for more than ten kilometers. Watching the sunrise in the east is the king of the four wonders. Early winter mornings are the best season to witness the sunrise, as the reduced moisture increases visibility.
Before dawn in winter, the stars in the sky gradually dim, and the eastern horizon begins to whiten. A hint of orange appears on the just-yellowing horizon. In just a few minutes, the orange-red sun leaps above the horizon, and its dazzling rays spread across the entire landscape. If there are rolling clouds, they turn into a dazzling orange-red color within seconds. The sun’s rays, like an arrow carrying a force of ten thousand pounds, fly straight at everyone. In an instant, a huge spark bursts open in one’s heart. The ruddy morning sun is so bright that it’s hard to keep one’s eyes open. However, once you get used to it, the earth has already begun to revive, welcoming a new day in the dawn.
The best season to view the silver Cangshan and jade Erhai from the west is still in winter and spring. In these two seasons, snow accumulates on the peaks of Cangshan. Looking west from Golden Top Temple, you’ll see the plateau’s pearl, Erhai Lake, which runs between the mountains and valleys, reflecting silver waves. It’s as if pearls are dancing on the water’s surface. At the place where the water meets the mountains, you’ll find the nineteen peaks of Cangshan neatly arranged. The pure white snow on the mountain peaks becomes even more noble silver under the sunlight. The mountains and the sea echo each other, with the mountains towering and magnificent, and the water soft and charming. This is a masterpiece of beauty that cannot be drawn!
The best time to view the colorful clouds from the south is in the evening when the sun is about to set. Try to choose a time when the clouds are most densely gathered. Standing at the Golden Top Temple and looking south, you’ll see the undulating mountains covered in mist, which either wraps around or disperses in clouds, drifting freely in the blue sky, transforming into various shapes. The afterglow of the setting sun is scattered among the light and leisurely drifting clouds, blooming with a burst of colorful brilliance!
Jade Dragon refers to the “Jade Dragon Snow Mountain,” whose peak is covered in snow all year round, so it can be viewed at any time. Looking north from the Golden Top Temple, the snow-capped mountains stretching for dozens of miles look like an outstretched dragon, crystal clear as jade, pure white and flawless, without a speck of dust.
There are some other scenic views of Jizu Mountain that appear at different times and moments, unique to Jizu Mountain. Every year in the summer and autumn rainy season, sudden storms suddenly stop, and the surrounding mountains are still in the mist, except for a part of the clouds above Jinding Temple which disperse and sunlight reappears. At this time, a circle of seven-colored light circles surrounds Jinding Temple, which is one of the Eight Scenic Views, known as “Tianzhu Buddha Light.” Similarly, during the summer and autumn rainy season, Jizu Mountain sometimes experiences strong winds, thunderous sounds, flashes of lightning, and heavy rain in the valleys. However, Huashou Gate, located under Tianzhu Peak and below the Sheshen Cliff, is still clear and sunny. The sound of thunder echoes here and lingers for a long time. This is the famous “Huashou Qing Lei.”
The most abundant trees on Jizu Mountain are “pine and oak.” These trees come together to form a vast forest.
Whether you look from a distance or up close, the “forest sea” of Jizu Mountain stretches for dozens of kilometers, from the mountain peak to the valley, casting shadows with its pine trees. The forest is deep and lush, and when the wind, whether gentle or strong, blows through, the leaves rustle, creating music reminiscent of the thunderous galloping of a thousand horses. Sitting in the mountain and quietly listening to this has a special charm. This landscape is known as “Wan He Song Tao”.
There are more beautiful scenic views waiting for you to explore.
Besides the beautiful scenery, Jizu mountain is a legendary buddhist holy place.
According to Buddhist scriptures, in ancient times, Shakyamuni Buddha demonstrated to the assembly at the Lingshan Meeting by holding up a flower, and everyone remained silent. Only Venerable Mahakasyapa deeply understood the Buddha’s intention and broke into a faint smile. The Buddha said, “I have the true Dharma eye treasury, the wondrous heart of Nirvana, which I entrust to you.” He also told Mahakasyapa that he would pass on the kasaya robe to him, which would then be transferred to Maitreya when he appears in the world. Venerable Mahakasyapa bowed to the Buddha’s feet and respectfully followed the Buddha’s intention. After the Buddha’s Nirvana, Venerable Mahakasyapa gathered the true Dharma three treasures in the city of Vaishali. He later entrusted the true Dharma three treasures to Ananda and went to Jizu Mountain alone, holding the kasaya robe given to him by the Buddha. He entered meditation at the Huashoumen.
Huashou Gate is 40 meters high, with a sheer cliff face as if cut with a knife. A large stone gate is embedded at the top, and a vertical crack in the middle divides the cliff into two panels, with a “stone lock” hanging in the middle. The stone gate is covered with Hada (ceremonial scarves), and there are prayer flags around it. With an altitude of nearly 3000 meters, the landscape is very similar to that of Tibet.
When Maitreya Buddha is born in this world, he will also climb Jizu Mountain and go to the place where Venerable Mahakasyapa meditated. With a snap of his fingers, the mountain peak will open, and Mahakasyapa will pass on the robe and say his farewell. After the respectful ceremony, he will ascend into the sky, display divine transformations, and enter nirvana.
From the Buddhist scriptures, it can be seen that Jizu Mountain is the place where Venerable Mahakasyapa meditated, and it is also the future place of Maitreya. Its connection with Buddhism will never be severed for billions and trillions of years.
Jizu Mountain’s religious story stretches back nearly 1,000 years. Beginning during the Three Kingdoms period, several nunneries were built upon its slopes. But it was not until the time of the Tang Dynasty, four hundred years later, that the first known Buddhist temple was completed.
Throughout the following centuries, the construction of many other shrines and sanctuaries continued. By the late seventeenth century, during the Qing Dynasty, Jizu Mountain’s religious importance reach its zenith. At that point, according to official historical accounts, there were 42 temples and monasteries, 65 separate nunneries and more than 5,000 religious devotees residing on the mountain.
The mountain enjoys great prestige in South Asia and Southeast Asia, and shares the same fame with Wutai Mountain, Ermei Mountain, Putuo Mountain and Jiuhua Mountain in China. The mountain is a birthplace for Zen Buddhism.
The main sacred sites of Jizu Mountain include: Zhusheng Temple, Huashou Gate, Jinding Temple, Bronze Buddha Hall, Mahakasyapa Hall, Xuyun Zen Temple, Biyun Temple, Huashou Fangguang Temple, etc.
Jinding Temple
Golden Hall at Jinding Temple and LengYan Pagoda
The front entrance of Jinding Temple is typical Baizhu architecture style
Mahakasyapa Hall
From a high vantage point, the Mahakasyapa (Jia Ye) Hall is hidden among the lush green pines and cypresses in the depths of white clouds.
The Mahakasyapa Hall’s main hall houses a statue of the venerable Mahakasyapa, which is carved from camphor wood
Shallow men believe in luck.Strong men believe in cause and effect.” -Ralph Waldo Emerson
My grandmother was a woman of few words but very hardworking and resilient. I remember she once told me “Not to be afraid of being taken advantage of because suffering a loss is a blessing. What you are supposed to receive, Heaven will provide.” I didn’t understand my grandmother’s words at first, but as I grew older and gained life experience, I came to understand her wisdom.
I remember just after graduating from college, a TV company asked me to host a special program. The director of the program liked my writing and asked me to be a scriptwriter as well. However, when the program was finished and it was time to get paid, the director not only didn’t give me the scriptwriting fee but also deducted half of my hosting fee. He handed me a receipt and said, “You should be paid for $1600, but I can only give you $800 because the program is over budget.”
At that time, I didn’t say anything, signed it, and thought to myself, “Revenge is a dish best served cold.”
Later, the director asked me to help him a few more times, and I did.
The last time, he didn’t deduct any money and became very polite to me because by then I had been noticed by the news department of the TV station and suddenly became a TV reporter and news anchor.
We later often met at the company, and he always looked a bit embarrassed when he saw me.
I once thought about telling the boss about what he did to me before, but just as my grandma said, would I have what I have today without him? If I hadn’t held my breath at that time, would I have had the opportunity to continue hosting?
The opportunity was given by him; he was my benefactor. He already knew he was wrong, so why should I retaliate?
Later, I went to study in the United States.
One day, a classmate who had already found a job complained to me about his boss “exploiting” him, not only giving him a low salary but also deliberately delaying his green card application.
At that time, I said to him: Such a bad boss is not worth working for. But you can’t work for free for so long, you have to learn something, then change jobs, so you have to learn secretly.
He listened to my words, and not only worked overtime every day but also stayed behind to memorize the writing of those business documents.
He even took notes on how to repair the copier, standing next to the workers, so that one day when he went out to start his own business, he could save some repair fees.
After half a year, I asked him if he was going to change jobs?
He smiled: No need! My boss now looks at me with new eyes, has been promoted, got a raise, and even asked me why my attitude changed 180 degrees and became so positive?
His dissatisfaction disappeared, he took revenge, but in a different way, and he also reflected on himself, realizing that he was not working hard at the time.
It was about five years ago when I came across an interesting incident.
A friend of mine suddenly took a keen interest in fortune-telling, studying everything from Bazi (Chinese astrology), naming studies, to astrology, all to prove that fortune-telling was a scam.
The reason was that a master had told his fortune, predicting that he would not live past 47. He swore to discredit the master’s reputation. Guess what happened? The more he learned, the more scared he became, because he realized that his own predictions for himself also indicated a short life.
At that point, he changed. He started doing charity work, thinking, “Since I won’t live long, I might as well make the most of the time I have left and do something meaningful.”
He threw himself into it wholeheartedly. Everyone said he had changed, from an anxious and opportunistic petty person to a kind and gentle gentleman.
Unbeknownst to him, he passed 47, then 48, and is now 53, healthy and full of life, healthier than anyone else.
“You can go smash that master’s sign now!” I joked with him one day.
His eyes lit up, and he asked me, “Why?” Then he laughed, “If it wasn’t for his warning, given my previous personality, I would indeed have had a heart attack by the age of 47. He wasn’t wrong!”
My friends, do you like to show off and be ruthless? Are you always harboring grudges? Do you have the resentment of “a gentleman takes revenge; it is never too late”?
Please think about these stories.
You should know that enemies and adversaries can stimulate your potential and become your benefactors.
You should also know that many grudges, grievances, and dissatisfaction actually stem from your own issues.
You should further know that the best revenge in this world is to use that dissatisfaction to propel yourself towards success, and to treat your past enemies with the magnanimity that comes with that success and the success that follows.
Isn’t turning “a cycle of vengeance that never ends” into “a win-win situation where past grievances are forgotten with a smile” the greatest success in life?
Nestled in the depths of Yanmen Mountain in Shanxi, the ancient Yanmenguan Pass stands as a solitary testament to history, dating back some 2,000 years. This once invincible guardian of the frontier, which served as a formidable defense along the boundary, now seems like a wise old man, eager to share tales of its storied past.
Located 12 miles (19 kilometers) north of Daixian County, in Shanxi Province, Yanmenguan Pass is one of the three notable passes of the Inner Great Wall, alongside Ningwu Pass and Pianguan Pass.
The region’s history can be traced back to the Spring and Autumn Period (770 BC – 476 BC), when King Wuling of Zhao State first established Yanmen County here. During the reign of Emperor Qin Shi Huang (259 – 210 BC), orders were given to construct Yanmen Pass as a fortification against the northern tribes, sparking centuries of fierce battles for control.
In the Northern Song Dynasty (960 – 1127), the famous Yang family warriors, including female members, were stationed at the pass to defend against invasions from the Qidan troops of the northern prairies. Statues of some of these legendary figures can be seen lining the entrance path of the scenic area.
The structure of the pass includes a pass city, a barbican, and an enclosing wall. Nestled between two rolling hills, the pass city stands at a height of 30 feet (nine meters) and spans a perimeter of 1,100 miles (1,006 meters). Extending from the east and west wings of the pass city, the enclosing wall measures over three miles (five kilometers) in length and is punctuated with beacon towers. The barbican was constructed outside the northern gate of the pass city.
A Uniquely Designed Military Stronghold
The northern gate of the pass, Di Li Gate, boasts a barbican that forms a double defense line. Unlike most barbicans, the entrance door is situated on the east wall instead of the front, exposing potential invaders from two sides. Another distinctive feature is that Tian Xi’an Gate, which opens to the central plain, is not directly aligned with Di Li Gate. It is located at the northeast corner of the pass, while the area directly opposite Di Li Gate is a false lead, leading to a secluded mountain area with no walkable path, only dense trees, knee-high grass, and wild beasts.
Behind Di Li Gate lies a large reservoir with military potential. In case of a breach, defenders could break the dam to flood the invading forces. Additionally, a pagoda stands on the northern slope of the enclosing wall, occupying the highest point of the area at an altitude of 5,968 feet (1,819 meters). This strategic location served as an ideal command post, offering a commanding view of the entire area.
Yanmenguan was renowned for its strategic significance and legendary wars, having witnessed over 1,000 skirmishes and 140 significant battles throughout history. Since the era of the Zhao State during the Warring States period, every dynasty has recognized the importance of Yanmenguan’s defensive position. It has always been a border gateway marked by fierce conflict and integration between farming and nomadic peoples.
However, amidst the echoes of past battles, a story of peace and kindness emerges through the figure of Wang Zhaojun, one of the “Four Great Beauties” of ancient China. Two thousand years ago, she passed through Yanmenguan as an envoy of peace between China and the Xiongnu.
In 33 B.C., after over a century of conflict with the Xiongnu in the north, the Han Dynasty had grown stronger under Emperor Yuan, while the southern Xiongnu had weakened. The people longed for stability, and to establish friendly relations with the Han Dynasty, Chanyu Huhanye, the Monarch of the Xiongnu, visited Chang’an to meet Emperor Yuan.
Wang Zhaojun, born in 51 BC near the beautiful Xiangxi River at the foot of Jingchu Mountain, traveled to the bustling capital Chang’an in 38 BC after being chosen as a maid for the Imperial Palace. Customarily, the Emperor selected maids based on their portraits, and Wang, likened to a phoenix, was so pure that she didn’t need to bribe the artist Mao Yanshou, unlike the other maids. Mao, however, deliberately created an unflattering portrait of her, relegating her to the role of an ordinary maid with chores in the palace’s corners. Despite the cold treatment and challenging tasks, this adversity served to strengthen her mentally and physically, perhaps as a divine preparation for her destiny.
As a court lady in waiting, Wang Zhaojun was chosen for the marriage. When the matron of the harem presented her unflattering portrait to the Emperor, he merely glanced at it and approved. But upon seeing her in person, her beauty and grace astonished the Emperor, the monarch, and the ministers. Huhanye was overjoyed and vowed to maintain peace along the frontier.
Wang Zhaojun followed the Emperor’s orders, becoming a symbol of peace through her marriage to the Xiongnu. She was honored with the title “Ninghu Yanzhi,” meaning queen who could bring peace to the Xiongnu. Subsequently, she devoted her life to maintaining stability along the Han-Xiongnu border and promoting Han culture.
Two thousand years ago, the Huns led a nomadic life in the harsh northern deserts, lagging behind the more advanced Han Dynasty. As Wang Zhaojun traveled to Xiongnu, she observed the stark contrast between the desolation of the north and the prosperity of Chang’an.
After crossing Yanmenguan, her hometown of Jingchu and the Han palace in Chang’an seemed far away, leading to feelings of homesickness. Playing a sorrowful melody on her pipa (Chinese lute), she captured the attention of a flock of geese flying overhead. So captivated were they by the beautiful music and the sight of the graceful woman on horseback that they forgot to flap their wings and fell to the ground. This incident gave rise to the saying that Wang Zhaojun’s beauty was so captivating that it made geese fall to the ground. Wang Zhaojun’s role in fostering harmony through her marriage and contributing to a peaceful border region exemplifies the traditional Chinese cultural value of “harmony.”
After arriving in Xiongnu, Zhaojun faced a challenging living environment and vastly different customs. Nevertheless, she steadfastly adhered to her mission, set aside her homesickness, and courageously, persistently, and compassionately integrated into the Hun’s lifestyle. She transformed from an ordinary Han palace maid to a virtuous and kind Queen of the Xiongnu, assisting the monarch across two generations.
She urged the monarch to cease hostilities and introduced Han’s advanced cultural etiquette system to the Hun people. Moreover, she taught them to cultivate millet and hemp, rear domestic animals, weave cloth, and dig wells. Consequently, the beacons and wars along the frontier ceased, and a scene of “wind blowing through the grass and cattle and sheep grazing” emerged, allowing the people to live peaceful and prosperous lives.
Wang Zhaojun’s role in fostering harmony through her marriage and contributing to a peaceful border region exemplifies the traditional Chinese cultural value of “harmony.” The ethereal Wang Zhaojun lived up to the expectations of the Han Dynasty, resolved the conflict between the Han Dynasty and the Xiongnu, and propagated Han culture. Her accomplishments have become beacons of inspiration for future generations.
Instrumental in establishing peace and prosperity along the Han-Xiongnu border for half a century, she earned the love and respect of the people of her time and those of future generations. In her honor, the Huns constructed ‘The Tomb of Wang Zhaojun’ near the bank of the Big Black River. In the northern desert, she was revered as a Goddess sent by Heaven to assist the Xiongnu. It was said that there would be plentiful water and lush grass wherever she passed.
(Image: Yaliga Ba via Dreamstime)
Today, as I reflect on this beautiful and strong woman, I can’t help but feel deeply moved. In the present world, we have extremely advanced technology, but it seems that people’s moral standards and the level of civilization have not been correspondingly enhanced. I earnestly hope that modern people can resolve national, racial, and regional contradictions and conflicts through peaceful means, and avoid resorting to war, violence, and terror, as these can only bring disaster and trauma to humanity and the planet.
“The Story of the Nine-Colored Deer King” is the main theme of the murals in Cave 257 of the Mogao Caves. It unfolds in a long horizontal scroll, narrating many stories from the past life of the founder of Buddhism, Siddhartha Gautama.
Legend has it that long ago, on the banks of the Ganges River in India, there lived a beautiful and kind nine-colored deer king (the previous incarnation of Siddhartha Gautama)…
One day, as the nine-colored deer king was leisurely strolling by the river, he suddenly heard a pitiful cry from the water. Without hesitation, the brave nine-colored deer leaped into the river, risking its own safety, and rescued the drowning person. The saved individual, overwhelmed with gratitude for a second chance at life, repeatedly bowed in thanks to the nine-colored deer.
The nine-colored deer king said, “No need for thanks; just go on your way. My only request is that you do not reveal my whereabouts to anyone.” The drowning person solemnly swore, “Kind benefactor, rest assured. If I ever betray this promise, may my body be covered in sores and my mouth emit a foul odor.” With that, the person departed.
Before long, the queen of that country dreamt of a deer—one with nine colors and silver-like antlers. She told the king about her dream and requested that he order the capture of such a deer. She had a strong desire to use its colorful hide for clothing and its antlers for earrings. Consequently, the king issued a proclamation and offered a substantial reward.
Upon seeing the proclamation, the person who had been saved reported to the king, leading soldiers to the mountain to hunt down the nine-colored deer.
When the nine-colored deer was surrounded by the king’s troops… it spotted the person it had rescued from drowning, tears of sorrow welled up in its eyes…
The nine-colored deer leaped in front of the king and recounted the story of how it had saved the person from drowning and how that person had broken his promise. The king and the soldiers were deeply moved by the deer’s account. The king ordered the soldiers to clear a path, allowing the nine-colored deer to regain its freedom. He also issued a decree: “From now on, people are not allowed to shoot deer.”
As for the person who had broken his promise, in an instant, sores covered his body, and a foul odor emanated from his mouth. From that moment on, he was despised and reviled by the people.
The story of the nine-colored deer is vividly portrayed in Cave 257 of the Dunhuang Grottoes, which is what we now see as “The Story of the Nine-Colored Deer King.” While the mural is not particularly large in size, it holds significant importance in Chinese art history.
This artwork takes the form of a horizontal scroll with the story unfolding from both ends and converging in the middle. It consists of multiple scenes depicting various stages of the story, such as its origin, development, climax, and conclusion, all seamlessly connected to create a cohesive narrative.
“The Story of the Nine-Colored Deer King” is composed of nine panels, illustrating five key plot points: the person drowning, the nine-colored deer rescuing the drowning person, the drowning person expressing gratitude to the deer, the queen’s desire to capture the deer, the informant revealing the deer’s whereabouts to the king, and the confrontation between the king and the deer.
The story progresses from both ends of the mural towards the center, placing the pivotal conversation between the king and the deer in the middle. This unique composition style captures the essence of continuous horizontal scroll art from the Wei and Jin dynasties, showcasing the distinctive historical aesthetics of the era.
In the artwork, the depiction of mountains, rocks, and rivers occupies a significant portion. The rendering of the landscape primarily serves to fill the space and delineate the composition, providing a brief description of the specific environment, thereby enhancing the visual impact of the artwork and its storytelling function.
“The Story of the Nine-Colored Deer King” places the climax of the story—the moment when the nine-colored deer recounts the events—at the center of the composition. At the same time, both nine-colored deer on the left and right sides turn their bodies toward the center, serving as visual guides.
This is precisely the turning point in the storyline of the nine-colored deer, where the drowning person’s affliction receives its retribution. It places the Buddhist concept of rewarding goodness and punishing evil at the visual forefront, narrating the sequence of events step by step to gradually reveal the story’s progression to the viewer.
The entire process is rhythmic, marked by the ebb and flow of the narrative, skillfully aligning the chronological order with the spatial arrangement, showcasing the artist’s unique conceptualization of the composition.
In terms of color usage, “The Story of the Nine-Colored Deer King” appears to be very vibrant, but in reality, it uses a limited color palette, consisting of only six colors. The earthy red color dominates the entire painting, which is a prominent color characteristic of the Wei, Jin, Northern and Southern Dynasties period.
Complementing this are touches of stone blue and stone green, along with the harmonious blending of black, white, and gray. This blending softens the strong contrast between earthy red and stone green and blue, achieving a harmonious contrast of warm and cool tones. At the same time, it also accentuates the brightness of contrasting colors.
The introduction of Buddhism had a significant impact on the development of portraiture in China, introducing a set of strict conventions for Buddhist iconography. During the Northern Wei dynasty, the Dunhuang murals began to emphasize body proportions and adopted more attention to three-dimensionality after incorporating color shading techniques.
In “The Story of the Nine-Colored Deer King,” most of the figures on the canvas have slender bodies, with their clothing belts fluttering in the wind. Their gestures and movements exude a graceful dance-like elegance, evoking the style of figures that “float like wandering dragons and are delicate as startled swans.”
In the murals of the Northern Wei period in Dunhuang, Jataka stories are an important theme. Jataka stories refer to the countless events and experiences in the past lives of Siddhartha Gautama, who would later become the founder of Buddhism. In history, there are numerous Jataka stories related to Siddhartha Gautama.
Within Buddhist art themes, there are many Jataka story paintings, and “The Story of the Nine-Colored Deer King” is just one of them. Story paintings are used to promote the Buddhist concept of karmic retribution and to praise the spirit of self-sacrifice displayed by the Nine-Colored Deer King.
In reality, all Jataka paintings ultimately convey one message: that by performing good deeds, selflessly giving, and enduring hardships, one can achieve positive outcomes, whereas engaging in wrongful actions will lead to self-destruction.
