世界佛教總部公告(公告字第20180105號)– 羌佛正法傳長老,聖尊再留大聖蹟

世界佛教總部公告 (公告字第20180105號) 羌佛正法傳長老,聖尊再留大聖蹟.

世界佛教總部公告(公告字第20180105號)

— 羌佛正法傳長老,聖尊再留大聖蹟

2018年12月28日,克千旺扎公博上尊去聖蹟寺受南無第三世多杰羌佛傳法,就在這殊勝的日子裡,聖蹟寺僧眾報告總部說:「我們把因海聖尊法相顯聖報告給了旺扎上尊說:『原來供奉的兩張因海聖尊的法相,現在大家站在相同的遠近距離,看聖尊法相,奇怪的是一眼就能看出供在觀音菩薩銅像前的那一張法相,比供在側面牆上的另一張法相大很多!兩張尺寸大小一樣的法相竟然一張變大了。拿尺子一量,兩張法相的體積完全一樣,絲毫不差。』這幾天大家來廟上禮拜觀看後,在留言簿上紛紛留言,恭敬禮讚這個公開觀禮的聖蹟,他們深知遇到了真正的如來正法大法,歡喜得難以自抑。上尊說:『同等遠近觀看兩張同樣尺寸的照片變成了一大一小,是絕對的大聖蹟,其實你們把顯聖的位置再多加一倍,用兩丈遠,曾經供奉聖尊金剛法體位置的那一張法相,也照常會比側面近一丈距離的要大三分之一。』我們馬上到觀音殿,按照上尊的法旨,把顯聖相的位置用兩丈距離,不顯聖相的位置用一丈距離,這樣實地恭敬考證,果然曾經供奉聖尊法體的位置那一張法相,比起側面法相明顯大多了,我們走近用尺子把兩張法相再次比量,尺寸完全一模一樣,我們問上尊為何如此神奇,科學家都無法解釋這是什麼原因?上尊說:『因海長老受到南無羌佛的勝義灌頂,屬於本尊授承,他修大悲勝海紅觀音法,已證到巨聖德聖尊,與玉尊平等,超越上尊、教尊、孺尊,他是幾百年來難遇的大聖者,與蓮花生大師、瑪爾巴大師、宗喀巴大師、阿底峽尊者、六祖慧能大師、虛雲老和尚、憨山大師無異,更是超越了前輩祖師們留下的聖蹟威力,聖尊圓寂後二十多天,法體返老迴春,長鬍鬚,指甲、指頭長長,現在展顯了科學家無法解釋的大聖蹟,你們想一想,這都是前代祖師沒有做到的,他老不展現大聖蹟,怎表無生法忍、無上如來正法在我羌佛恩師所在處呢?』」
聖蹟寺曾經供奉因海聖尊法體的位置上就是神秘無比,這是公開讓大眾瞻仰的,雖然距離遠了一倍,照常展現巨聖威力,不受任何影響,依然展顯聖蹟,加持著虔誠的瞻仰者。這神異就相當於北加州Santa Cruz的「神秘位」(Mystery Spot),一樣身高的兩個人,站在同等平面一丈遠距離的其中一個位置,有一個人會高很多,另一個明顯的矮,這公開參觀的「神秘位」是有巨聖在那裡留蹟,成了一個聖地。希望前來聖蹟寺的觀看者們要虔誠恭敬瞻仰,不要有不敬之心行,以免造業,我們要祈禱南無觀世音菩薩和因海聖尊給我們吉祥的祝福、加持,讓我們幸福美滿,能獲得如來正法,福慧圓滿,早證菩提。
為此,總部特發公告,虔誠者人人均可去聖蹟寺瞻仰此一聖蹟,祈求加持,願一切吉祥!!幸福永昌!!!
世界佛教總部

2018年12月30日

世界佛教總部公告(公告字第20180105號)– 羌佛正法傳長老,聖尊再留大聖蹟

此文章鏈接:https://reineckea.wordpress.com/2018/12/31/%E4%B8%96%E7%95%8C%E4%BD%9B%E6%95%99%E7%B8%BD%E9%83%A8%E5%85%AC%E5%91%8A%EF%BC%88%E5%85%AC%E5%91%8A%E5%AD%97%E7%AC%AC20180105%E8%99%9F%EF%BC%89-%E7%BE%8C%E4%BD%9B%E6%AD%A3%E6%B3%95%E5%82%B3/

#第三世多杰羌佛 #多杰羌佛第三世 #因海長老 #世界佛教總部

世界佛教總部聖蹟寺公告第20180101號 因海聖尊再度現絕世聖境,在聖蹟寺留下幻化的神異舍利

世界佛教總部聖蹟寺 公告第20180101號 因海聖尊再度現絕世聖境,在聖蹟寺留下幻化的神異舍利

世界佛教總部聖蹟寺公告第20180101號
因海聖尊再度現絕世聖境,在聖蹟寺留下幻化的神異舍利

因海聖尊于2017年1月15日在美國加州圓寂後,法體移到世界佛教總部聖蹟寺的觀音殿供奉,在這一個月的時間,產生了一系列的神變,聖尊圓寂二十幾天後,開始神變,不但臉上皺紋一天天消失了,骨骼肌肉變得很豐滿,面色紅潤如活人,連鬍鬚都長多了、指頭指甲都長長了,成了圓滿的莊嚴相貌,金剛不壞身。圓滿百場聖會之後,因海聖尊的法體送至玫瑰崗聖地入供,隨著法會的起修,從遠方飛來了上百隻的鷹低空盤旋在法會聖地上方,法會剛一结束隨即飛入雲海之中不見了,連玫瑰崗的工作人員都驚嘆不已,聲稱從未看過這樣特殊的聖況,中華殯儀館還為聖尊的事蹟寫了證明。

在因海聖尊的法體送到玫瑰崗後,聖蹟寺的觀音殿觀音菩薩像前,在原本供奉因海聖尊的法體的位置上,只好供奉因海聖尊的一張法相,而在面對觀音菩薩的另一面牆上,還供奉有一張相同的因海聖尊的法相,因為這張法相,是從原來的五佛殿搬遷後移到聖蹟寺觀音殿的,這兩張法相尺寸相同,是一起印製、一起裝上相同尺寸的畫框。

想不到事隔約2年後的今天,2018年農曆11月15日,突然有人在觀音殿大叫:「神了!神了!,因海聖尊的法相神變了!」這時大家發現,供奉在觀音菩薩像前的因海聖尊的法相,竟然看起來比另一張供奉在牆上的法相,至少大了三分之一,每一個人站在距離2張法相相同的位置,都很清楚地看到兩張法相的明顯大小差別,非常明顯,任何人都說一看就是觀音菩薩像前的法相大很多。當時大家取來尺子一量,這兩張法相的長度跟寬度竟然不差分毫,畫框尺寸也完全相同,明明一看就是至少相差三分之一的大小,但用尺子一量竟然是一模一樣,我的天啊!科學家要如何解釋呢?

關鍵是這是公開擺在殿裡的,虔誠者哪個都可以禮拜瞻仰,事實就是這樣,大家這時才恍然明白,就因為這個位置曾經是供奉過因海聖尊的法體的聖位,因海聖尊再度展金剛威力,神異無比,兩張一樣尺寸大小的法相,竟出現了如此巨大的差異,這是因海聖尊給眾生留下的「幻化神異法相舍利」!可想而知因海聖尊的成就大到了什麼樣的程度!南無大悲觀世音菩薩才讓聖尊再度出顯神異聖境,因海聖尊是修大悲勝海紅觀音成就的巨聖德老和尚。

這麼多年來世界佛教總部從未設點供燈,但為感念觀世音菩薩和因海聖尊無時無刻為利眾生,也為眾生祈禱,本寺決定從2019年2月19日開設光明燈,有信善男信女都可以在這個聖尊顯聖的觀音殿,為自己和家人、親屬、朋友、事業、健康、一切美滿,點祈請吉祥光明燈,本寺每一天都會有法師為你們在光明燈前轉經、轉咒、修法祈禱。

 

世界佛教總部聖蹟寺公告第20180101號 因海聖尊再度現絕世聖境,在聖蹟寺留下幻化的神異舍利

 

此文章鏈接:https://reineckea.wordpress.com/2018/12/28/%E4%B8%96%E7%95%8C%E4%BD%9B%E6%95%99%E7%B8%BD%E9%83%A8%E8%81%96%E8%B9%9F%E5%AF%BA%E5%85%AC%E5%91%8A%E7%AC%AC20180101%E8%99%9F-%E5%9B%A0%E6%B5%B7%E8%81%96%E5%B0%8A%E5%86%8D%E5%BA%A6%E7%8F%BE%E7%B5%95/

#世界佛教總部 #聖跡寺 #因海長老

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

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

此文章鏈接:https://reineckea.wordpress.com/2018/12/11/%E9%A0%82%E7%A6%AE-%E5%8D%97%E7%84%A1-%E7%AC%AC%E4%B8%89%E4%B8%96%E5%A4%9A%E6%9D%B0%E7%BE%8C%E4%BD%9B%EF%BC%81%EF%BC%81%E3%80%90%E8%87%B3%E9%AB%98%E4%BD%9B%E6%B3%95%E5%86%8D%E6%AC%A1%E9%9C%87%E6%92%BC/

#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