Fo Guang Shan Buddha Museum

Text & photos | Estelle Dubois

Estelle taking a view of the Museum from the Front Hall

The Context: Building in Nature

Venerable Master Hsing Yun took time to find the perfect location to build the museum, eventually choosing the land next to the monastery in Dashu. The museum is set amidst lush greenery. Nature is still very present within the museum grounds—with its parks and trees—creating a harmonious balance between architecture and the natural environment.

One can also sense a complementarity between calm and lively spaces: between the monastery and the museum (even though some parts of the monastery are open to visitors), and within the museum itself, where quiet corners are always available for reflection.

Estelle taking a view of the Museum from the Main Hall

Borders of the Museum?

As I understand it, in Chinese architecture, it is common to conceal the core space of a building from immediate view. The Front Hall acts as a threshold, almost forming a boundary between daily life and the inner spiritual world of the museum. Visitors must pass through this space before discovering the impressive perspective of the eight pagodas, the Main Hall designed like a giant stupa, and the Great Buddha.

However, I feel that these "borders" are more like transitions than separations. There are many "gateways" throughout the grounds, and each time you pass through one, it feels as though you've entered a new world.

In some areas, these borders become galleries that guide and protect visitors. On one side, you can look out onto the inner landscape; on the other, you encounter Buddha’s teachings inscribed on the walls. These passageways also provide shelter from the sun and rain—a common architectural response in Taiwan’s climate.

Estelle looking at the large-sized murals on the external walls flanking the Bodhi Wisdom Concourse

The Great Perspective

The museum’s layout was envisioned by Venerable Master Hsing Yun. The entire master plan is centered on a symmetrical axis known as the “Great Path to Buddhahood.” The Front Hall serves as the central entrance, directly aligned with the Main Hall—a monumental stupa—at the far end. Flanking the path are four pagodas on each side.

The sloping terrain of the museum enhances this arrangement. The path gently ascends from the Front Hall to the Main Hall, amplifying the visual impact and sense of grandeur. As visitors walk along this central path—from the lower entrance to the upper sanctum—they are invited to experience a spiritual ascent as well.

Here, architecture becomes a medium for evoking emotion. Every turn, every doorway, and every axis is designed to deepen one's connection—with the space, with faith, and with the world.