2018年11月28日 星期三

貞觀春拍名家匯聚 第三世多杰羌佛 “墨荷”亮眼名列第一

貞觀春拍名家匯聚  第三世多杰羌佛   "墨荷"亮眼名列第一




華府新聞日報 3/26/2015

書畫藝術匯聚春拍 羌佛畫價出榜首

(紐約訊)作為世界藝術中心的紐約,在2015年3月蘇富比、佳士得、貞觀等拍賣公司拍出了大量水墨書畫,在22日的貞觀國際拍賣公司春季拍賣會上,亮出了很多頂尖大師級的書畫,貞觀國際拍賣公司有史以來首次匯聚這麼多名家的精作,其中有美國的著名大家H. H.第三世多杰羌佛、有中國的鄭和、石濤、石魯、吳昌碩、惲南田、齊白石、張大千、徐悲鴻、傅抱石、潘天壽、李可染、黃賓虹、鄭板橋、文徵明等名家的作品。H.H.第三世多杰羌佛的“墨荷”最為亮眼,精妙絕倫,功力非凡,氣勢磅礡,格高境大,“墨荷”的成交價高出這些名家大師幾倍乃至幾十倍的價格,成為所有拍賣公司所拍出的古今名人書畫之冠。該畫面積為十平方英尺,起拍價為一千零五十萬美金,來自世界各國的收藏家們爭相投標,經過一番搶標,最終由一位美國的白人以1650萬美元拍到(稅前價),所成交的價打破了此次春拍會古今中外書畫名家的最高紀錄,成為中國畫壇最高價位的榜首,名排第一。本次整個春拍會名排第二的是鄭和手抄佛經,蘇富比拍出1400萬元;石濤的“詩書畫三絕”排名第三,蘇富比以三百九十四萬六千美元拍出成交;石魯的“春梅獨立”拍出三百五十二萬五千美金,排名第四;排名第五的是潘天壽的“百合”,拍出一百五十六萬五千美元;吳昌碩排名第六,“菊石”圖以三十七萬美元拍出;佳士得以二十三萬三千美元拍出張大千的“深山藏古寺”,排名第七;元代何澄的“趙雲”以二十萬美金由貞觀拍出,排名第八,齊白石的“蟲葉”拍出十九萬七千美元 ,排名第九 ,八大山人的十張冊頁則拍出了十四萬九千美金,排名第十,而徐悲鴻的“十駿圖卷”則以十二萬美元落槌,李可染的“牧童”只拍到了八萬一千兩百五十美元。

第三世多杰羌佛不僅原件書畫堪稱榜首,而且限量複製品畫都已經超過了很多著名大師的原件真跡畫,他的限量複製品畫也是全世界最高複製品畫價的第一名,而且有很多張限量複製品畫都是三十多萬美元一張售 出,已超出世界著名畫家畢卡索、莫奈、梵高、塞尚、高更、安迪.沃霍爾等大師們的複製品畫價。據鑑定家們預測,第三世多杰羌佛的畫將成為世界最珍貴、最有價值的國寶珍品 ,由於第三世多杰羌佛是世界最高佛教領袖,國會參議院在2012年已經決議H.H.第三世多杰羌佛為人類作出巨大的貢獻,第三世多杰羌佛已經封筆不畫畫了,加上他的真品書畫在社會上幾乎沒有流通,所以必然成為最有價值的稀世珍品。







H.H.第三世多杰羌佛作品- “墨荷”



第三世多杰羌佛藝術 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獲世界和平獎 第三世多杰羌佛法音 第三世多杰羌佛

2018年11月25日 星期日

超自然韻雕創始人義雲高(H.H.第三世多杰羌佛)獲英頒授 Fellowship

  超自然韻雕創始人義雲高(H.H.第三世多杰羌佛)獲英頒授 Fellowship





關於“第三世多杰羌佛”佛號的說明


關於“第三世多杰羌佛”佛號的說明 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》記實一書在美國國會圖書館舉行了莊嚴隆重的首發儀式,美國國會圖書館並正式收藏此書,自此人們才知道原來一直廣受大家尊敬的義雲高大師、仰諤益西諾布大法王,被世界佛教各大教派的領袖或攝政王、大活佛行文認證,就是宇宙始祖報身佛多杰羌佛的第三世降世,佛號為第三世多杰羌佛,從此,人們就以“南無第三世多杰羌佛”來稱呼了。這就猶如釋迦牟尼佛未成佛前,其名號為悉達多太子,但自釋迦牟尼佛成佛以後,就改稱“南無釋迦牟尼佛”了,所以,我們現在稱“南無第三世多杰羌佛”。尤其是,二零一二年十二月十二日,美國國會參議院第614號決議正式以His Holiness來冠名第三世多杰羌佛(即 H.H.第三世多杰羌佛),從此南無第三世多杰羌佛的稱位已定性。而且,第三世多杰羌佛也是政府法定的名字,以前的“義雲高”和大師、總持大法王的尊稱已經不存在了。但是,這個新聞是在南無第三世多杰羌佛佛號未公佈之前刊登的,那時人們還不瞭解佛陀的真正身份,所以,為了尊重歷史的真實,我們在新聞中仍然保留未法定第三世多杰羌佛稱號前所用的名字,但大家要清楚,除H.H.第三世多杰羌佛的名字是合法的以外,在未法定之前的名字已經不存在了。

      創始超自然韻雕評鑑獨一無二作品

     韻雕創始人義雲高(H.H.第三世多杰羌佛)獲英頒授 Fellowship

(本報華盛頓報導)英國皇家藝術學院於美東時間十日在美國首都華盛頓英國駐美國大使館,爲世界著名的藝術大家,中國畫巨匠,超越自然美的韻雕的創始人義雲高大師頒授「 Fellowship」職稱,當場授以證章與證書,推崇義大師對世界藝術的卓越貢獻。

皇家藝術學院的主席菲力浦.金 PHILIP KING在頒證致詞中宣布:英國皇家藝術學院有著悠久的歷史,能夠榮幸地爲偉大的藝術家和精神領袖義雲高大師授稱Fellowship,是該院二百多年來一件非常重要和光榮的事情,也是該院成立二百多年來第一次授稱的Fellowship,義雲高大師是英國皇家藝術學院建院二百多年來一直期待而未能獲得的傑出藝術人物,今天終於獲得,這是皇家藝術學院一大幸事,該院擁有院士一百名,但是二百多年來一直沒有人擔任上述Fellow,義雲高大師是第一位Fellow,這一崇高職稱是爲世界最傑出著名的藝術家授稱的。

英國駐美國大使館文化參贊安迪.馬凱出席頒證儀式,英國駐美國大使館大衛.曼寧爵士在英國皇家藝術學院主席菲力浦.金和院長布蘭登鼐倫 BRENDAN NEILAND的陪同下會見了義雲高大師和夫人王玉花敎授,對義雲高大師取得的成就表示敬意,並祝賀大師獲得此一殊榮。由特級國際藝術大師義雲高爲人類首創的韻雕藝術於二〇〇四年元月正式通過世界最高藝術學府英國皇家藝術學院的鑒定, 英國皇家藝術學院係全球最權威的藝術學府,凡自該學院出來的均爲大藝術家,該院院長布蘭登鼐倫BRENDAN NEILAND敎授及副院長約翰威爾金斯JOHN WILKINS於二零零四年元旦簽署證書「確認義雲高大師的韻雕是獨一無二最高品質的作品 。獲得英國皇家藝術學院鑑定的韻雕作品是「神秘石霧」等。







義雲高(H.H.第三世多杰羌佛)獲英頒授 Fellowship

義雲高大師(右二)在華府英國大使館中接受英國皇家藝術學院授予該學院兩百多年來第一位FELLOWSHIP的證書。在場的英國皇家藝術學院主席菲力浦.金(右)、院長布蘭登鼐倫(左二)副院長約翰威爾金斯(左一)。
(圖由英國皇家藝術學院提供)

中央日報     中華民國九十三年二月十五日

#義雲高 #義雲高大師 #第三世多杰羌佛藝術 第三世多杰羌佛正法 第三世多杰羌佛返老回春 第三世多杰羌佛獲世界和平獎 第三世多杰羌佛法音

2018年11月24日 星期六

轉發文章— 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

轉發文章—

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



                                  

轉發文章—

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


在此,我向林緝光先生道歉之外,隨作些許膚淺的看法。
林先生鑑定評判《梵高、齐白石PK第三世多杰羌佛,看谁的作品厉害》文論我看了,我是在1999年英國溫布頓藝術學院繪畫系碩士畢業,也學習從事鑑定中西畫多年。梵高的藝境獨立整個西方畫壇,成為霸主,無人能及,是我崇拜的偶像。而在畫評上,我還沒有見到過對畫藝評論判定得這麼專業的,林先生的評論精闢,觀點獨到中肯,實為近年罕見扎實的藝術文評,本人頗為佩服。由於另外看到一些關於林先生的報導時,一知半解的我,被別有用心之人誤導,竟然對林先生本人作出了一些誤會的看法,我在此向緝光大師致歉。

確實,林先生身為專業鑑定評判家,對梵高、齊白石PK第三世多杰羌佛的作品,立論不凡,資料詳實,論據、論點、論理,所論述之觀點,真實的反映了梵高、齊白石、第三世多杰羌佛藝術上的超凡成就及其畫品德格。羌佛的作品,無論是水墨畫還是西方之油畫,長存於藝術歷史的長河中,有如八大山人、陳子莊的畫境,雖風格各異,卻到了前無古人之境界。盡管是歷史上的巨匠,作為PK的梵高和齊白石,畫藝已達高峰,但在與羌佛PK時,大家都能一眼看出,羌佛的畫作神形兼備,筆觸功力十足,內涵極深,用筆活透自然,技法脫俗,筆筆見功,堪為世界畫壇之瑰寶。梵高與齊白石,是各有所長所短。白石大師在傳統的東方哲學思想融匯於筆墨上,中鋒內含書卷氣,畫展老到童心,但短處是法變單純。而梵高大師是天資悟性,寫實功底較強,長處是施法頗廣,且達到畫我雙忘、天人合一、脫掉凡俗之氣,而成西方畫壇魁首。但是把梵高、齊白石的向日葵與第三世多杰羌佛的向日葵放在一起PK,實在是不恰當的!有幾句話我一直說不出口,再三思忖後,從道德誠實而言,應該講幾句心裡話,這是以我個人的觀點評說。羌佛的向日葵與梵高、齊白石的手筆一比,稍懂一點畫藝的人都能看出,兩位大師的向日葵,從筆觸、韻稚上,明顯帶有呆匠之氣,還有那麼一點拘謹,含儲有標本的氣息。

有一位西方友人說:林先生在文章中的觀點是東方人的觀點,西方人不一定認同。一聽這句話就是一個不懂藝術的人說的外行話,藝術根本沒有東方人和西方人的觀點,藝術是直觀的世界語言,好就是好,不好就是不好,好的東西是活透的、有生命力的,不好的東西是呆板的、死匠的,藝術之間相互對比鑑賞,不需要外加論評,就能看出好壞。好的東西,行家都難以臨摹下來 ,因為技法、神韻含藏於藝術之中,難以捉摸;不好的東西,有繪畫基礎的人都能輕輕臨摹,仿製相同,因為技法、藝境、神韻平淡普通。我相信東西方只要懂藝術的人,都是用眼睛和心靈感受到藝術的好壞差別,而不是像那位西方友人貶低有的西方人似乎看不懂藝術,而是取捨文字的說法來判斷藝術的好壞。其實,西方人的見地觀點是不低於東方人的境界,這是人類的共性審美觀,不是危言聳聽觀,除非某一個人一點藝術細胞都沒有,那還跟他說什麼呢?什麼都不用說了!

我聽說在加州柯文納,第三世多杰羌佛文化藝術館,有一張羌佛畫的《龍鯉鬧蓮池》,被法庭作證的評估專家評估價值為5900萬美元,若能有人複製成功,可領取600萬美金的獎。我不是想要領這筆懸獎,而是為了藝術的探討。我去藝術館實際臨摹過這張畫,果然非同凡響,最終體驗到了羌佛的技法之高妙,我無法成功。梵高、齊白石的畫我也臨摹過,有親身經歷的體驗,兩位前輩的藝境,與羌佛的藝境根本不在一個層面上,沒有可比因素。

我再次感謝林先生的論評中的精闢分析,令我有幸能夠多了解學習到更多藝術的見地。

關官豪
二零一八年十一月二十二日




#第三世多杰羌佛#梵高 #齐白石 #艺术

2018年11月21日 星期三

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 (2)


Sunflowers by Qi Baishi (1)

Sunflowers by Qi Baishi (2)

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

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

Jiguang Lin

October 26, 2018



Original Link:
https://linjiguang.blogspot.com/2018/11/van-gogh-qi-baishi-and-dorje-chang.html?m=1&fbclid=IwAR2XkxLeT_BpUmP7iARWwFsBlN4GrIbjiKw79fxrYDBGJrunAMLtiN8VvD8




#H.H. Dorje Chang Buddha III  #Dorje Chang Buddha III  # Vincent van Gogh  #Qi Baishi

       

2018年11月18日 星期日

绝无仅有 艺术工巧远超越任何被仿制的可能 国际特级大师义云高 雕作艺术再创历史新高

绝无仅有 艺术工巧远超越任何被仿制的可能 

国际特级大师义云高 雕作艺术再创历史新高



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。

國際特級大師義雲高 雕作藝術再創歷史新高-立報

8-29-2002

绝无仅有

艺术工巧远超越任何被仿制的可能

国际特级大师义云高(H.H.第三世多杰羌佛) 雕作艺术再创历史新高


[记者胡鉴原台北报导] 曾经以单幅画作在艺术品拍卖市场创下中国画最高纪录的义云高(H.H.第三世多杰羌佛大师,最近在美国加州展示他那神变莫测、鬼斧神工的雕刻艺术,再度震惊世界艺坛,为人类贡献了最高艺术享受。他的雕刻作品取材於自然,不仅没有人工斧凿之迹,其艺术性更超越自然天成,令人叹为观止。更令艺坛震惊的是,他的作品完全无法用任何方式仿制,即使拓印灌浆作模或电脑模拟也复制不了,这在人类的艺术史上是绝无仅有的突破性成就,大师以其自身圆满的雕塑艺术成就,逐渐引领著世界艺术水平达到登峰造极的境地,至於大师本人,早已超凡入圣,在1993年为四十八国共五千六百一十二名专家共同认定为「中国画坛巨匠」,被世界学术机构授与「东方艺术大师」桂冠,并曾获世界九十二所大学荣誉博士学位。

义云高(H.H.第三世多杰羌佛大师的大力王尊者画作, 创下中国画的最高成交纪录。但是他的画作和他的雕刻作品比起来,直可说是一画易求,一石难得。看过义云高(H.H.第三世多杰羌佛大师雕刻作品的艺评家都露出不可思议的神情说:「这哪是人能雕得出来的艺术作品!气韵生动、格高境大、巧夺天工、出神入化都不足以形容这些作品给人的感动!要说雕者是史无前例的艺术大师、艺术世界的一盏明灯、或说他是超越自然的首位雕塑大家,总感觉尙嫌词句美中不足,更非笔墨所能形容。」

义大师的雕刻作品有四种风格: 有写实、有抽象、有古典、有现 代、件件摄人心魂、美不胜收,各具夺人惊叹之魅力,予人一种惊天动地、
完全史无前例的感受。

以「溶洞」这一作品而言,外表状似天然巨石,高度及腰的钟乳石,当你一端详石中天地,发现洞中奇景、总不免让观者哑然失声, 心中惊叹这巨石是从桂林芦迪岩,还是武陵园溶洞或台湾的鹅銮鼻钟乳岩洞搬来的,哪里是人工所能造化!但定神一想,世上哪来这么小的钟乳洞,蹲身再仔细观察洞中景象, 石柱、石乳、蕈状石、与盾形下垂石,其形其状宛如自然万穿滴水天成,完全看不出斧凿之迹,但其石材乃为钢性树脂所作,亦非大自然所能为,如想入洞内雕刻,洞小亦无可容身之处,如系拓自自然钟乳洞,又何来数量如此多之天然造形齐聚一堂?溶洞中也找不到造形如此精美之石品。一般的艺术作品难比大自然的鬼斧神工,此一作品的刀工所作出的艺术成就,不仅超越人为,就连天然溶石奇峰妙趣,也得甘拜下风。

再说「梵洞奇观」就更加离奇不可思议,在云高大师的刀下,奇石布局与大自然石感无异,石中处处见洞,洞中有洞,洞中变化空凌透穴,韵致流向,八面展观,面面奇趣, 完美无缺,绝非大自然所能比拟的。如果你看过天然洞穴在日月推移下所造成的光影变化,而讚叹造物者的神妙,当你看到此一非自然天成的「梵洞奇观」竟然可因洞外不同角度的光源照射而生出种种明暗变化,不同色彩光影交错辉映,各种奇妙洞形,益加变化无穷,此 一雕塑的艺术境界,高妙深沉几无可言喩,线条流畅宛转如音符跳跃,如欲欣赏竟此一件作品所呈显的各种美感与意境,非四十分钟不以为功,极度发挥了雕塑艺术摄受人心的高度魅力,其神妙远远超过天然洞穴,其艺术成就正是来於自然更超于自然造化之物,大自然的石型多见一面入色,另一面往往不尽其意,大师的雕塑竟能每面各具奇趣,令欣赏者有全方位面面俱到之感,这已是艺术史上破天荒的成就。此外,更令人惊叹的是,这座奇石布局,众所公认确实在这个世界上找不到可复制的方法,许多权威专家竭尽多种心思方法要去模拟与复制,均感觉是绝无可能,这眞是艺术史上绝无仅有的完美境界。

在加州的展览厅所展现的义云高(H.H.第三世多杰羌佛大师雕刻作品,小的有半人高,大的有一丈高两丈长,每一件作品给人的感觉,不用上三、五年是无法完成一件的,有的作品乃至感觉必须用几十年的时间来雕塑,这还不重要,重要的是他以人为雕塑写实刀工之工底,竟能与大自然之意境圆融无二,令参观者当下产生视觉与心里的双重震憾 ();其作品的无法复制性,更使得大师的件件作品成为独一无二的无价稀世珍宝,令人深有所感的想到古有洛阳纸贵,而今加州石更贵。

威震大力无穷破纪录  子何许人也
集佛法艺术成就於一身的义云高(H.H.第三世多杰羌佛大师

【记者胡鉴原台北报导】先以「威震」中国画坛,复以「大力」慑服人心的义云高大师,究竟是何许人也?出生在中国川西大邑县的箭道街,三岁便通四书五经,十七岁便是家喩户晓的武林高手,义云高(H.H.第三世多杰羌佛大师一生至今,可说是充满了传奇故事,在一本由庄子公所著的「义云高大师」传里便有详细的介绍,中国大陆还特別史无前例的专门为活着的大师修建了一座大型艺术博物馆,陈列义大师两百多幅画作。在佛法的成就方面,日前在台北圆山饭店,由知名国际级高僧美国密宗总会主席洛桑珍珠格西、悟明长老以及广心上人等多国法师所参与的世界佛敎正邪硏讨大会,公开认证云高大师为佛门大导师。

民国八十九年五月份,一幅以狮群为素材的「威震」,在现场两位律师及诸多新闻媒体见证下,以新台币六千四百九十五万元天价成交,创下世界中国书画史在世画家最高成交记录,义大师立刻引起世界画坛高度重视,据当时众家媒体指出,其实这是大师平日修学佛法,开大智慧所获工巧明之所显。紧接着,义大师结合工笔与写意的水墨画「大力王尊者」, 更以新台币七千两百万元成交,折合当时美金两百一十九万一百一十四元,由英国书画收藏家奈勒获得,更加确认了大师在世界画坛不可磨灭的地位。义云高(H.H.第三世多杰羌佛大师的中国画艺术,取材囊括山水、花鸟、走兽、人物、鱼虫各方面,而技法不管是泼墨、工笔、写意皆通,可以说是承先启后, 复古而创新。

实际上,被誉为元首级大师的义云高大师,不单仅止于佛法艺术的成就,他二十几岁便已担任中国敎科文国画硏究会会长,像知名的周颖南、吴丈蜀等人均曾担任该会会长。除了著有 「义云高(H.H.第三世多杰羌佛大师哲言选」及「般若波罗蜜多心经讲义」等书之外,同时是精于声明的歌唱家,有「稀世绝唱」等录音带问世,号称「歌神」的香港天王巨星张学友便是他的学生。此外, 云高大师精于茶道,所硏发出的「霸王春」 、 「碧玉春」被誉为稀世珍品,在六十六届国际交易会上,「碧玉春」荣登「绿茶之王」宝座,为世界诸多绿茶之首。

义云高(H.H.第三世多杰羌佛大师学识渊博、才艺出众, 可说是世界近代史上最出类拔萃的集大成学者之一,他除了在佛法、艺术的成就之外,在人生哲学、宇宙学、 科学、文学、歌唱及医学等方面,都有惊世骇俗的成就。最后特別値得一提的,是义大师有一手佛门奇绝「跑马神针」,系出于佛家为民调治疾患的独特功夫医术,据闻针到病除,从未失手;但是此门功夫非一般人能掌握,因为此技的运用,必须将密宗金刚拳练到高深境界,进入生圆不二次地,通过其功夫产生“外四大” 〈地、水、火、风〉的调节作用力, 然后运用自身定力,导引银针感应行走,可惜至今台湾尚无人能学得此技。

绝无仅有

艺术工巧远超越任何被仿制的可能

国际特级大师义云高(H.H.第三世多杰羌佛) 雕作艺术再创历史新高



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