大雄寶殿正門背面，上方高懸「百福莊嚴」四字匾額，書風挺拔端正，為佛殿空間增添莊嚴氣韻。

此匾由民國著名書法家胡漢民先生題寫。胡氏曾臨摹《曹全碑》，筆法剛健秀朗，與吳稚暉、于右任、譚延闓並列為「民國四大書法家」。此匾原懸於香港東蓮覺苑，後隨加拿大東蓮落成，由港方轉贈至此，象徵兩地弘願相續、法脈一體。

「百福莊嚴」源自梵語 śata-puṇya-lakṣaṇa，意指佛陀所成就的三十二相，皆由百善福德因緣所感。佛身非神化形象，而是無量願行與善業積聚的結果，是修行圓滿的具體呈現。它提醒行者：福慧之道，來自日常一念一行的發心與實踐。

此處為出殿前的最後一站，舉首可觀書藝，凝神可思願行，於沉靜中體會修行的次第與功德所成的莊嚴。

On the back of the entrance of the Grand Buddha Hall, a plaque inscribed with “Hundred Blessings” was hung, its bold, upright calligraphy lending solemn splendor to the sacred space.

Penned by Hu Hanmin, a renowned calligrapher of the early contemporary era, the plaque reflects his mastery, honed through studying the Cao Quan Stele. Celebrated alongside Wu Zhihui, Yu Youren, and Tan Yankai as one of the era’s four great calligraphers, with hiss vigorous yet graceful strokes shine. Originally displayed at Tung Lin Kok Yuen in HonG Kong, this plaque was gifted to the Society upon its completion, symbolizing the shared vows and unbroken lineage between the two temples.

“Hundred Blessings,” derived from the Sanskrit śata-puṇya-lakṣaṇa, refers to the Buddha’s thirty-two auspicious marks, each born from countless virtuous deeds and vows. Far from a divine image, the Buddha’s form embodies the culmination of boundless practice and merit, a testament to perfected enlightenment.

This plaque reminds us that the path to wisdom and merit begins with daily acts of mindful intention.

As the final stop before leaving the Grand Buddha Hall, this plaque invites you to pause, admire its artistry, and reflect on the vows that shape a life of practice, finding serenity in the beauty of disciplined devotion.