Traveling through time and space.

Chapter 96: The Realization of the Ground of No Remaining Dependence (10) "The Legend Becomes Eternal, the Dharma Spreads Forever"

In the prosperous city of Chang'an, as time passed, Amin's legendary story shone brightly like a star, passed down from mouth to mouth. Within the city stood the magnificent Big Wild Goose Pagoda, which not only housed numerous Buddhist relics and precious scriptures but also served as a center for the dissemination and study of Buddhism.

The young monk Jueyuan had a keen interest in Buddhism since childhood. After hearing the legend of Master A Ming, he was even more fascinated. Every day in the Big Wild Goose Pagoda, he diligently studied various Buddhist scriptures, especially the Yogacarabhumi Sutra, repeatedly pondering it, trying to comprehend the profound wisdom contained in it.

One day, while browsing an ancient text in the Sutra Pavilion, Jueyuan stumbled upon anecdotes about Master Amin's spiritual practice. The words seemed to possess a magical power, transporting him back to the scenes of Amin's past practice. He witnessed Amin meditating alone in the mountains, facing numerous obstacles and inner confusions, yet remaining steadfast in his pursuit of the true meaning of the Dharma. Beginning with the initial stage of the "Five Senses and Body Correspondence," he gradually delved into the "Mind Stage" and the "Searching and Observing Stage," ultimately achieving the "Stage of No Remaining Dependence" after enduring countless hardships. Jueyuan was deeply moved, and he could not help but admire Master Amin's tenacity and wisdom.

Meanwhile, in the streets of Chang'an, a young painter named Liu Yifeng thrived. Specializing in portraits and religious themes, he had long heard of Master A Ming's story. Liu Yifeng harbored a long-held desire: to create a series of paintings inspired by Master A Ming's legend, allowing more people to gain a direct understanding of the life of this great practitioner.

One day, Liu Yifeng brought his painting supplies to the Big Wild Goose Pagoda, hoping to find more inspiration. He encountered Jueyuan, who was lost in thought, beneath the pagoda. Jueyuan was moved by Liu Yifeng's painting supplies and struck up a conversation with him.

"Donor, are you going to paint?" Jueyuan asked.

Liu Yifeng nodded and replied, "Exactly. I want to create paintings based on Master A-Ming's story, so that the glory of Buddhism can be passed on to more people through art."

Upon hearing this, Jueyuan's eyes lit up with joy: "This is truly a kind act. Master A Ming's story contains endless Buddhist wisdom. If it can be expressed through painting, it will surely attract many sentient beings to become interested in Buddhism."

Jueyuan then began to tell Liu Yifeng all he knew about Master A-Ming, from his daily practice in the temple, to his miraculous visions of the holy realm, to how he saved people in the world and helped them resolve their various difficulties. Liu Yifeng listened intently, his brush unconsciously sketching lightly on the paper, as if he could already see the scenes unfolding before his eyes.

However, their idea was not universally supported. In Chang'an, some conservative scholars and aristocrats believed that disseminating religious stories through paintings could lead to misunderstandings of Buddhism and even foster negative social trends. Upon hearing of Liu Yifeng's plan, an official named Mr. Zhao came to dissuade him.

"Master Liu, if your painting were to spread, it would disturb the people's hearts and make them indulge in illusory religious stories and ignore real life." Lord Zhao said seriously.

Liu Yifeng felt a little aggrieved, but he responded firmly, "Sir, my original intention in creating these paintings was to promote the positive energy of Buddhism, so that people can draw strength from kindness, compassion, and wisdom from Master A Ming's story. In this world, many people are lost in fame, wealth, and desire. Perhaps Buddhism can be a guide for their hearts."

Jueyuan also said, "Sir, the spread of Buddhism has taken many forms since ancient times, and painting is one of them. Master A Ming dedicated his life to guiding sentient beings on the path to liberation. If we can present his story through painting, perhaps more people will have the opportunity to learn about Buddhism, which will have positive significance for the moral and spiritual development of society as a whole."

After hearing their words, Master Zhao, though still doubtful, fell into deep thought. He began to realize that perhaps he had viewed the integration of Buddhism and art too one-sidedly.

During this debate and exchange, Liu Yifeng gained a deeper understanding of Master Amin's story. From Jueyuan's account, he grasped the inner struggles and breakthroughs Amin experienced during his spiritual practice, drawing parallels with the difficulties he faced in his own painting. He realized that both spiritual practice and painting require unwavering faith and constant self-transcendence. Jueyuan, through his interactions with Liu Yifeng, also saw new avenues and possibilities for the spread of Buddhism in the world. He understood that in different eras, Buddhism needs to be integrated with various cultural forms to better adapt to the needs of sentient beings and benefit more people.

As time went by, Liu Yifeng's paintings gradually became complete. He held a grand exhibition in Chang'an, showcasing a series of works based on the legend of Master Amin. These paintings immediately caused a sensation. Citizens flocked to view them, captivated by the compassionate image of Master Amin and his miraculous spiritual journey. After viewing the paintings, many developed a keen interest in Buddhism and began to actively explore the Yogacarabhumi Sutra and other Buddhist texts.

In the distant Western Regions, there lived a young scholar named Amir. Fluent in multiple languages ​​and cultures, he accidentally encountered the story of Master Amin and the classic text, the Yogacarabhumi Sutra. Fascinated by the profound philosophy contained therein, Amir decided to embark on a journey eastward to the Central Plains to delve deeper into this text.

After countless hardships, Amir finally arrived in Chang'an. He met Jueyuan at the Big Wild Goose Pagoda and discussed the Yogacarabhumi Sutra with numerous scholars and monks. Bringing a unique cultural perspective and research method from the Western Regions, Amir engaged in exchanges and discussions with scholars from the Central Plains, injecting new vitality into the study of the Yogacarabhumi Sutra.

Their research revealed that some concepts in the Yogacarabhumi Sutra have subtle connections and differences with the religious culture of the Western Regions. For example, regarding the state of Samadhi, some Western traditions have different understandings and practices. Through in-depth discussions and comparisons, Amiel, Jueyuan, and others sought to find a practice method that blends the strengths of both cultures, so that more people from different cultural backgrounds can better understand and practice the Yogacarabhumi Sutra.

This process was not without its share of academic debates and disputes. Some scholars adhered to the traditional interpretations of the Central Plains, believing they should not be easily altered; while Amir believed that innovations could be made by drawing on the experiences of the Western Regions. However, it was through these debates and exchanges that everyone's understanding of the Yogacarabhumi Sutra deepened, and their grasp of its "realms, practices, and results" became more precise.

As the legend of Amin spread and research on the Yogacarabhumi Sutra deepened, Buddhism's influence continued to expand in regions like the Central Plains and the Western Regions. More temples were established, where monks inherited and promoted Buddhism, incorporating Buddhist teachings into their daily practice and instruction based on the innate abilities and needs of local residents. Whether in bustling cities or remote villages, the sound of sutra chanting and Buddhist teachings could be heard.

Amin's legend, like an everlasting flame, continues to burn throughout history. His story continues to be shared and developed through various means, including painting and academic research, inspiring generations of practitioners to resolutely embark on the path to liberation. The Yogacarabhumi Sutra, like a brilliant pearl, shines ever brighter through the interplay and collision of diverse cultures, contributing endlessly to the progress and development of human civilization, ensuring the eternal transmission of Buddhism throughout the world, serving as a spiritual haven and guide for countless sentient beings.