The Founders Face Book Page, What Really Going On???

I received an email today from IBMC stating that this page  has nothing to do with the IBMC page nor IBMC, a quote from IBMC today;  ” I’ve seen Chitta’s photo on the Facebook Founders Page of IBMC… (which has nothing to do with the IBMC Facebook page)…”. the email went on and I will just say that there is some real work going on here that is just dirty. I was told by Paul Lynch via live Skype that they where using the Dharma Heir from mexico because the Ven. Karuna can not travel and isn`t at the IBMC Temple anymore at the Grand Ordination, ” It will go on without her”. So  I made contact with IBMC yesterday to get the phone # to wherever the Ven. Karuna maybe, what a surprise this was, more lies by Paul to keep me off his dirty take over so it is coming to light. IBMC today, ” She is still living here, but went to visit here family in Sacramento, should be back in a couple of weeks.”. which is the norm for the Ven. Karuna, she does this all the time and even told me last we spoke.

Now for the mind blower, told to me today by IBMC, ”  The college of Buddhist Studies seems to have been taken over by a new person… Not sure why or how… But maybe you can find a link online.” WOW!!!! What is really going on, how did Paul get this school and who is setting all this up, Now Paul has been using his PayPal account do to FMZO being froze. Following this I see what is becoming…..( … _pymk_name ).Paul stole the school, the Ven. karuna doesn`t even know it and IBMC as well. WOW!!!! This is mind blowing. So Paul has been receiving the money from the school personally and using it how? The FMZO nonprofit is froze do to his misconduct of action via PayPal  call them up. Because I will and am going to have another talk to them via Skype first thing Monday morning when they open.

This is the admition fee of $25 for enrollment, I ask if he got it and said yes, that I can send dana this way.



Forget outer heroes; bring out your innner ones Main

Originally posted by No Impact Man.

No Impact Man Runs For Office……..

 Please check out my article on the Atlantic Monthly’s website about my activist run for Congress and how citizen politics can help do something about climate and other problems:

My unlikely course in activist politicking started with a May call from a member of the executive committee of the Green Party of New York State.

The call came, I understood, because of the notoriety of my very-publicly performed 2007 experiment in extreme environmental living in the middle of Manhattan. The project had been intended to question and look for alternatives to the typical American’s consumption-based way of life. It was also a vehicle to help bring broader public attention to the range of our environmental crises — from ocean depletion to species extinction to climate.

To that end, I wrote a book and starred in a documentary filmabout the experience, both titled No Impact Man. The book, translated into a dozen languages, has been required reading for more then 100,000 American college students. The film has received over a quarter of a million ratings on Netflix, in addition to screenings in theaters and on television around the world. My non-profit,, whose main program is an immersive, educational week of environmental living, had attracted over 50,000 participants.

While all that notoriety may have attracted the Green Party to me, it did not attract me to the idea of running for office.

I said no.

As far as I could see, the entire political process was corrupt. I’d become fond of calling the presidential election “a big sports-like event paid for by the multinational corporations in order to distract us from the possibility of real change.” At that time, I had the same mistaken instinct as so many despairing Americans — to abandon the political system and look for hope elsewhere…

Click here to read the rest.

Yen Tu Pagoda Spring Festival 2011

Deputy Prime Minister Nguyen Thien Nhan beat the drum, opening the Yen Tu Pagoda Festival Spring in the northern province of Quang Ninh on Coastal Feb. 12, the Tenth day of the first lunar month.

Buddhist dignitaries, Monks, Nuns, followers and visitors joined in Offering Incense to King Tran Nhan Tong, who reigned over the country from 1279 to 1293 and then left the throne to devote His life to Buddhism.

They joined another cũng Ceremony to pray for peace to the country and people.

Yen Tu has welcomed over 20.000 visitors from far since the first day of the lunar year and the festival last three months khi sẽ spring. The site received over 2.1 million visitors in 2010. Although the ceremony was officially opened on February 12, 2011 ( 10th day of Lunar New Year ), visitors have started to throng the temple since the first day of the Lunar New Year.

Yen Tu Mountain is located about 50km from Ha Long City. The route of the pilgrimage, from the foot of the mountain to its Highest peak, is almost 30km. Dong Pagoda, sits atop the mountain’s Highest peak, is more than a 1068 above sea level. A new cable car service is introduced this year to lift visitors to the peak.

The area’s beautiful natural landscape and awe-inspiring scenery, along with surrounding ancient Pagodas and hermitages, are said to have been the reason that King Tran Nhan Tong gửi the throne to His son than that he could devote His life living as a Buddhist Monk at Yen Tu mountain. Whilst there, he Founded the Truc Lam meditation sect, has led to Yen Tu mà being recognised as the country’s leading center for Buddhism.

‘Fish’ In Korean Buddhism

Anyone interested in the temple decorations of Korean temples will discover painted and sculpted fish all around the main halls _ on the pillars, brackets, ceiling and walls. It is also easy to find wooden fish gongs and wind chimes. 

The origin of the use of the fish in Buddhism is unknown: one version tells that a fish always has its eyes open day and night; thus it is a reminder to always be aware. Another version comes from a story: 

long time ago, there was a monk who committed many unwholesome deeds. Eventually, he died and was reborn as a fish with a tree on its back. One day when the monk’s old master was crossing the river, the fish came to him sadly. The master looked into its past life and held a memorial ceremony to save the fish. That night, the fish appeared in the master’s dream, appreciative of his master’s kindness. He asked his master to please cut the tree from his back and make a fish-shaped instrument and tell this story as a lesson for practitioners. 

The fish shape is applied to large wooden drums, small handheld wood percussion instruments and metal clappers for the wind chimes as well. These numerous examples underscore its significance. All can be used as non-verbal sign to minimize talk during meditation and other solemn proceedings. The sounding of bells and drums also helps calm the mind and prepares participants for spiritual practice. 

As the wind chime clappers, fish- shaped gongs (“moktak”) are symbols to inspire constant diligence and alertness. Moktak is a hollow, wooden percussion instrument used to mark the rhythm of chanting. It is shaped like the wooden fish but is smaller and round and used in Buddhist ceremonies when reciting sutras and chanting. 

It is the most representative among the ceremonial instruments used by Buddhist priests. To make a moktak, they carve wood into a large bell, cut it in half and hollow it out and glue it back together. Then, it is played by hitting it with a wooden stick. Originally it used to be made bearing the likeness to fish. Moktak is a small version of “mogeo” (wooden fish), one of the four Buddhist instruments. 

A moktak 

The best material for making moktak is the jujube tree, yet wood from birch, ginkgo, or zelkova is popularly used as well. There are two types of moktak: one is the large moktak, which is placed upon a small cushion and usually used in gathering the temple people; the other is a small handheld one used in chanting, services, and reciting the sutras inside the Dharma halls. 

It is also a necessity in conducting “doryangseok” (the daily predawn chanting service) in which a monk or nun walks around the temple, also waking up the other practitioners. In the ritual of “beompae” ( Buddhist music), it is played keeping in tune with the music. Historically, people made both fish-shaped and circular moktak, but after successive generations the circular design prevailed. 

Fish are not restricted to the grounds of temples; they also are suspended in the air. Fish wind chimes are found on the eaves of Buddhist halls and pagodas. The wind rings the chimes, awakening the monks and nuns. Practitioners, like the fish who are always aware in the sea, practice to continuously cultivate themselves, even in their dreams. The wind in the chimes is likened to the condition of complete freedom from obstruction. 

The fish adorning temples is not only a metaphysical symbol of tranquility and unrestricted freedom; it also a character in Buddhist fables. An example of this can be found in the Jatakas, the stories of the Buddha’s previous lives as follows: 

In one of his former lives, Sakyamuni Buddha followed bodhisattva practices while dwelling in the sea. There he witnessed a large fish preying on smaller ones, which in turn, did the same with still smaller ones. So Sakyamuni caught and ate the biggest fish, sparing the life of the small fish. This Sakyamuni’s soul was transformed into the king of the “makaras” (a mythical animal with the trunk of an elephant, the front legs of a lion, and the body of a crocodile) with a massive body measuring several “li” (a distance of about 400 meters). At that time, famine had struck the land by the sea and people were turning to cannibalism. A huge makara, Sakyamuni beached himself on the shore and offered himself up as food, thereby saving the people from starvation. 

On a related note, traditional keys in Korea were usually shaped like fish. The primary purpose of a lock and key is to bar thieves from entry, and the fish is a cautionary sign for its owner to remain alert day and night.

Butter Sculpture Festival

Every year a butter sculpture festival is held in Tar monastery, located in the northwest province of Qinghai in China to celebrate the Tibetan New Year. During the this period which normally runs from mid February to early March , Tibetans and tourists alike throng the Tar temple to witness butter sculptures of various shapes and colours and skillful embroidery arts.Butter sculpture originated from Tibet and was introduced to the Tar Monastery, also known as Kumbum Monastery, in the early 17th century. Many monasteries in China make butter sculptures, but those of Tar excel in technique and scale.

Legend says that in 641, when Princess Wencheng arrived in Lhasa to marry Songtsen Gampo, king of Tubo, she brought a statue in the shape of Sakyamuni, founder of Buddhism.

Following the Buddhist tradition, flowers must be offered as a tribute to the Buddha statue. But it was deep winter and no fresh flowers could be found. So people made a bunch of flowers with butter as an offering.

In 1409, founder of the Gelug Sect of Tibetan Buddhism, who was born in today’s Huangzhong County where the Tar Monastery was founded, held the Grand Sermons Ceremony in Lhasa.

He dreamed of thorny bushes turning into bright lanterns, weeds bursting into blossom amid numerous shiny treasures.

When he woke up, the great master immediately asked his followers to make the treasures and flowers as he had dreamed and offered them to the Buddha.

With pure yak and goat milk butter as the raw material, the sculptures are painted with mineral dyestuff. Often the sculptures are part of a series which depict a story, such as the life of Sakyamuni.

As the butter sculpture art entered the Tar Monastery in 1603, two academies devoted to its creation and study have been established. Every year, when the Grand Sermons Ceremony is held here during the Lantern Festival, the two academies bring out their best works

How the scultpures are made

The making of butter sculpture is a daunting task. As butter made from yak or goat milk melts in warm weather, butter sculpture has to be made in the coldest months of the year.

To sculpt butter, lamas must dip their hands in icy water. Only with numb hands can they begin the sculpting.

Over the past centuries, the art of butter sculpture has become very specialized: Making people, animals and flowers has each become a tradition requiring different techniques.

In sub-zero temperature rooms, the elderly lamas and their students first prepare the frame of sculpture with bamboo sticks, ropes and others. Then they mix old butter sculptures with wheat ashes to form black mud, which is used to make the primitive body of the sculptures.

After modifying the base, the lamas will apply colourful butter onto it. The figurines are outlined with gold and silver powder. Finally the small parts are fixed onto the frame with iron wire.

As the creation lasts some three months in winter, many lamas have found their fingers deformed by the time a grand display is prepared

ZEN MASTER:an intimate portrait of John Daido Loori Roshi -by Rachael Loori Romero

Zen Monastics Ethics and Codes Of Karma

An intimate portrait of one of the early and foremost teachers of Zen Buddhism in the United States. John Daido Loori was the founder and abbot of Zen Mountain Monastery, in Mt Tremper, NY and the founder of the Mountains and Rivers Order. He received dharma transmission from both the Soto and Rinzai Orders