Mount Jizu

Photo From https://www.visityunnanchina.com/attractions/natural-attractions/mount-jizu

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

Source: https://www.visityunnanchina.com/attractions/natural-attractions/mount-jizu, http://zgt.china.com.cn/v2/content/2022-06/17/content_11117.html, https://www.buli.page/en/article/wechat/0967339c-67be-4d26-bada-c2d7a5bc1709/

Yanmenguan – A Famous Pass of Great Wall

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.



wang-zhaojun
(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.

Yanmenguan – A Famous Pass of Great Wall

Link: https://peacelilysite.com/2023/10/05/yanmenguan-a-famous-pass-of-great-wall/

Source: https://www.travelchinaguide.com/china_great_wall/scene/shanxi/yanmenguan.htm, https://artsandculture.google.com/story/yanmenguan-simatai-great-wall-tourist-area/SgUBezUMaQVMQQ?hl=en

The Story of the Nine-Colored Deer

The Most Perfect Continuous Mural in the Dunhuang Mogao Caves

“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.

The Story of the Nine-Colored Deer King

Link:https://peacelilysite.com/2023/10/02/the-story-of-the-nine-colored-deer/

#SiddharthaGautama #SakymuniBuddha #JatakaStories #BuddhistStories #MoralStory #Mural #Dunhuang #MogaoCaves #Grottoes #Buddhism #ChineseCulture #Art #karmicRetribution #Paintings

Source: https://www.toutiao.com/article/7025418785972847140/?ug_source=seo_juhe, https://zhuanlan.zhihu.com/p/346828893

Guangsheng Temple with Ancient Chinese Buddhist Buildings,Murals & Statues

As a cradle of Chinese culture, Shanxi is renowned for its abundance of cultural and historical treasures. While some iconic historical relics and monuments like the Great Wall, which stretches across the province, the Yungang Grottoes in Datong, and the Sakyamuni Pagoda in Yingxian, are at the top of tourists’ itineraries, there are also lesser-known “hidden gems” in terms of historical significance that are well worth exploring.

One such hidden gem is the Guangsheng Buddhist Temple, located in the Zhaocheng township of Hongtong county. The Guangsheng Temple is actually a complex that encompasses the upper monastery, the lower monastery, and the Water God Temple, situated on the slopes and foothills of Huoshan Mountain in Zhaocheng.

Founded in the first year (147) of the Jianhe reign of the Eastern Han Dynasty (25-220), the temple originally bore the name Julushe Temple. It later acquired its present name during the Tang Dynasty (618-907). While it suffered damage during an earthquake in the 7th year (1303) of the Dade reign of the Yuan Dynasty (1271-1368), subsequent restoration efforts took place over the years, preserving much of the architectural style from the Yuan Dynasty. Nestled against the mountains and overlooking a river, the temple is surrounded by ancient trees and boasts the Huoquan Spring gushing beneath the rocks at the foot of Huoshan Mountain, creating a serene and picturesque environment. The temple can be divided into three main sections: the upper temple, the lower temple, and the Water God Temple.

The upper temple, perched atop Huoshan Mountain amidst lush pine trees, is graced with ancient towers and adorned with colored glaze components, radiating magnificence and splendor. The lower temple, situated at the base of Huoshan Mountain, harmoniously blends with the mountain’s natural contours, creating an intriguing landscape with varying elevations. Adjacent to the lower temple is the Water God Temple, with connected walls. Here, one can find the Statue of Ying, an emperor of the Ming Dynasty, and renowned frescoes depicting Yuan Dramas, both of which are celebrated locally and internationally.

The upper temple complex comprises the temple gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Temple Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.

Behind the tower lies the Amitabha Hall, a 5-bay wide, 4-bay long structure with a single-eaved gable and hip roof. Inside, the hall features three exquisite statues: Amitabha Buddha, Manjusri Bodhisattva, and Vajrapani Bodhisattva. These statues, masterpieces of the Ming Dynasty, are accompanied by frescoes adorning the eastern wall and screen wall. Additionally, the temple once housed 4,000 volumes of the Pingshui version of the Tripitaka during the Huangtong reign of the Jin Dynasty (1115-1234). These valuable volumes are now preserved in the Beijing Library and serve as a rare source for studying the history of Chinese printing.

The Great Hall, characterized by a 5-bay width, a single-eaved gable, and a hip roof, features three niches within for wooden statues of Sakyamuni, Manjusri, and Samantabhadra. These statues are meticulously crafted, possessing well-proportioned forms, a plump appearance, and an air of perfect serenity. In the Qing Dynasty, the hall was adorned with eighteen iron arhats along its two sides, along with statues of Kwan-yin and Amitabha Buddha on the rear niche wall.

The Vairochana Hall, spanning 5 bays in width with a hip roof, boasts an architectural style typical of the Yuan Dynasty, with two gables supported by substantial crawling beams. The altar within the hall features statues of three Buddhas and four Bodhisattvas, surrounded by wooden niches containing 35 iron statues. Notably, the back wall of the hall showcases frescoes depicting Sakyamuni and twelve Bodhisattvas of Perfect Enlightenment, regarded as exceptional examples of this art form.

The lower temple complex comprises the temple gate, front hall, back hall, the buttress hall, and other buildings, all constructed during the Yuan Dynasty. The temple gate stands impressively tall, measuring 3 bays in width and 3 bays in length, featuring a single-eaved gable and a hip roof. Canopies have been added to both the front and back eaves, lending it the appearance of a pavilion with double eaves. The front hall spans five bays in width and is supported by only two pillars that bear the weight of the entire structure. The back hall, dating back to the second year (1309) of the Zhida reign in the Yuan Dynasty, stretches 7 bays in width, featuring 9 purlins, 8 rafters, and a single-eaved overhanging gable roof. Within the hall, you’ll find the main statues of Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva, all crafted during the Yuan Dynasty. Sadly, the once-present frescoes on the walls were stolen and smuggled to other countries in 1928, and they are currently housed in the Naerson Museum in Texas, US. Notably, the fresco on the south wall documented the performances of Yuan Drama, serving as rare reference material for the study of Chinese dramas.

The lower temple complex photo from:Beijing Transportation University ancient architecture

The lower temple complex photo from: Beijing Transportation University ancient architecture

The Water God Temple comprises two courtyards: the front yard and the back yard, featuring key structures like the Temple Gate, the Door of Amenity, the Ming Ying King Hall, and wing-rooms of cave dwellings. The Ming Ying King Hall, measuring 5 bays in width and 5 bays in length, is enveloped by a cloister and crowned with a double-eaved gable hip roof. The interior beams follow a conventional style. Within the hall, you’ll find statues of Water God Ming Ying King and his eleven attendants. Their facial features, attire, and postures are all reflective of the Yuan style. The hall’s walls are adorned with frescoes depicting scenes of people praying for rain and other historical narratives, covering an area of 197 square meters. Notably, the eastern end of the south wall features vivid depictions of a comprehensive set of stage properties used by performers, including costumes, stage instruments, musical instruments, makeup, curtains, and the stage itself. The artwork is meticulously arranged, with a simple yet profound color palette, and the dramatis personae are depicted with great expressiveness. This fresco offers an authentic glimpse into the heyday of Yuan Drama and stands as a rare and outstanding example of Yuan fresco art in China.

Guangsheng Temple with Ancient Chinese Buddhist Buildings,Murals & Statues

Link: https://peacelilysite.com/2023/09/20/guangsheng-temple-with-ancient-chinese-buddhist-buildings%ef%bc%8cmurals-statues/

Source: http://shanxi.chinadaily.com.cn/2022-05/06/c_748899.htm, http://en.chinaculture.org/library/2008-02/15/content_34504.htm

Tongli Ancient Water Town: A Poetic Dream of the Oriental Venice

Photo from https://almostlanding.com/things-to-do-in-tongli-water-town-china/

Tongli (同里), also called Tongli Water Town, in the southwest of Suzhou, is one of the “Top Six Ancient Towns in Jiangnan (Regions South of Yangtze River)” in China with a long history of over 1,000 years. Enjoying the advantageous location of being surrounded by water and linked by old stone bridges, Tongli is the symbol of water town in southern China. Therefore, it is regarded as the “Oriental Venice” as well as a “Natural Photo Studio” by people from the whole world and is titled the “National AAAAA Tourist Attraction”. Moreover, since it still well keeps a series of ancient structures from the Song, Yuan, Ming and Qing dynasties, like the “Retreat & Reflection Garden (退思园)” which is a World Cultural Heritage Site praised by many poets, Tongli is a perfect place to savor the authentic flavor of old water town in China and the real leisure life of the charming Jiangnan (江南) region.

Tongli was established in the Song Dynasty over 10 centuries ago and was first named Fu Tu (富土, Fertile Land). But it changed to be called as Tong Li (铜里) so not to be too extravagant. And later people finally changed its name again into the present Tongli (同里). According to the history, Tongli is a key place in the ancient Wu (吴) region, and since it could communicate with the outside world only by boat, there were few wars or turbulence. And then, it became an ideal place for people to escape from the social upheaval and settle down.

Highlights in Tongli

Retreat & Reflection Garden

Tuisi Garden, also known as Retreat & Reflection Garden, earned its place on the prestigious list of UNESCO World Cultural Heritage Sites. This exquisite garden was meticulously crafted between 1885 and 1887 by Ren Lansheng, a former government official who was dismissed due to corruption. Ren chose to name this sanctuary “Tui Si Yuan” to symbolize his personal journey of introspection.

As you wander through Tuisi Garden, you’ll be transported to a bygone era, where historic wooden structures exude an ancient charm. However, what truly astonishes visitors is the enchanting water garden concealed within its confines. Here, pavilions, corridors, bridges, halls, houses, rockeries, pools, ancient trees, vibrant flowers, and charming fish coexist in perfect harmony, creating a secret oasis.

Whether you follow the stone-paved paths or stand atop pavilions nestled among the rockeries, you’ll be treated to breathtaking views of this natural and traditional garden. Such is its extraordinary beauty that a Tuisi Zhuang (Retreat & Reflection Villa) was recreated in a botanic garden in New York, USA, faithfully mirroring the essence of Tuisi Garden. This tribute stands as a testament to the global appreciation of Chinese garden artistry.

Secret Garden in Retreat & Reflection Garden

Tongli

Ancient Tuisi Garden in Spring

Gengle Hall

Gengle Hall (耕乐堂 or Happy Farming Hall), situated in the heart of Lujiadai (陆家埭), stands as a remarkable testament to ancient architecture within Tongli Water Town. Dating back to the Ming Dynasty, this building exemplifies the traditional residential-garden structure of its time, offering visitors a glimpse into the historical architecture of the region.

Within the residential section of Gengle Hall, one can admire an array of intricately carved root artworks, showcasing a variety of shapes including eagles, flowering trees, figures, lions, and more. As you explore this part of the hall, you’ll be immersed in a world of artistic craftsmanship.

Venturing into the water garden, you’ll be treated to crystal-clear pools teeming with vibrant red fish, picturesque stone bridges gracefully arching over the water, weathered yet charming old houses, and the backdrop of a serene blue sky. Every moment spent here promises a unique and captivating visual experience.

Tongli

Picturesque Scenery in the Garden of Gengle Hall

The Pearl Tower

The Pearl Tower (珍珠塔) in Tongli Water Town is not precisely a tower, but rather an opulent mansion. It is renowned for its association with the poignant love story known as the ‘Pearl Tower,’ which unfolds within the walls of this former official censor’s residence.

According to the tale, Fang Qing (方卿) and Chen Cuie (陈翠娥) shared a deep and passionate love, yet their union was fraught with the challenges posed by their disparate family backgrounds. Undaunted, Fang Qing worked tirelessly to attain the coveted title of ‘Number One Scholar’ and returned to his hometown with a sterling reputation. Finally, he and Cuie were able to overcome the obstacles and were wed.

When you visit the Pearl Tower, you’ll have the opportunity to marvel at the ancient architecture and the expansive water garden, allowing you to immerse yourself in the enchanting ambiance of this historic water town and experience the enduring romance of the famous love story.

Tongli

The Mansion of Pearl Tower

The Three Bridges

The Three Bridges (三桥) in Tongli, namely Taiping Bridge (太平桥), Jili Bridge (吉利桥), and Changqing Bridge (长庆桥), stand out as must-see attractions within Tongli Water Town. Together, they form a configuration resembling the Chinese character “品,” making the Three Bridges a cherished treasure of Tongli. As you stroll along these bridges, you’ll witness people walking above and boats gracefully gliding beneath, creating a dynamic and picturesque scene.

Particularly during festivals, these bridges come alive with activity, exuding a sense of bustling joy. Local residents consider it highly auspicious and joyous to traverse the Three Bridges, believing that it brings good fortune and improved health. You can embrace this tradition by walking across the Jili Bridge, Taiping Bridge, and Changqing Bridge in a continuous loop without turning back, in pursuit of greater blessings and well-being.

Besides, there are many other interesting places to visit in Tongli Water Town, like Jiayin Hall (嘉荫堂) with beautiful design and gauze-cap-like beam decorations, Chongben Hall (崇本堂) with exquisite sculptures, Mingqing Street (明清街) with various local food and shops, Luoxing Island (罗星洲) with fabulous natural scenery, etc. you can spend more time to discover deeper beauty of Tongli!

Amazing Activities in Tongli

You deserve to try the featured activities in Tongli to get the real fun and feel the authentic charm of this famous water town.

Rickshaw Tour

Let the local carter take you to appreciate Tongli Water Town with a distinct visual angle on the ancient rickshaw. Passing through the narrow lanes and admiring the centuries-old buildings, you can imagine yourself being the people living in Tongli in ancient times.

Boat Tour

Take a sculling boat at the daytime to feel the excitement of watching the ancient buildings and people passing by, the brand-new practice of going through the old Chinese bridges. You can have the scene of ancient Tongli people communicating the outside by boat in your mind. (25 min, about CNY 90 / boat; 1-6 people / boat)

Tongli

Splendid Night View

The night view of Tongli Water Town is splendid. With strings of red lanterns lighting along the river, gorgeous colorful flashes shining in the trees, sparkling lights curving the fancy lines of bridges and paths, the water town will make you immerse into its beauty.

TongliSplendid Night View in Tongli Water Town

Best Seasons to Visit Tongli

Tongli is an ideal destination to visit year-round, showcasing diverse landscapes in each season:

  • Spring: Tongli is at its most charming and poetic during this season, boasting moderate temperatures and a touch of misty rain to enhance its allure.
  • Summer: The summertime in Tongli is vibrant, with numerous local folk activities that offer a fantastic opportunity to immerse yourself in the rich folk culture of this renowned Chinese water town. Additionally, you can savor the mesmerizing night views as you wander along its scenic rivers and bridges.
  • Autumn: Tongli dons a fresh and crisp aura during autumn. The faint fragrance of sweet-scented osmanthus fills the air, transforming Tongli Water Town into a captivating young lady beneath the clear azure skies.
  • Winter: In the winter months, Tongli is tranquil, attracting fewer tourists. Particularly after a snowfall, the town adorns itself in pure white beauty, complemented by the soft glow of red lanterns lining the riverbanks.”

Tongli Ancient Water Town: A Poetic Dream of the Oriental Venice

Link:https://peacelilysite.com/2023/09/12/tongli-ancient-water-town-a-poetic-dream-of-the-oriental-venice/

Source: https://www.chinadiscovery.com/jiangsu/suzhou/tongli.html, https://almostlanding.com/things-to-do-in-tongli-water-town-china/

The cultural Heritage of Hanshan Temple

The cultural Heritage of Hanshan Temple

Hanshan Temple (寒山寺), which translates to Cold Mountain Temple, is situated in the Gusu District of Suzhou city. Originally named “Miaoli Puming Temple,” it dates back to the Liang Dynasty of the Southern Dynasties, specifically from A.D 502-519. Covering an area of approximately 13,000 square meters, the temple boasts a construction area exceeding 3,400 square meters.

During the Tang Dynasty’s Zhenguan period (A.D. 627-649), two prominent monks of the time, Hanshan and Xiqian, founded Hanshan Temple. Over its more than 1,300-year history, the temple has suffered five fires (some versions claim seven), with its most recent reconstruction occurring during the Guangxu period (A.D. 1875-1908) of the Qing Dynasty. Historically, Suzhou’s Hanshan Temple held a prestigious position among China’s top ten famous temples. Its fame extends beyond borders due to a poem composed by Zhang Ji, a Tang Dynasty poet, which is taught in Chinese primary schools. This poem is also included in the curriculum of Japanese schools, further elevating Hanshan Temple’s renown in Japan, attracting numerous Japanese visitors who come to pay their respects to the Buddha. The temple features numerous historic buildings and tablet inscriptions authored by calligraphers, making it a popular destination for those seeking peace and spiritual solace.

Hanshan Temple holds a distinguished place in China’s Buddhist history, chiefly because of the famous poem by Tang Dynasty poet Zhang Ji. This poem is part of the curriculum in primary schools in both China and Japan.

The Night Lodging at Maple Bridge
By Zhang Ji

月落乌啼霜满天
The moon sinks in the frosty sky and ravens caw far and near

江枫渔火对愁眠
Riverside maples and fishing lamps gloomily make me drowsy

姑苏城外寒山寺
From the Han-Shan temple siting at outside of the Gu-Su town

夜半钟声到客船
Come midnight bell rings as a passenger boat is arriving 

Apart from the legends of Hanshan and Shide, Hanshan Temple boasts a collection of treasures that have been cherished throughout its extensive history. Among these treasures, one of the most renowned is the poetic stele of ‘Night Mooring at Maple Bridge,’ crafted by the esteemed scholar and calligrapher Yu Yue during the late Qing Dynasty. It stands as an invaluable asset to Hanshan Temple.

It must be acknowledged that this piece of calligraphy represents the apex of ‘Night Mooring at Maple Bridge’ renditions throughout history. The lines of regular script flow seamlessly, displaying an inherent elegance and freshness, achieved with seemingly effortless brushwork. Engraved upon the stele, it emanates a subtle, age-old charm and an evocative poetic atmosphere. Each time I gaze upon this stele, it evokes a different emotional response within me. As I have delved into the art of calligraphy myself, I have even attempted to replicate ‘Night Mooring at Maple Bridge.’ While I deeply appreciate Yu Yue’s extraordinary skill and find it visually pleasing, there has always been a sensation of something missing, an ineffable aspect I couldn’t articulate. My pursuit has persisted, a continuous quest to discover calligraphic masterpieces that could genuinely satiate my aesthetic sensibilities, and this aspiration remains deeply rooted within me.

The other day, I had a sudden encounter with ‘Night Mooring at Maple Bridge,’ personally penned by H.H. Dorje Chang Buddha III, and it was as if I had stumbled upon a divine masterpiece! This artwork utilizes cursive script, showcasing the grandeur reminiscent of dragons and serpents, seasoned with masterful brushwork, conveying both a majestic ruggedness and a subtle elegance. What elevates its worth even further is its dynamic and ceaseless artistic allure, reaching monumental proportions. It can be aptly described as the highest sacred creation, far beyond the grasp of ordinary individuals. This represents the embodiment of the Five Vidyas, as expressed by the Buddhas and Bodhisattvas in the realm of Prajna, offering an extraordinary experience to those who behold it and serving as the ultimate exemplar for calligraphy enthusiasts like myself to aspire to emulate.

In this lifetime, I am profoundly fortunate to have encountered the authentic and unwavering Dharma of the Tathagata. The achievements of H.H. Dorje Chang Buddha III stand unparalleled on a global scale. When it comes to providing tangible evidence of wisdom and realization attained through proficiency in both exoteric and esoteric Buddhism, as well as mastery of the Five Vidyas, there is simply no one within the realm of Buddhism who can be mentioned in the same breath as His Holiness.

The Buddha’s criterion for measuring one’s level of accomplishment in the Buddha-dharma is rooted in the extent of proficiency in both exoteric and esoteric Buddhism, as well as the mastery of the Five Vidyas. However, throughout the history of Buddhism up to the present day, only H.H. Dorje Chang Buddha III Holiest Tathagata has truly and comprehensively demonstrated complete proficiency in exoteric and esoteric Buddhism, along with perfect mastery of the Five Vidyas. His Holiness unmistakably presents, for all to witness, a myriad of achievements that exemplify his complete proficiency in exoteric and esoteric Buddhism and his impeccable mastery of the Five Vidyas, as stipulated by the Buddha.

His Holiness, an ancient Buddha, holds the distinction of being the first being of holy virtue in history to genuinely manifest such lofty and all-encompassing realization. The undeniable proof of this is found in the numerous accomplishments single-handedly achieved by H.H. Dorje Chang Buddha III, as detailed within the thirty main categories listed in this book, “H.H. Dorje Chang Buddha III — A Treasury of True Buddha-Dharma.”

I earnestly pray that all sentient beings may embark upon the ‘vessel’ of liberation and achieve enlightenment.

The cultural Heritage of Hanshan Temple

Link:https://peacelilysite.com/2023/09/08/the-cultural-heritage-of-hanshan-temple/

#DorjeChangBuddhaIII #HHDorjeChangBuddhaIII  #HanShanTemple #ChineseCalligraphy #Buddhism #ExotericandEsotericBuddhism #AcientBuddha #TreasureBook #FiveVidyas

Source: https://blog.wenxuecity.com/myblog/77953/202108/16124.html, https://www.chinadiscovery.com/jiangsu/suzhou/hanshan-temple.html

Seven Wonders of the Buddhist World-BBC

This YouTube documentary by the BBC was done several years ago, but is worthy of another visit as it gives us a glimpse of the various forms of Buddhism and some of the great monuments and architectural expressions in the different cultures where it took root including our own. 

In this fascinating documentary, historian Bettany Hughes travels to the seven wonders of the Buddhist world and offers a unique insight into one of the most ancient belief systems still practised today. Buddhism began 2,500 years ago when one man had an amazing internal revelation underneath a peepul tree in India. Today it is practised by over 350 million people worldwide, with numbers continuing to grow year on year. In an attempt to gain a better understanding of the different beliefs and practices that form the core of the Buddhist philosophy and investigate how Buddhism started and where it travelled to, Hughes visits some of the most spectacular monuments built by Buddhists across the globe. Her journey begins at the Mahabodhi Temple in India, where Buddhism was born; here Hughes examines the foundations of the belief system – the three jewels. At Nepal’s Boudhanath Stupa, she looks deeper into the concept of dharma – the teaching of Buddha, and at the Temple of the Tooth in Sri Lanka, Bettany explores karma, the idea that our intentional acts will be mirrored in the future. At Wat Pho Temple in Thailand, Hughes explores samsara, the endless cycle of birth and death that Buddhists seek to end by achieving enlightenment, before travelling to Angkor Wat in Cambodia to learn more about the practice of meditation.

Seven Wonders of the Buddhist World-BBC

Link:https://peacelilysite.com/2023/06/30/seven-wonders-of-the-buddhist-world-bbc/

#SevenWonders #BuddhistWorld #BBCdocumentary #BuddhistHistory#SriLanka#India#China #Temple#History

Refrain from Harsh Words, Kind Speech Will Bring Wealth for Love

Photo by Sharath G. on Pexels.com

A Jataka Tale: The Ox Named Great Joy

The Buddha recounted this tale in response to a dispute between two monks, highlighting the destructive nature of harsh words. Gathering a large group in the monastery hall at Jetavana, he addressed them, saying:

“Monks and nuns, even animals suffer unhappiness due to harsh words. Allow me to share with you a story from ancient times, when bitter words caused a farmer to lose his fortune.”

Once, in a bygone era, the Future Buddha manifested as a bull and was gifted to a farmer. Overjoyed, the farmer named the young calf “Great Joy” and treated him like his own child. He provided the bull with the best rice and milk, fostering his growth. Great Joy flourished and became a mighty ox, black as the night sky and as radiant as the stars. Despite his immense strength, he remained gentle and obedient.

After years of tender care, Great Joy felt immense gratitude towards the farmer. He thought to himself, “The farmer has raised me with loving kindness and made great sacrifices for my well-being. He has even gone hungry at times to ensure I am well-fed. I must find a way to repay him for all his kindness!” The next morning, as the farmer brushed the bull, Great Joy spoke to him, saying, “Master, I have devised a plan to repay you for your many years of care.”

Pausing his brushing, the farmer gently placed his hand upon the bull’s large head and replied, “Great Joy, you already plow my fields, turn my well wheel, and carry heavy loads to and from the village. You work tirelessly, and there is no need for you to repay me. Do not trouble yourself with such matters.”

However, Great Joy was determined to execute his plan. “Master, please listen. I have a marvelous idea that will make you instantly wealthy. Journey to the town today and find a merchant who owns a vast herd of oxen. Make a bet with him for a thousand silver pieces, claiming that your bull is the mightiest in all of India. Wager that tomorrow morning, in the village square, your ox will draw a hundred carts overflowing with rocks, stones, and gravel!”

Skeptical, the farmer replied, “My dear friend, how could any ox in the world pull a hundred loaded carts? It has never been done before. The entire town will think I have gone mad.”

Unyielding, Great Joy persisted, “I possess the strength, and I will not let you down.”

“But what if you fail to pull such a heavy load? A thousand silver pieces comprise all I possess! If you lose, I will be left impoverished!”

Remaining steadfast, Great Joy reassured him, “I promise you, I will not let you down. I will not lose the wager, and you shall not lose your money.”

And so, the farmer followed the ox’s suggestion. He ventured to the village and positioned himself in the town square, where business transactions took place. Eventually, a wealthy merchant dressed in fine robes approached him. Seizing the opportunity, the farmer boldly proclaimed, “Did you know, gentlemen, that I am the owner of the strongest ox in the kingdom? I doubt there is a bull in all of India that can rival mine! In fact, my bull may be the largest and mightiest in the entire world!”

The crowd fell silent upon hearing his boast. All eyes turned towards the farmer. Finally, the wealthy merchant broke the silence and retorted, “It is widely known that I, sir, possess an entire herd of the world’s strongest oxen. What makes your single bull so exceptional?”

Photo by Ricky Esquivel on Pexels.com

Realizing he had found the ideal opponent, the farmer promptly replied, “I have a bull capable of effortlessly pulling a hundred fully loaded carts!”

Mockingly, the merchant responded, “And where might this extraordinary bull be found? In the land of fairies and dreams?”

“He resides at my home,” answered the farmer confidently.

“Well, if you hold him in such high regard, let us make it a wager,” challenged the merchant.

“Certainly,” agreed the farmer. “I will bet you a thousand silver pieces that my bull can move one hundred carts fully loaded with rocks, stones, and gravel. Prepare the carts and meet me here in the village square at sunrise tomorrow morning.” With a firm handshake, the deal was sealed, and both parties made their preparations.

The following morning, before daybreak, the farmer fed Great Joy sweet milk and hay, bathed him, and brushed his coat until it shone. Speaking gentle and soothing words, just as he did every day, the farmer adorned the ox’s neck with a garland of flowers.

Great Joy knew the moment had arrived to prove himself.

At dawn, the farmer led Great Joy to the village square. Excited onlookers, including men, women, and children, filled the streets, eager to witness the outcome of this seemingly impossible bet. The farmer was astounded by the sight that greeted him—an unprecedented number of carts, each loaded to the brim with rocks. If any doubts lingered in the farmer’s mind, they were quickly replaced by certainty that he had been foolish to believe a mere animal’s promise.

Photo by Karen Lau00e5rk Boshoff on Pexels.com

Nevertheless, Great Joy stood proudly at the head of the line of carts, awaiting his harnessing. Magnificent and towering, his shoulders surpassing any other ox, he captured the awe of the crowd. Two men struggled to secure the heavy yoke upon his broad back, and then they attached the carts in a long chain.

Anxious, the farmer anticipated his impending humiliation before the townsfolk. Clutching the leather goad tightly, he muttered to himself, “I cannot afford to lose this wager. The ox has made a promise, but I am his master. I must ensure that he pulls the carts without fail. Ailee! I have risked my life savings on the word of a mere beast!” With determination, the farmer raised his goad and struck Great Joy forcefully, shouting, “Now, you beast, pull the carts! Pull! Pull, you rascal!”

Great Joy was taken aback by this treatment. He thought, “I am not a rascal! I am not a beast! He has never spoken to me like this before or used a whip on me. I will not move an inch!” Ignoring the lashes of the whip and the harsh words from his friend, Great Joy planted his hooves firmly, like the roots of four Banyan trees, and remained immobile.

Instantly, the crowd erupted in laughter and mockery, witnessing the farmer’s stubborn ox refusing to obey. Once again, the farmer struck Great Joy with the goad and cursed him, but the ox gazed straight ahead, disregarding the goad, the farmer, and the jeering crowd. In no time, the crowd began pelting both the farmer and the ox with mud and dung. Overwhelmed with shame, the farmer hung his head low and reluctantly handed over his entire savings to the merchant.

Jingling the coins in his hands, the merchant chuckled and said, “Whenever you wish to make another wager, seek me out! What ox could possibly pull a hundred loaded carts?” he laughed.

Despondent and penniless, the farmer unharnessed Great Joy from the line of carts and led him back home. The villagers taunted them along the way, hurling insults, rotten fruit, and mud. The farmer tied the ox to a stake and retreated inside his home, overcome with grief. “I am a pauper! It took me twenty years to earn that silver!” he wailed and moaned.

Hearing the farmer’s pained sobs from outside, Great Joy approached the window and inquired what was wrong. “I have lost all my money because of you!” the farmer bitterly exclaimed. “You promised me you wouldn’t let me down!”

Great Joy replied, “Ah, but master, it was you who let me down! Throughout all the time I have lived under your care, have I ever harmed anyone? Have I ever been clumsy or broken a pot? No. I have carried children gently on my back, even allowing the smallest of them to lead me. I have always done exactly as you asked.”

“Yes, I suppose you are right,” sniffed the farmer.

“Well, then, go once more to the town and bet the merchant double the silver. We shall meet him again in the square tomorrow morning at sunrise. But remember, treat me kindly as you always have, and I will treat you as I always have!”

Hurriedly, the farmer returned to town, found the merchant, and presented him with a new offer. Laughing at the prospect of making even more money, the merchant agreed to another wager.

At dawn the next morning, the village square mirrored the scene from the previous day. One hundred carts stood in a long line, each loaded with rocks. Once again, the streets were filled with eager spectators. Great Joy, bathed and brushed with a fresh garland around his neck, walked proudly alongside the farmer to the front of the carts. However, people chatted and joked, not taking the two participants seriously.

The weighty wooden yoke was placed upon Great Joy’s back, and the ropes were securely fastened. The farmer stood beside his ox, gently stroking his powerful shoulders. After a while, he leaned over and spoke softly into the bull’s ear, “Now, my fine fellow, my friend, pull the carts forward!”

Upon hearing these words, Great Joy seemed to grow in size. His muscles tensed, and he leaned against the ropes with all his might, causing them to tighten, cart by cart, until reaching the hundredth. Great Joy strained and pulled, taking one step and then another, each accompanied by a surge of momentum. Step by step, with unwavering determination, Great Joy continued his effort until the final cart stood exactly where the first one had started.

Photo by Renjith Tomy Pkm on Pexels.com

It was a sight to behold! Cheers and applause filled the air as flowers and money rained down upon the bull and the farmer. Great Joy, glistening with sweat, stood nobly and proudly in his place.

The merchant shook his head in disbelief but paid the two thousand silver coins as agreed. Children reached out to stroke the mighty ox, marveling at his remarkable perseverance. There was much celebration. Before the morning came to an end, the farmer and his faithful companion, Great Joy, trotted down the dusty road back home, where they lived happily and prosperously ever after.

Thus, the Buddha finished his lesson with the monks and nuns, sayingagain that harsh words please no one. And he spoke this verse in conclusion:

Speak only kind words: never be unkind.

For he who speaks gently, the ox moves the whole earth,

And brings him wealth for love.

A Jataka Tale: The Ox Named Great Joy

Link:https://peacelilysite.com/2023/06/28/refrain-from-harsh-words-kind-speech-will-bring-wealth-for-love/

#Kindness # Buddha #BuddhistTales #JakataTales#GreatJoy #Ox

Source: Kindness A Treasury of Buddhist wisdom for Children and Parents By Sarah Conover Page 111-118

The First Sign of Civilization: Healing Broken Bones

In our quest to understand the origins of civilization, we often associate it with technological advancements, architectural marvels, or complex social structures. However, renowned anthropologist Margaret Mead presented a profound perspective on the matter. When asked about the first sign of civilization in a culture, Mead shared an unexpected answer that challenged conventional wisdom. She believed that the first evidence of civilization lies not in material objects but in the compassionate act of healing a broken femur.

In the animal kingdom, the inability to run, defend oneself, or access vital resources due to a broken leg can be a death sentence. Animals, being driven primarily by instinct, have limited capacity for compassion and assistance. Consequently, when a leg is fractured, survival becomes nearly impossible. Mead’s contrasting observation highlights the crucial distinction between human and animal behavior.

When a human being sustains a broken femur, the healing process takes time, care, and attention. It is during this period that the true essence of civilization emerges. The act of staying with the injured person, binding their wound, providing support, and ensuring their safety exemplifies the depth of human compassion and the development of a nurturing society. It is in these moments that the potential for humanity’s collective progress is realized.

Photo by Sarwer e Kainat Welfare on Pexels.com

Empathy lies at the core of our ability to serve others. It is our capacity to understand and share the feelings of another that allows us to extend a helping hand. Mead’s observation reminds us of the inherent empathy ingrained within our species. When we see someone in pain, our natural inclination is to offer assistance, whether through physical aid, emotional support, or simply being present. It is through the act of serving others that we tap into our highest human potential.

Acts of service have far-reaching consequences beyond the immediate impact on the individual being helped. When we extend kindness and support to others, we inspire a chain reaction of goodwill and compassion. Small acts of service can ignite a spark within others, motivating them to pay it forward. This ripple effect spreads throughout communities, strengthening social bonds and fostering a collective spirit of unity and care.

In Mead’s view, civilization begins with the act of helping someone through difficulty. It is through these acts of kindness, empathy, and service that we create a society marked by progress and interconnectedness. Civilization is not solely defined by technological advancements or material achievements but rather by the quality of human relationships and our commitment to supporting one another.

Margaret Mead’s perspective on the first sign of civilization challenges conventional notions and invites us to reflect on our values as a society. True civilization is not measured solely by material progress, but by our capacity to care for and uplift one another. By embracing our innate empathy and engaging in acts of service, we foster a civilization rooted in compassion, unity, and collective growth. Let us remember that we are at our best when we serve others, and through our actions, we can shape a more civilized and harmonious world.

The First Sign of Civilization: Healing Broken Bones

Link: https://peacelilysite.com/2023/06/22/the-first-sign-of-civilization-healing-broken-bones/

#Anthropologist #MargaretMead #Civilization#Healing #BrokenBones #Empathy #Help#Compassion

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

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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