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?


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!”


“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.


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.


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.



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#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」



#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




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








#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


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






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!







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





#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?



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




#DorjeChangBuddhaIII #DorjeChangBuddha #Buddha

世界佛教总部咨询中心 回覆咨询 (第20180109号)
































#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


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










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!





















林缉光    2018 年10月26日




【转发文章】–梵高、齐白石 PK 第三世多杰羌佛,看谁的作品厉害



#第三世多杰羌佛#梵高 #齐白石 #艺术