Tag: Chinese Cultural

Xing Garden on Mount Rili: Where Nature, Brush, and Spirit Converge

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Chinese Painting by H.H. Dorje Chang Buddha III

Created in 1993, Xing Garden at Mount Rili stands as a masterful expression of the artist’s profound understanding of nature and brushwork. The painting presents a dramatic world of steep cliffs and cascading water, inviting the viewer into a landscape that feels both monumental and intimate.

Dominated by vibrant greens, the work vividly captures moss and grasses spreading freely across rocky surfaces. These lush tones breathe life into the cliffs, softening their ruggedness while emphasizing the quiet vitality that thrives within seemingly harsh terrain. Nature here is not static; it pulses with energy and renewal.

The painting employs the refined “Miaoxie” (妙写) technique—a style that reveals its true depth through careful observation. At first glance, the composition appears fluid and effortless. Yet upon closer inspection, the brushstrokes intertwine like delicate wires, layered and interwoven with extraordinary precision. These subtle lines create constant movement and variation, generating emotional richness and visual intrigue through their complexity.

One of the most captivating aspects of this work lies in its masterful use of illusory watery ink, where solidity and transparency coexist. Ink seems to flow and dissolve at the same time, offering a boundless sense of depth and atmosphere. Whether viewed from afar or examined up close, the painting reveals a bottomless waterfall, rendered with meticulous detail yet infused with powerful momentum.

What is especially striking is the contrast between refinement and strength. From a distance, the scene appears serene and orderly; yet when the viewer studies the brushwork closely, the strokes reveal unexpected vigor and boldness. Within apparent emptiness, there is substance; within seeming chaos, there is profound order. This balance embodies the highest level of artistic cultivation.

Through free yet disciplined brushwork, the artist transforms a simple natural motif—a waterfall between two cliffs—into a scene of extraordinary aesthetic depth. The power of each stroke carries both physical strength and spiritual presence, allowing the painting to transcend mere representation and enter the realm of lived experience.

Xing Garden at Mount Rili is more than a landscape painting. It is a quiet dialogue between nature and the artist’s inner world, revealing how true mastery lies not in excess, but in the ability to uncover profound beauty within simplicity.

This beautiful artwork is part of the permanent exhibition at the International Art Museum of America, located in downtown San Francisco.

Link:https://peacelilysite.com/2026/02/03/xing-garden-on-mount-rili-where-nature-brush-and-spirit-converge/

Miao New Year: A Grand Celebration of Harvest, Heritage, and Harmony

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Among China’s many vibrant ethnic cultures, few festivals shine as brilliantly as the Miao New Year — the most important and joyous celebration of the Miao people.
It marks the end of a year’s hard work and the beginning of a season filled with gratitude, reunion, and hope.

Since ancient times, the Miao people have followed their own lunar calendar, considering the tenth month of the traditional Chinese lunar year as the beginning of a new year. In Leishan County of Guizhou Province, the Miao New Year usually falls on the Mao Day during the first half of the tenth lunar month, which is roughly equivalent to Chinese New Year’s Eve. The festivities typically last from three to nine days, turning the Miao villages into a sea of song, dance, and laughter.

The Miao New Year carries deep layers of meaning. It is not only a celebration of the harvest but also a time to honor their ancestors and deities, and to commemorate Chi You, the legendary ancestor of the Miao people who perished in tribal wars over five thousand years ago. Through ceremonies and offerings to nature — sacred trees, bamboo groves, rocks, and wells — the Miao express their respect and gratitude toward the forces that sustain life.

In the valleys of the Qingshui River and Duliu River in Guizhou, the Miao New Year is the highlight of the year.
The Miao calendar differs from the Han Chinese lunar calendar, and the beginning of the Miao year is determined through communal discussions so that different villages celebrate at different times. This ensures that every year, one village becomes the center of a grand regional celebration, while neighboring communities come to join in.

After the autumn harvest and the completion of farm work, the Miao New Year marks both an ending and a joyful beginning. During the festival, villagers visit relatives and friends, slaughter pigs, make sticky rice cakes, worship their ancestors, share reunion feasts, and exchange cups of homemade rice wine.

Traditional activities include bullfighting, bird fighting, and singing contests, each bringing a unique charm to the celebration. One village’s festivities flow seamlessly into another’s, creating a continuous wave of joy that sometimes lasts until the early spring “Drum-Turning Festival” in February.

The Grand Parade and Thrilling Bullfights

  

  

The opening day of the Miao New Year is marked by a spectacular parade. People from the eight main Miao branches put on their most elaborate traditional attire — shimmering silver headdresses, embroidered costumes, and ornaments that glisten in the sun. Through music and dance, they showcase their unique local traditions and the living heritage of Miao culture, offering visitors from across China and beyond an unforgettable feast of color and rhythm.

Among the most popular events is the bullfighting competition, a traditional custom symbolizing courage and vitality. Two strong water buffaloes face off, locking horns in a contest of strength and spirit. Thousands gather around the arena to cheer, and the air is electric with excitement. With generous prizes for the winners, the event attracts participants and spectators from far and wide, adding a thrilling edge to the festive atmosphere.

The Long Table Banquet: Sharing Joy, Building Connection

If there’s one experience that perfectly embodies the hospitality of the Miao people, it’s the Long Table Banquet.
This grand feast, dating back to ancient times, is more than just a meal — it’s a powerful symbol of unity, friendship, and celebration.

In Danzhai County’s Wanda Town, whenever guests arrive from afar, locals line the streets with long tables stretching as far as the eye can see. Each table is filled with Miao specialties such as smoked pork, sour fish soup, and sticky rice. Hundreds of people sit together, strangers becoming friends over shared food, laughter, and conversation.

The air fills with the tangy aroma of sour soup and the joyful clinking of cups. Everyone, regardless of origin or language, becomes part of one big family — a living expression of the Miao New Year’s spirit: warmth, generosity, and togetherness.

The Miao New Year is far more than a festive occasion — it is a heartfelt tribute to life, nature, and ancestry.
Through its rituals, music, and communal joy, it reflects the Miao people’s enduring gratitude for the land, their reverence for their roots, and their love of harmony.

As the lush hills echo with the sound of lusheng flutes and the silver ornaments sparkle under the sun, one realizes that the Miao New Year is not only the celebration of a people — it is a celebration of humanity itself, reminding us all of the beauty of connection, gratitude, and joy.

Link：https://peacelilysite.com/2025/11/14/miao-new-year-a-grand-celebration-of-harvest-heritage-and-harmony/

The Humble Cabbage: An Overlooked Treasure of Health and Simplicity

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Cabbage is one of the most common vegetables in our daily lives. Because it is so ordinary, many people tend to overlook its remarkable health benefits. While people often say “rarity makes things precious,” the truth is that some of the simplest, most affordable foods are also the most nourishing — and cabbage is one of them.

Once considered “the food of the poor,” cabbage has long been underestimated. In the 15th century, a Parisian writer even remarked that the poor ate cabbages and turnips instead of bread. Perhaps that old prejudice lingers today — many still see cabbage as plain and unrefined. Yet, with rising grocery costs and a renewed interest in wholesome eating, it’s time to rediscover this modest, versatile vegetable and bring it back to our tables.

A Traditional View: Cabbage in Chinese Medicine

According to Traditional Chinese Medicine (TCM), cabbage has a neutral nature and a sweet flavor. It nourishes the stomach and intestines, promoting healthy digestion and balanced energy.

Let’s explore some of its wonderful health benefits:

1. Anti-Aging Properties

Cabbage is rich in antioxidants that combat cellular oxidation and delay the aging process. For those seeking to maintain youthful vitality, a simple bowl of cabbage may hold more power than any expensive serum.

2. Boosts Immunity

Packed with vitamin C, cabbage strengthens the immune system, helping the body fend off colds and infections while enhancing overall energy and resilience.

3. Supports Healthy Blood Pressure

Cabbage contains high levels of potassium, which helps regulate blood pressure by balancing sodium levels and supporting cardiovascular health.

4. Prevents Osteoporosis

Abundant in vitamin K, cabbage aids in blood clotting and calcium absorption, strengthening bones and teeth while preventing osteoporosis.

5. Promotes Digestive Health

Cabbage contains vitamin U, known as the “anti-ulcer factor.” It helps regulate stomach acid, heal ulcers, and soothe the digestive tract. Japanese studies have found that cabbage’s glucosinolates can inhibit Helicobacter pylori, the bacteria linked to gastritis and ulcers.

6. Cancer Prevention

The sulfur-containing compound isothiocyanate gives cabbage its distinctive aroma — and its powerful anti-cancer properties. This compound helps neutralize toxins, protect cells, and reduce cancer risk.

7. Rich in Folic Acid

Folic acid in cabbage is essential for pregnant women, helping prevent fetal malformations and supporting healthy red blood cell production.

8. Anti-Bacterial and Anti-Inflammatory Effects

Cabbage contains natural phytoncides — plant-based antibacterial compounds — that reduce inflammation, fight infections, and even soothe sore throats or small wounds.

Culinary Versatility

Cabbage’s mild flavor and satisfying crunch make it a versatile kitchen staple:

  • Salads and Slaws: Shred cabbage with carrots, apples, or nuts for a refreshing, colorful slaw.
  • Stir-Fry: Sauté with garlic and soy sauce for a simple yet delicious side.
  • Soups and Stews: Add chopped cabbage for extra nutrition and heartiness.
  • Fermented Foods: The star ingredient in sauerkraut and kimchi — both rich in probiotics and flavor.
  • Stuffed Dishes: Use cabbage leaves to wrap rice, lentils, or meats for comforting stuffed rolls.

Lightly Pickled Cabbage: A Liver Cleanser and Detox Aid

Cabbage contains indoles, anti-cancer nutrients that also protect the liver and enhance detoxification. When cabbage is lightly pickled, its benefits multiply.

In Traditional Chinese Medicine, sour flavors are believed to nourish the liver. Lightly pickled cabbage helps detoxify the body, strengthen immunity, beautify the skin, and support cardiovascular and digestive health.

Fermented cabbage is also a powerful probiotic food. Lactobacillus plantarum, a beneficial bacteria from fermented cabbage like kimchi, supports the gut microbiome — the foundation of our immune system and overall well-being.

Easy Recipe: Lightly Pickled Cabbage

Ingredients

  • 500 g cabbage
  • 2 teaspoons salt
  • 1 teaspoon sugar

Instructions

  1. Wash and drain the cabbage, then slice it finely.
  2. Divide into two portions. Place half in a bowl, sprinkle with 1 teaspoon of salt, and gently knead until softened.
  3. Add the remaining half, the rest of the salt, and sugar. Continue kneading until juicy.
  4. Pack into a clean glass jar with its liquid.
  5. Seal and leave in a cool place for half a day to lightly ferment, then refrigerate. Serve chilled.
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Cabbage may not have the glamour of kale or the trendiness of arugula, but it carries quiet strength and wisdom — a reminder that simplicity often hides great value. In a world obsessed with novelty and luxury, perhaps we can learn from this humble vegetable: to nourish deeply, give generously, and thrive quietly.

Link:https://peacelilysite.com/2025/11/06/the-humble-cabbage-an-overlooked-treasure-of-health-and-simplicity/

You’ll Never Guess Why He Survived”?

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At late Qing Dynasty, during the reign of Emperor Guangxu, there was a true story that took place:

Mr. Jia from Jiangsu worked for a foreign trading company in the Shanghai concession. He had earned the deep trust of his employer. Just before the Dragon Boat Festival, his boss sent him south of the city to collect debts. With a leather money pouch in hand, Mr. Jia set off.

The collections went smoothly, and by noon he had received more than 1,800 silver dollars. After walking and talking all morning, he was parched and exhausted. Passing by the famous Shiliupu teahouse, he hurried inside for a quick cup of tea before rushing back to deliver the money and finally rest.

When he returned to the company, he suddenly realized—the leather pouch was gone. Thunderstruck, drenched in sweat, and nearly fainting, he could not explain himself clearly in his panic.

Seeing his flustered state, the boss grew suspicious, believing Jia might be dishonest. He harshly rebuked him for betraying trust, warning that if the money was not returned quickly, Jia would be handed over to the authorities.

At that time, 1,800 silver dollars was a fortune—enough for a person to live on comfortably for a lifetime if carefully spent. How could Mr. Jia ever repay such a sum? With his reputation and life on the line, he felt utterly ruined and broke down in despair.

Meanwhile, in another part of the concession, a merchant from Pudong, surnamed Yi, had recently lost all his money in business. Discouraged, he bought a boat ticket for that very afternoon to return home across the river.

With time to spare before boarding, Mr. Yi also went to Shiliupu teahouse, intending to sip tea slowly while pondering his uncertain future.

By coincidence, just as Mr. Jia had hurried out, Mr. Yi walked in. As he sat down, he noticed a small leather pouch left on a chair. He paid it little mind at first and began drinking tea.

After some time, no one came to claim it. Curious, he lifted it and felt its weight. Opening it, he nearly dropped it in shock—inside was a fortune in gleaming silver coins!

At first he was overwhelmed with joy. Such a windfall could end his misfortune and secure a comfortable life. But then he thought: No, money belongs to its rightful owner. If I keep it, the loser may be ruined, disgraced, or even driven to death. The sin would be unbearable.

In those days, most decent people knew the saying: “Ill-gotten wealth must not be taken.” Mr. Yi resolved: Since fate placed this money in my hands, I have the responsibility to return it.

At lunchtime, only eight or nine guests remained in the teahouse. None appeared to be searching for lost money, so Yi, hungry as he was, decided to keep waiting.

By evening, as lamps were being lit, the teahouse emptied out—only Mr. Yi remained, watching the entrance intently.

Suddenly, he saw a pale, staggering man rush in, followed by two companions. It was Mr. Jia. As soon as he entered, Jia pointed at Yi’s table and cried, “There! That’s where I was sitting!” The three came straight toward Yi.

Yi smiled and asked, “Are you looking for a lost pouch?”

Jia stared in disbelief and nodded repeatedly. “I’ve been waiting for you,” Yi said, producing the leather pouch.

Overcome with relief, Jia trembled all over. “You are my savior! Without you, I would have hanged myself tonight!”

It turned out that when Jia had discovered the loss, he had begged to retrace his steps, though he knew recovery was unlikely. His boss, fearing he might flee, initially forbade it. After much pleading, the boss finally allowed him to go, but only under the close watch of two escorts, who were ordered to bring him back regardless of the outcome.

After exchanging names, Jia gratefully offered Yi a fifth of the money as a reward. Yi firmly refused. Jia lowered it to a tenth, then to a hundredth—Yi grew angry and sternly declined.

Flustered, Jia said, “Then at least let me treat you to a drink!” Yi still refused. Finally Jia pleaded, “If I cannot show gratitude, my conscience will not rest. Tomorrow morning, please allow me to host you at such-and-such tavern. I beg you to come—without fail.” Bowing deeply, he left.

The next morning, Yi did indeed appear. Jia was just about to bow in thanks when Yi quickly interrupted, saying:

“Actually, it is I who should thank you. If not for your lost pouch, I would not be alive today!”

Puzzled, Jia asked what he meant. Yi explained:

“Yesterday, I had bought a one o’clock boat ticket to return home. But because I waited in the teahouse to return your money, I missed the departure. When I finally returned to my lodging, I learned that the boat had capsized midway in a violent wave. All 23 passengers drowned. Had I boarded, I too would be dead. So you see, it was you who saved my life!”

The two men, overwhelmed, bowed to each other in tears.

Onlookers marveled, toasting the pair. They said Mr. Yi’s single good deed had saved not just Jia’s life, but his own as well.

The story did not end there. When Jia and his escorts returned and reported everything, the boss was astonished. “Such a virtuous man is rare indeed!” he exclaimed, insisting on meeting Yi.

The two met and felt an immediate bond. After a long conversation, the boss earnestly invited Yi to stay, offering him a high salary to manage accounts. Months later, he even married Yi into his family as a son-in-law. In time, the boss entrusted the entire business to him.

“Cause and effect of good and evil” is absolutely true, without the slightest mistake. Goodness nurtures more goodness, and goodness attracts goodness. To treat others with kindness is, in fact, to accumulate blessings and good fortune for oneself. A human life is not lived for just a fleeting moment. The speed of temporary gains or losses, the ups and downs of a single day, even honor or disgrace in the short term—none of these truly matter. Today’s kindness becomes tomorrow’s blessings. Today’s evil leads to tomorrow’s misfortune. Time is a great author, and it will always write the perfect answer.

Therefore, simply be a good person, and the future will be full of hope. Do good deeds, and the road ahead will surely be bright and promising.

Link:https://peacelilysite.com/2025/08/29/youll-never-guess-why-he-survived/

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

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

The temple complex is composed of three main parts:

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

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

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

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

Murals of the Yuan Dynasty — Life Painted in Color

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

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

The Zhaocheng Buddhist Canon — A Literary Treasure

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

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

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

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

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

Childlike Delight — A New Vision of the Owl

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Discover Longxing Temple: A Timeless Treasure of Chinese Buddhism

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

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

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

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

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

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

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

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

Highlights Not to Miss

Hall of Heavenly Kings

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

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

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

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

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

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

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

Mani Hall

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

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

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

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

Visitors often remark:

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

Ordination Altar

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

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

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

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

Longteng Garden

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

Here you’ll find:

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

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

Cultural Traditions

Imperial Buddhist Ceremony Performance

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

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

Thousand-Armed Avalokiteshvara Performance

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

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

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

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

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

Turpan’s Hidden Lifelines: The Ingenious Karez Irrigation System of Xinjiang

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Nestled in the heart of Xinjiang, the Turpan Basin holds several extraordinary records: it’s the lowest geographical point in China, and during summer, it’s the hottest place in the country. With scorching sunlight, relentless winds, and almost no rainfall, Turpan earns its title as the “Land of Fire.”

In the peak of summer, the surface temperature in the surrounding Gobi Desert can soar to 82.3°C (180.1°F), while the air temperature often exceeds 49°C (120°F). Rain is almost nonexistent—Turpan receives an average of just 16.4 mm of rainfall annually, and in some years, as little as 4.3 mm. Yet, amidst this harsh, parched environment, an ancient miracle has quietly sustained life for over two thousand years: the Karez irrigation system.

A Miracle Beneath the Earth

While nature was unforgiving above ground, it hid a gift below. Meltwater from the distant Tianshan Mountains seeps underground through coarse gravel and sand, eventually blocked by the Flaming Mountains and surfacing as springs. Ingenious local people found a way to capture and guide this underground treasure—thus, the Karez was born.

The Karez system channels water from mountain sources through a network of underground tunnels and vertical shafts, delivering it to the arid land without evaporation loss. Remarkably, this ancient system operates entirely without pumps, relying solely on gravity and terrain.

A complete Karez includes:

  • Vertical shafts for ventilation and maintenance
  • Underground tunnels to carry water
  • Open canals to distribute it
  • Storage ponds to hold it

Across Turpan’s landscape, you can still see long rows of small mounds—each one marking a shaft, a glimpse into the remarkable infrastructure below.

A Testament to Ingenuity and Endurance

The origins of the Karez can be traced back to the Han Dynasty, over 2,000 years ago. Most of the surviving systems were built during the Qing Dynasty, including during historical moments like Lin Zexu’s fourth inspection of Turpan, when over 300 new Karez channels were added, and Zuo Zongtang’s campaigns, which saw nearly 200 more constructed.

At its peak in the 1950s, there were about 1,700 Karez systems in Turpan, stretching over 3,000 kilometers. Today, about 725 remain, a number slowly dwindling due to modernization, drought, and human impact.

The construction of each Karez was no small feat. Generations of laborers worked in dark, narrow tunnels, often barefoot in icy water, chiseling stone with simple tools and oil lamps. They carried earth and rock out by hand, surviving on dry flatbread and enduring brutal conditions.

A Culture of Water, Wisdom, and Survival

More than just a hydraulic system, the Karez represents a culture—a story of human resilience, harmony with nature, and intergenerational wisdom. In this water-scarce land, the Karez has nurtured lush vineyards, fertile fields, and diverse communities, offering life where none should thrive.

Today, many of these systems are dry or abandoned, relics of a past shaped by necessity and brilliance. But for those who walk among them, they are still very much alive—whispers from the earth, reminding us of what is possible when people respect and work with nature.

If you ever find yourself in Turpan, do not miss the chance to explore the Karez wells. They are more than ancient engineering marvels—they are monuments of perseverance, and living echoes of a civilization that made the desert bloom.

Link:https://peacelilysite.com/2025/06/18/turpans-hidden-lifelines-the-ingenious-karez-irrigation-system-of-xinjiang/

Dragon Boat Festival and Duanwu Jie

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The Dragon Boat Festival, also known as Duanwu Jie, is one of the four major traditional Chinese festivals, alongside the Spring Festival, Tomb-Sweeping Day, and Mid-Autumn Festival. It is celebrated on the fifth day of the fifth month of the Chinese lunar calendar, which is why it is also called the “Double Fifth Festival” (Chongwu Jie, 重五节). On the Gregorian calendar, it usually falls in late May or early June.

In addition to Chinese mainland, many other Asian countries and regions also celebrate this festival. In Malaysia, Indonesia, Singapore, and Taiwan, China, it is known as Bak Chang Festival (‘Dumpling Festival’). Learn more facts about the Dragon Boat Festival

Why Is Dragon Boat Festival So Important?

Many believe that the Dragon Boat Festival is celebrated to commemorate the death of Qu Yuan, a renowned Chinese poet and minister known for his patriotism and profound contributions to classical poetry. He ultimately became a national hero.

However, historical evidence shows that the origins of the Dragon Boat Festival actually predate Qu Yuan’s death. The festival’s earliest roots are tied to the fifth lunar month, which the ancients considered the “month of poison.” As summer began, people were more prone to illness, and epidemics often spread. This made the month seem ominous, prompting ancient communities to adopt various practices to ward off disease and evil spirits.

Thus, the Dragon Boat Festival was originally observed as a traditional health and wellness festival. It was a time for people to carry out rituals and customs aimed at protecting themselves from illness and repelling harmful forces.

Dragon Boat Festival

Dragon Boat Festival Customs

The customs of the Dragon Boat Festival can generally be divided into two main categories. One centers on honoring dragons and historical heroes—most notably Qu Yuan—while the other focuses on warding off evil spirits and promoting health and well-being.

1. Honoring Heroes and Dragons

a. Eating Sticky Rice Dumplings

dragon boat festival celebration, eating sticky rice dumplings

Zongzi (粽子, zòngzi) are the most iconic food of the Dragon Boat Festival. According to legend, after the patriotic poet Qu Yuan drowned himself in the river, local people threw lumps of rice into the water to prevent fish from eating his body. This evolved into the custom of making zongzi.

Traditionally, families would prepare and share homemade zongzi. Today, while some older generations still hand-make them, most people buy them from restaurants or bakeries.

Zongzi are made with glutinous rice and often filled with meats, beans, or other ingredients. They are wrapped in bamboo or reed leaves into triangular or rectangular shapes and tied with soaked stalks or colorful silk cords. Flavors and fillings vary widely across different regions of China.

b. Participating or Watching Dragon Boat Races

dragon boat festival celebration, dragon boat race

Dragon boat racing is the most exciting and prominent activity during the festival. The sport is said to have originated from people paddling out in boats to search for Qu Yuan’s body after his tragic death in 278 BCE.

Another theory suggests that the races originated more than 2,000 years ago as a ritual to worship the Dragon God or Water God.

The boats are traditionally carved and painted to resemble dragons. Depending on the region, each boat can carry 30 to 60 paddlers. Teams row in unison to the rhythm of pounding drums, creating a thrilling and energetic spectacle. Winning is believed to bring good luck and happiness for the year ahead.

Some of the most famous races take place in Hong Kong, Guangzhou, and Hangzhou.

2. Warding Off Evil and Promoting Health

a. Hanging Chinese Mugwort and Calamus

dragon boat festival celebration

The festival coincides with the early summer season, a time when illnesses were historically more common. Mugwort and calamus are medicinal herbs used to prevent disease and repel pests. Their strong fragrances are believed to drive away flies, mosquitoes, and negative energies.

On the fifth day of the fifth lunar month, people clean their homes and hang these herbs on their doors to protect against illness and bring good luck.

b. Drinking Realgar Wine

dragon boat festival celebration,

A traditional saying goes: “Drinking realgar wine drives away disease and evil spirits.” Realgar wine is made from fermented grains and realgar, a red mineral (arsenic sulfide) once believed to be an all-purpose antidote.

Historically, people drank realgar wine to kill insects, detoxify the body, and protect against spiritual harm.

c. Wearing Perfume Pouches

dragon boat festival celebration,

Before the festival, parents prepare small, colorful silk pouches filled with fragrant herbs or perfume for their children. These are either worn around the neck or pinned to clothing as ornaments.

Perfume pouches are believed to offer protection from evil spirits and disease, and are a cherished custom that blends health with artistry.

The Origins of the Dragon Boat Festival

There are many legends about the origin of the Dragon Boat Festival. The most popular ones are as follows:

Why Dragon Boat Festival Celebrated

The Death of Qu Yuan

The most widely accepted origin of the Dragon Boat Festival is its commemoration of Qu Yuan (340–278 BCE), a patriotic poet and loyal official of the Chu State during the Warring States Period. When his beloved state fell to the Qin, Qu Yuan, devastated by the loss, drowned himself in the Miluo River on the fifth day of the fifth lunar month.

Local people, deeply moved by his patriotism, raced out in boats to rescue him or retrieve his body, but their efforts were in vain. To keep fish and evil spirits from disturbing his remains, they beat drums and threw rice dumplings into the river. These traditions evolved into the dragon boat races and the custom of eating zongzi that continue today.

The Unlucky Fifth Month

Another explanation for the origins of the Dragon Boat Festival relates to the traditional Chinese calendar and seasonal beliefs. Since ancient times, the fifth lunar month was considered an unlucky time and was even referred to as the “Month of Poison” (毒月). This was when the “Five Poisonous Creatures” (五毒 wǔ dú)—centipedes, scorpions, snakes, toads, and spiders—began to appear in greater numbers due to the warming weather. Disease, pestilence, and natural disasters were also more prevalent during this period.

The fifth day of the fifth month, or the “Double Fifth,” was seen as especially ominous. To protect themselves, people hung wormwood and calamus on their doorways and wore sachets of fragrant mugwort (xiāng bāo, 香包). The sword-like shape and pungent aroma of calamus were believed to repel both pests and evil spirits. For this reason, the Dragon Boat Festival is also sometimes referred to as the “Calamus Festival” (菖蒲节 Chāngpú Jié).

These rich and varied customs reflect the Dragon Boat Festival’s deep cultural significance, blending ancient health practices with heartfelt traditions of honor, protection, and community celebration.

Link:https://peacelilysite.com/2025/06/05/dragon-boat-festival-and-duanwu-jie/

Source: https://www.chinahighlights.com/festivals/dragon-boat-festival.htm