Tag: Travel

Zhijin Cave – The King of Karst Caves in China

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Zhijin Cave, located in Zhijin County, Bijie City, Guizhou Province, is a high-altitude dry cave of great diversity, complexity, and scale. Inside, the karst formations are unique, vast, majestic, and breathtakingly exquisite, making it a dream destination for countless visitors.

Zhijin Cave, renowned as the “King of Karst Caves,” stands out among other famous karst caves such as Zhangjiajie’s Yellow Dragon Cave (about 100,000 sqm), Chongqing’s Furong Cave (about 37,000 sqm), and Guilin’s Reed Flute Cave (about 14,900 sqm) due to its unparalleled size and grandeur. Spanning over 700,000 square meters, Zhijin Cave is the largest of its kind, featuring 12 grand halls and 47 chambers, each adorned with unique and breathtaking formations. The cave’s largest chamber reaches an impressive width of 175 meters, while six of its halls exceed 10,000 square meters in area, highlighting its monumental scale.

The cave is adorned with a wide variety of karst formations, including stalactites, stalagmites, stone pillars, flowstones, and stone curtains. These formations come in unique shapes, resembling pagodas, plants, animals, and even mythical creatures, showcasing nature’s artistic craftsmanship.

Among its countless highlights, several are especially unforgettable:

  • The Overlord’s Helmet (“Ba Wang Kui”) – A 17-meter-tall stalagmite shaped like a warrior’s helmet, known as the crown jewel of Zhijin Cave. Lit by orange light and reflected in the pool below, it appears both majestic and lifelike, as if the legendary warlord Xiang Yu himself had left his helmet behind.
  • The Pillar of Heaven (“Qian Ceng Bao Ta”) – At the junction of the North and South Gates stands a towering stone column that seems to prop up the sky. Called the “Mainstay of the River,” it symbolizes strength, resilience, and the ability to stand tall in times of trial.
  • Mother-in-law and Daughter-in-law (“Po Xi Qing Shen”) – Two pine-shaped stalagmites, one stooped like an old woman and the other upright like her filial daughter-in-law massaging her back. The scene is tender, lifelike, and moving, embodying the Chinese virtue of filial piety.
  • The Lingxiao Palace – A stunning stone waterfall, one of the largest yet discovered, cascading magnificently from the ceiling. Around it stand stone banners, draperies, and a majestic hall of “stalagmite soldiers,” as if a grand palace had opened its doors for a celestial council.

  • Snow Pressing on the Green Pine (“Xue Ya Qing Song”) – A 20-meter-tall stalagmite shaped like a pine tree blanketed in snow, one of the cave’s signature sights. Its upright strength recalls Marshal Chen Yi’s famous poem: “Though snow weighs heavily on the pine, the pine stands tall and straight.” It symbolizes resilience, dignity, and unyielding spirit.

The spectacular karst landscapes of Zhijin Cave embody grandeur, vastness, and beauty beyond imagination. A tour through its endless halls, lasting over two hours, is an ever-unfolding journey of wonder—each chamber a new astonishment, each formation a marvel of nature.

It’s no surprise that Zhijin Cave is honored as the “King of Caves.” As the saying goes: “After Huangshan, no other mountains; beyond Zhijin Cave, no other caves.” The reputation is well deserved.

Practical Tips to Visit Zhijin Cave

Zhijin Cave is located in Guanzhai Miao Ethnic Village, Zhijin County, Bijie City, Guizhou Province. The cave is approximately 120 kilometers (75 miles) from Guiyang, the capital of Guizhou Province.

Bijie City has a total of 9 railway stations and 1 airport. 2 stations are located in Zhijin County, only serving normal trains. The closest high-speed rail station to Zhijin Cave is Qianxi Railway Station, about 45 km away.

Footwear: The cave has stairs and a small section of uneven paths, and the ground can be wet and slippery. Anti-slip footwear is recommended for safety and comfort.

Clothing: The cave maintains a constant temperature of 16°C (61°F). However, the humidity and cool air can make it feel chilly, so it’s best to carry a light jacket.

Food and Drinks: There are no dining options or shops within the cave, so it’s a good idea to bring your own snacks and drinks to stay energized during your visit. If you forget to bring snacks, there is a convenience store at the cave exit where you can purchase refreshments.

Link:https://peacelilysite.com/2025/08/28/zhijin-cave-the-king-of-karst-caves-in-china/

Source: https://www.chinadiscovery.com/guizhou/zhijin-cave.html

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

Dancing with Flames — The Yi Torch Festival

linda changLeave a comment

The air is warm and scented with pine smoke. In the distance, a line of golden lights winds its way down the mountainside, swaying and flickering like a living dragon. Drums beat in a steady rhythm, mingling with laughter and song. Children dash through the night clutching small torches, their faces glowing in the firelight. Elderly women hum old tunes, while young men and women steal glances beneath the shelter of bright yellow oil-paper umbrellas. This is not just a night—it is a living river of fire. You’ve just stepped into the Yi Torch Festival.

Every summer, when the moon of the sixth lunar month reaches its 24th day, the mountains and valleys of Yunnan, Guizhou, and Sichuan come alive with a sea of flickering light. This is the Yi Torch Festival, the grandest celebration of the Yi people and one of the most dazzling ethnic festivals in China.

The Yi, along with the Bai, Naxi, Jinuo, Lahu, and other ethnic groups, have celebrated this fiery tradition for centuries. For the Yi, fire is not just a source of warmth—it is a symbol of light, strength, and hope. The Torch Festival is their way of honoring fire, driving away evil, and praying for peace and abundant harvests.

On this special day, towering torches rise high in the center of each village, while every household lights their own smaller torches. As night falls, villagers carry these flames into the fields, circling the crops to symbolically chase away pests and misfortune, leaving behind protection and blessings.

The Torch Festival lasts three magical days and nights, each with its own unique charm.

Day One – Fire Worship
Morning preparations are lively, feasts are prepared, and wine and meat are offered to ancestors. At dusk, villagers gather at a site chosen by the elders. There, a sacred fire is lit using the ancient method of striking stones, and the flame is blessed by a bimo (Yi priest) chanting sacred verses. Then, torches made from mugwort are passed to each household. Children and elders alike carry them to the edges of fields, reenacting the old legend of Ashimo, the heroine who once used fire to drive away destructive insects.

Day Two – Playing with Fire
If Day One is solemn, Day Two is pure joy. Under the glow of the sacred flame, villagers gather for horse races, wrestling matches, bullfights, and singing contests. Young men compete like the legendary hero Atilaba, known for his courage and strength. Young women, dressed in vibrant handmade dresses and carrying delicate butter umbrellas, dance the graceful “Duoluohe” and Dati dances, just as Ashimo once did.
The highlight? A traditional beauty contest where elders select the most handsome man and the most beautiful woman of the year—chosen not only for looks, but also for kindness, bravery, and skill. As the night deepens, couples stroll by the streams and through the mountains, plucking moon lutes and jaw harps, their music and whispers floating into the starry sky.

Day Three – Sending Off the Fire
The final night is the festival’s grand finale. Villagers rush through the darkness carrying blazing torches, eventually gathering them into massive bonfires. Around these roaring flames, they sing, dance, and laugh until the stars fade and dawn arrives.

Beyond the rituals and dances, the Torch Festival is also a season of romance. Young men and women meet, flirt, and sometimes begin lifelong partnerships. According to tradition, a man may “steal” a token—such as a scarf or ornament—from the woman he loves as a sign of affection. For the rest of the night, they sing and dance together, expressing their feelings until sunrise.

In the end, the Torch Festival is more than just a cultural event—it is a living expression of the Yi people’s spirit: their love of life, reverence for nature, devotion to tradition, and unquenchable hope for the future. And as the last embers fade in the early morning light, the warmth of the flames lingers—both in the fields and in the hearts of the people.

If you’ve ever dreamed of seeing thousands of torches glowing like fire dragons weaving through the dark mountains, this is the place to be. The Yi Torch Festival is not only a feast for the eyes but also a journey into the beating heart of a culture that celebrates life in the glow of fire.

Video： https://fb.watch/BrJd5yhukt

Link:https://peacelilysite.com/2025/08/12/dancing-with-flames-the-yi-torch-festival/

Lingyan Temple: A Millennium of Buddhist Grace and Sculptural Treasures in the Heart of Mount Tai

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Photo from Wikipedia

Located in the northwest of Mount Tai, Lingyan Temple was founded during the Eastern Jin Dynasty and boasts a history of over 1,600 years. It is regarded as one of the most important sacred sites of Chinese Buddhist culture. Since the Tang Dynasty, Lingyan Temple has enjoyed great renown, and together with Qixia Temple in Nanjing, Guoqing Temple on Mount Tiantai in Zhejiang, and Yuquan Temple in Dangyang, Hubei, it has been hailed as one of the “Four Great Temples of China.” The eminent monk Tang Xuanzang once resided here to translate Buddhist scriptures. From Emperor Gaozong of Tang onward, many emperors stopped to worship at this temple on their way to perform imperial rites at Mount Tai, a testament to its revered historical status.

Although I personally prefer the majestic beauty of untouched natural landscapes, I was deeply moved by the profound cultural and religious artistry of Lingyan Temple. Within the temple grounds, ancient trees such as Chinese wingnut, cypress, and banyan rise skyward, creating a tranquil and sacred atmosphere. As an integral part of the World Natural and Cultural Heritage site of Mount Tai, Lingyan Temple is especially renowned for its colored clay sculptures of Arhats, which hold a prominent place in the history of Chinese sculpture.

Stepping into the solemn Thousand Buddha Hall, one is struck by the breathtaking sight of the Arhat statues—40 lifelike clay figures arranged in a semicircle along the inner walls. Among them, 29 represent disciples of Shakyamuni and Indian masters such as Bodhidharma and Kumarajiva. The remaining 11 depict eminent Chinese monks, including Huiyuan, Huike, Huichong, and various abbots of Lingyan Temple. According to inscriptions and scholarly research, the original set consisted of 32 statues, first created in the third year of the Zhiping reign of Emperor Yingzong of the Song Dynasty (1066). Additional painting and sculpting were done in the first year of the Zhiyuan reign (1328) during the Yuan Dynasty. The Thousand Buddha Hall was renovated in the 15th year of the Wanli reign (1587) in the Ming Dynasty, at which time the number of Arhats was increased to 40. The final touch-up was completed in the 13th year of the Tongzhi reign (1874) of the Qing Dynasty.

Each statue stands about 1.6 meters tall and is seated on a waist-high brick pedestal roughly 80 centimeters in height, with the top of each statue rising 105 to 110 centimeters above the seat. The overall sculptural style is remarkably realistic, emphasizing the individuality and inner spirit of each figure: square faces, prominent noses, distinct facial features, and dynamic, textured robe patterns. The ancient artisans broke away from conventional, stylized Buddhist iconography and instead grounded their work in real life, endowing each Arhat with unique expressions and postures—some sit in meditation, others clasp their hands or hold staffs; some appear ragged and emaciated, while others exude noble dignity and elegance. Each figure is infused with spirit and personality, appearing almost alive, as if they might speak or move at any moment.

What’s even more astonishing is the meticulous attention to detail in both facial expressions and bodily movement, as well as the relationship between the robes and the human form. The flowing lines of the garments, the way the folds respond to motion, and the tactile quality of the fabric all reflect a masterful understanding of form and rhythm. One medical expert even remarked that, “Through the Arhats’ robes, one can perceive the ancients’ precise grasp of human anatomy.”

The Arhat sculptures at Lingyan Temple are not only masterpieces of religious art but also represent the pinnacle of ancient Chinese realistic sculpture. The renowned scholar Liang Qichao once visited the site and inscribed a stone tablet calling them “The finest sculptures in the land.” Famed art master Liu Haisu also praised them, writing: “The Arhats of Lingyan—first under heaven—vivid and lifelike, with flesh and spirit.”

Lingyan Temple is more than a place of worship—it is a living chronicle of Buddhist heritage carved from clay and shaped by the hands of genius. Whether you are a devout practitioner, a history enthusiast, or an art lover, a visit to Lingyan Temple will surely leave you moved by its rich cultural legacy and breathtaking artistic beauty.

Link:https://peacelilysite.com/2025/07/31/lingyan-temple-a-millennium-of-buddhist-grace-and-sculptural-treasures-in-the-heart-of-mount-tai/

Global Youth Artists Shine at the Second Annual IAMA International Youth Art Contest Awards Ceremony in San Francisco

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Award recipients from the youngest age group (five- to six-years-old) at the 2025 International Youth Art Contest, pictured with Mr. KC Hsieh, IAMA President.Photo by Johnny Trieu

(Ad) On July 13th, 2025, San Francisco’s International Art Museum of America (IAMA) hosted the awards ceremony for the Second Annual International Youth Art Contest and Exhibition. The museum hosted nearly 400 attendees who were eager to see this year’s exhibition of youth artworks from around the world. Distinguished guests included Mr. Guy Djoken, Executive Director of UNESCO Center for Peace of Washington D.C.; San Francisco District Six Supervisor Matt Dorsey; and Professor Adam Caldwell, Chair of the Jury Committee and faculty member at the Academy of Art University, San Francisco. The ceremony spotlighted the creative achievements of young artists and underscored the museum’s role in fostering cultural exchange and youth artistic expression. Now, in its second year, the International Youth Art Contest and Exhibition continues to expand its reach and impact, advancing IAMA’s mission to champion emerging talent and foster intercultural connection through the arts.

Please visit https://iamasf.org/2025-iama-international-youth-art-contest-and-exhibition.

 

This year, 1,600 youth participants submitted over 3,800 artworks to the Youth Art Contest. Artists from sixty-five countries across five continents competed within four age groups. After a rigorous selection process evaluating creativity, technical skill, and overall presentation, 477 young artists from seventeen countries were selected to exhibit a total of 616 outstanding works in IAMA’s Grand Exhibition Hall. The artistic caliber and thematic richness of the selected pieces left the jury in awe.  

Attendees of the 2025 International Youth Art Contest viewing the installation in the Grand Exhibition Hall located at 1025 Market Street in San Francisco.Photo by Johnny Trieu

During his address at the awards ceremony, Mr. Guy Djoken offered high commendation for IAMA and its dedicated team, applauding their ongoing commitment to promoting international artistic exchange and cultivating a space where the public can find joy and renewed hope through art. Reflecting on the global turbulence and widespread uncertainty facing today’s global community, Mr. Djoken declared, “At a time when many live in fear—especially of war—just for us to be here at the museum, smiling and happy, and most importantly hopeful about the future—this is the best thing about this competition.” Mr. Djoken’s heartfelt message set a hopeful tone for the awards ceremony and attendees alike.

Executive Director of the UNESCO Center for Peace, Guy Djoken, was deeply impressed by the exceptional quality of the young artists’ work, finding both joy and hope for the future in their creativity.Photo by Johnny Trieu

Award recipients in the eleven – fourteen age group at the 2025 IAMA International Youth Art Contest, joined by Mr. Guy Djoken, Executive Director of the UNESCO Center for Peace in Washington, D.C., who presented the honors during the ceremony.Photo by Johnny Trieu

Matt Dorsey, San Francisco’s District Six Supervisor, also addressed the audience, expressing his appreciation for the International Art Museum of America as a true hidden gem of San Francisco’s art landscape, and pledged his continued support for the museum’s mission and contributions to the community. Supervisor Dorsey offered words of encouragement to all participating youth artists, urging them to pursue their creative passions with perseverance—regardless of the outcome—and to never stop pursuing their artistic dreams.

Award recipients in the fifteen–eighteen age group of the contest were presented with their honors by San Francisco District Six Supervisor Matt Dorsey during the awards ceremony.Photo by Johnny Trieu

Professor Caldwell praised the range of themes and talent amongst all submissions and ages, which made selecting the winners of each age group challenging for the judges. Professor Caldwell noted the importance of international art exchange, stating “It’s a great way to bridge gaps between countries. The artistic community has always crossed political, social, and ethnic borders. Art and music are among the most universal forms of expression. They allow us to feel what others felt… Art brings people together across divides.” Professor Caldwell’s wise words perfectly captured the mission and outcome of the International Youth Art Contest. 
 

Award recipients from the seven – eleven age group honored by Prof. Adam Caldwell—Chair of the Jury Committee, and faculty member at the Academy of Art University, San Francisco.Photo by Johnny Trieu

In this year’s contest, a newly introduced category for the youngest age group—participants ages five to six—garnered enthusiastic engagement from a remarkable number of budding artists. Through their sincere brushwork and vibrant imagination, these children demonstrated an extraordinary innate talent that captivated both audiences and judges alike. 

Dr. Amy Hughes, Jury Committee Member and Director of Student Services at the New York Academy of Art, recognized the courageous creativity of the youth artists reflecting, “I was struck by the fearless creativity on display — the young artists did not shy away from complex themes, experimenting with materials, and expressing deeply personal narratives. Each piece felt authentic and fresh, demonstrating both technical skill, and emotional depth. The entries explored themes ranging from family, community, and environmental justice to dreams, culture, and identity—powerfully reflecting the younger generation’s keen insights and profound emotional connection to the world around them.

Charlotte Wu, third place award recipient in the five- to six-year-old age group, looks up at her winning painting, The Garden Where She Waits.Photo by Johnny Trieu

Lucas Shao, the first place winner of the five- to six-year-old age group, depicted himself joyfully swinging through the air in his painting, Wonderland. When asked about his hopes for his art, Lucas enthusiastically declared “I hope my art makes people happy, warm, big smiles just like me!” 
 

Five-year-old Lucas Shao, winner of first place in the five- to six-year-old age group, stood proudly beside his painting Wonderland, depicting his happiness while swinging on the playground.Photo by Tong Shao

Third place winner of the five- to six-year-old age group, Kedarnath Kalidindi depicted a goldfish in a small fishtank in his painting, Freedom in Captivity, inspired by “finding inner freedom during incarceration.” The addition of this age group was an exciting component of this year’s event, and underscored the value of shining a spotlight on youth artwork, and garnering the wisdom of today’s youth.
 

Five-year-old Kedarnath Kalidindi, third-place winner in the five- to six-year-old age group, introduced his painting, Freedom in Captivity, to the audience.Photo by Johnny Trieu

Ten-year-old Irina Elena Dobrota from Romania was honored with third place in the seven- to ten-year-old age group for her painting, Flight of Dreams, which was selected for the final exhibition at IAMA. Celebrated for its gentle spirit and imaginative vision, the piece radiates themes of kindness, freedom, and hope. Irina’s achievement brought pride and joy to her local community, and she hopes her work will inspire others to believe that every heartfelt wish can take flight—if we have the courage to let it soar.

Third place winner of the seven- to ten-year-old age group, Irina Elena Dobrota’s painting, Flight of Dreams.Photo by IAMA

Ashley Hein, second place winner of the fifteen-to-eighteen-year-old age group, impressed the jury with her painting, Animal Instinct, distinguished by its mature composition and outstanding execution. Professor Caldwell commented that he had shown several of the entries to his university art students, who were deeply moved and inspired by the technical skill and creativity on display. 

Ashley Hein’s artwork, Animal Instinct, won second place in the fifteen- to eighteen-year-old age group.Photo by IAMA


 

Seventeen-year-old Kate Fieldhouse from South Africa received an honorable mention for her painting Between Worlds, which depicts a striking worldscape through an intense and creative exploration of breaking the canvas. 
 

Seventeen-year-old Kate Fieldhouse from South Africa received an Honorable Mention for her painting Between Worlds.Photo by Johnny Trieu

Sixteen-year-old Polina Larina received an Honorable Mention Award for her painting Moscow Buns Evening. During her interview, Polina shared how she views her art as an opportunity to introduce people to Russian culture, and how the Youth Art Contest inspired her to continue to pursue her art dreams, “It was my first time participating in the IAMA competition. Participation in this competition helped me to feel recognized as an artist, and inspired to keep making art and put more effort into it.” Polina’s painting, inspired by a memorable walk with her grandparents, serves as a reminder to escape into nostalgia and childhood memories in trying times. 
 

Sixteen-year-old Polina Larina (second from right, standing beside her mother) who received an Honorable Mention for her painting Moscow Buns Evening, in the Grand Exhibition Hall, joined by her parents and twin sister.Photo by Johnny Trieu

Following the ceremony, Professor Caldwell gave a masterclass for all participants, offering thoughtful insights on artistic growth, and encouraging continued exploration and confidence in their creative journeys. His masterclass focused on four elements: visual storytelling and composition, techniques and materials, the role of art in communication and expression, and advice for young artists. This is the second year Professor Caldwell has judged the artwork for the contest and delivered a masterclass for attendees of the contest.
 

Professor Caldwell delivered a knowledgeable and enlightening masterclass to attendees and participants. Photo by Johnny Trieu

About IAMA

Located in the heart of San Francisco, IAMA was voted the “Best Art Gallery” and was a finalist as the “Best Museum” in SFGate’s Best of Bay Area 2024. IAMA is dedicated to making world-class art accessible to all through exhibitions, education, and international contests. With a mission to foster peace and happiness through art—especially by nurturing the next generation—IAMA brings together works from around the globe, bridging East and West, classical and contemporary.

For the complete list of winning artworks, please visit https://iamasf.org/2025-iama-international-youth-art-contest-and-exhibition or call (415) 376-6344.

Link:https://peacelilysite.com/2025/07/28/global-youth-artists-shine-at-the-second-annual-iama-international-youth-art-contest-awards-ceremony-in-san-francisco/

Source:https://www.sfgate.com/sponsored-content/article/global-youth-artists-shine-second-annual-awards-20782182.php

Why Ancient Roman Buildings Still Stand—And Modern Ones Don’t

linda changLeave a comment

Have you ever stood before the Pantheon in Rome or looked up at the towering aqueducts from ancient times and thought:
“How are these structures—built over 2,000 years ago—still standing strong, while modern buildings crack, rust, and collapse in just a few decades?”

It’s not a miracle. It’s ancient wisdom and material science far ahead of its time.

By Rabax63 – File:Pantheon_Rom_1.jpg, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=87626466

Pantheon, Rome, c. 125 C.E. (photo: Darren Puttock, CC BY-NC-ND 2.0)

Sanctae Mariae Rotundae (photo: Steven Zucker, CC BY-NC-SA 2.0)

🏛 The Secret of Roman Concrete

Unlike the Portland cement we use today, ancient Roman concrete was made with volcanic ash (pozzolana), lime, water, and volcanic rock. This special mix triggered a chemical reaction known as the pozzolanic reaction, which formed a remarkably stable and durable material.

From https://news.mit.edu/2023/roman-concrete-durability-lime-casts-0106

This volcanic ash came from regions like Campi Flegrei near Naples, rich in silica and alumina. When mixed with lime and water, it formed bonds that strengthened over time—rather than weakened.

🌊 Stronger with Time—Even Underwater

Even more amazing? Roman concrete exposed to sea water didn’t erode—it grew stronger. Scientists discovered that seawater reacted with the volcanic materials to create a rare mineral called tobermorite, which reinforced the concrete’s internal structure.

This is why many ancient Roman ports and sea walls still stand intact after 2,000 years—even without modern rebar or waterproofing.

Ruins in Privernum, near Rome, where researchers collected ancient concrete samples from a bordering city wallREDA & CO srl/Alamy

🔧 Self-Healing Capabilities

Roman concrete even had a kind of “self-healing” ability. When small cracks formed, water seeping into the cracks would trigger new chemical reactions, filling the gaps with more binding minerals and sealing the damage naturally.

No wonder structures like the Pantheon’s massive unreinforced concrete dome—still the largest in the world—have stood strong for two millennia.

Today’s concrete (Portland cement) is fast to produce and easy to use—but it’s not built to last. It’s vulnerable to carbonization, water infiltration, and the corrosion of internal steel reinforcements. Many modern buildings begin to deteriorate in as little as 50 to 100 years.

What’s more, many structures are built with thinner supports and cheaper materials to cut costs and speed up construction—further sacrificing long-term durability.

Ancient Roman builders weren’t just engineers—they were environmental designers who worked with nature rather than against it. Their materials were local, natural, and synergistic. They designed for longevity, not just appearance or convenience.

Modern architecture, for all its technological advancements, could learn a powerful lesson:
Durability is a form of sustainability.

We often assume that more advanced technology means better quality. But perhaps what truly makes a structure strong isn’t just engineering—it’s wisdom, respect for nature, and a mindset rooted in harmony and longevity.

If we embrace these ancient insights, maybe our future buildings won’t just house us—they’ll endure for generations.

Link:https://peacelilysite.com/2025/07/21/why-ancient-roman-buildings-still-stand-and-modern-ones-dont/

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

linda changLeave a comment

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/

The Desert-Conquering Queen: Yin Yuzhen’s 36-Year Battle Against the Sands

linda chang1 Comment

In 1985, a drunken promise set a young woman on a path that would change not only her life, but the fate of an entire desert.

At just 19 years old, Yin Yuzhen was forced to marry Bai Wanxiang, a man living deep in China’s Mu Us Desert.

On her wedding night, while Bai lay down early to rest, Yin Yuzhen sat awake until dawn, her eyes red from weeping. When she looked out from her tiny dugout home, she saw nothing but endless waves of yellow sand stretching to the horizon. She felt as if her life had ended before it began.

Her new home was a four-square-meter pit carved into a sand dune. To enter, she had to stoop under a doorway so low it nearly grazed her back. Inside, there was nothing but a bed of dry twigs and straw.

Her husband was four years older and came from a family who had battled the desert for generations. Years earlier, Yin’s father had been saved by Bai’s father when a sandstorm left him lost in the dunes. Grateful, the men became sworn brothers, and in a haze of alcohol, her father vowed to give his daughter to the Bai family. Though he regretted it once sober, he felt bound to keep his word.

Life was brutal. There was no electricity or running water. Summers scorched and winters froze. They survived on millet, wild plants, and the occasional scavenged animal carcass. For forty days after her wedding, Yin Yuzhen saw no one but her husband—until, at last, a wandering herder passed by.

The isolation was unbearable. In her loneliness, she would cover footprints in the sand with a basin, pretending someone was still there.

Seven times she tried to flee, and seven times she became lost in the swirling sand. Once, she walked for two days and nights, only to find herself back where she started. That was when she realized the desert was not going to let her go.

At her lowest point, she contemplated ending her life. But in that moment, she remembered her mother’s tearful face the day she left home—and she stepped back from the edge. If she couldn’t escape, she decided, she would have to find a way to survive.

Hope arrived in the form of two poplar saplings she brought home from a visit to her parents. Miraculously, one took root. That little sprig of green whispered a possibility: maybe the desert wasn’t completely invincible.

In 1986, Yin Yuzhen made a bold choice. She sold their only “three-legged sheep”—a wounded animal that was still precious—and used the money to buy 600 young trees.

That spring, she and Bai planted each sapling in the sand around their cellar.

The challenges were immediate. Every day, they walked kilometers to fetch water. Under the searing sun, most of the saplings withered. By summer’s end, fewer than 100 remained. But for Yin Yuzhen, that was enough to keep going.

From then on, reclaiming the desert became her life’s purpose. Bai took work wherever he could to buy more trees, while she stayed behind to plant, water, and protect them.

Every morning she rose at 4 a.m. and worked until late into the night.

Through years of trial and error, she devised a three-layer planting method: shrubs to anchor the sand, trees to form a windbreak, and fruit trees to sustain their livelihood. This innovation transformed survival rates.

But the desert kept testing her resolve.

In 1989, a monstrous sandstorm struck while they were returning with new saplings. The wind tore the trees from their cart and buried them. Yin Yuzhen clung to their ox’s tail, stumbling forward in the blinding grit. When they finally reached home, she didn’t rest—she planted every surviving sapling that same night.

Setbacks never stopped coming.

They flattened kilometers of sand to make water channels, only to watch them swallowed again and again.

She went into premature labor from exhaustion. He developed pneumonia. But neither ever quit.

For the first ten years, the progress was almost invisible. The trees grew painfully slowly, and the dunes kept advancing. Still, she believed that if she didn’t give up, someday the desert would yield.

In the fifteenth year, signs of hope appeared. The dunes near their home began to stabilize. The wind softened. Small animals returned.

After twenty years, their desolate hollow had transformed into an oasis that drew neighbors to settle nearby.

Today, after thirty-six years of relentless labor, Yin Yuzhen and Bai Wanxiang have reclaimed more than 70,000 acres of desert.

They have planted over 20 million trees—forming a vast green barrier against the sands.

Their perseverance has inspired 84 families to join in the mission, proving that even the harshest landscapes can be transformed.

Yin Yuzhen’s story has captured global attention. She has won over 100 honors, including “National Model Worker” and “Green China Person of the Year.” She was the first Chinese woman nominated for the Nobel Peace Prize, and the United Nations has praised her work as a model of ecological restoration.

What began as a forced marriage became the catalyst for a transformation no one imagined possible.

The young bride who wept in despair became a legend—China’s Desert-Conquering Queen.

Standing in her thriving “green kingdom,” she often reflects on her journey from hopelessness to triumph.

“At first, I only wanted to survive,” she says. “Later, it became my life’s mission.”

Today, the cellar where she once had to crawl inside has been replaced by a bright brick house surrounded by orchards and forests. That place—once a symbol of despair—has become a destination where people come to learn, to marvel, and to be inspired.

Yin Yuzhen’s life is a powerful reminder that in the most unforgiving environments, the strongest life force can grow.

One woman’s 36-year battle against the desert ended in a victory of green.

Link：https://peacelilysite.com/2025/07/08/the-desert-conquering-queen-yin-yuzhens-36-year-battle-against-the-sands/

Source: https://www.facebook.com/permalink.php?story_fbid=pfbid02UztZikitftmaF5mxFQ5hoJtqtvEFZSQjnfhEWWR12h9vKd4zhVZN2mMUcGoAVAcdl&id=100063478189650

Photos from: https://www.chinastory.cn/PCzwdbk/chinastory/wap/detail/20190617/1006000000039761560767204146970666_1.html

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/