TrueStory- 100000 Prostration by a One-Armed Man who learn the Dharma of HH Dorje Chang Buddha III

TrueStory- 100000 Prostration

 

A True Story: 100,000 Prostrations by a One-Armed Person who Learns and Practices the True Dharma of the Tathagata from H.H. Dorje Chang Buddha III.

I was a factory worker in the past. In 1993, a co-worker had to go home to help plant his family’s wheat crop. His leave request was not approved by the shift leader. So, I went to cover him.

When looking at his work in the past, I thought I should be able to do it. In reality, it was not that simple. I was not skillful in operating the machine. The machine pulled my right hand in. When I dragged the arm out, I had no flesh in my hand and arm, only a long, bare bone left.

The doctor at the hospital took a look and told me that I must have amputation. The upper arm bone was fractured; however, he could reconnect it back.

When I slowly woke up from the surgery, I saw that my entire right arm…, my right arm was like, so short , only 5, 6 cm long.

Actually, the doctor had told me very clearly before the surgery that the amputation would only be limited to my hand. This is just not fair at all. I was furious. How could he be a doctor? What medical ethics did he have?

I cried my heart out at that time. I got very upset. I did not even want to go out of my room. I got a room from the company. I didn’t go out at all and felt that it would be embarrassed to go out and see people. Why do I get such bad luck?

一個獨臂者的十萬個大禮拜-1

I was depressed all day long and also could not get along with my wife. I would smash bowls or chopsticks whenever things didn’t go my way. That happened a lot. When I popped open a bottle of white wine, I would have a big, long gulp. In one morning, I could almost finish a bottle with only a few drops left. I buried myself in the alcohol at home. Once I am drunk, I lose my temper. I almost had a mental breakdown and lost confidence in my life.

It started out from doing a favor, to help out my co-worker. How did it make me to become a handicapped person? How could such a thing happen to me? Even the hospital mistreated me in that way. The whole society did not treat me fairly. I also didn’t see justice from the Heavenly God…….

One day, my daughter told me: “Father, I will take you to a Buddhist center. Go learn Buddhism. Buddhism will be good for you, and for our family. Chant “Namo H.H. Dorje Chang Buddha III!”

一個獨臂者的十萬個大禮拜-2

“What did you tell me to chant?”I said, “I have only heard about Amitabha Buddha. Why didn’t I know about H.H. Dorje Chang Buddha III?”

Starting from that day,I would head to the Buddhist center and then listened to the Dharma discourses every day.I started to learn Buddhism at the Buddhist center. I listened to the discourse on the Law of Cause and Effect. I listened to many pre-recorded dharma discourses, such as The Dharma to Cut Off the Twenty Worldly Emotions, etc.

Eventually I understood that everything is a result of the Law of Cause and Effect.

I listened to The Dharma to Cut Off the Twenty Worldly Emotions a few more times. I also listened more times to the discourse on the Law of Cause and Effect.

I gradually realized that the loss of my right arm was not without a cause. Whether in my past lifetimes or in this lifetime, I have harmed so many living beings. This bit of suffering is what I deserve. When I took the lives of other living beings in the past, I caused them sufferings.

Through the learning, I slowly understood the truth about the Law of Cause and Effect. The hatred in my mind also gradually vanished.

Every day I did prostrations and listened to the dharma at the Buddhist center. I then made a resolve.

一個獨臂者的十萬個大禮拜-3

Since I have learned and understood the truth of the Law of Cause and Effect, I will now repent to all the living beings I have killed or harmed. I will repent to them. With the utmost respect, in front of the Buddhas and Bodhisattvas, I will repent with my most pious heart.

I will do 100,000 prostrations for repentance. In less than four months, I completed 100,000 prostrations. H.H. Dorje Chang Buddha III told us, only cultivation can transform the Law of Cause and Effect.

一個獨臂者的十萬個大禮拜

The retribution I am receiving right now is caused by what I have done in many lifetimes and eons ago. From now on, I will follow and learn from H.H. Dorje Chang Buddha IIIand cultivate myself.

As long as I plant good causes. I will definitely get good fruition in the future. I am determined to follow and learn from the Buddha and cultivate myself until I attain accomplishment.

A TRUE STORY: 100,000 PROSTRATIONS BY A ONE-ARMED PERSON WHO LEARNS AND PRACTICES THE TRUE DHARMA OF THE TATHAGATA FROM H.H. DORJE CHANG BUDDHA III.

 

Get more info at https://reineckea.wordpress.com/2018/12/11/truestory-100000-prostration-by-a-one-armed-man-who-learn-the-dharma-of-hh-dorje-chang-buddha-iii/

Link: https://youtu.be/MzpD5u_zBh4

#HHDorjeChangBuddhaIII #DorjeChangBuddhaIII #DorjeChangBuddha #Buddha#Prostration #OneArmedMan #Dharma

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頂禮 南無 第三世多杰羌佛!!【至高佛法再次震撼世界】 第三世多杰羌佛弟子祿東贊 慈仁嘉措法王圓寂,生死自由– KTSF 26 台「與濼漫談」

頂禮 南無 第三世多杰羌佛!!【至高佛法再次震撼世界】 第三世多杰羌佛弟子祿東贊 慈仁嘉措法王圓寂,生死自由– KTSF 26 台「與濼漫談」

頂禮 南無 第三世多杰羌佛!!【至高佛法再次震撼世界】 第三世多杰羌佛弟子祿東贊 慈仁嘉措法王圓寂,生死自由– KTSF 26 台「與濼漫談」

頂禮 南無 第三世多杰羌佛!!【至高佛法再次震撼世界】 第三世多杰羌佛弟子祿東贊 慈仁嘉措法王圓寂,生死自由– KTSF 26 台「與濼漫談」

視頻鏈接:https://www.youtube.com/watch?v=MUQghOFHj-8&t=31s

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#第三世多杰羌佛 #多杰羌佛第三世 #多杰羌佛 #祿東贊法王 #圓寂 #生死自由 #舍利花

确是一幅了不起的画收藏家推崇义云高(H.H.第三世多杰羌佛)大师

确是一幅了不起的画

关于“第三世多杰羌佛”佛号的说明

二零零八年四月三日,由全球佛教出版社和世界法音出版社出版的《多杰羌佛第三世》宝书在美国国会图书馆举行了庄严隆重的首发仪式,美国国会图书馆并正式收藏此书,自此人们才知道原来一直广受大家尊敬的义云高(H.H.第三世多杰羌佛大师就是宇宙始祖报身佛多杰羌佛的第三世降世,佛号为第三世多杰羌佛,从此,人们就以“南无第三世多杰羌佛”来称呼了。这就犹如释迦牟尼佛未成佛前,其名号为悉达多太子,但自释迦牟尼佛成佛以后,就改称“南无释迦牟尼佛”了,所以,我们现在称“南无第三世多杰羌佛”。尤其是,二零一二年十二月十二日,美国国会参议院第614号决议正式以His Holiness来冠名第三世多杰羌佛(即H.H.第三世多杰羌佛),这说明了美国国会对南无第三世多杰羌佛的尊敬。而且,第三世多杰羌佛也是政府法定的名字,以前的“义云高(H.H.第三世多杰羌佛和大师的尊称已经不存在了。但是,这个新闻是在南无第三世多杰羌佛号未公布之前刊登的,那时人们还不了解佛陀的真正身份,所以,为了尊重历史的真实,我们在新闻中仍然保留未法定第三世多杰羌佛称号前所用的名字。

 

金门晚报 中华民国八十九年五月三十日星期二 庚辰年农历四月二十七日 第01185号

金門晚報 2

确是一幅了不起的画
收藏家推崇义云高大师

 

【本报讯】这一幅精品画作真是了不起!国际佛教大师义云高(H.H.第三世多杰羌佛的画作「威震」,二十八日以新台币六千四百九十五万元天价成交,已成为画坛的热门话题,购买这幅作品的周姓画商收藏家今天透过管道说,他以高价购画,主要是义云高大师的威望、成就、地位在世界上极为罕见。
五月二十八日甄藏国际艺术公司创造了世界水墨画史无前例的纪录,这一幅世界级的国际特级大师义云高(H.H.第三世多杰羌佛导师亲笔以一年多时间所画的「威震」图,以惊人的天价拍卖,当场有七人竞标,由二千四百万台币起价竞投,经三十五次举牌,收藏家周先生以新台币六千四九十五万(合美金二百一十二万五千三百二十七元),一锤定音夺得该画。
这位画商收藏家说,他收藏得多历代名家的中西画,但他不认识义云高大师,如果认识他,他将会从他的手中直接拿画,但他特別喜爱大师的画,尤其是经过长时间细心画的工笔精品画,他早在九八年就以六十七万美金於北京一家艺术公司收购得一张义云高(H.H.第三世多杰羌佛大师的精品「罗汉」,也是经世界佛教协会鉴定为精品真迹有手本证明的。
画商收藏家还说,义云高(H.H.第三世多杰羌佛大师的画比世界任何一位中国画的画家都好得太多,确实是中国画在世界上的顶峰,尽管如此一幅「威震」图真正从绘画来说是值不了这么多钱的,因为中国画的价格不会有这么高,这一张画价已经超过当今最杰出、最负盛名的张大千、吴贯中、丁绍光的画价几十倍之多,从艺术角度来说,确实远超过他们,所以就算以目前的价钱加上十倍,他也要买。
因为义云高(H.H.第三世多杰羌佛大师的威望、他的成就、他的地位在这世界上是找不到的,加上他的精品艺术与至高的成就,又有一张世界佛教协会监护的手本,这张画价钱一点都不高,他非常满意,因为他觉得买到了真正几千年来一位堪称最了不起的世界级昀大艺术家的真迹精品。
难怪拍卖当天落幕时,仍有许多参观者流连徘徊於画前,久久不愿离开,把握亲睹世界级艺术大师真迹的机会,其他以几位匿名未能达到这一幅画的竞投者,也抱着落寞遗憾的心情,不忍离去。

 

确是一幅了不起的画收藏家推崇义云高(H.H.第三世多杰羌佛)大师

 

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#义云高 #义云高大师  #第三世多杰羌佛正法 #第三世多杰羌佛返老回春 #第三世多杰羌佛获世界和平奖 #第三世多杰羌佛法音 #第三世多杰羌佛

转发文章— 对 《梵高、齐白石 PK 第三世多杰羌佛,看谁的作品厉害》一文的评论

對 《梵高、齐白石 PK 第三世多杰羌佛,看谁的作品厉害》一文的評論

转发文章—

对 《梵高、齐白石 PK 第三世多杰羌佛,看谁的作品厉害》一文的评论

在此,我向林缉光先生道歉之外,随作些许肤浅的看法。

林先生鉴定评判《梵高、齐白石PK第三世多杰羌佛,看谁的作品厉害》文论我看了,我是在1999年英国温布顿艺术学院绘画系硕士毕业,也学习从事鉴定中西画多年。梵高的艺境独立整个西方画坛,成为霸主,无人能及,是我崇拜的偶像。而在画评上,我还没有见到过对画艺评论判定得这么专业的,林先生的评论精辟,观点独到中肯,实为近年罕见扎实的艺术文评,本人颇为佩服。由于另外看到一些关于林先生的报导时,一知半解的我,被别有用心之人误导,竟然对林先生本人作出了一些误会的看法,我在此向缉光大师致歉。

 

确实,林先生身为专业鉴定评判家,对梵高、齐白石PK第三世多杰羌佛的作品,立论不凡,资料详实,论据、论点、论理,所论述之观点,真实的反映了梵高、齐白石、第三世多杰羌佛艺术上的超凡成就及其画品德格。羌佛的作品,无论是水墨画还是西方之油画,长存于艺术历史的长河中,有如八大山人、陈子庄的画境,虽风格各异,却到了前无古人之境界。尽管是历史上的巨匠,作为PK的梵高和齐白石,画艺已达高峰,但在与羌佛PK时,大家都能一眼看出,羌佛的画作神形兼备,笔触功力十足,内涵极深,用笔活透自然,技法脱俗,笔笔见功,堪为世界画坛之瑰宝。梵高与齐白石,是各有所长所短。白石大师在传统的东方哲学思想融汇于笔墨上,中锋内含书卷气,画展老到童心,但短处是法变单纯。而梵高大师是天资悟性,写实功底较强,长处是施法颇广,且达到画我双忘、天人合一、脱掉凡俗之气,而成西方画坛魁首。但是把梵高、齐白石的向日葵与第三世多杰羌佛的向日葵放在一起PK,实在是不恰当的!有几句话我一直说不出口,再三思忖后,从道德诚实而言,应该讲几句心里话,这是以我个人的观点评说。羌佛的向日葵与梵高、齐白石的手笔一比,稍懂一点画艺的人都能看出,两位大师的向日葵,从笔触、韵稚上,明显带有呆匠之气,还有那么一点拘谨,含储有标本的气息。

 

有一位西方友人说:林先生在文章中的观点是东方人的观点,西方人不一定认同。一听这句话就是一个不懂艺术的人说的外行话,艺术根本没有东方人和西方人的观点,艺术是直观的世界语言,好就是好,不好就是不好,好的东西是活透的、有生命力的,不好的东西是呆板的、死匠的,艺术之间相互对比鉴赏,不需要外加论评,就能看出好坏。好的东西,行家都难以临摹下来 ,因为技法、神韵含藏于艺术之中,难以捉摸;不好的东西,有绘画基础的人都能轻轻临摹,仿制相同,因为技法、艺境、神韵平淡普通。我相信东西方只要懂艺术的人,都是用眼睛和心灵感受到艺术的好坏差别,而不是像那位西方友人贬低有的西方人似乎看不懂艺术,而是取舍文字的说法来判断艺术的好坏。其实,西方人的见地观点是不低于东方人的境界,这是人类的共性审美观,不是危言耸听观,除非某一个人一点艺术细胞都没有,那还跟他说什么呢?什么都不用说了!

 

我听说在加州柯文纳,第三世多杰羌佛文化艺术馆,有一张羌佛画的《龙鲤闹莲池》,被法庭作证的评估专家评估价值为5900万美元,若能有人复制成功,可领取600万美金的奖。我不是想要领这笔悬奖,而是为了艺术的探讨。我去艺术馆实际临摹过这张画,果然非同凡响,最终体验到了羌佛的技法之高妙,我无法成功。梵高、齐白石的画我也临摹过,有亲身经历的体验,两位前辈的艺境,与羌佛的艺境根本不在一个层面上,没有可比因素。
我再次感谢林先生的论评中的精辟分析,令我有幸能够多了解学习到更多艺术的见地。

 

关官豪

二零一八年十一月二十二日

 

对 《梵高、齐白石 PK 第三世多杰羌佛,看谁的作品厉害》一文的评论

 

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资料来源:http://linjiguang.blogspot.com/2018/11/pk_33.html

 

#第三世多杰羌佛#梵高 #齐白石 #艺术

 

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

 

比较English

Please see below the answer of whose work is the best among

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III

 

I have spent more than 60 years of my professional life in the field of painting. During the many decades of practice and experiences, I have come to know many famous painters. That is especially the case since I became the Head Consultant for authenticating paintings and calligraphy at the National Museum of China in Beijing. As an appraiser and authentication officer of paintings and calligraphy, the bulk of my work is to verify the authenticity of Eastern and Western paintings. I have reviewed tens of thousands of famous paintings, especially the rare and precious works of the maestro Vincent van Gogh of the Netherlands, and those of the champion of Eastern paintings, Qi Baishi of China.

Both Van Gogh and Qi Baishi were great world-renowned masters in art. One represented the apex of Western art and the other was a master of an extreme class in the field of Eastern paintings. Both artists had drawn from the essence of the classical traditions of their respective cultures. They created new styles of art and new ways of seeing the universe. They broke new grounds and became pioneers of new eras, each becoming a creative guru of his time, developing a distinct style of his own and leading new trends that inspired later generations. Their works reflect the different essences of the Eastern and Western traditions. To what extent can their works influence the artistic civilization of the world? What kind of artistry did they achieve that made them upright monuments in art history and admired by so many people?

Some art critics compared the works of Van Gogh and Qi Baishi to see which of them reached a higher level of accomplishment. They concluded that both have their own merit, both are undefeated champions in the art and both reached the pinnacle of artistry. Recently, some art critics also brought up the oil painting Sunflowers and the ink-wash painting Sunflowers, both created by H.H. Dorje Chang Buddha III, and gave them rave reviews. They went on to compare the works by Vincent van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, trying to establish which of the three artists is the champion of the champions. The result of comparing the works by Van Gogh, Qi Baishi and H.H Dorje Chang Buddha III is tremendously inspiring.

Ever since the Renaissance, Western artists had placed emphases on rational analysis and the realist portrayal of forms. They used light, texture and details to present the realistic, three-dimensional perspective. A few centuries later, Van Gogh rejected the monotony of such use of light and shadow and the realistic portrayal of figures.  He pioneered the movement of impressionism that suited him well by applying a mix of colorful, brilliant, splendid and vigorous brushstrokes. He became a great master of his time and his name was forever etched onto the monument of Western civilization and art.

Whenever people think of Van Gogh, they think of his unique character, the sparkles in his eyes that emit lightning, his vigor and his incessant pursuit of inspiration in art without any regard to external hardships. Van Gogh was an artist by birth. He was of exceptional confidence and was somewhat neurotic. Having such traits, he pursued the art that he loved without any reservation or hesitation. He loved his works and regarded everything else with disdain. He preferred to be a loner in the world and did not care to make acquaintance of other painters of his time. His works are full of luminous colors, the brushstrokes are like rising winds and racing clouds in the sky. In his art, he depicted pasture, figures, flowers and other subject matters with brisk colors. Every brushstroke was transformed from his inner emotions. Such emotions were fully and colorfully captured in his Self-Portrait as well as in the transcendental Sunflowers that he painted. These works contain an animated spirit that is deeply moving.

From Van Gogh’s artistic spirit and intent, we can detect that he was profoundly knowledgeable about Chinese ink-wash paintings. Precisely because of this, while depicting forms and applying colors, he employed the skills of using the center tip of the brush and parallel brushstrokes. His Still Life with Bible was created with parallel brushstrokes. In his Self-Portrait, he portrayed his face filled with lines and plaques that are extraordinary. It is not hard for us to discover that he drew inspirations from the substance and essence of Chinese painting in those brushstrokes. That is why Van Gogh is such a distinguished, unparalleled artist of his time and his works are superior to those by the other Western oil painters such as Cezanne, Gauguin or Picasso of the same era.

Van Gogh’s artistic style was closely linked not only to Chinese civilization in the East, but also to the classical Renaissance art, Pointillism, German Expressionism, and Impressionism in the West. Toward the end of his life, he came into oneness with the universe and immersed himself in a carefree state of mind to “follow wherever nature might lead.” As such, he was no longer aware of his own existence. In his mind, there was only the art and the universe. “Following where the nature may lead” is the essence of the ideology of the Chinese philosopher Laozi. Van Gogh cut off his ear with a knife. He lost himself completely in painting. That was his unspoken resentment and rejection of the unfair treatment imposed on him by the society.

Qi Baishi was profoundly knowledgeable about impressionist, fauvist, and realist paintings. By adopting the essence of Western painting and incorporating the traditional spirit of Eastern art, he developed his unique style and became the master of Chinese painting of the twentieth century. His brushstrokes were solid and poised, evincing a sense of power that went all the way through the paper. Using sheep-hair brushes, he elicited calligraphic skills to create his paintings. Qi Baishi’s lines are bold and robust, embodying a forceful spirit that can move mountains. At the same time, these lines are flexible, sturdy and round, with similar qualities to the lines of wire-drawing. His compositions emerged naturally from the spontaneous movement of the brushes. Such compositions are accompanied by vigorous calligraphy resembling the strength, power and fluidity of stone inscriptions.

The artistic concept of spontaneously “following where nature may lead” is precisely derived from Laozi’s philosophy and the artistic civilization of the Chinese ethnicity. Qi Baishi favored the use of white space in his paintings. The white space in black-and-white Chinese ink-wash paintings is considered a solid color. Ink can be differentiated in nine shades (or five shades according to ancient Chinese text.) That is to say, the white of the paper per se and the black of the ink are all considered as colors. There is a sense of meticulous precision in the artworks by Qi Baishi. He depicted insects such as grasshoppers, mantises and butterflies in meticulous and vividly colorful ways. In some of his artworks, the artist was able to express his ideas by putting down just a few brushstrokes without any conscious intent, while arriving at a state of oblivion of his own existence.  Anything depicted by his brushes was vivid and vibrant, with the subject matter coming alive on the paper. There is an aura that moves our heart and soul. All in all, Qi Baishi’s paintings were executed with a confident brushwork that naturally achieved a kind of childlike charm.

Recently, some people compared the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III to see whose works are more superior and outstanding, or will have a broader and more far-reaching influence on later generations. I have viewed quite a lot of the artworks by Van Gogh, Qi Baishi and H.H. Dorje Chang Buddha III. I started the study and appreciation of the paintings by Qi Baishi under the enlightening guidance of my teacher when I was 9, and when I was 14, I began to study and appreciate the works by Van Gogh. It has since been several decades!

At the same time, since I have admired the art of H.H. Dorje Chang Buddha III for a long time, to satisfy my desire and wishes I flew from New York to San Francisco to visit the International Art Museum of America, and to Los Angeles to visit the H.H. Dorje Chang Buddha III Cultural and Art Museum in order to see their collections. I was profoundly impressed by the architecture of both museums which is grand and dignified. Both museums have a collection of the authentic works by H.H. Dorje Chang Buddha III. There are various artworks that are created with different kinds of material. Some are bold and forthright, some are charmingly meticulous and astounding. The oeuvre is not made up of just one single style.

Yet, the only artwork that was not available for viewing is the Sunflowers painted by H.H Dorje Chang Buddha III. When I hear that some art critics are comparing the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, I naturally feel, from my experience of having studied the works by Van Gogh and Qi Baishi for a number of decades, that although their artistry are similar in levels, it is possible to say who is the best if we are just to compare the sunflowers painted by the three artists, when we include in the compositions, colors, brushwork, lines, vitality, spirit and so on. With all these elements in consideration, it is possible to do the comparison and conclude who painted the best, or in other words, whose works can bring the most joy and delight to people, or whose art will be most influential to the philosophy, artistic concept and entire civilization of this world.

Therefore, without any ambiguity, we concluded. In terms of character and morality, Van Gogh would be the last of the three. In terms of level of skills, Qi Baishi would also be ahead of Van Gogh, who is, however, already the cream of the crop in western civilization. Being the Buddha living in the current century, H.H. Dorje Chang Buddha III saves living beings with great loving compassion. He is not embodied in an ordinary being. Needless to say, the level of cultivation of the Buddha is superior to that of Van Gogh and Qi Baishi. In terms of creativity and painting skills, how can any ordinary being even hold a candle to the Buddha? In this way, the comparison result is immediately determined.

When those art critics carried out the detailed research of the Sunflowers by Van Gogh and Qi Baishi as well as H.H. Dorje Chang Buddha III, they copied the artworks by all three artists. After copying the works by Van Gogh and Qi Baishi, they felt deeply that through hands-on practice, they indeed gained more understanding of their works. It would not be easy but not so difficult either for one to really reach their artistic level. As for the Sunflowers by H.H. Dorje Chang Buddha III, they found it rather difficult to copy.  Even though they tried many times, they had a hard time just copying the form, let alone the spirit.

The Sunflowers by H.H. Dorje Chang Buddha III clearly show the artist’s solid foundation and prolific skills in the Eastern and Western painting traditions. They comprise the essences in both traditions and display a brushwork, sentiment and colors that are one of a kind. The color tones and brushstrokes are rich, dense, soothing and elegant. Lively brushwork paints an animated charm that is whole, evincing a miraculous and expansive spirit and aura as well as a strong vitality. As for the Sunflowers oil painting in which H.H. Dorje Chang Buddha III depicted some flowers inside a vase, the artistry is extraordinary and full of variations; the composition is simple yet abstruse. The flowers are natural and gracious, such that they give an impression of unpredictability, reaching a state of oneness with the universe and emanating a sharp animated spirit.

 

The ink-wash painting Sunflowers by H.H. Dorje Chang Buddha III has an uninhibited, natural, and spontaneous brushwork that is dense, bold, and robust, but also elegant and agile. It exhibits a charm that is like stone and bronze inscriptions. Overall, the whole painting manifests a harmonious and moving imagery, naturally emanating a lively vivaciousness and a carefree, spirited aura.

In comparing the works by Van Gogh of the Western civilization, Qi Baishi of the Eastern culture, and H.H. Dorje Chang Buddha III, we can see the artists are distinguished in their unique own ways owing to their different cultures. However, only the artist who can continue to influence the world two to three hundred years from now will be the everlasting monument.  There is a saying, “Talents emerge in every era and they all will each have 500 years of fame!”  For people of the present day, the one whose work you like the best would be the one that is the most extraordinary!

Please see the contrast of six paintings below:

 

Sunflowers by Van Gogh (1)Sunflowers by Van Gogh (1)

 

Sunflowers by Van Gogh (2)Sunflowers by Van Gogh (2)

 

Sunflowers by Qi Baishi (1)Sunflowers by Qi Baishi (1)

 

Sunflowers by Qi Baishi (2)Sunflowers by Qi Baishi (2)

 

Ink-wash Painting Sunflowers byInk-wash Painting Sunflowers by
H.H. Dorje Chang Buddha III

 

*temp*Oil Painting Sunflowers by
H.H. Dorje Chang Buddha III

 

 

Jiguang Lin

October 26, 2018

 

Link:

https://reineckea.wordpress.com/2018/11/22/vincent-van-gogh-qi-baishi-and-h-h-dorje-chang-buddha-iii-compared-whose-artwork-is-the-best/

 

#DorjeChangBuddhaIII #DorjeChangBuddha #Buddha

世界佛教总部咨询中心 回覆咨询 (第20180109号)

(第20180109號)

世界佛教总部咨询中心

回覆咨询

(第20180109号)

回覆来信咨询

1.

咨询:关于你们问到四暗行、四明行是什么人才有资格实行?

答覆:四暗行是属于大圣者才能实行,至少是金釦三段的上尊,而且必须是对已经非常虔诚、有相当道行的弟子,要作为法脉传人的种子,也就是三段金釦上尊要把他的这位弟子作为正法传承人的种子,要把正法的传承交付予他,才能施行最后的暗行考核,除此之外四暗行是不能用在常规佛弟子的身上,如果用在常规佛弟子身上,这个上师就已经犯下妄行欺骗语业罪,该师必堕三恶道。凡是蓝釦无论多少段,说他用四暗行考察弟子,就是百分之百在诈骗弟子,不是百分之九十而是百分之百的骗子,因为蓝釦未脱凡胎,自己都还没有挂上金釦一段圣者,更况要金釦三段,才能施用暗行考核,蓝釦没有任何资格借口沾上施用暗行的边。就是至高顶极的南无第三世多杰羌佛,作为佛陀比起最高金釦五段高若干倍,羌佛曾经对旺扎上尊他们几个圣德说:「你们不能乱用四暗行,我很惭愧,四暗行拿来考验行人,对我来说很陌生,因为我用不来它,有什么事就明确跟行人说,故弄玄虚要去考验继承者,本来就是不诚实的言行。」现在有人反映,有的蓝釦上师竟然要弟子划多少钱供养他,说他用四暗行考验弟子,简直就是赤裸裸的骗子,什么叫暗行,他懂吗?他知道怎么施用吗?滑天下之大稽!这是彻头彻尾在行骗,大家千万小心,不要上当,看准他到底是金釦几段还是蓝釦,有没有资格施用暗行。

2.

咨询:关于年审。

答覆:年审一定要再考经律论,必须达到金釦三段上尊才免去年审,因为金釦三段上尊已经是不退地菩萨,凡是金釦三段以下直至蓝釦都要年审。为了向佛教信众负责,我们总部对年审考试是十分严格的,有三种情况如下:第一种、没有通知他(她)经过年审,因此不知道该行人是否退道还是进益了;第二种、已经通知了他(她),由于该被年审人在戒行上出了问题,自知退道,因此畏惧年审,不敢前来重新考试的,最终拒绝到场年审的,这类人会列入名单,行人们向总部咨询中心咨询时,总部会告知咨询者此人是谁;第三种、凡是经过年审的人,德人证上就会有段位的变动,如果已经退道或是进益了,德人证上也会标明某年已经年审的字样。

3.

咨询:关于有修行人在网上发表了评论羌佛和另外两位艺术家“向日葵”画得好的论评,但有网友对该评论家有负面的看法,说这篇评判文不可以转发,转发了会影响羌佛的佛陀形象。我觉得很奇怪,为什么评判人的负面印象会影响佛陀的形象呢?还叫不要转发这篇文,我们应该转发吗?

答覆:评判文作者本人的负面影响与羌佛的艺术境界毫不相干,而有相干的则是这个评判家是不是艺术方面的专家,是不是真正的内行,他写的评判文是否公正?!如果他写出的评判文是公正无偏的,他评判羌佛和其他人的艺术是符合艺术的实际境界的,该评判没有偏颇、没有刻意诽谤羌佛,而是实实在在以公正客观在叙述评判对比艺术,那就不仅应该大量转发,还要向该评判家学习致敬,要支持他的正确观点!

作为一些修行人,看问题不全面,还不如没有学佛的人。只看别人的负面,怎么没有看到他更多的正面、优秀的成就呢?至少他正确评论羌佛和其他艺术家的艺术,也谈到羌佛的佛陀道德境界,这就是我们应该向他学习的。在你们某些人的眼里面,认为他错了,他不应该说真话,他不应该认可佛陀的艺术好,他应该认可妖魔好,这才是你们要做的吗?告诉你们,站在岸上夸夸其谈,指手画脚,大声高叫而不敢打湿鞋的人太多,就如你们某些人只会说大话,却写不出一篇实际的艺术评判文章,画不出一幅脱俗的好画,难道这位评论家比你们这些连一篇赞叹羌佛艺术的文章都没有写过的人还差吗?其实,你们比起他,太可耻了!竟然不但不支持他公正评判论艺,还采取打压他,这是人干的事吗?!举一个例子,假如说有一批叛徒妖孽甚至是波旬魔王的子孙,有一天突然评论赞叹释迦佛陀的工巧明好得不得了,那你们也会说不管这评判有多好,不要转发这篇评判文吗?你们会借口说作评判的是叛徒妖怪有不好的负面印象,会影响世尊的形象。你们这样的话,你们知道你们是在干什么吗?你们是在评论人呢,还是在评论事物的本质呢?世尊的形象会受到波旬的牵连吗?太可笑了!把你们到底划在哪一类,应该认真想一想了。你们比这些魔子魔孙还要可恶!魔子魔孙还知道评论赞叹世尊的工巧明好,而你们,不但不评论羌佛的艺术境界,见到好评羌佛艺术的专家,不赞叹不说,反过来还要找理由打压别人,找借口来压制公正评判文的转发。尔等狼子野心,阴毒之至!

我总部的圣德们,到现在都不认识这位评论家,但仅此一篇艺术PK评判文,就让我们尊敬这位评论家,尊敬他实话实说,公正无偏,用语用辞熟练精到准确,堪称专业专家,你们这些只知道指手画脚的艺术外行,又怎能望其项背呢?更况羌佛的画公平摆在那里,对比着,不怕不识货,就怕货比货,这位评论专家评的公正讲出来的是真心话,我们给他点个赞!

今天有一位善心人士知道了以后就说:我懂一点画艺,我完全赞同圣德们的观点,艺术没有国界,是世界语言,是好是坏,其实一比就知道了。我只能说,第三世多杰羌佛文化艺术馆里面陈列的羌佛画作《龙鲤闹莲池》,已经经过法庭专家证人、为国税局报税定价的评估师评估了,这一张画的价值为5900万美金,艺术馆为了确认其艺境的高深程度,悬赏100万美元的奖金,但到今天为止,有艺术家去画了,可是没有一个人把这幅画画到60%的成功,这就证明南无第三世多杰羌佛已“艺达高峰无能拟”。现在我当着总部的圣德们发下一个心,说话算数:无论什么名家里手,只要能按照规定把这幅画画下来,相同了,我出500万美金当场买下,加上文化艺术馆曾经出的100万,总共就有600万美元了,有这样的画艺高手就请来吧,不然还认为羌佛的画艺是虚吹浮夸的呢。

4.

咨询:关于开顶的意义和圣骨的概念是什么?

答覆:境行开顶是一种神识的启用,开顶所指圣骨是指头顶的那个开顶部分,能出入神识,但整个身体并不是圣体、圣骨,所以不是圣者,必须证到金釦一段,才进入圣者阶段。开顶如果犯了泥丸道果戒或金刚换体禅戒,犯戒后没有及时忏悔,十六天后会退到与没有开顶前的普通凡夫一样。开顶只是具有暂时的头顶圣骨,因为会随着戒行而消失或保留,但不是圣者!!!离罗汉遥远,离菩萨天壤之别。

咨询:关于应具备什么样的条件可以申请开顶?

答覆:行持佛事,符合标准达到开顶的心行和功德即可开顶。

5.

咨询:关于南无第三世多杰羌佛教的人当中,为什么有好人、还有坏人?

答覆:南无释迦佛陀教的弟子中,有好人,也有坏人,而且坏人还不少,南无第三世多杰羌佛是教弟子学佛修行、做好人,但是佛陀教的弟子中,好人、坏人、圣者、骗子,什么样的人都有,就是现在已经在社会上为师之人,有很好、符合戒规的上师;有邪恶的上师;有本身是凡夫、冒充圣者的上师;有邪恶用佛教来诈骗人的上师;有大慈大悲严守戒律惭愧修行的上师,羌佛说:「我的一百个弟子中,难有两个完全符合戒规的上师,因为心、行是长在他人的身上,他们不受善业育化、不依教奉行、不从善去恶,非要说假话欺骗众生,明明是凡夫,非要冒充圣者骗人,不听教化,这是我无法改变的,释迦牟尼佛在世时,祂的弟子中就有很坏的,甚至行邪道,这就相当于每一个国家都想和平吉祥安宁,制定出种种法律,可是国家政府的监牢里面,随时都装着许多违法的坏人,国法同样改变不了国家不出坏人的现象,否则警察就失业了。」南无第三世多杰羌佛就相当于释迦牟尼佛对一切众生平等,包括波旬魔王的子孙也收为徒弟,施以慈悲利人之教,苦口婆心劝其弃恶从善,可是有些恶性之徒,表面学佛,而心地是邪恶念头,冒绷大上师,以凡充圣,欺骗世人,有些人很愚笨,只听他(她)自吹,看他(她)的宣传,听他(她)的帮凶在一旁助威、做工作,而不加考证就相信了,这是佛陀阻挡不了他们的,所以世界佛教总部才再一再二再三再四再五再六再七再八再九再十提醒大家要看公告,要依法审定为师之人,反覆提醒不要让自己上当受骗,佛陀只能尽最大的力量提醒大家了,记住,是圣是凡,要依考试来定的,不是凭个人的宣传文章、书籍的吹捧就去相信。再次重申,对于一个上师的好坏,首先要看他(她)考试的成绩获得的身份段位,是圣是凡,没有考上金釦一段,是不能沾“圣”字的边的。再次重复,拿公告去印证一个上师,才不会上当受骗!哪怕就是佛陀曾经赞叹过的上师,一当犯戒,黑业上身,自然变质,也会成为骗子,因为还不是不退地三段金釦上尊。南无第三世多杰羌佛还说:「在我教的佛教徒中,拿有你们总部圣德证的,一百个里面难有两个是真正的圣德,千万记住,这里面好人、坏人、骗子、凡夫、圣者全凭自己去审查,要看他们的考试结果,否则只有上当受骗的份!」

世界佛教总部咨询中心

2018年11月13日

 

 

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#第三世多杰羌佛 #多杰羌佛第三世 #三世多杰羌佛 #世界佛教总部

【转发文章】–梵高、齐白石 PK 第三世多杰羌佛,看谁的作品厉害

【转发文章】 梵高、齐白石 PK 第三世多杰羌佛, 看谁的作品厉害

【转发文章】–梵高、齐白石 PK 第三世多杰羌佛

看谁的作品厉害

梵高、齐白石 PK 第三世多杰羌佛, 看谁的作品厉害

请看下面梵高、齐白石 PK 第三世多杰羌佛谁厉害的结果

 

我在画坛度过了六十多个春秋的生涯历程中,有了这几十年的体验和实践,结识了不少名家高手,尤其是担任北京国家博物馆书画鉴定中心的总顾问,和书画评审鉴定专家以来,主要的工作是鉴定和评审东西方的画作,而所鉴定过的名画至少也有几万件了,特别是荷兰的大师梵高和东方一霸的齐白石的存世珍品。

 

梵高、齐白石都是世界著名的艺术大师,一个是代表西方的顶尖高手,另一个是东方画坛的特级大师;都是从各自的古典文化传统中吸取精髓,而创作新的风格和宇宙观,成为新时代和新潮流承先启后的艺术创派宗师。从他俩的作品中可以反映东、西方传统文化不同的特质。而对于梵高和齐白石的作品,能影响整个世界的艺术文明到什么程度?是怎样的境界能导致他们成为世界美术史上,挺立的丰碑而令人高山仰止呢?

 

绘画评论家们把梵高、齐白石两人的作品拿来互相比较孰高孰下,而结果两位各有千秋,并且都是艺术上登峰造极不败的战将。但最近又有艺术评论家们又搬出了第三世多杰羌佛的“油画向日葵”和“国画向日葵”,做出了非比寻常的一番不同评价,而将梵高、齐白石再拿来与第三世多杰羌佛的创作比较,孰高孰低谁更厉害而成为高手中之高手。梵高、齐白石和第三世多杰羌佛的作品比较结果,给了人们极大的启示。

 

西方艺术从文艺复兴以来强调理性分析,追求形似的传真写照。利用光线、质感和细节呈现出一个写实的立体透视空间,而数百年后到了梵高的年代,对于形似以及光线的明暗人物黑扳的反感,而开创了适合他自已的,色彩明亮、瑰丽雄劲、交错的笔触的印象主义,成一代之宗师而铭刻于西方艺术文明的丰碑里。当人们一想起梵高,就会想起他独特的个性和目光如电的眼神,满身是劲,时刻都为追求艺术的灵感而栉风沐雨。他是个天生的艺术家,而且还有点神经质,自信心非常强烈;就因为他有此特性,对他自已喜爱的艺术一往直前,而无后顾之忧,他热爱自已的作品而傲视一切,他宁可遗世独立而不屑与同时代的画家们为伍。他的作品色彩明快,笔触如风起云涌般翻腾于天空中,他所画的田园、人物、花卉、等等生动活泼,每笔都是由内心的情感转化而来,开在他丰富多彩的自画像中,和超尘脱俗的“向日葵”

 

从梵高的绘画创作精神和立意中,能寻觅到他对中国水墨画有深刻的研究和认识。正因为如此,他在用笔、造形、设色方面,施展出中锋和排笔的手法。他笔下的《圣经》以几笔排成,又如他所绘的自画像,脸上的线条和色彩,已到达超凡脱俗的境界。而这些笔触我们不难发现,他吸取中国画的养份与精髓;故梵高的作品也远胜于其他西方油画家,如塞尚、高更等同时代的画家们,脱颖而出成为绝代高手。这是与东方的中华文明与西方文艺复兴时期的古典艺术,如点彩派、德国表现主义和印象派等有着紧密相连的关系。他到最后,画到人我一体、天人合一境界时,已到了无拘束的“任自然”境界。因此他不知道还有自我的存在,而只有艺术观和宇宙观,而“任自然” 是中华文化老子哲学的精髓。他拿刀子把自己的耳朵割下来,于忘我于画的境界中,对当年社会的不公平与怨恨作出无言的反抗。

 

齐白石其实对印象派、野兽派、写实主义等西方绘画都有深厚的研究,取西方之精髓,融汇东方艺术的传统精神,自创一派而成为二十世纪国画大师。他落笔沉稳而力透纸背,他用羊毫笔而以书法入画,其线条刚健有力而带有婀娜多姿和力拔山兮气盖世的豪情,像铁线描般钢圆而有弹性。他的笔所到处随心所欲而自然天成,并配以如碑刻般强壮雄健流畅的书法。这种随心所欲的“任自然”的艺术思想,正是中华民族老子哲学和艺术文明的泉源;而又和梵高借鉴老子的哲学思维是一致的。齐白石在绘画中喜欢留白,而留白在黑白的中国水墨画中也定为是一种素彩,所谓墨分九色(中国古书墨分五色),这就说明了白色的纸和黑色的墨都是色彩。齐白石的作品有精密细致的一面,所画的昆虫如蚱蜢、螳螂、蝴蝶等,非常精致和色彩灿烂,而有些作品却是寥寥数笔,意到心不到的忘我境界。无论笔下所画的一切,生动活泼而跃然纸上,而灵气动人经络。 总之,他落笔胸有成竹,童心意趣浑然天成。

 

最近有人拿梵高和齐白石两人的作品“向日葵”与第三世多杰羌佛创作的“向日葵” 比较,看谁绘的更厉害与超群,或对后世的影响更广和深远。而我对梵高、齐白石、第三世多杰羌佛的绘画作品过目较多,正如我九岁在老师的启蒙下开始研究和鉴赏齐白石的画作,十四岁开始欣赏梵高的作品与研究,都己经数十年矣!同时,我对第三世多杰羌佛的创作神往己久。为了却我的欲望和心愿,还直接乘飞机从纽约到旧金山参观“美国国际艺术馆”和到洛杉矶欣赏“第三世多杰羌佛文化艺术馆”的珍藏。这两间艺术馆雄伟庄严的建筑,给人留下深刻的印象,而艺术馆内珍藏的第三世多杰羌佛的真迹藏品,有不同材质的各种创作,有豪放的、也有细致妩媚而令人震惊的,不一而足;而唯一没有给参观者欣赏的是第三世多杰羌佛笔下的“向日葵”。当我听说有评论家拿梵高、齐白石的“向日葵” 与第三世多杰羌佛的“向日葵”比较时,我自然地觉得,就以我数十年对梵高和齐白石所作的研究和经验,觉得他们三人的艺术境界是旗鼓相当的,而关于比较他们三人的“向日葵” 作品,高低之分还是有的。这包括构图、色彩、用笔、线条、神韵、灵气等等,都是可以比较谁画得更好,或者换句话说,谁的作品让观者更喜欢和给人们更大的喜悦,又或对整个世界文明和艺术观与哲学的影响更大呢?因此,我们会毫不含糊地已经得出了一个结论,三人中论情性与修养,梵高会是三人之末;论功力,齐白石也在梵高之前,而梵高在西方文化中己是顶尖的强者。第三世多杰羌佛是现世纪的佛陀,大慈大悲渡众生而又非凡夫俗子之身。以佛陀的修为,不用说都在梵高和齐白石二人之上;以绘画的创造和功力,佛陀又岂是凡夫俗子们所能及的?就这样,胜负立判。

 

当那些评论家们把梵高和齐白石与第三世多杰羌佛的“向日葵” 进行了一番细心的研究,同时他们进行了临摹三人的“向日葵”作品,在临摹梵高和齐白石的作品后,确实深深感觉在实践中更能认识,如真正要达到他们的境界,虽不太容易而并不难。而对于第三世多杰羌佛的“向日葵”作品,临摹起来比较吃力,虽反复试了多次,不但神韵,就连外形都难摹仿。羌佛的“向日葵” 很明显地有扎实的中西画基础和传统功力,而精华粹汇,自成一派的笔触、情调与色彩。色调与笔痕浑朴厚重,温润与华美,其笔触与神韵生动活泼而融为一体,而有出神入化的磅礡豪迈与灵气,和强大的生命力。对于多杰羌佛的油画插在花瓶中的“向日葵”,画艺高绝而异变多端,构图简单玄妙,花朵大方自然,到了让人无法捉摸而达到天人合一的境地,灵气迫人。关于他的水墨“向日葵”,笔法豪放自然,挥洒自如,笔力沉雄稳健而飘逸如金石般韵味;从上到下,整幅画呈现和谐而有动感的境像,而自然地表现活鲜的生命力、潇洒与灵气的精神。

 

西方文明的梵高,东方文化的齐白石和第三世多杰羌佛三人的比较,因为文化的差异而各有千秋。而二三百年后,能够影响整个世界的,才是永恒的丰碑。“江山代有人才出,各领风骚五百年!” 而对现世的人们来说,你心中喜欢谁?谁就是最厉害的!

 

请看下面六幅画的对比:

梵高作品《向日葵》之一

梵高作品《向日葵》之一

 

 梵高作品《向日葵》之二

梵高作品《向日葵》之二

 

齐白石作品《向日葵》之一

齐白石作品《向日葵》之一

 

齐白石作品《向日葵》之二.

齐白石作品《向日葵》之二

 

第三世多杰羌佛水墨作品《向日葵》

第三世多杰羌佛水墨作品《向日葵》

 

第三世多杰羌佛水墨作品《向日葵》

第三世多杰羌佛油画作品《向日葵》

 

林缉光    2018 年10月26日

 

 

资料来源:http://linjiguang.blogspot.com/2018/11/pk_33.html

【转发文章】–梵高、齐白石 PK 第三世多杰羌佛,看谁的作品厉害

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