bai fu zhuang yan

8/12/2019 Bai Fu Zhuang Yan

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Venerable Kaiyin and I have been acquainted with each othersince 2000, when he was a guest speaker of the Chue FengBuddhist Art and Culture Foundation and I visited Sabah,Malaysia, for the Dharma talks. In 2001, one of my disciples,Faxuan, was introduced by the venerable. Because of hisrecommendation, I have a helpful assistant. In addition, in2002 at venerable Kaiyin's Santavana Forest Hermitage, Ihad Chanjie's and Chanzheng's heads shaved, who are boththe venerablesdisciples. Terefore, venerable Kaiyin and Ihave friendly relations for a long time.

Venerable Kaiyinspecializing in Dharma preaching,meditation, calligraphy, seal carving, and monasterialmanagementis an outstanding monk. From Buddhistaspects, he is widely admired for his Buddhist studiesand meditative practice. Studying Chinese Buddhisttradition, he delves into Master Yinshun's Miao YunCollection, the Great reatise on the Perfection of Wisdom(Mahprajpramit-stra), and the Yogcrya-bhmi-stra. Following South Asian Buddhist tradition,

he learns Pa Auk meditation, the Path of Purification, andthe Nikayas. From artistic aspects, he perfects himself in

diverse styles of calligraphy and carving. Moreover, creatinghis art works, he masters a variety of materials: pottery,bamboo, and woodblock. Indeed, his concepts of applyingthe art of calligraphy in various materials correspond to theoriginative ideas of modern art.

he Santavana Forest Hermitage hosted the exhibition ofwenty Years of Calligraphic works: Chan's Mind, Ink'sCharmin 2010. he six bhikkhunis of my monasterythe Yong Xiu emplewho attended the exhib ition allappreciated the venerable's prominent works. It is muchmore respectable that the venerable is always compassionate

toward all l iving beings and denotes his works forfundraising. Venerable Kaiyin, for example, contributed hisworks to the charity event for the victims of South Asiantsunami in 2004. Additionally, the income of his wenty

Years of Calligraphic works: Chan's Mind, Ink's Charmgreatly supported the victims of the Haiti's earthquake.

Furthermore, Venerable Kaiyin has a talent for monasterialmanagement, especially which had been shown in theDecadal Anniversary Celebration of the Santavana ForestHermitage in 2008. All participants were impressed bythe well-organized volunteers and well-designed buildingsthat have demonstrated the venerable's ability of running amonastery. Venerable Kaiyin is really a praiseworthy monk.

Although his spine surgery has numerous adverse effects andgives rise to other health problems, he has strong willderiving from his Buddhist studies and meditative practicesto overcome difficulties. With compassion and patience, healways feels at ease to deal with all events, which is his mostsignificant nature unmatched by others.

It is our honor to invite Venerable Kaiyin to exhibit hisworks at the Bureau of Cul tural Af fa irs, Xinchu City,in November, 2011. he exhibition, titled PerfectVirtue and Sublime, will move to the Bureauof Cultural Affairs, Gaoxiong City. he purpose of this

exhibition is to introduce monastic calligraphy to the non-Buddhists and to share Kaiyin's understanding of Buddhism

with the Buddhist s. Before the exhibit ion, the Yong Xiuemple invites venerable Kaiyin and Kaizhao to lead a week-long Loving-kindness Meditation. I believe that meditationenables participants to have mindfulness and calmness, whichare essential qualities to facilitate the further understandingof the art of calligraphy.

Personally, I am fond of calligraphy, though I am not good atit. Associating with venerable Kaiyin, I appreciate his wisdomand his applying spiritual practice in calligraphic art. Because

of religious realization, the venerable's works manifestunique and ineffable quality, which is not an ordinary levelthat other artists can achieve.

ForewordShih, Kuan ChienChair of the Chue Feng Buddhist Art andCulture Foundation


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Yan Buddhist Institute, Master Dahang, Master Kaiyin served asthe eighth Dean of Academic Affairs. While dedicating himself toteaching and administration, he not only invited Mr Dahua Liaoto teach calligraphy in the Institute, but also requested that therenowned calligrapher, Zhonggao Du, give a lecture on 'LearningCalligraphy and Dharma'. His advocacy that calligraphy shouldbe incorporated into the learning of Dharma, the former to beutilised by and not hinder the latter, is by no means a pretentiousinsistence. In fact, his genuine appreciation of calligraphy fromthe lenses of Dharma makes him all the more admirable. At that

time, he was examining one of the Sthaviravdan works, hePath of Purification (Visuddhimagga), which he often used toapply to his meditation.

Once he intimated:he process of copying the script models is no different fromthe process of stablising the Meditation Object in order to attain

jhna the former is through repeated copying so well until onecan write a script out in the same shape and spirit as the original,

while the latter, as explained in 'aking a Meditation Object' inhe Path of Purification, is like the process from Parikamma-nimitta, Uggaha-nimitta, to the attainment of Patibhaga-nimitta.

Deep down I could not help but find myself convinced andrespectful upon hearing his words. Learning an art requirestalent, whereas learning Dharma requires the innate potential

of wisdom. I have always felt that it is the latter that takes thelead of the former. He holds no prejudices against any form ofcalligraphy, and neither is he bound by any restrictions.

After learning from the Myanmese Pa-Auk Saydaw for awhile, in 1998, Master Kaiyin accepted an invitation from thelay Buddhists of Eastern Malaysia to found Santavana ForestHermitage in uaran, Sabah. Over the last ten years, Santavanahas won a reputation in the Buddhist sector for its teaching onmeditation and Abhidhamma. However, thanks to his wide rangeof experience in Chinese Buddhism and culture, Master Kaiyinhas been able to teach not only the relevant courses on Dharmaand meditation, but also calligraphy. He demonstrated theinscriptions on tablets and a variety of styles in person, detailingthe history and commentaries of the art. His wide knowledgeand inexhaustible eloquence were such that even renowned artistsand acquaintances found themselves drawn up to Santavana in

order to exchange their learning. Te connection between theircalligraphy and Dharma was thenceforth initiated.

Master Kaiyins calligraphic expressions flood spontaneouslyonto paper from his finger tips they are not adaptations fromworks both ancient and contemporary seeking to impress. It ispart of his life as mentioned, and therefore his ultimate purposelies not in the creation of pieces of work, but in unifying his bodyand thoughts in the mindfulness of the given moment. He onceremarked:

Although calligraphy is a secular art, by manipulating the inkand the brush, one can relax the mind and body while developingmindfulness and concentration. Tus one can enjoy the calmnessand solitude in face of the beauty shone through the ancient art.

Hence, writing calligraphy is his life, his pleasure - done entirelywith spontaneity. Most often he writes on paper, but wood, clayand bricks, paper fans, paper umbrellas, pottery jars and cans, teapots or pen pots, bamboo scrolls, cloths, stones, tiles, doors andwindows, are all other media he uses to write his calligraphy. Asa result, he not only uses the pen brush but also knives. He usesthe latter not simply to incise the shape of the writing, but tocarve away the extraneous until it is set free. Te character andquality of his art is nowhere hidden in his flow of Qi (energy)and the rhythm of the ink running fast or slow, across Yin andYang, and between virtual and real - on such different materialsas cloth, paper, metal, stone, pottery, bamboo, bricks, clay, andothers. Indeed, the materials on which he spills his ink are toomany to count, which shows that this is not just a pleasure thata calligrapher takes in his art, but the spirit of Zen and therhythm of inkthat abound in the daily life of a master of Zen.

Although Master Kaiyin is the offspring of Chinese expatriates, hehas a solid foundation in Chinese language and literature. Apartfrom studying and understanding the tripitaka, he also learnedpoetry from Yukui Huang, who is renowned for his prosody.Master Kaiyin applies his usual rigour to the learning of poetry

while paying attention to the versification, he is also meticulousabout his use of allusions and comparisons. Lately, he oftenthrew into poems his reflections on life, and on his experience ofspreading and practising Dharma. When committed to paper incalligraphy, both the poem and the writing appear all the moreinspiring and beautiful. For instance, one day in Summer 2005,the time that flew by between dawn and evening inspired MasterKaiyin to compose a poem on the transience and speed of eachthought construction, entitledTe Impermanence:

Te red clouds of sunset have manifested almost as soon as thesunlight at dawn shows its face; Te time in a day flies by so fastlike an arrow after its target.Te rapid change between day and night does not just happenin the outside world - How many times have our thoughtsconstructed over the time passing by?

Also, one day in July 2007, Master Yunfeng, who came fromCanada to visit Santavana, was having tea together with MasterKaiyin, at which time there was pouring rain with strong wind.ouched, he wrote a poem, Brewing ea in the Rain at Dawn:

Against the southern wind and the early rain, the grass rustles,Against the ancient history, with the dark loaf on it the red stovewhistles.Te old, matured tea brewed in boiled water gives out sour, thin

and sharp flavours; Te best can only be selected from the threethousand scoops that have been sampled!

A postscript ensued:his morning I was savouring tea with Master Yunfeng andothers in the Grass Bower while it was pouring with high windsblowing, and I wrote a poem to express my feelings. Sour, thinand sharpare how the tea specialist Zhitong Chen characterisedGuang Yun ribute ea (tea in the shape of a loaf).... AlthoughChen uses these characteristics to comment on the Guang Yuntea, I maintain that the best can only be selected from the threethousand scoops that have been sampled.

hree thousand and a scoopful, allusions drawn fromhe Dream of the Red Chamber, are metaphors for how menand womens destinies are decided three lives back, and only anindividual out of thousands can be ones own destiny. In fact,

three thousand comes from Buddhism, used to refer to theimmense world. Tus, a real connoisseur needs to test from thevast number of samples in the world in order to find the best.

On another occasion, on 28th December 2008 - the 10thAnniversary of the Santavana Forest Hermitage - Master Kaiyincomposed Te enth Anniversaryto account for his reflectionson the hardship of developing the monastery over the past decade:

Tere sits the Buddha on a seat shaped like a bow, with his twoeminent disciples on both sides.In Samaa-sukha-vihr, which finds itself amongst thousandsof villages in the North of Borneo.rees grown ten years ago still need time to take off itsunsophisticated greenness;Te orch of Dharma will continue to hold up high if eminent

disciples can be produced and used.What a person, what a poem his depictions and aspirationsreveal his temperament and sentiments without guise. None ofhis talents or knowledge results from random manipulation ofhis endowment without the application of method and reason.He said, he learning and expressions of those who haveundergone training in Abhidhamma tend not to be superficialand random, but would be more organised and logical instead.

he Master Kaiyin that I know is someone who is not onlytalented, but known for his profound and extensive knowledgeand practice. His interests, be they Buddhas teachings, secularknowledge, calligraphy, or others, are no more than his dailylearning, reflection, and sustenance, as well as the dissemination ofDharma. Indeed, the gap between the ruth of the mundane worldand the Ultimate ruth should be non-existent, if one is adept

enough to channel the two - Its size varies depending on eachindividuals observation, practice and attainment. As Buddhagosaput it, Dependant Origniation (paticcasamuppda) is the Middle

Way, the profundity of which can only be conveyed to the world ifdone through methods and media that it recognises!


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Over the last two decades since I first made his acquaintance, Ihave noted that to Master Kaiyin(), calligraphy is notso much his gift, but his life, just as study of Dharma and thepractice of Samdhi and Vipassan are integrated seamlesslyinto his daily routine.

Whatever he does in daily life - be it related to knowledge, art, orduty - reveals so naturally his reflections on and attitude towardsDharma, and therefore the mundane disciplines, when handledby him, overflow with the Buddhas teaching. As a result, hisreligious sentiment manifests neither as compliance with the

formality of ritual, or with different orders or academic ideology,nor as the upkeep of monastic vows. Rather, it translates intoa temperament so observant, so thoughtful, so full of loving-kindness, vigour and strength.

oday, his achievement in the learning of Dharma, in Samdhiand Vipassan, and in running a monastery while also spreadingthe Buddhas teaching to the greater public, is by no means aresult of calculated effort over years. Instead, such attainmentsare the fruition of his personal philosophy one that drives himto cultivate each and every one of his capabilities in an unfeignedprocess of learning and practice, which must be carried out withreason and perseverance. o him, the course has not been oneof hardship and abstruseness, as practising and reflecting onDharma has never ceased to be his life and ongoing path since hisordination. In his eyes and in his mind, any secular knowledgedoes not obscure the holy Dharma that permeates the world to

him, there is no boundary in between, and the former is preciselythe real-life manifestation of the latter.

Master Kaiyins approach to calligraphy, one of the ancientartistic traditions of China and among his chief areas of expertise,effectively demonstrates how he approached the acquisition ofany knowledge or skill ab initio to the most advanced stages. Itprovides great insight into his life and expressions, and reveals thathe has never failed to show respect and rigour. Every distinctionand selection he makes is based on a full understanding andlearning of the subject. His creation and representation are notso much an attempt to compare and contrast with other artists,ancient or contemporary. Rather, they are the spontaneousexpression of his personal life course and experience. Onceupon a time, I travelled with him through Peninsular Malaysia,and heard his response to a renowned calligrapher in Penang

( ) regarding the mental block suffered by an artist:

A good piece of creation should be something that natural lyflows out of the artist. By this principle, all the learning, life,philosophy and personal experience of a calligrapher should comeout of his art unaffectedly, without deliberation. His art is toexpress an understanding, inspiration, and matured ability. If itis created for the sake of making art, the work may be forced outwith much effort and frustration, intending to pose but fallinginto artificiality. In the worst cases, it may even turn into futilelamentation, if the artist has not a solid foundation on which tofall back.

In March 2010, students of the Calligraphy Class of SantavanaForest Hermitage, Malaysia, organised a special calligraphyexhibition for Master Kaiyin, entitled Te Art of Calligraphy Over Years of wenty. Held in the Karamunsing Complex

in Kota Kinabalu City, the exhibition also produced a specialbooklet for Master Kaiyins calligraphic work. Long prior tothat, Master Kaiyin had already invited me to write a prefacefor it, although I felt too short of knowledge and understandingin the field to accept, knowing that he had numerous friends,

teachers and seniors in the artistic and religious sectors, all withwidespread reputation for their talent and learning. A prefaceof recommendation from any of them would surely draw moreattention and interest from people from all trades. However, heinsisted:

It is not too difficult to request for a preface from my seniorsor renowned calligraphers, but I would not like the exhibitionheld by the Calligraphy Class of Santavana to turn into a purepersonal show. Instead, I would rather render it as a media toshare with those who have the same passion my course of learning

over the last two decades, and you know the details much better.From you, I am not looking for praises and recommendation, butthe sharing of my learning process and my attitude towards andthoughts of calligraphy.

I fell speechless, deeply touched by his words while somewhatembarrassed by my own worldliness.

It is not a flattery to say that Master Kaiyin has turned intoa talented calligrapher since he began learning the art twentyyears ago. However, in my understanding, he has always been aBuddhist teacher who remained open-minded, while at the sametime delving profoundly into Vipassan and practises Dharma

without compromise. Apart from dedicating himself to meditationand lecturing on sutras and classics as a religious teacher, he alsohelps to settle the bodies and minds of the lay learners by teachingthem Samdhi and Vipassan. How, then, is the learning and

expression of Calligraphy incorporated in his life?

In fact, Master Kaiyins interest in Chinese art started veryearly on. He took to painting and writing young due to hisfathers influence. In adolescence, he learned the Lingnanstyle of painting with Chuncao Liu; and from Dayong Liu hegained familiarity with the Northern painting style focusingon mountain, water, flowers and birds. Since then he has becomeproficient in manipulating the pen brush and the ink. In 1987(aged 19), Master Kaiyins innate potential of wisdom was dulyinitiated following his tonsuring by Elder Wenjian of Hong Fuemple in Penang, he studied at the Malaysian Buddhist Institutefounded by Elder Zhumo, who often inspired Master Kaiyin incalligraphy and painting. In March 1990, before Elder Zhumo

went into seclusion, Master Kaiyin requested his advice. ElderZhumo suggested that life is limited yet the art of calligraphy and

painting boundless, and thus one cannot master both. However,calligraphy can well serve as an instrument for praja. Due tohis illuminating words, Master Kaiyin parted with painting.Afterwards, Master Kaiyin came to aiwan, where he dedicatedhimself to the study of Dharma. hanks to the art courseincluded in the curriculum, he had the opportunity to learn fromthe elderly Master Benhui and Mr. Muxi Zhang, from whom hegained much guidance and demonstration on: the Han and Weitablet inscriptions of Menglong (), Liqi (), Longmen (), Yi Ying (), among others. In addition, he learned muchabout many other calligraphers Ouyang Xun (), Chu Suiliang(), Yu Shinan (), Wang Xizhis Shengjiaoxu (), and Huang Shangus () Running Cursive Script.Master Kaiyins learning of calligraphy has never stopped since,and he went further copying Zhong You (), the two Wangs(), Mi Fei (), Wang Duo (), Fu Qingzhu (), andothers. A life of calligraphy was one of tranquillity, which he led

and employed to cultivate his mind. Even during the times whenhe fell ill, he still held his pen brush with full concentration,copying and reflecting, day and night.

In 1996, having accepted the invitation from the Principal of Fu

Te Spirit of Zen & the Rhythm ofInk - Master Kaiyins Art of Calligraphy

Ru-Fan in Haoyue (Luminous Moon) Monastery, 27th July 2010ranslated by Christine sai


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Master Ru-Zhi's (Master Ru-Heng's sibling) hint, no one

would have noticed this tiny note. As we drank, at the spur

of this moment, our hearts ached with the sense of the old

affection toward this deceased friend.

For a long while, we lingered over the nostalgia of our pastmemories, as the tea changed from its diluted flavor to one

without taste. We observed this sensation of tea tast ing,receptive to all its flavors, aroused, and emptied of anythingtasteful, we realized how much true tastes were concealedbehind the tea and how friendship could be passionless andprosaic just like the tea's later apparent tastelessness flavor- emitting no fragrance but embracing all flavors, and yetperfect in tastelessness and friendliness.

As far as Master Kai-Yin's interest in Pu-Er tea , it evenculminated a journey to the Ancient ea Route(),to retrace the legendary path of the ancient Pu-Er tea. Hispoem Oneness in Zen and ea () summarized

his feelings: As I brew the Pu-Er tea from the Big-SevenSeries of 1993's collection,Is the aroma bear resemblance

to the lotus, beetle nuts, prune or camphor? Let's frolic

together, vent our feelings, and utter our sentiments,And

down with this Sangharama in a single bumper!

Note: 1. Among the aged teas, this 1993's raw Pu-Er withthe Big-Seven series is flled with a heady aromatic avor.

The Sangharama fragrance comes from the banyan tree.

However, this word has another colloquial expression for

monastery. 2. In Master Kai-Yin's poem where drinking

tea is like returning one to oneself or to return life as it is

lived. Do we detect the brim full of Zen Buddhism in it?

We will never realize Zen until we personally experienceit through our own efforts, independent of any words,

names, artifcial representations or intermediaries.

his poem expresses itself most intimately to Master Kai-Yin's feelings and is best suited for his original ways ofviewing things. Here stands the fact, that when everything isopen to our full view, finding our way to freedom throughtea is exactly what Dharma tries to deliver. While enjoyingthe tea, there is no splitting into two within the tea andthe tea drinker as we are already merged into one, dealingonly directly with the present moment experience. Once

we finish, they are what they are. Here is the epigram, if weinfatuate ourselves with it, not seeing the danger, simplyenslaving ourselves by the flood of sensuality, sunk in smells,in taste, we cannot shake it off. We must see this as massdelusion, see the real hidden danger behind, and that is whatBuddha calls Seeingin accordance with the truth.

In August of 2007, arranged by Master Kai-Yin, I went tothe Santavana Forest Hermitage to deliver a lecture on SealScript and the Calligraphic Principles. During the session,I demonstrated the Kneeling Rhyme, incorporating thepictographic imitation into one's handwriting, positioningof one's brush downward to simulate the posture of

kneeling before executing the strokes. he goal was tolet the calligraphic appearance accord with your innermoments, and to follow your inspiration as spontaneouslyand instantly as it was moved. Your brush was guided as if it

were together with your whole being. In a profound sense,imagine bringing yourself to your knees to give the work itsown merit and fill it with a reverential spirit. Each time we(lay and monastic) met, while chastened in spirit, we alwaysprepared ourselves to unburden our hearts for each other,diligently engaging in conversation covering all aspects ofBuddhism subjects. Between leisure and discussion, Master

Kai-Yin also taught me techniques in learning the

WhiteKasinameditation method and I practiced this methodduring my stay at the Monastery. Due to my physical andmental solitude in the Kuti (mediator's bamboo hut), herein the forest, I got a chance to sow and cultivate the WhiteKasina. While practicing at night, with fireflies everywhere,as I gazed afar through the Milky Way in the pale sky withfilmy clouds and visualizing the white image of the moon,spread out to the entire forest. Amid in the clear and crispair, my mind was completely absorbed in the breathing; I feltI steeped myself thoroughly in the atmosphere. Ten, in themorning, I strolled about the wood trails, surrounded by thefloating mountain mist. As I climbed to the very summit of

the Mount Kinabalu, I had viewed the overlapping hill topsthat glowed with the bright autumn sun. It was this salvation- Mount Kinabalu which cultivated Master Kai-Yin'screativities in seal-carving. In the realm of this art, examplesof Mount Kinabalu's Monastic (), Homesteadin the woods (), Mount Kinabalu Kai-Yin(), Oneness in Zen and ea (), and Atforty, there is no confusion() became the very soulof Master Kai-Yin's precious works, garnered him fame andearned him praise from the Sangha community.

Master Kai-Yin's aesthetic qualities excelled in all calligraphy

forms. Models of calligraphy which influenced him include:the inscriptions of the seal script from Wu Changshuo (), the official script from Zhang Qian () as wellas liqi (), the regular script from Zhang Meng-Longand the Northern Wei's () epitaphs which stressed itsstrength and powerful manner. Some prominent runningscript calligraphy masters like Hwang Shan-gu's (),and Mi-Fei's () charm and mellowness, also hada profound impact on him. Exploited in all the possibilitiesof this medium, his creativity even proliferated to engravingon ceramics, porcelains, bamboos, and woods. In the lasttwenty years, these masterpieces provided the exemplarysamples for him to learn, follow, emulate and furthersharpen his artistic quality. Earlier, Master Kai-Yin organizedand auctioned his works in a fundraising charity event,Embracing Mankind, in support of the Sichuan andBurma' earthquakes victims. Again, when Haiti's earthquakestruck, the timing coincided with Master's launching ofhis wenty Years of Calligraphic works Zen's Mind,Ink's Charm (20). he zu-Chi BuddhistFoundation () gratefully accepted the entireproceeds collected from this magnificent benefaction for therelief efforts in Haiti.

It is a great blessing that Master Kai-Yin has gracefully

inspired us with the depth and breadth of Buddha's teachingsthrough his heart-breaking compassion and the vitality of hisarts. May his vows are propitious to the undertaking. Mayhis merits awaken wisdom and compassion in us all.


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In this journey of life, we are bound to encounter lots ofkarmic relationships. We tend to forget most of our casualacquaintances, and those few who we do retain to becongenial friends are rarer still. I first met Master Kai-Yin (), more than twenty years ago in Hong-Shan emple (

) in aoYuan (), aiwan. My memories are still freshwith vivid images even after these many years of friendship. Irecall one event that occurred while Master Kai-Yin, MasterRu-Heng () and Ru-Zhi () all studied at the YuanKuang Buddhist College (). Master Ru-Zhi, Ru-Heng and Ru-Fan () were siblings before their monasticlife together with their mother, Master Ru-Yuan (), alltonsured under the late Master Chun-Hao (), FoundingAbbot at the Monastery. he story that mother and sonswere all tonsured and ordained under the same Master wonmuch admiration and affection from Buddhist circles.

Back then, I often visited the Hong-Shan temple, trying tolearn the profound meaning of Buddhism delivered by thelate Master Chun-Hao. One day, I caught sight of a medicalcorset worn by Master Kai-Yin and curiously asked him whythe dress? We exchanged a few words, and he explainedthat he had just had a spinal operation from Hualien zu-Chi General Hospital () and returned to theHong-Shan temple to convalesce. In a later visit, my masterinstructed me that Master Kai-Yin was practicing calligraphyand how I might proceed to the Sutra Library for a visit.When I arrived, I noticed that by his ink stone, he waspracticing Zhang Meng-Long's rubbing inscriptions () which happened to be one of my favorites. his

coincidence spurred on our conversations. My further visitsthere always followed by Master Kai-Yin's inquiry about theprogress on my Dharma practices. At the time, I was only anovice and took refuge under the Pure Land teachings.Tis school emphasized the practice of reciting the name ofthe Amitbha Buddha as a daily practice. Exhorted by mylate Master that All in all, one should lead a simple lifewhether it is in the study of Dharma or living a daily lifeIfollowed faithfully. I understood that the profound Buddhistscriptures, the lectures, and the teachings of the Buddhaought to be studied, taken to heart, and above all practicedin daily life. hus, strictly simplifying the method might

present obstacles which would hinder one from leaping thehurdle. Master Kai-Yin gave me a set of books, the Miao-Yun Collection () and explained that Master Yin-Shun's() Miao-Yun Collection provided a systematic

approach to Buddhism and served as a wonderful guideto allow for better insight and understanding of Dharma.hrough this comment alone, I knew Master Kai-Yin hadalready examined, grasped and delved into Master Yin-Shun'score teachings with no wavering or doubt.After Master Kai-

Yin's graduation, he cont inued his investigation into theDharma, travelling throughout the monasteries to learnfrom various well-known teachers. He turned his attentionto Sayadaw Pa-Auk, and began intensifying his meditationpractice and participated in the editing and translation ofLight of Wisdom (). As the Master's reputationsteadily grew and inspired, in response to Master Kai-Yin'sMalaysia disciples and faithful followers' wishes, he returnedto his hometown, Sabah to start building the Santavana ForestHermitage (). Facing this daunting challenge ahead,and understanding fully that the task could only be realized

with unwavering commitment, the following verse from In

Memories of My Master and Mentor", summarized MasterKai-Yin's mood on this occasion: Far gone with our Masterand Mentor, whom we have ever venerated;Espouse

his teachings of a humanized understanding of

Buddhism;Not confined to either the Mahayana or the

Theravada practice, But advocating the integration and

embracing them both as a feasible ultimate path; Now, the

responsibilities are upon us: Perceive the Way and fathom

the origins of Dharma.Tis verse fully disclosed Master Kai-Yin's sincere spirit, his commitment to Buddhism and hisvow to relieve the suffering of all living beings. As a pastimeto his meditation practice, Master Kai-Yin also enjoys thepreparation of tea as a hobby. Drinking tea has always been

a pleasure for the Zen Buddhists as there is something in thenature of tea that leads one to stay aware and alert. Amongmany choices of teas, Master Kai-Yin especially enjoys thePu-Er tea (). In his On ea and Remembering My

Old Friend() sonnet, he conveyed: As I withdrawto my temple in solitude at midnight, by the window in a

chill breeze; I snap a piece of the red Pu-Er tea, brew in

the boiling spring water. While sipping, the bittersweet

memories of the moments we have spent together

creeping over me, indelible and inerasable!

Note: This was the poem from Master Kai-Yin - thinking

of his old friend, Master Ru-Heng, who passed awayyears ago. Master Ru-Heng enjoyed Pu-Er tea; collected

many types of his favorite teas and one of them had the

footnote denoting the collection year of 1986. Without

Prologueby Lu, Guo-Qi (Lay Disciple Shan-Chi)ranslated by Ming Yang


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/ 02-28959977 / 02-28950405

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/ 03-5323132 / 03-5323135

http://www.chuefeng.org.tw

/

/

/

/1042

/ 02-89218915

/ 02-89218917

201111

(CIP)

: / . -- .

-- : , 2011.11

;

ISBN 978-986-87841-0-9()

1. 2.

941.5 100024320


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84/84

bai fu zhuang yan

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