An Interview with Li Zhun, the Spirit of the New Drum at Hsiang Kuang Pure Land Buddhist Centre
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This is a record of an interview with Li Zhun, a spirit who sought at the Hsiang Kuang Buddhist Centre in Australia. He now resides in the Western Land of Ultimate Bliss. This account reflects upon his life as a drum maker and his subsequent spiritual journey. Recorded by the chief writer, Shi Fajing, on March 29, 2021.
Drum Spirit Li Zhun speaks:
". Yesterday, I made my first appearance before the public. When those diligent monastics laboured to push me up to the second floor and finally set me in my place, I immediately understood my mission. I knew I had to manifest the finest sound quality possible, to vibrate and awaken the spirits throughout the entire realm of emptiness.
What makes this place different from anywhere else is that, while I am just a drum, here in this sacred Buddha-land, the sound I produce does not merely travel through the space audible to human ears. Instead, it pierces through layer after layer of dimensions, allowing all sentient beings to hear it. This is something that has left me absolutely stunned and filled with awe."
"I was crafted alongside another drum. Before we were even physically created, our forms had already taken shape in the spiritual space, constantly radiating a brilliant golden light. It was a radiance I had never seen before—it felt as if we had fallen from the heavens. No, that is not quite right. At that time, I did not understand, so I assumed it was from the heavens. But after listening to the sutras for a few days, I have come to realise that this golden light did not come from the heavens; it came from the Western Land of Ultimate Bliss. We were two drums sent from the Western Land of Ultimate Bliss into the human world, and I was fortunate enough to enter this drum to become its soul.
I was not the only spirit waiting in the space to enter this drum. Once it was determined that this drum would enter the Hsiang Kuang Pure Land Buddhist Centre, a vast number of spirits—practitioners who chant Buddha's name and monastics—were drawn to it. And it was not just them. The model of this drum was constantly emitting golden light in the spiritual space, and all the spirits who saw this light and wished to seek Chao Du were lining up, waiting for the moment the drum was completed so they could quickly enter it. This included a great many spirits of cattle, all of whom longed to enter this drum skin made of cowhide to seek deliverance. They had been suffering for hundreds and thousands of years, just waiting for this once-in-a-thousand-years opportunity."
"When Practitioner Su picked up the drumstick and prepared to strike, we were so excited! We saw that Practitioner Su is truly a Buddha. The Buddha-light radiating from his body shone upon us continuously. The entire drum skin, the drum body, and the frame were all invigorated, wanting to ensure that this drum produced the best possible sound so that everyone would know this is a magnificent instrument.
I wonder if you can perceive that every drum has its own unique temperament? This depends entirely on the drum's purpose. When a drum is being crafted, once its destination and use are determined, it is already infused with a soul. The 'soul' I speak of here refers to the natural temperament and charm that the drum exudes. Take this great drum, for example: its characteristics are dignity, majesty, and grandeur. It is currently being nurtured and transformed by the Buddha's teachings. In a few days, it will develop yet another temperament. You can try to feel it for yourselves—this is the profound mystery of a drum."
"My name is Li Zhun. I was a practitioner, but before I began my path, I was a master drum maker. From the time I passed away until now, it has been over nine hundred years, yet I have never been able to leave the space of the drum. I was familiar with this space, I loved it, and I was deeply attached to it. My soul was always searching for this familiar scent, so no matter how many years passed, I could not escape the destiny of being a drum.
I began learning to make drums at the age of twelve. My master was my father, and his master was my grandfather. We passed the craft down through three generations. I have made countless drums for many different purposes. To create a truly fine drum, whether it is the materials used or every single step of the crafting process, one must be incredibly diligent and cautious. You cannot be sloppy in the slightest; only then can you produce a drum of true quality.
I love the sound of a drum. A high-quality drum can produce a sound that shakes the human heart. There are several key factors that influence the sound: first, the quality of the drum itself. If the quality is good, even someone who does not know how to play can produce a decent sound. Second, the drumsticks—their thickness, weight, shape, material, and surface texture all affect the sound quality. Third, the environment and climate play a role. And fourth, the person playing the drum. It is quite remarkable how different people produce such different sounds."
"From the sound of the drum, one can discern a person's character, especially with beginners. When people came to me to play or choose a drum during my life, I could immediately tell their nature. My intuition was almost always accurate. I used to think it was just my professional experience, but now that I have become a drum myself, I realise it was the drum conveying information to me all along.
When someone holds the drumstick and strikes me, I can feel if their heart is stifled or open; if their mind-capacity is vast or narrow; if the energy within their body is strong or weak; if their power is full or hollow; if their temperament is impatient or steady; if they are sincere or hypocritical in their actions; and even the level of their spiritual practice. As soon as a person strikes the drum face a few times, I can grasp their true nature. It is quite fascinating—this is the profound mystery of the drum's sound.
In the past, I donated many drums to temples, both large and small. That selfless act of Generosity gave me the karmic affinity to encounter the Buddha's teachings. I knew the value of practicing the Dharma, so I gave up my work as a drum maker, intending to devote myself to practice in a temple. Unfortunately, I spent too much of my energy in the temple just striking the ritual instruments, especially the great drum. I was obsessed with it. I was intoxicated by the sound, and during every Dharma assembly, I would play with such intensity that I believed I was leading the monastics and the lay practitioners into the Buddha's music.
I thought that was what practice meant. I never imagined that I was still so far from true practice; I had not even truly entered the Buddha's gate. Now that I have come to this place, when Practitioner Su picks up the drumstick and strikes the drum, I finally understand what true practice is. It turns out that a true practitioner is so pure within that the sound he produces carries the power of and the power to transform. This compassion allows him to transmit every single Buddha-name through the sound of the drum into the ten directions, all the sentient beings of the six realms who are still lost in confusion. It is truly magnificent."
"I am deeply ashamed. I spent decades studying the Buddha's teachings, only to end up trapped in the space of a drum. In this lifetime, I have had the karmic affinity to come to this Hsiang Kuang Pure Land Buddhist Centre, and I cherish it dearly. I listen earnestly to Practitioner Su's teachings, and even at this very moment, I am listening to the sutras.
In this life, I have awakened. I have truly awakened. I am no longer attached or obsessed with the space of the drum. Losing my human body was my greatest loss, but to encounter the true Dharma again at this moment, with a true Buddha before my eyes to guide me, is my greatest blessing. I will cherish this opportunity with all my heart.
Namo Amituofo."
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Contributed to Pure Land Buddhism knowledge library