Category: H.H. Dorje Chang Buddha III

A Western Practitioner’s Profound Spiritual Journey

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Gesang Suolang Rinpoche, the founder and leader of the Xuanfa Utah Dharma Center in Salt Lake City, Utah

Gesang Suolang Rinpoche Shares Her Insight into the Dharma of H.H. Dorje Chang III & Why the West Needs It

Like many American Buddhists, I didn’t learn Buddhism in the family home. My interest in and later conversion to Buddhism began in the 1990s when my husband’s teacher, a Japanese Zen priest, stayed with us in our home in Virginia. My husband had studied with this teacher in the 1960s and 1970s when the teacher lived in America. The teacher had returned to Japan to raise his young family before I met my husband, so I didn’t meet him until 1990 when he began to travel to America again to pick up where he’d left off with his students.  My husband had been his first student, and our house became a gathering place for the teacher’s students when he started coming to America again.  My first exposure to the teachings of the Buddha was at our kitchen table where the teacher gave lectures on the Blue Cliff Record, a famous collection of koans from China. I didn’t understand the texts at all, but there was a scent of the profound and mysterious to them.  And in curious contrast, there were earthy, often irreverent quips added to each koan by a later commentator to the collection, followed by transcendent poetry from yet another commentator.  These texts sailed straight to the part of my mind that wants to know, wants to understand the depths of the universe. I was hooked. The teacher was at his best when translating and illuminating texts. He had a literary bent of mind, could read Chinese, and did beautiful English translations of Zen texts. He seemed most brilliant when dealing with the profound, the matters that could not be expressed in words.  But as a teacher of human beings, his gifts were undeveloped.  He was hard as nails, bristling with energy, and seemed to have some dharma powers. I initially thought he would help me understand the dharma, the universe, me, my life, but after a while I couldn’t see what kind of human being would be able to benefit from his unfeeling and bullying approach to students. I began to doubt him. And when those closest to him truly seemed to be suffering mental disorders and deep depression I decided to leave the group. I can’t say that I learned nothing from this experience. I did walk away with a love for the dharma, a deep faith that it was definitely my karma to be a Buddhist and a respect for the practice of patience under insult.  Yet, I doubted that I had been presented with the true Buddha-dharma nor a model Buddhist teacher.

After a while, I was drawn to an American Zen teacher. I found him to be charismatic, very confident, and able to work with flawed human beings.  He took a psychological approach to the dharma, which was in great contrast to my Japanese teacher who frequently declared that he “didn’t do therapy.”  My American teacher talked a lot about becoming a better-functioning human being. His teachings emphasized exploring one’s accumulated psychological knots rather than sitting on one’s stuff. The idea seemed to be that if you became aware of the knots and hurts in your psyche and embraced them instead of burying them you could be free; and by understanding yourself more deeply you could also feel more compassion for others, recognizing that we’re all deluded in so many ways.  I did this practice for a number of years and found it helpful and manageable, but I couldn’t stop feeling that something was missing.  I couldn’t reconcile these teachings with the sutras or the other great texts of Buddhism.  And again, the teacher and assistant teachers, who were often less than admirable models, raised doubt for me. There was a lot of talk about power and empowerment and a great deal of interest in this subject among students, especially about empowerment of the career-oriented type. We were supposed to know and embrace our hidden behavior patterns but there wasn’t much encouragement to simply be good, or to keep precepts. There was an implicit sense — and from some of the teachers  an outright suggestion — that intentions and efforts to do good and be beneficial to others were tainted and suspect.  I could somewhat appreciate this point of view — a bodhisattva doesn’t have to “do good” –but I felt this stance left us without tools for transformation, for training ourselves in new behaviors.

There was also little talk about becoming enlightened and even the suggestion that we did not need enlightenment, but should aim to become freely functioning human beings. It was as if, by becoming a better human being you needn’t bother becoming a bodhisattva. I think there was a lack of understanding among the teachers of this sangha about what a Bodhisattva would really be like.

I suspect much of Buddhism in the West is similar to this. The main points seem to be: stay in the present, be non-attached, be non-judgmental, don’t believe anything, fully experience your emotions, be ordinary, dharma powers — if not an outright myth, would be laughable to possess, also, Buddhism naturally changes when it enters a new culture. I had gotten the impression from Western-style Buddhism that when Shakyamuni said to “be a lamp unto oneself” he’d meant that we should decide for ourselves what was true or not – like the new-age dictum to “believe what resonates with you” rather than look inside and honestly evaluate oneself.

I had read some sutras, and the dharma talks I heard bore little relation to the teachings of the sutras. I’d had some deep experiences of emptiness so I knew there had to be more to Buddhism than just being a mentally and emotionally healthy person. I wondered about enlightenment, liberation from birth and death, prajna, becoming a Bodhisattva, acquiring the usages of emptiness? Why didn’t we hear about these age-old goals of Mahayana Buddhism in the lecture hall? I was deeply disappointed and felt adrift once again. I liked the community of people I was learning with, but found this psychological approach so limited. Yes, my Buddhist practice was about me, but it also had to be about the not me that had yet to appear. Once I acknowledged my disgruntlement, I could no longer give the benefit of the doubt to some of the things that my teachers said such as: “I’m agnostic about reincarnation,” “why believe that the Buddha’s enlightenment was anything special since we weren’t there,” “we can stand on the shoulders of the Buddha and go beyond the Buddha’s teachings,” and “Zen is a business.” I was doubting my teachers too much to continue with this group.

Then I met Zhaxi Zhuoma Rinpoche, an American teacher who was a close disciple of H.H. Dorje Chang Buddha III. She was touring all 50 U.S. states giving presentations about and distributing copies of a book about H.H. Dorje Chang Buddha III.  She presented a copy to every governor’s office in every state. I had actually heard about H.H. Dorje Chang Buddha III a few years earlier, when he was known as Dharma King Wan Ko Yeshe Norbu. An acquaintance had shown me a video about the Dharma King’s artworks. One of these was a sculpture in which he had placed mist into a cavernous structure in the sculpture. To this day, the mist just stays there circulating in the sculpture year after year.  No ordinary artist could create such a sculpture, I knew it had to be made by an extraordinary person. It was miraculous. It had been exhibited, along with other examples of his work, in Washington, DC in October 2003 at the Congressional House Office Building. The rock with mist is currently on view in The international Art Museum of America in San Francisco, CA.

The book that prompted this 50 state tour was about the wonderful accomplishments of H.H. Dorje Chang Buddha III. His artworks were only one of 30 categories of accomplishments written about in the book, many miracles were documented there as well.

The book also included photographs of recognition letters written by high-level, independent leaders of the esoteric schools of Buddhism. Some of these great masters said that they entered samadhi and personally saw that H.H. Wan Ko Yeshe Norbu is the true incarnation of Dorje Chang Buddha. Dharma King Omniscience Jamyang Langdok Gyaltsen (Lama Achuk), Urgyen Xirao Woxiu Lama, Dharma King Renzeng Nima* all wrote letters stating they had supernaturally seen the truth that H.H. Master Wan Ko Yeshe Norbu is the incarnation of Dorje Chang Buddha also known as Buddha Vajradhara. (Translations of the letters of these three masters can be found HERE..)

I felt some unease on learning that the Dharma King artist I had admired was now called a Buddha. I thought it would be easier tell other people about this great person if he was still called a Dharma King. Being recognized as a Buddha, I feared, would create an insurmountable barrier for people — that they would find the idea outlandish. Members of my Zen group reacted this way, almost to a person.  And the thing is, H.H. Dorje Chang Buddha III really is so extraordinary and so outside the bounds of what is usual.  However, we ordinary practitioners were just not equal in wisdom to these great masters of esoteric Buddhism, so who were we to do anything less than celebrate their recognition statements? Langdok Gyaltsen was the leader of one of the largest monasteries in Tibet. His main temple was Second Virtue Mountain Monastery where he provided teachings of the Great Perfection to tens of thousands of practitioners. Urgyen Xirao Woxiu Lama of the Nyingma school is a great terton (a discoverer of ancient texts or terma.) Renzeng Nima is a great dharma king of the Nyingma sect who has transcended the mundane world and has practiced almost his whole life in a secluded mountain valley. In fact, letters of recognition, congratulations and corroborating recognitions from many more Dharma Kings and Rinpoches are reproduced in the book.

H.H. Dorje Chang Buddha III ‘s accomplishments are unprecedented. H.H. Dodrupchen Rinpoche, the greatest dharma king and master of the Nyingma sect congratulated H.H. Dorje Chang Buddha III with the following words, “The collection of your accomplishment is truly miraculous and extraordinary expression of truth expressed and unexpressed beyond words in Buddha Dharma.” Jigme Dorje, Supreme Dharma King of the Jonang Sect wrote: “Such superlative accomplishments are truly unprecedented in the past few thousand years, outshining the accomplishments of all others, both ancient and modern. His Holiness is a shining paragon among Buddhas.” Buddhist leaders cannot just toss off statements like these as if they were blurbs on the back cover of a book.  The consequences of making ill-considered or casual statements about recognizing a Buddha would be enormous.

I can understand the impulse to be suspicious of things outside the normal and usual happenings, but I do sometimes think that our current times are not really all that normal. The natural world is in serious decline. There’s climate change and other troubles for life on the planet. We’re losing birds, insects, sea life, coral reefs and whole species. And there’s very great social change as we embrace the digital world, automation and artificial intelligence. Maybe it really is a time of extraordinary danger and a Buddha has come just in time to help all living beings on earth.

I’d like to say that Zhaxi Zhuoma Rinpoche’s tour of America was a roaring success, but the number of Westerners who follow His Holiness the Buddha is still quite small. After meeting Zhaxi Zhuoma Rinpoche, I traveled to many different places to be able to hear preliminary English translations of recorded discourses by H.H. Dorje Chang Buddha III. Though there are thousands of recordings in Chinese, not many have been translated into English. Of these, only one, The Dharma of Cultivation is completely approved as a translation and published as a book and also free online on multiple websites. Zhaxi Zhuoma Rinpoche’s Holy Vajrasana Temple website has a link to this text. Listening to the discourses, I felt I was hearing the true Buddha Dharma. They were brilliant, clear, informative and extremely practical.  If you listen to these discourses, as many thousands of Chinese speakers do, you will know exactly how to transform yourself through cultivation into the causal state for becoming a bodhisattva — that is, one who corresponds with a bodhisattva’s actions of body, speech, and mind.

All my resources for learning and practicing Buddhism are magnificent now. From the Buddha Master’s discourses and dharma teachings I have learned things I never heard before and experienced things I never saw before. Many high-level disciples of His Holiness are shining examples of sincere cultivation and devoted practice.  Many of His disciples can manifest dharma powers. Some of them can perform extraordinary rituals of esoteric Buddhism, so that manifestations of Buddha-dharma are being seen and experienced in America now that only used to happen in Tibet.  Dharma rituals such as: Creating a Sand Mandala through a Stone Slab; various rituals of selection such as, Drawing Lots from a Golden Vase; high temperature displays of Tummo Concentration; the Vajra Fa Man Initiation in which grains of sand weave themselves into a crown above a portrait of a Buddha or Bodhisattva; Beseeching Nectar from the Buddhas in which nectar manifests in a bowl; Eight Winds in Samsara Battle Position in which masters are tested in the holy realm.  My teacher, Zhaxi Zhuoma Rinpoche’s Holy Vajrasana Temple is a Bodhimandala empowered by H.H. Dorje Chang Buddha III where Dharma Protectors will sometimes shake vajra poles to the delight of devout visitors to the temple. It is all so wonderful. I have seen these vajra poles mysteriously, vigorously shake. I have seen and felt nectar from the Buddhas rain from cloudless blue skies. I participated in the Eight Winds in Samsara test.  My experiences are everything I expected the true Buddha-dharma to be and I’m experiencing these things in the USA!

As a follower of H.H. Dorje Chang Buddha III, I feel that the dharma I’m receiving is the original, authentic, and very real thing.  It is a great treasure that I would like others in the West to enjoy as well. I liken this true Dharma to the silver dimes and quarters we used to use in America. In 1964 the silver content of American coins that had been minted from 90% silver was drastically reduced to no silver at all.  There was no loss in their use as currency, their purchasing power remained, but they had lost their intrinsic value. They weren’t real silver and did not have the true properties of silver. I feel that secular Buddhism is like these new coins, which are shiny and still useful, since they still function as currency, but they’re not silver.  They have lost the essence of why silver was chosen for coinage in the first place; it reflects light purely and beautifully and can be fashioned into treasured objects. I don’t believe the secular brand of Buddhism with its focus on being the best me, or on therapy, or on succeeding at business and personal relationships has retained its original value and purpose of helping us leave samsara. Many other systems can accomplish these aims as well. And these aims are side effects of sincere practice anyway, so there’s no value at all in losing the treasured ultimate goal of Buddhism. For those of us who want more, who wish to become arhats or bodhisattvas or buddhas, who want to realize enlightenment, accomplish prajna, attain the four wisdoms, the three bodies, the usages of emptiness. For those who wish to be able to expound the dharma that can liberate living beings, they should know there is more to Buddhism than the usual American fare. There is a Buddha here now whose teachings will help them cultivate their three karmas into a causation state for becoming a bodhisattva and whose transmissions of dharma practices can activate true dharma abilities. Everyone please take notice.

Gesang Suolang Rinpoche Shares Her Insight into the Dharma of H.H. Dorje Chang III & Why the West Needs It

Link:

#XuanfaUtahDharmaCenter#MasterWanKoYee #DorjeChangBuddhaIII #HHDorjeChangBuddhaIII#DorjeChangBuddha#IAMA#InternationalArtMuseumofAmerica #GesangSuolangRinpoche #Buddha #ZhaxiZhuomaRinpoche

Source: https://holyvajrasana.org/articles/gesang-suolangs-story

Visit to Elder Dharma King Dorje Losang (Lao Na Monk)

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From The True Story of a Holy Monk

It is said “on the load to Linqui, a passenger from Hogdu can heal deceased souls with his spiritual power.” This tale has been handed down for thousands of years. Yet very few people have ever witnessed it with their own eyes. Fortunately, the author has become one of the very few.

It was 1997, April in Linqui is the season when grass sprouts and fireflies flit. In an early morning, accompanied by our friend Guanxiu, a monk, we set off our expedition with food and light camping equipment.

In spite of the fact that I had not traveled on foot for a long time, and was use to traveling by car, I was refreshed by the scent of flowers, chiming of birds, and the flowing brooks, and thus forgot fatigue.

Guanxiu, with his familiarity with the area, let us walk in the wilderness, picking his way through the seemingly impassable forest and bringing us to new sites now and then. We walked in this fashion during the day, and in the evening, we set up camp on the ground to sleep. At noon of the third day, we finally reached “a thread of sky.” Mysterious and enchanting, this “a thread of sky” can be described as a masterpiece of nature.

Two sheer cliffs, facing each other, tower to the sky with immeasurable height. The ridges are so steep, it is as if they were cut deliberately. There are no trees except some vines growing attached to the surface of the ridges. The sunlight in the middle of the day pours down through the narrow ravine which is barely two feet wide which gives travelers a little bit of relief in such a perilous atmosphere. 

While my mind was wandering, Guanxiu said something loudly which I could not understand. Shortly thereafter, a chant of “Amitabha Buddha” was heard. Looking up I saw a spot in the middle of the mountain ridge where vines were poked apart, and from that opening a hanging ladder made of vine descended slowly. A monk came down with the ladder. “This is Guanxin, the servant of the Master,” Guanxiu introduced him to me. I presented my name card hastily to Guanxin. But he waved his hand and said, “You didn’t come at a right time and may not be able to meet the Master.” “Then, how about tomorrow?” I asked eagerly. “It’s difficult to tell. The Master has been in meditation for two days already. He usually remains in meditation for a half or even one month.” Noticing my anxiousness, Guanxiu tried to comfort me by saying, “Whatever is going to happen, let up go up to pay respect to the Master.”

We climbed up the ladder and at its end entered into a cave whose space was about twenty square meters. In the middle of the cave, an old man sat cross-legged, motionlessly like a rock. His face was elegant with a long and beautiful beard. He looked more dignified than Damuo (Patriarch Bodhidharma), the Master of Zen, as portrayed in a movie. I took out my camera and began to take pictures. Seeing this, Guanxiu stopped me immediately and pushed me to pay respect to the Master. As soon as we knelt down, a voice sounding like a bell echoed to my ears, “Get up quickly. You have walked for three days. Your right shoe was broken and your toe is bleeding.” Hearing the voice, I was shocked, partly because the voice was so loud, and partly because on the afternoon of the first day of our journey my right foot hit a rock which cut a long cut in the sole and wounded by toe. It had started bleeding and was still painful at this moment. I could not imagine how this Master can point out my problems immediately. I raised my head to him. Looking at my amazement, the Master smiled and said, “It’s all right. You will be fine soon.” And then he asked us to sit on the chairs.

Elder Dharma King Dorje Losang in 1997 at age of 89 when his vajra hair and beard started to grow.

The chair was so old that sitting on it I began to worry that it might collapse. Looking around I noticed that the furnishings in the cave were very simple, yet very clean. A stone table and four stone stools shined like mirrors. The stool on which the Master sat was a little bit larger with a straw cushion laid on the top. There was no bed, nor what we city folks call “furniture.” In a stone niche were a couple of bowls, and at the entrance of the cave there was a wok supported by three rocks. A teapot, which could have been several decades old, was placed on the stone table. There was nothing else in the cave.

Guanxiu was a student of the Master. I could not quite understand their conversation, and thus felt that I was not in the position to join the conversation but should listen quietly while watching carefully. I was told that the Master’s name was Lao Na Monk. For many years he had practiced the Buddha-dharma and attained the inner power of Vajra (Jin Gang).  He never slept during the year. Although 89 years old, his voice was strong and clear, and his bearing and demeanor possessed more vitality than a middle aged person. More amazing was that a tuft of hair which was a mixture of black and white grew on his forehead between his two eyebrows, curling upward, about one inch long. I noticed that during his conversation with Guanxiu the hair flashed three times.  Unable to resist my curiosity, I started asking questions about this mystery. But the Master ignored my questions.

Seeing that I was digging out answers, Guanxiu, with the approval of the Master, provided me some background information about the Master.  When the Master was born, a tuft of black hair, several inches long, grew from his forehead between his eyebrows. His parents believed it was an ominous sign and pulled the hair out completely. Furthermore, in order to ensure that the boy would grow up smoothly, the parents entrusted him to the care of a Buddhist temple. Probably because this was a predestined cause, the boy was initiated into monkshood at a very early age, and became a senior monk when he was still a young boy. He had apprenticed under Master Taixi and Xuyun, and afterwards went to Tibet to study Tibetan esoteric Buddhism. There, he studied Esoteric Dharma and received blessings and initiations of empowerment from a number of world renowned great Masters including the Honored Deng-bashiming, Ah Wang Kan Bu, the Master of Dharma of the Sakya-pa sect, Jiangba Gexi of Paoma Mountain, the living Buddha Zhangjia, Ahuqing Rinpoche of Zhuqing Temple where the Ning-ma-pa sect was originated, and Kangsa Rinpoche. The Honored Chiming Chisong once predicted: “If the hair on your forehead grows again, you will attain limitless achievement and save numerous sentient beings.” However, during the time Lao Na Monk enlightened his practice the hair never appeared. Eventually when the predestined causes were met, he met H.H. Master Yisinubu (Wan Ko Yeshe Norbu who was later recognized as H.H. Dorje Chang Buddha III), the Supreme Master of Dharma of the White sect of Exoteric Buddhism. This Supreme Master was thoroughly knowledgeable in the Sutras, Canons, and Commentaries of Buddhism and achieved outstanding accomplishments in the five illustrious arts (five vidyas)

His remarkable abilities were peerless among the world famed experts in these five areas. Lao Na Monk begged the Supreme Master for transmitting Dharma and the initiation of empowerment. The Supreme Master, before transmitting Dharma to him, made a prediction: “After you practice the Dharma, I am going to transmit to you, the Vajra hair on your forehead will grow again. Then, you will not need to sleep.  Every year the hair will grow about three to five inches. When the hair grows to the length of two to three feet you will achieve extraordinary super-natural power, and the highest degree of wisdom and empowerment.” As a result, 36 hairs suddenly grew on the forehead, and now they were nearly one inch long.

Vajra Hair beginning to grow out of Elderly Dharma King Dorje Losang’s forehead

Before Guanxiu completed the story, Lao Na Monk interrupted him and said seriously:

“You should not advocate these mysterious and strange things. Since it’s not easy for you to come, you should return with some result. As a Buddhist disciple and a person who has already devoted himself to Buddhism, you should have correct knowledge and perceptions of Buddhism. Yes, there are mysterious empowerments. But they are only illusory, and one should not stick to them. When you return home you should read more and practice the Dharma I taught you, and not to believe the nonsense of Living Buddhas and Dharma Masters. Nowadays, in both the region inhabited by the Han people and the region inhabited by Tibetans most so called Living Buddhas (rinpoches) are fake, even some Dharma Masters are highly questionable. It is because these Living Buddhas and Dharma Masters are but ordinary people found by ordinary people, not selected according to the Dharma essence. Many people believe that someone is the reincarnation of someone simply based on the legend of reincarnation, or on an inherited legacy. This is completely wrong. This practice is not in conformity with the teaching of the buddhas and bodhisattvas and the meaning of Esoteric Buddhism. Yes, reincarnation of buddha does occur. Nevertheless, most reincarnations today are false, and even a Buddhist legacy can be fabricated. Someone uses a skull or tooth to claim that they are the relics of such and such Master in such and such generation, so on and so forth.

If you think about it carefully you will find out the truth. Any authentic Master of Dharma is the rebirth of a Buddha or Bodhisattva. A Buddha or Bodhisattva, if authentic, shall leave the world by either turning himself into a flash of red light, or turning his entire body into everlasting Buddhist relics when passing way, or leave the three letters “OM AH HUNG.” Lastly, his body, after being cremated, shall turn into “sheli” Buddhist relics (sharira) usually in a form of colored stones, and never leave such a fiendish skull to horrify sentient beings. All these things are fabricated by the false Living Buddhas and Masters for the purpose of cheating sentient beings. They by no means represent Buddha-dharma. What truly represents the Dharma is Tibetan’s “Doctrines of Knowing Truth.” You should read it carefully when you return home. You must learn how to identify an authentic master, authentic Living Buddhas, and authentic buddhas and bodhisattvas. The method is to find out whether one is thoroughly knowledgeable in the five commentaries of Buddhism, and whether one possesses real supernormal spiritual powers and abilities.

Sakyamuni Buddha Finger Sharira at Famen Temple Shanxi China

Layperson Wang left beautiful Sheli Flower and Sharira at Xindu BaoGuang Temple SiChuan China

You must devote yourself to Buddhism only according to the meaning of Dharma. Just think about it: how can someone who can’t master both Esoteric and Exoteric Buddhism, who can’t achieve the mastery of the five illustrious arts (vidyas), and who doesn’t possess supernormal spiritual powers, claim to be a great Living Buddha (Rinpoche)? If someone who is not able to write good articles, not able to paint excellent pictures, and not able to invite buddhas and bodhisattvas to descend to bless sentient beings in front of people, is not a master of Buddha-dharma, and he is not even qualified to be a master of laws of the earthly world.  He is no different from and maybe even less capable than an ordinary person.  How can he claim himself to be a buddha?  Is it a big joke? Can it be that the wisdom of a Buddha is even inferior to the cleverness of an ordinary person? Master Wan Ko Yee(H.H. Dorje Chang Buddha III), Supreme Master of Dharma, and my paramount master who bestowed me with great kindness said to me, “You should perform all the virtues, not commit any evil deeds, and practice Buddhism wholeheartedly. Should you maintain absolute faith, accept the transmission of Dharma, and practice according to Master’s instructions you will benefit unlimitedly and liberate yourself by entering the Land of Supreme Happiness.”

Honestly, I could not fully comprehend what the Master had said.  However, seeing that Guanxiu was repeatedly prostrating himself to the Master with palms held together, I began to follow him. Finally, the Master said, “You better leave now. I won’t keep you and you are not used to the lifestyle here.” When we were ready to leave, another surprising miracle happened: the crack on my right shoe disappeared, my toe no longer felt painful, and the wound was completely healed. While I was shocked, Lao Na Monk smiled to me. “Come next time if there is a predestined cause.” He said.

Before our departure, I presented one thousand US Dollars as an offering to the Master, but the Master rejected it. With a smile he said, “I never take any offering. As a matter of fact, I live here on vegetables, fruits and mountain water. At dawn I watch clouds in the sky and in the evening I listen to the wind whistling in the forest. What use does money have to me?” I then offered the money to Guanxiu who, again rejected it and said, “My Master has taught me to practice with a mind of humbleness, and not to take any offerings from anyone.” He then walked us out several miles and repeatedly urged us not to report the whereabouts of the Master so that his practice would remain undisturbed.

We returned through the original route. Now retreating to a corner of this busy and noisy city to write this article, I still feel very much confused and seek in vain for explanations. The experience in those several days were dreamlike. Should I disbelieve it? But the Master did know that my shoe was broken and that my toe was injured. And he fixed by shoe and healed my wound without me noticing it.

Furthermore, he has been in meditation for years without sleep! Should I believe it? Yet I can’t reason out how the hair between his eyebrows which is now merely one inch long would grow to two to three feet. At least, up to this date there hasn’t been any report of such a thing in the world. Since a reporter must provide stories based on facts, I am obliged to write this story based on my true experience although feeling confused. However, to respect the advice of the Master, his whereabouts is not revealed.

Perhaps, the best way to answer all these questions would be to visit him again two or three years from now to find out whether Lao Na Monk’s Vajra hair has grown.

Visit to Elder Dharma King Dorje Losang (Lao Na Monk)

Link:https://peacelilysite.com/2023/07/13/visit-to-elder-dharma-king-dorje-losang-lao-na-monk/

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Supernatural Powers in Buddhism

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Do Buddhists advocate supernatural powers? Actually, this is not a matter of advocating or not advocating. Rather, supernatural powers are that which everyone who is accomplished in the dharma possesses. Such powers are the manifestation of realization achieved through cultivation. They are phenomena that exist in the course of cultivation but are not the goal of cultivation, which is liberation from the cycle of birth and death. They are by-products that arise during one’s practice. These by-products called supernatural phenomena naturally exist in all liberating paths within the Buddha-dharma. Becoming attached to these by-products and regarding them as the goal is heretical supernatural powers. Applying these by-products in a free and unattached way and regarding them as illusory is treating supernatural powers based on the correct Buddha-dharma view.

Sakyamuni Buddha manifested supernatural powers and also was against supernatural powers. Each of those two tacks reflects different underlying karmic conditions. To those with higher vehicle (Mahayana) faculties, the Buddha spoke of supernatural powers as enjoyment resulting from incredible realization and the free and unattached application of samadhi. Examples of this are in the Lotus Sutra, the Samyuktagama Sutra, and other sutras. To those practitioners with low faculties, the Buddha spoke of not being attached to supernatural powers in order to reach the goal of realizing emptiness. An example of this is in the Shurangama Sutra.

Anyone with low faculties who wants to become a Buddha must go through the stage of cultivation corresponding to those with high faculties. In one’s course of cultivation, this is analogous to going from one city to another city. If one does not travel along the pathway between the two cities, one will not reach that other city. When one is walking toward that other city, one will certainly see and encounter all of the phenomena that are on the way. This is like the supernatural phenomena that arise in the course of one’s cultivation when wisdom is being opened. If one does not experience such phenomena that arise during the cultivation process, then one will not reach the other shore of liberation. Because one has not traversed the path of the Buddha-dharma leading to liberation, one cannot encounter phenomena that occur while traversing that path. That is why such a person has not experienced the stage in the process whereby wisdom is opened and supernatural powers are realized. Thus, all Buddhist who become accomplished in the dharma must go through the stage of supernatural powers.

Is it true that the authentic Buddha-dharma does not speak of supernatural powers? If that were the case, then why did the great leader of Buddhism, Sakyamuni Buddha, manifest supernatural powers everywhere? Why did he even manifest great supernatural powers right before entering nirvana? What crazed and demonic person would dare say that Sakyamuni Buddha did not practice the true Buddha-dharma? Just think. If someone with great accomplishment in the dharma did not have any supernatural realization powers, what would be the difference between that person and an ordinary person who had not learned Buddhism?

Based on the Sutra, it is stated that one who attains liberation and becomes a Saint must possess six great supernormal powers or superknowledges (abhijna). These powers are as follows:

  1. Rddhi-saksatkriya: This power grants the ability to be anywhere or do anything at will, including extraordinary feats such as flying through the air and performing miraculous acts.
  2. Divyasrotra: This power enables the individual to hear sounds from any location, even those that are normally inaudible, such as the subtle sounds of ants walking or distant noises emanating from other realms. It is also referred to as clairaudience or “the divine ear.”
  3. Paracittajnana: With this power, one gains the ability to understand the thoughts and read the minds of other beings.
  4. Purvanivasanu-smrtijnana: This power allows the recollection of previous existences or past lives, both one’s own and those of others.
  5. Divyacakus: This power provides an instantaneous view of anything, regardless of its physical presence. It encompasses the ability to see events and occurrences in faraway places or even in other realms of existence. This power is also known as clairvoyance or “the divine eye.”

The sixth supernormal power, known as asavakkhaya, is unique to Buddhism and complements the other five powers. While individuals from non-Buddhist traditions can achieve the first five powers, their significance is not as profound as those attained by a Buddha due to the absence of complete enlightenment and wisdom. For instance, a Hindu practitioner remains bound by the world of Brahma, whereas a Buddhist practitioner is not limited in such a way. A Buddha’s powers are boundless. The sixth power refers to the understanding that one’s defilements have been extinguished and that liberation from the cycle of reincarnation has been attained. It represents the state of enlightenment. This is sometimes referred to as anasrava, which denotes the cessation of outflows or asravas. These powers are also known as the six superknowledges (abhijna) or supernatural cognitions.

The Dharma Protectors guard the use of these powers very closely. They will block the chakras of those unworthy to obtain these powers. Likewise they will untie the knots in the chakras of those cultivators who are worthy of such powers, causing the supernormal dharma powers of the buddhas and bodhisattvas to suddenly turn into light and enter the chakras. At that time, the mandala in each practitioner’s body will respond and will accept the powers. When your three karmas of body, speech, and mind unite into one body and correspond with the teachings, supernormal dharma powers will come into being. When your state of realization and state of virtue have reached the level where it is appropriate to obtain supernormal dharma powers, then as soon as you practice according to the dharma, supernormal dharma powers will appear. You cannot attain supernormal powers without proper moral discipline, concentration and wisdom. You must first be able to master the Dharma.

H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu Holiest Tathagata, is the highest ancient Buddha with complete proficiency in both exoteric and esoteric Buddhism and perfect mastery of the Five Vidyas. A portion of His Holiness’s realization powers is openly shown in this book A Treasury of True Buddha-Dharma for all to clearly see.

However, the clear and definite views expressed by His Holiness have enabled us to understand the principles and direction of cultivation. H.H. Dorje Chang Buddha III said the following:

“Not only did the Buddha speak a great deal about supernatural powers in the sutras, he also manifested supernatural powers. Such words and facts were directed at those who reached the higher vehicle (Mahayana) sambhogakaya state or nirmanakaya state. The Buddha also stated in the sutras that one must not become attached to supernatural powers. Such teachings were directed at those who were at the beginning stage of realizing their original nature and dharmakaya in order to protect them. If practitioners who are at the beginning stage of realizing the true nature or true-suchness of all phenomena become attached to supernatural powers, they will fall into that which is conditioned. They will then be practicing heresy. Thus, you should understand that supernatural powers are a reflection of the unhindered, unobstructed nature of Buddhas and great Bodhisattvas. Such powers are not that which beginning stage practitioners can possess and enjoy.”

May Buddha and Bodhisattva bestow their blessings upon all, guiding them towards liberation and enabling them to reside in the realm of ultimate bliss.

Supernatural Powers in Buddhism

Link:https://peacelilysite.com/2023/06/30/supernatural-powers-in-buddhism/

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Source: A Treasury of True Buddha-Dharma

Chinese Calligraphy: Intangible Cultural Heritage of Humanity

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精神 Spirit by H.H. Dorje Chang Buddha III

H.H. Dorje Chang Buddha III Calligraphy Artworks

Chinese calligraphy has transcended its role as a mere communication tool and has become an art form highly esteemed even in an era dominated by ballpoint pens and computers. No longer limited to intellectuals and officials, calligraphy is now practiced by professional artisans and enthusiastic amateurs. Calligraphers employ brushes to beautifully ink five distinct styles of script: ‘seal’, ‘official’, ‘cursive’, ‘running’, and ‘regular’. While calligraphy can be found on various surfaces, even adorning the rocky walls of cliffs, it is most commonly seen on letters, scrolls, literary works, and fan coverings.

Throughout history, the Chinese have believed that no art form or field of study can truly reflect a person’s moral character and knowledge as effectively as calligraphy. The accomplishments or creations in other arts or fields often overshadow one’s shortcomings in knowledge and character. However, calligraphy stands apart from this convention. It functions as a three-dimensional mirror, projecting the depth of knowledge, moral character, and mental strength with each brushstroke. There is no hiding or concealing these qualities. When examining an individual’s ordinary handwriting of Chinese characters, one can often discern their level of education. This is even more evident when examining their calligraphy.

In the annals of history, there is no account of an unknowledgeable person making significant contributions to calligraphy. Profound and extensive knowledge does not necessarily guarantee expertise in calligraphy. However, great calligraphers possess both knowledge and skillful brushwork. Without exception, the renowned calligraphers of past generations were literary masters who possessed deep knowledge. Notable examples include Xizhi Wang, Su Huai, Shaoji He, Huaiguan Zhang, Fei Yue, and in more recent times, Youren Yu. Each of them was an erudite literary figure and exemplar of virtue.

Knowledge serves as the pillar and cornerstone of calligraphy, while moral character is reflected in the style and allure of the art form. Thus, calligraphy demands a combination of knowledge and moral character.


When one appreciate the calligraphy of H.H. Dorje Chang Buddha III, one can understand that why chinese believe that calligraphy combines one’s knowledge, moral character and mental strength .The calligraphy of H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu Holiest Tathagata is not bound by worldly conventions and is devoid of unnecessary flamboyance. It is highly refined and based upon ingenious artistic conception. His Holiness’s strokes are sometimes written in a swift curling style.
However, in an instant, His Holiness can express the innocent and natural charm of a child. There is wonder in even common strokes. His calligraphy is naturally graceful, exhibiting depth and brilliance. The calligraphy of His Holiness contains an invisible force that makes the characters seem much grander than they appear on a superficial level. His strokes look harmoniously smooth and unbroken. The Chinese characters may appear strong and vigorous, like a soaring dragon or mighty tiger. They may appear clear and gently elegant, like slowly floating clouds, cranes flying among pine trees, or dancing swans. They may appear simple and unadorned, like the free heart of a child. They are gracefully understated and completely devoid of any mundane quality. The calligraphy of H.H. Dorje Chang Buddha IlI is natural in quality and resonates with the true nature of the universe. A deep power underlies His Holiness’s strokes.

Photo by Klub Boks on Pexels.com
Crane Dance by H.H. Dorje Chang Buddha III at 1990

Red-crowned cranes tend not to build ness for themselves since they often stay in various places. When quiet, they frequently engage in meditational observation. When in motion, they frequently dance. Their nature is noble, pure, elegant and simple. They develop their virtue, are not attached to a specific abode, and take care of themselves so as to enjoy their natural lifespan. That is why since ancient times they have been praised for their longevity.


The ability of H.H. Dorje Chang Buddha III to reach such great heights in calligraphy is completely due to His Holiness’s vast knowledge and profound talents. Of course, His Holiness is extremely adept at learning from the styles of others since this is a simple matter for a Buddha. For example, even in the initial stage of learning calligraphy, H.H. Dorje Chang Buddha III had solid skills in the traditional cursive style of writing and also had extensive learning.

Calligraphy : A Qi jue poem (Thin Gold Cursive Style of Calligraphy)


Above is a qi jue poem written by H.H. Dorje Chang Buddha IIIat 1982. A qi jue poem is a four-line poem with seven characters to a line and a strict tonal pattern and rhyme scheme. The phonetic reading of the poem is as follows: “hua gong ri yue li yang tian, xi cheng xi feng liu yue xian, gu peng lai cong ba sheng wang, shi zhi shu qi yi dong can.” One can see that this work has surpassed all traces of the mundane and has transcended all earthly impurities. Its style is lofty and pure.
When that poem was written, H.H. Dorje Chang Buddha III was living in the seclusion of an ancient temple. His Holiness used his extraordinary realization to express his thoughts and feelings. The first line expresses that although His Holiness lived alone and secluded in the room of a temple, He governed the universe and bestowed blessings upon living beings.
The next line, “xi cheng xi feng liu yue xian,” conveys the scene that during the idle month of June H.H. Dorje Chang Buddha III bathed in the Buddha-state of coolness while under the scorching sun. His Holiness was free of all worldly cares and attachments, and his body merged with the universe. When friends came, His Holiness heard the horns of their cars, but He had already transcended the world, residing in quietude and non-action. H.H. Dorje Chang Buddha III kept no notion of the date, and His Holiness’s mind did not abide in anything whatsoever. The people of the world were ignorantly attached to the changing seasons and came in their cars and horses to inform H.H. Dorje Chang Buddha III that summer had long passed and the winter was about to end. The ancient Buddha acknowledged this and smiled.

In recent years, there are works of H.H. Dorje Chang Buddha III that have been written in the cursive mode of calligraphy, showing a flowing and unobstructed style, and expressing even more than before the charm of this writing technique. For example, the work Fei Cui Jade expresses the spirit of an immortal or Buddha, thoroughly transcending the three worlds of reincarnation, standing proudly above the five elements of the universe. It is truly calligraphy beyond the category of calligraphy, expressing a feeling that incorporates the whole universe.

Fei Cui Jade: Created with an unfettered hand and unattached mind, it has the appearance of a celestial writing accomplished with a childlike mind and steady strokes of the brush.


His Holiness’s calligraphy of the Chinese characters lang ga luo bu (Treasure of Heaven) excels the writing of calligraphers throughout history. It transcends all traces of worldliness. It expresses deep strength, like that which can break jade. The style of another calligraphic work called wu wo nai da cheng (No-Self Is Great Accomplishment), conveys the firmness and simplicity of steel and the vigor of a sharp knife. However, these same characters also contain delicate beauty. That calligraphic style truly surpasses styles of the past and present.

Lang ga luo bu (Treasure of Heaven)


Another calligraphic style of H.H. Dorje Chang Buddha III is revealed in the writing of the Chinese characters xiao bu dian (Tiny). Such calligraphy shows the childlike innocence of a very old man, and its arrangement expresses the utmost ease and lack of rigid constraints. It is high-class calligraphy that does not even seem to be calligraphy. It is so elegant and refined that it completely transcends the mundane.

Tiny (Xiao bu dian)


Beholding the character sheng (holy) written by His Holiness, one can see that it simultaneously embodies both the softness of ribbons and the inner-firmness of steel. Its inner beauty flows to the surface. Another example is the character fo, which means Buddha. The writing of that character demonstrates that His Holiness has truly attained the summit of calligraphic skills that the ancients extolled in the old saying, “the old pine branch cannot be weighed down by heavy snow; the might of a brush will lift a thousand-pound bronze cauldron.”

The Chinese character “sheng,” which means “holy.”
The Chinese character “fo,” which means “Buddha.”


In fact, the calligraphy of H.H. Dorje Chang Buddha III has a deep foundation and an internal richness. It embodies the manifold sensations that one could possibly experience in one lifetime. The essence of all things in the universe converges at the tip of His Holiness’s brush. With such a transcendent state of realization, the myriad things of the universe are in the palm of this Buddha. The calligraphy of H.H. Dorje Chang Buddha III is like a treasury. It can be vigorous, smooth, or naturally beautiful. His Holiness incorporates the best techniques of all of the schools of calligraphy. No words can really describe this!
His Holiness’s calligraphic skills have reached the highest degree of proficiency and naturalness that only a Buddha could reach!

The Way to the True Source of Calligraphy and Painting
No-Self Is Great Accomplishment
Hua Zang Si (Inscription of a Buddhist temple in San Francisco)

Chinese ancient poem Han Shan Si Temple in rapid cursive style by H.H. Dorje Chang Buddha III

You can discover a wealth of calligraphy artworks at The International Art Museum of America, situated in downtown San Francisco.

H.H. Dorje Chang Buddha III Calligraphy Artworks

Link:https://peacelilysite.com/2023/06/16/chinese-calligraphy-intangible-cultural-heritage-of-humanity/

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Nun’s body intact four years after death in A Missouri monastery

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This May, Gower, a small rural town in Missouri, has unexpectedly gained recognition as a pilgrimage destination following an extraordinary occurrence related to the exhumation of a nun’s body. Sister Wilhelmina Lancaster, the founder of the Benedictine Sisters of Mary, Queen of the Apostles, was buried at the age of 95 in May 2019. Remarkably, when her body was exhumed four years later, it displayed no visible signs of decomposition, leading to a surge of visitors to the town, approximately 40 miles north of Kansas City.

The preservation of Sister Wilhelmina Lancaster’s body has captivated the attention of hundreds of people, who have deemed it a “miracle in Missouri.” Despite expectations that only bones would remain due to her burial in a simple, unembalmed wooden coffin, the exhumation revealed her fully intact body, along with her religious habit impeccably preserved. Initially, the discovery was intended to remain private, but the news spread rapidly after a private email was mistakenly shared with the public.

While as a Buddhist disciple, I find this occurrence surprising, it is not unprecedented in Chinese Buddhist history. Throughout the annals of Chinese Buddhism, there have been quite a few revered masters and patriarchs who have left behind fully intact relics of their bodies after passing away. Notably, Nanhua Temple in Shaoguan, Guangdong Province, houses three such relics: Master Huineng, the Sixth Patriarch of Zen; Master Hanshang; and Master Dantian. These examples from Buddhist history further highlight the profound reverence and awe associated with the preservation of such relics.

Master Huineng the Sixth Patriarch of Chan Buddhism

Huineng, widely recognized as the Sixth Patriarch or Sixth Ancestor of Chan (Zen) Buddhism, holds a significant place in the early history of Chinese Chan Buddhism. He is both a semi-legendary and a central figure in the development of this tradition. Huineng is renowned as the author of the influential Sixth Platform Sutra and is revered as the sixth patriarch of Chan Buddhism.

To this day, Huineng’s physical body remains preserved in the Nanhua Monastery in Shaoguan, Guangdong Province. Clad in a yellow robe and a red shawl, his corpse serves as a revered symbol within the monastery where he once taught. According to the Biography of the Great Master of Caoxi (Caoxi Dashi Zhuan, circa 781), Huineng’s body was removed from an urn on September 8, 714. After being desiccated for over a year, it was carefully covered with glue and lacquer before being enshrined in a stupa, where it has remained since.

This preservation of Huineng’s body and its continued veneration serve as a testament to his profound impact on the development of Zen Buddhism and his lasting influence on generations of practitioners. The presence of his preserved corpse stands as a tangible reminder of his teachings and spiritual legacy within the Nanhua Monastery.

Master HanShan (1546-1623)
Master Dantian (1535 – 1614)

Mount Jiuhua, located in China, has a significant historical and religious importance as a Buddhist Holy Land, boasting a rich heritage that spans over 1600 years. Its origins can be traced back to the year 401 AD during the Eastern Jin Dynasty, when the esteemed monk known as “Beidu” journeyed from ancient India to Mount Jiuhua with the intention of constructing temples and spreading the teachings of Buddhism.

In 719 AD, when Kim Qiaoque, a prince hailing from Silla (present-day South Korea), arrived at Jiuhua Mountain. Kim Qiaoque dedicated himself to self-cultivation in this sacred place for an impressive span of 75 years. His life came to an end at the remarkable age of 99, and astonishingly, his physical body remained intact even after death. Due to the striking resemblance between Kim Qiaoque and Ksitigarbha Bodhisattva, the revered monks residing in Mount Jiuhua firmly believed that the spirit of Ksitigarbha Bodhisattva had reincarnated within him. Consequently, Mount Jiuhua evolved into a significant site for conducting rites and rituals dedicated to Ksitigarbha Bodhisattva.

Throughout history, Mount Jiuhua has served as a dwelling place for countless enlightened masters. Historical records reveal an astounding tally of sixteen masters who achieved the extraordinary feat of leaving behind relics of their physical bodies, fully intact. To safeguard these precious remains, most of the relics were delicately adorned with a layer of gold, serving as a symbol of veneration from the people. These sacred relics not only stand as a testament to the spiritual accomplishments of these masters but also continue to evoke deep reverence and inspiration among devotees to this very day.

Mount Jiuhua Incarnation Grand Hall Enshrines Flesh Body of Ksitigarbha covered by a layer of gold

Master Mingjing (1928 – 1992)

Renyi Nun 仁义师太（1911—1995）enshrined at Mount Jiuhua Tonghui Zen temple
慈航法师 Master CiHang （1893—1954）Now enshrined in Taiwan Metriya Temple

Just a few years ago, the esteemed holy monk Yinhai, a devoted disciple of H.H. Dorje Chang Buddha III, departed this earthly realm, leaving behind a profound and awe-inspiring spiritual legacy. On January 15, 2017, Elder Monk Yinhai completed his earthly journey through impeccable spiritual practices. What followed after his passing was an extraordinary phenomenon that surpassed anything witnessed in Buddhist history.

Even after his physical demise, the holy monk’s body underwent a truly extraordinary and divine metamorphosis. In a stunning departure from the natural order of things, his fingers and nails continued to grow, presenting an unprecedented occurrence in the annals of Buddhist history. This majestic and wondrous manifestation set a remarkable new record that reverberated throughout the Buddhist community. Commencing on the tenth day following his passing, an awe-inspiring process of complete transformation unfolded within his flesh and bones. In a mere twenty days, his body underwent a magnificent metamorphosis, assuming a form that transcended all comparisons, resembling a sacred dharma image.

The astounding and sacred phenomenon demonstrated by the revered monk Yinhai stands as a powerful testament to the profound Buddha Dharma transmitted by H.H. Dorje Chang Buddha III in the annals of Buddhist history.

Photo on the left was taken 11 hours after the Holy Monk entered nirvana, on the right was taken after 24 days

Across various religions, there have been instances of inexplicable miracles that defy the understanding and explanations provided by current scientific knowledge. These miracles, although beyond the grasp of science, undeniably exist. It is my sincere hope that individuals refrain from hastily dismissing them as mere superstition and avoid judging them solely based on their personal knowledge and beliefs.

The realm of spirituality and faith often transcends the limitations of scientific understanding. It encompasses dimensions and experiences that extend beyond empirical observations and logical reasoning. Just because something cannot be readily explained by scientific means does not diminish its significance or validity. Rather, it calls for a humble recognition of the vast mysteries that exist beyond the boundaries of human comprehension.

By approaching these miracles with an open mind and a willingness to explore the depths of the unknown, we can cultivate a greater appreciation for the diverse expressions of spirituality across different belief systems. It is through this mindset that we can foster respect and understanding, recognizing that our individual perspectives may not encompass the entirety of the world’s wonders.

Nun’s body intact four years after death in A Missouri monastery

Link:https://peacelilysite.com/2023/06/16/nuns-body-intact-four-years-after-death-in-a-missouri-monastery/

Source: https://nypost.com/2023/05/25/nuns-body-exhumed-years-after-death-shows-no-signs-of-decay/

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The Best Buddhist Dharma to Rebirth at Paradise of Ultimate Bliss

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Buddhist Devotee Hou Yushan Passed Away, Leaving a Legacy of Spiritual Journey

On June 1st, 2002 Buddhist disciple Hou Yushan peacefully passed away at his home in Los Angeles. Witnessed by his wife, Hou Li Qingqiu, the celestial realm appeared before him as Shakyamuni, Amitabha Buddha, and Avalokiteshvara, guiding him towards the ultimate state of bliss. Prior to his passing, Hou Yushan expressed his unwavering determination to learn Buddhism in this lifetime under the guidance of his master.

Hou Liqingqiu, a devoted practitioner of Chinese medicine in California, addressed over 20 monks who gathered in their home for a Buddhist practice session in honor of Hou Yushan. She shared the remarkable journey of her husband, stating that he had dedicated many years to the study of Buddhism. Diagnosed with lung cancer four years ago, Hou Yushan had endured arduous and prolonged treatments. However, his life took a transformative turn a year and a half ago when he and his wife attended the Yiyungao International Cultural Foundation, where they listened to the enlightening teachings of Master Yiyungao (H.H. Dorje Chang Buddha III).

Deeply inspired by the teachings on the pre-recorded dharma discourse, Hou Yushan developed profound admiration and sincerity towards Great Master Yi. He actively participated in the group cultivation programs of the foundation, he never missed an opportunity to listen to the pre-recorded dharma discourse. Despite the advice of others to focus on rest and recovery, Hou Yushan insisted on continuing his full-time volunteer work at the foundation, driven by his desire to meet Master Yun Gao Yi as soon as possible.

In February of year 2002, Hou Yushan and his wife sought refuge under the guidance of Great Master Yi Yungao (H.H. Dorje Chang Buddha III) through the American Master Yiyungao International Cultural Foundation, led by Lobsang Gyatso Rinpoche. Upon meeting the revered master, they were pleasantly surprised to find that their preconceived notions were far from reality. Master Yi was not the distant figure they had imagined, instead, he displayed approachability and warmth. With utmost sincerity, they sought empowerment to learn the Dharma, presenting their offerings. However, Master Yi, without even glancing at them, humbly declined their offerings, explaining that he could not set such a precedent. Nonetheless, Great Master Yi graciously provided them with the empowerment and transmission of the Dharma. Hou Yushan diligently practiced the teachings and swiftly progressed, experiencing a sudden disappearance of his cancer pains.

Hou Yushan’s wife Hou Liqingqiu shared the incredible experience with the monastery

On the auspicious occasion of Buddha Bathing Day in May 2002, Hou Yushan and Hou Liqingqiu had the opportunity to reunite with Master Yi Yungao (H.H. Dorje Chang Buddha III). When asked about his wishes, despite his terminal illness, Hou Yushan expressed his sole desire to learn how to attain a stable rebirth in the Land of Ultimate Bliss. In response, Master Yi advised him to adopt a different practice method, specifically the Pure Land School’s method of reciting Buddha, with a particular emphasis on Amitabha. Additionally, Master Yi imparted a secret handprint of rebirth, promising that through this method, Hou Yushan would soon witness the state of Amitabha and be guided by Buddhas and Bodhisattvas to the Paradise of Ultimate Bliss. The compassion demonstrated by the master was profound, as he called Hou Yushan to his side and secretly shared the sacred handprint with him. Hou Yushan experienced indescribable excitement and joy upon receiving this precious gift—the profound Great Dharma of the Supreme PureLand Buddha Dharma.

Ever since Hou Yushan received the transmission of Amitabha Dharma on the Buddha Bathing Festival, his wife has witnessed a remarkable transformation in his condition. Hou Liqingqiu, the wife saw golden rays of yellow and red light radiating from his head and back at any given time. As a result, all the cancer-related pains in his body have vanished, along with the swelling. He no longer required the morphine painkillers prescribed by the hospital.

One day, Hou Yushan asked his daughter Lily, who worked as an anesthetist in the hospital, about his complexion. Lily responded, saying, “Dad, your complexion is genuinely vibrant, and your spirits are high. One would never guess that you are a patient.” On the morning of May 25, Hou Yushan shared with his wife that during his Dharma practice the previous night, he entered a state of samaya and visited the Land of Ultimate Bliss. He described the indescribable beauty of the paradise, filled with captivating shades of red, green, and purple.

Hou Liqingqiu eagerly inquired, “Can you provide me with an analogy to illustrate its beauty?” After a moment of contemplation, Hou Yushan responded, “The Paradise of Ultimate Bliss surpasses any scenery in this world. Do you recall our visit to West Lake when we were young? In the early morning, the misty air and the colorful reflections on the lake created a breathtaking view. However, the beauty of the Paradise surpasses even that. Furthermore, the Buddha informed me that he would come to fetch me in seven days, urging me to proclaim to the world that the greatest Dharma in existence is with our master.”

On May 31, Hou Yushan carefully settled all family matters and left final words for his daughter. He advised her, “Do not hold your mother responsible for everything in her life. However, there is one thing you can admonish her for: if your mother ever strays from Buddhism and deviates from following Vajra Master (Master Yi Yungao – H.H. Dorje Chang Buddha III), remind her to earnestly practice under our Master Yungao’s guidance without hesitation.” Then, he turned to his wife, Hou Li Qingqiu, and earnestly said, “In your life, it doesn’t matter if you make other mistakes, but there is one thing you must not falter in: wholeheartedly follow the Vajra Master in dedicated practice. Your success lies solely in following his guidance, as his Dharma is the true path.”

Hou Yushan informed his wife that he would pass away that night and advised her, “Pay close attention tonight. At the moment of my passing, I fear I may fall into drowsiness and enter a demonic realm. Do not sleep, but remind me to visualize the Vajra Master above my head and Amitabha Buddha atop my head, while reciting the mantra wholeheartedly.” That night, in their seaside home, Hou Li Qingqiu had already foreseen that her husband, Hou Yushan, would depart to the Buddhist realm. Therefore, she set four alarms to ring at different times, once every hour. True to her premonition, at 6:15 a.m. on June 1st, Hou Yushan’s pulse and breathing slowed down. Hou Li Qingqiu shook his bed, and together they chanted, “Namo Vajra Guru! Namo Amitabha!” Hou Yushan held the secret handprint taught by Master Yi Yungao.

At that moment, Hou Li Qingqiu heard heavenly music, and Hou Yushan’s body emitted increasingly powerful golden light. She witnessed the appearance of Shakyamuni Buddha, Amitabha Buddha, Guanyin Bodhisattva, and other Buddhas and Bodhisattvas in the sky by the seaside. The merging rays of light grew more potent. After about five minutes, the Buddhas and Bodhisattvas, along with the celestial splendor, disappeared. It was then that she remembered to check Hou Yushan’s pulse, which had ceased along with his heartbeat.

Zhang Tianyou, the president of the American Master Yi Yungao International Cultural Foundation, was the first to arrive at Hou Yushan’s residence after his passing. He observed Hou Yushan, who appeared peacefully asleep, with no signs of pain on his face. Hou Yushan’s hands held the secret handprint from his previous life.

The incident deeply moved Long Hui, the chairman of the International Federation of Buddhist Monks and Nuns and the abbot of Huazang Temple. She continuously praised the greatness of Master Yi, stating that she often witnessed the suffering experienced by lung cancer patients at the end of their lives. However, the Pure Land method of reciting Buddha taught by Master Yi could transform a lung cancer patient’s condition within a month, filling their surroundings with auspicious golden light and relieving their pain. This would ultimately lead them to be reborn in the Land of Ultimate Bliss under the guidance of Buddhas and Bodhisattvas. Long Hui marveled at the tremendous power of Tathagata-rectification, beyond the capacity of words to express.

On the night before his passing, Hou Yushan personally prepared gifts and $5,000, and said to his wife, “The master never accepts offerings. He did not accept my offerings. Tonight, as I pass away, tomorrow you shall make the offerings and send them to the master. Please ensure he accepts them.” On June 1st, Hou Li Qingqiu faithfully followed her husband’s final instructions and sent the offering package to Yi Yungao, kneeling on the ground with tears in her eyes. She implored Master Yi to accept the offering, shouting loudly, “My supreme Buddha Vajra Master!” The master replied, “Do not address me as such, for I am not a Buddha. I am merely an ordinary practitioner, just like everyone else.” Hou Li Qingqiu explained that it was Hou Yushan’s testamentary offering, to which the master responded, “It seems there is no other way. These relics of Layman Hou shall be displayed in the temple and not for individual use.” The master immediately transferred $6,000 from his personal funds for Layman Hou’s burial expenses and informed the masters of two prominent temples to offer their support in accumulating merit for the deceased.

Photo from weixin.com

Buddhist Devotee Hou Yushan Passed Away, Leaving a Legacy of Spiritual Journey

Link: https://peacelilysite.com/2023/06/09/the-best-buddhist-dharma-to-rebirth-at-paradise-of-ultimate-bliss/

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The Three Perfections: Image, Poem, and Calligraphy in Chinese Painting

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In traditional China, painting was revered as “silent poetry,” while poetry was seen as “painting with sound.” Both art forms found expression through the medium of calligraphy, which was considered the “art of handwriting.” Scholars and artist-scholars incorporated calligraphic brushstrokes into their paintings, viewing their artworks as vehicles for self-expression. Consequently, painting was not only regarded as an art form of equal purity and lyricism to poetry and contemplative thought but also as a means to evoke sensory experiences, emotions, and a holistic engagement with the world.

For Western observers, it may be intriguing why Chinese artists incorporate writing in their paintings and what significance the characters hold. By examining some of H.H. Dorje Chang Buddha III’s paintings, we can gain insight into these questions and witness the embodiment of the concept known as the “Three Perfections.” This concept represents the harmonious fusion of fine painting, poetry, and calligraphy within a single artwork.

Song of the Waves in the Three Gorges by H.H. Dorje Chang Buddha III

This painting, titled “Song of the Waves in the Three Gorges,” beautifully captures the grandeur of splash-ink technique alongside the charm of water and ink colors. Its overall tone carries a weighty presence. The brushwork employed in this artwork evokes a powerful sense of momentum, lively charm, and a vividness akin to the scene of a long, flowing river just passing by. The inclusion of a few small sailboats adds elegance to the water scene as they gracefully navigate through it. The combination of the mighty river and awe-inspiring mountains, enveloped in mist and holding sacred spaces, has a purifying effect on one’s emotions. This painting possesses a quality that is reminiscent of both poetry and calligraphy.

Notably, H.H. Dorje Chang Buddha III has inscribed an elegant Chinese poem onto this painting, which can be translated as follows: “The song of waves echoes in the gorge. Hanging colors of rocky cliffs burst with charm. A few cloudy, misty mountains reveal shades of blue. The vast water’s melody sets the sails in motion.” This poem aptly captures the beautiful and misty landscape of the Three Gorges, where the water and sky harmoniously blend, and human emotions become intertwined with the scenery. This painting serves as an artistic paragon, showcasing the mastery of poetic, calligraphic, and painting skills.

Yi Shan Shui Yun Liang Qing Nong ( One Landscape Charm Presents Two Strong Emotions) By H.H. Dorje Chang Buddha III

This remarkable painting showcases a rare combination of splash-ink and splash-color techniques, displaying the artist’s bold and skillful brushwork. The resulting natural effect achieved through these techniques is truly indescribable. Within the bold and dynamic brushstrokes, one can discern countless intricate details and traces of charm emerging from the flowing watery ink.

The painting depicts a scene of mountains and water during the approaching dusk, conveying a profound message. The poem imparts the wisdom that we should strive to engage in virtuous deeds rather than harmful actions, treating all living beings with kindness and respect. By embodying such a way of life, one can transcend to another realm and grasp the truth of existence beyond the concepts of birth and death. This painting offers a profound contemplation on the purpose and significance of human existence.

The calligraphy in the two art works are executed in a cursive style, known for its swift and dynamic strokes. Cursive writing is often characterized by its rapidity and vitality, effectively conveying the artist’s profound emotions.

These paintings are in the permanent exhibition at The International Art Museum of America  in downtown San Francisco. Admission of the museum is free.

The Three Perfections: Image, Poem, and Calligraphy in Chinese Painting

Link:https://peacelilysite.com/2023/06/02/the-three-perfections-image-poem-and-calligraphy-in-chinese-painting/

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A Chinese Painting Conveys Profound and Enchanting Meaning

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A Lotus Pond Has Carp by H.H. Dorje Chang Buddha III

The Title “A Lotus Pond Has Carp” suggests profound Philosophical implications that transcend everyday life. In addition to its masterful artistry, the painting contains subtle messages of the Dao and its fruits. The lyrics on the left and right sides of this work correspond perfectly with the image of the fish, forming a whole that awakens and enlightens, richly rewarding its viewers.

Why is this painting so artistically enchanting that it stirs the hearts of those who see it? One reason is that the fish are depicted with uncanny realism. The swimming carp are infused with vitality. The painting’s details clearly reveal the damage done to the carp’s skin, accumulated over a lifetime in the water, through lines that fade in and out. Appearing as delicate as a fine gauze, the translucent fins, for example, possess a natural realism. Texture and spirit are captured with utter precision, providing the viewer with stirring aesthetic pleasure. The surface and bottom of the pond are depicted with a wonderfully hazy charm, while the lotus flowers, leaves, and pods are portrayed in bold freehand brushwork with distinct and unusual brushstrokes rapidly applied.

The painting is mainly composed of back ink and rich colors. Only a few brushstrokes were used to create each vibrantly red flower, which seem to emit a pure fragrance. The hanging lotus pods embellish the painting, conveying an elegant contrast of hues and instilling a sense of vitality. As the fish swim about, free of any inhibition, the sunlight faintly reflecting off the water ripples provides the illusion of movement that occurs in the natural world.

When examined more closely, the painting has an intricate style to ascertain, for it seems to transcend realistic fine brushwork and convey the feeling of freehand brushwork. It is not in the style of conventional paintings. Instead, freehand brushwork was applied to produce the effect of fine brushwork with close attention to detail.

Fine brushwork was applied that transcends realism. The real and the surreal blend, resulting in a work that excels the beauty of a natural lotus pond. It represents a combination of techniques from the “Menglong” style of painting and bold, large-scale freehand brushwork.

For the painting, H.H. Dorje Chang Buddha III composed these lyrics of a Dao song: “No Dao exists on the high mountain, yet hearts yearn to go there. A lotus pond has carp; men have inquired about them. Which path leads to the truth is worth pondering. It would be better to look tranquil to our original nature, like a lotus flower sitting over its leaves in tranquility.” These lyrics speak of mysteries unknown to the ordinary person – seeing fish, not as fish; seeing water, not as water; no Dao exists on the high mountain, so no value exists in searching for it; and the fish have neither life nor death.

To understand the origin of the painting, we must ask: where did the fish come from? What state of realization was relied upon and gave birth to this exquisite painting? What form of realization manifested this mysterious, hazy, and illusory painting? The magical illusion of the fish and water is nothing more than a superficial image. Spirit is within; A life force underlies spirit. Spirit is empty or nothingness. The original essence of all things is neither empty nor substantive. Everything illusory and impermanent quickly changes in time and space, but their original nature remains constant. Thus, the lyrics of the Dao song continue: “To find our original nature, do not seek the source, as the source is our original nature, tranquil and unmoving, like a lotus flower sitting over its leaves in tranquility. There is no such thing as arising, passing away, and change. From this surpassing wisdom, usages that arise from Buddha-nature will naturally manifest. These usages include calligraphy and painting. Only in such a way is a consummate work created.” Thus, one should understand the tremendous meaning of this song of Dao written in this painting. Profound mysteries are deeply hidden within it.

In case the viewer remains oblivious to right stanza, on the left side of the painting, the second stanza of the song continues with: “The carp rely on the Dao, and the Dao awakens the fish.” The Dao refers to the state of holy ones, a realm that transcends the realm of ordinary people. It does not refer to regular abilities. The artist created this carp painting based on such a holy state. “The Dao awakens the fish” means that this painting of carp in a lotus pond was accomplished based on the wisdom of the transcendent Dao. Only with such wisdom could this lifelike, graceful scene of carp swimming in water be painted, a setting that combines the real and the surreal, emptiness and substance in such a wondrously appealing way. This scene of carp complimented by the boldly and powerfully depicted lotus leaves results from the artist’s awakening to the holy Dao.

This painting of carp, then, is merely an expression of one who has attained the Dao and reached enlightenment. Thus, this work is not just an ordinary combination of brush strokes, color, ink, and water. Instead, it results from techniques derived from the beautiful application of holy wisdom. The profound mysteries contained in “A Lotus Pond Has Carp” cannot possibly be conveyed by the superficial meaning of the words in its title! Actually, this explanation is entirely unnecessary. All those with discerning eyes will understand once they see the lyrics of the Dao song and the calligraphic skills with which they were written on the painting.

A Chinese Painting Conveys Profound and Enchanting Meaning

Link:https://peacelilysite.com/2023/05/25/a-chinese-painting-conveys-profound-and-enchanting-meaning/

#DorjeChangBuddhaIII #HHDorjeChangBuddhaIII#DorjeChangBuddha#IAMA#InternationalArtMuseumofAmerica#ChinesePaintings#Carp #LotusPond #Painting #Lotus

Source: https://new.artsmia.org/exhibition/the-three-perfections-image-poem-and-calligraphy-in-chinese-painting, iamasf.org

Why Kumarajiva Swallowed Needles

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Great Master Kumarajiva

Once, I had the privilege of listening to a pre-recorded dharma discourse by the esteemed H.H.  Dorje Chang Buddha III. During this enlightening session, His Holiness shared a captivating story that left a profound impact on my mind. It was the tale of Kumarajiva, a legendary figure who demonstrated his profound inner realization by consuming needles. Intrigued by this extraordinary account, I felt compelled to delve further into the remarkable life of Kumarajiva.

Kumārajīva was a Buddhist monk, scholar, missionary and translator from the Kingdom of Kucha (present-day Aksu Prefecture, Xinjiang, China). Kumārajīva is seen as one of the greatest translators of Chinese Buddhism. According to Lu Cheng, Kumarajiva’s translations are “unparalleled either in terms of translation technique or degree of fidelity”.

Kumārajīva settled in Chang’an during the Sixteen Kingdoms era. He is mostly remembered for the prolific translation of Buddhist texts written in Sanskrit to Chinese he carried out during his later life.

At Chang’an, Kumārajīva was immediately introduced to the emperor Yao Xing, the court, and the Buddhist leaders. He was hailed as a great master from the Western regions, and immediately took up a very high position in Chinese Buddhist circles of the time, being given the title of National Teacher. Yao Xing looked upon him as his own teacher, and many young and old Chinese Buddhists flocked to him, learning both from his direct teachings and through his translation bureau activities.

Kumārajīva appeared to have a major influence on Emperor Yao Xing’s actions later on, as he avoided actions that may lead to many deaths, while trying to act gently toward his enemies. At his request, Kumārajīva translated many sutras into Chinese. Yao Xing also built many towers and temples. 

Yao Hsing was so impressed with Kumarajiva’s political acumen, intellectual talent and spiritual depth that he was impelled to try a eugenic experiment. He insisted that Kumarajiva move out of the monastic community into a private house staffed by female attendants. Yao Hsing believed that the offspring of Kumarajiva and carefully selected maidens would be as brilliant and talented as their father. Although Kumarajiva was repelled by the experiment, he refused to jeopardize the welfare of the translation centre by refusing to obey his emperor. He complied with Yao Hsing’s orders but was concerned about the effect his actions might have on the monastic community. He likened himself to a lotus growing out of the mud and enjoined the monks to attend to the lotus and ignore the mud.

However, it is widely understood that monks are expected to adhere strictly to the rules and precepts, diligently purifying their bodies and minds while maintaining purity in their six senses. Deviating from these principles, particularly by engaging closely with women and disregarding the precepts, can hinder the attainment of positive outcomes. Consequently, doubts began to arise among the Sangha regarding Kumarajiva’s integrity, leading to a decline in the commitment of some disciples to uphold the essential Buddhist rules.

When Kumarajiva became aware of the troubling trend spreading among the monks, he could not afford to be complacent. In response, he summoned all his disciples to gather before him, determined to address the issue head-on.

Before the perplexed audience, Kumarajiva unveiled a bowl filled with silver needles, their sharpness and gleaming appearance catching everyone’s attention. The monks were left wondering about the purpose behind Kumarajiva’s display.

In a solemn tone, Kumarajiva addressed his disciples, saying, “Not every monk is qualified to enter into worldly attachments and establish households. If you can swallow these silver needles as I do, then I will consider granting you permission to marry and have children. However, if you are unable to do so, you must never attempt to follow in my footsteps.”

Having spoken these words, Kumarajiva proceeded to place each silver needle into his mouth, consuming the entire bowl with a composed ease. The supernatural power exhibited by Kumarajiva left the assembled monks awe-struck, their eyes widened in astonishment. In the end, they were all convinced by Kumarajiva’s demonstration, believing him to be the true successor endorsed by the Buddha.

With this act, Kumarajiva showcased the potency of the correct Buddha Dharma. Consequently, no one dared to criticize him from that point forward. Instead, they committed themselves to diligent practice, upholding the precepts, engaging in self-cultivation, and abandoning any fantasies of pursuing worldly desires.

The community perceived Kumarajiva’s actions as an exemplification of self-sacrifice in the pursuit of the Bodhisattva Ideal, despite the disappointment he experienced due to the children of Yao Hsing’s experiment falling short of his grand expectations.

Why Kumarajiva Swallowed Needles

Link: https://peacelilysite.com/2023/05/11/why-kumarajiva-swallowed-needles/

#DorjeChangBuddhaIII#HHDorjeChangBuddhaIII #Kumarajiva #Buddhist #BuddhaDharma #SwallowNeedles #ChangAnChina #YaoxingEmperor #KuchaKingdom #InnerRealization #BuddhistPower #Monk

Source: https://en.wikipedia.org/wiki/Kum%C4%81raj%C4%ABva, https://www.tsemrinpoche.com/tsem-tulku-rinpoche/great-lamas-masters/kumarajiva-the-great-translator-from-kucha.html, https://khyentsefoundation.org/the-life-and-legacy-of-kumarajiva/, https://japanesemythology.wordpress.com/study-notes-the-influence-of-kumaraju-kumarajiva-upon-japan/

Gao Zu Bao MaXi (High-Leg Treasure Horses)

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Gao Zu Bao MaXi (High-Leg Treasure Horses)
Artist: H.H. Dorje Chang Buddha III 

The High-Leg Treasure Horse is a thoroughbred horse with great stamina. When this treasure horse perspires, it appears to be bleeding due to the color of its perspiration. According to ancient legend, it is the most precious among all species of horses. It has the reputation of being able to travel over three hundred miles a day. Long mane hairs and a mighty, strong-willed, handsome appearance are its prominent characteristics.
The High-Leg Treasure Horses in this painting have longer legs than horses commonly seen in paintings. The hairs of their manes are also long and strong. An extremely rare brushwork technique that combines haziness with clarity was applied to paint the hairs of the horses. The gossamer-thin hairs are strong but pliable. One can clearly see the natural effect of sunlight on the horses’ manes. Moreover, contrasting variations of dark and light are seen in every hair. The hairs of the horses are depicted with a realistic effect that nonetheless transcend their natural look.


An artistic technique was used to thoroughly capture on paper the charm and atmosphere of the grassland, lake, sky, and land. The “haziness technique” was applied to express a state of realization in which there is no distinction between emptiness and form.
The ancient cypress tree was drawn in one shade of green without the need to add decorative touches in several different shades of green. Both the spirit and form of the tree were captured through the artist’s brush. In addition, elegant charm is revealed by a small number dots of red leaves in the background that compliment the scene. The most difficult part of this work of art was painting the roots, trunk, and leaves in a spontaneous, casual manner using the center brush-up technique yet maintaining a scholarly tone. Such mastery of painting cannot be easily attained and requires solid skills in calligraphy, literature, and painting as well as a noble moral character.
From the brushwork style and details of this painting, we can sense the profound inner-cultivation of a renowned scholar. The abilities of a literary giant with abundant talent are visible everywhere. The scholarly tone and brushwork style are skinful and vigorous, totally free of any trace of the mundane, and reflect the highest level of painting and calligraphy.
Anyone who lifts a brush in an attempt to paint such painting will appreciate the fact that this scholarly style cannot be accomplished by anyone other than a literary giant who is a great master of art.
This painting coherently unites realism and small-scale freehand brushwork as well as the use of haze and clarity.

This painting is in the permanent exhibition of The International Art Museum of America. H.H. Dore Chang Buddha III, an artist of great talent, has created sixteen distinctive painting styles. The composition we are discussing here belongs to the “Menglong” style. This style combines realism and non-realism to capture the essence of the portrayed subject, resulting in a seemingly realistic but actually non-representational depiction. The brush strokes and color application in these paintings create a whimsical and dreamlike appearance, where the real and surreal merge into a lovely and hazy composition.

Gao Zu Bao MaXi (High-Leg Treasure Horses)

Link:https://peacelilysite.com/2023/04/25/gao-zu-bao-maxi-high-leg-treasure-horses/

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