“世界大力士祖父"旺扎上尊回律師問Wangzha Shangzun , “Grandfather" of Strongman, Replies to Attorney’s Questions

                 “世界大力士祖父"旺扎上尊回律師問

Wangzha Shangzun , “Grandfather" of Strongman, Replies to Attorney’s Questions

 Dear Ms. Melissa, Esq.,

-You asked me what kind of strongman I am and how I became a strongman.

I participated in many strongman competitions all over the world and no one has matched my feats of strength. My records for my weight and age brackets in strength events have remains unbroken to this day.

I am a strongman. But I am also a reincarnated Rinpoche. When I was little, I was recognized by Kalu Lama, who bestowed upon me my Rinpoche name of Kanqian Wangzha Gongbo.

I really learned the authentic Buddha Dharma in 2002 under Buddha Master, Namo Dorje Chang Buddha III. My Buddha Master had come to the United States from China and was then known as Vajradhara Great Dharma King Yeshe Norbu. I humbly beseeched Buddha Master to take me as a disciple and Buddha Master held a refuge ceremony for me. I continued to go by the name of Nicholas Kanqian Wangzha Gongbo.

From that time on I have cultivated and studied the real Buddha Dharma under Namo Dorje Chang Buddha III. The Buddha Dharma greatly altered the composition of my body, as well as my mind and spiritual state. My strength utterly changed.

Namo Dorje Chang Buddha III is my Buddha Master to whom I owe the utmost gratitude.

-You asked me how I trained to become the strongman that I am.

I am able to teach the physical training involved in becoming a strongman. However, that alone will not enable you to reach my level. My strength also derives from the blessings of Buddha Dharma. I can only tell you this much, because the Buddha Dharma cannot be transmitted lightly.

Thank you for understanding.

Best regards,

Nicholas Kanqian Wangzha Gongbo.

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Melissa 律師,

-你問我我是什麼樣的大力士以及我是怎麼成為大力士的。

         我參加過整個世界上很多的大力士比賽，沒有人比得上我的力氣。我在我的體重和年齡段創下的大力記錄，直到今天還沒有人打破。

         我是一個大力士，但我也是一個轉世仁波切。當我小的時候，我被卡盧喇嘛認證，他給我起的仁波切名字為勘千.旺札.公博。

         我真正學到正宗的佛法是在2002年，跟隨佛陀師父南無第三世多杰羌佛。我的佛陀恩師從中國來到了美國，當時是以金剛總持大法王益西諾布為人們所熟知。我慚愧地祈求佛陀師父收我為弟子，佛陀師父為我舉行了皈依儀式。我名字還是叫尼古拉斯.勘千.旺札.公博。

         從那時起，我在南無第三世多杰羌佛的教導下修行並學習真實的佛法。佛法斷然改變了我的身體結構和精神狀態。我的力氣完全變了。

南無第三世多杰羌佛是我最尊貴的恩師。

-你問我我是怎麼修成我這樣的大力士的。

         我可以教成為大力士的鍛鍊方法。但是，僅靠著這個是不能夠達到我這樣的程度的。我的力氣還來自於佛法的加持。我只能告訴你這麼多，因為佛法不可輕易傳。

謝謝你的理解。

誠摯的祝福。

Nicholas Kanqian Wangzha Gongbo

尼古拉斯.勘千.旺札.公博

“世界大力士祖父"旺扎上尊回律師問 Wangzha Shangzun , “Grandfather" of Strongman, Replies to Attorney’s Questions

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＃南無第三世多杰羌佛 #H.H. Dorje Chang Buddha III＃旺扎上尊 ＃世界大力士祖父 ＃"Grandfather" of Strongman

轉發扎西卓瑪仁波且拜見旺扎上尊的紀實 Request to distribute article

 轉發扎西卓瑪仁波且拜見旺扎上尊的紀實 Request to distribute article

The International Buddhism Sangha Association:

I was most fortunate to have a chance to pay my respects to the noble Wang Zha Shang Zun and receive a most wonderful teaching from him. Because of his great compassion and mercy in giving me his wisdom concerning an important dharma matter, I now have a deeper understanding and appreciation for the dharma that I practice and my cultivation. I would like to share this truth with others. I have already distributed the attached article that I wrote about this event to the readers of the Holy Vajrasana Temple’s Newsletter and to my students whom I could reach by email or WeChat.  I would like to request that IBSA further distribute the attached to their extensive mailing list so that even more people can share the good news and benefit and let more people know the greatness and inconceivable virtue of Wang Zha Shang Zun. Of course, I am not capable of using words to express the supremacy of H.H. Dorje Chang Buddha III, who is both Wang Zha Shang Zun’s and my master.

The most holy Wang Zha Shang Zun is truly great. His profound wisdom, humility, and kindness serve as an example for us all!  Amitabha!

Many blessings to all for the coming New Year, Zhaxi Zhuoma.

國際佛教僧尼總會：

我特別幸運地得到了一個拜見高貴的旺扎上尊的機會並受到他的極好的教導，由於他在關於一個重要的法事上給予我他的智慧時的大悲和憐憫，我現在對我修持的佛法有了更深的理解和感激。我想把這事實與他人分享，我已經把我寫的關於此事的文章(見附件)發給我能用電子郵件和微信聯繫的金剛寶座寺通訊的讀者們和我的學生們。我想要請求國際佛教僧尼總會將附件進一步用其範圍更廣泛的通訊錄發佈以使更多人能分享這好消息和獲益並讓更多人知道旺扎上尊的偉大和不可思議的德品。當然，我的能力不足以用言詞來表達旺扎上尊和我的師父南無第三世多杰羌佛的至高無上。

極其偉大的旺扎上尊真是了不起，他的深奧的智慧、謙遜和善良為我們所有人作出了榜樣！阿彌陀佛！

值此新年之際，在此給大家帶上我的許多祝福，扎西卓瑪

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This February Newsletter of the Holy Vajrasana Temple & Retreat Center is devoted entirely to Abbot Zhaxi Zhuoma Rinpoche’s personal opportunity to pay respect to Wang Zha Shang Zun after she participated in the Jin Gang Fa Man Ze Jue Dharma Assembly and the precious dharma that she received as a result of that meeting. Because of its importance to both Chinese and English-speaking disciples, this Newsletter will be provided in both English and Chinese.

To my disciples and other friends of the Xuanfa Institute:

Since the United International World Buddhism Association Headquarters (UIWBAH) article recently appeared concerning the September Jin Gang Fa Man Ze Jue Dharma Assembly, many of you have asked me what the most excellent and greatholy Wang Zha Shang Zun is like. In addition to successfully conducting this amazing and very high level ceremony to determine who was and who was not an authentic incarnation of a Buddha, he is a most impressive and powerful elder man who is worthy of our respect. I have met many dharma kings of different sects, but no one is like Wang Zha Shang Zun. His power and virtue surpass all of them.

After the ceremony, I had the extreme good fortune to meet an attendant of his who speaks English and requested to prostrate to the Shang Zun, which to my surprise, was granted. It is very difficult to meet him. The Assistant told me that, to date, probably less than 100 persons in the U.S. have had the good fortune to meet him privately. The attendant took me to the place where this great mahasattva was staying. I was very excited to be able to see him again. Wang Zha Shang Zun mostly speaks Tibetan, but I am told he can also speak Mandarin Chinese. His voice was as I had remembered from the ceremony. Seeing him up close, I realize that he is probably over six feet tall and in excellent health. I had guessed that he must be at least sixty as I knew he had spent 45 years in seclusion in Tibet, but from his appearance guessed he could be even younger.  His attendant told me that Shang Zun had already turned 93. He is very spirited and looked like and had the energy and bearing of a much younger man. As for his appearance, he has a most remarkable full beard, large kind eyes, bushy eyebrows, a rectangular face, and is bald. I was reminded of images of Bodhidharma, the “barbarian” with such a beard and eyebrows who went to China from India, only Wang Zha Shang Zun is considerably more handsome than the great patriarch of Zen is usually portrayed to be. However, what is most impressive is his incredible modesty and humility. This is what it is like to be in the presence of a great holy being!

I had wanted to meet him to express my gratitude for the empowerment I received at the Jin Gang Fa Man Ze Jue Dharma Assembly, but also just to show my respect because I knew that only someone of very high attainment could have performed that dharma. When I offered him prostrations, he would always tell me to prostrate instead to H.H. Dorje Chang Buddha III. His attendant told me that this holder of three gold buttons at a Shang Zun level always carried an image of the Buddha Master with him and did this. When he went back to his living space, the first thing he would do was to put H.H. Dorje Chang Buddha III’s image and Shakyamuni Buddha’s image in a high place and make offerings to them. I again prostrated, but it was just as before. Wang Zha said, “The Buddha Master is here. You should prostrate to the Buddha Master. How can I accept your prostrations?” The other dharma kings I have met always accepted and even arrogantly awaited my prostrations while silently seating on their throne. Wang Zha Shang Zun is certainly the top chief great dharma king among all dharma kings, but he is still so humble. I was very touched. Again I realized how very, very fortunate I am.

Wang Zha Shang Zun is very easy to communicate with and very amiable. Every sentence he says with a smile.  He also provided me with hot tea having his assistant serve me using traditional China teacups. I accepted the teacup and put it aside on the table. Wang Zha then told me that “the quality of this tea is not very good. It comes from Tibet and is called Old Eagle Tea”. However, the fragrance of the tea, was so wonderful that it betrayed his humble portrayal.  I requested from Wang Zha Shang Zun how to practice the Green Tara Mirror Altar Dharma (Jing Tan Fa). The Shang Zun said, “First you have to have a good mirror. Then you get the dharma transmitted through holy inner tantric initiation. The most important thing is that you should practice according to the Buddha Master’s teachings, and let all people know that they should do good and cease evil. It is then very easy to succeed with this dharma. But you should decide by yourself if you want to practice this dharma. The Buddha Master proposed that we should cultivate ourselves and opposed the miraculous. I am not telling you to practice this Green Tara Altar Dharma.”

The time flew by so quickly. My mouth was dry and I realized I needed to drink the tea, but when I lifted the cup, the cup is so heavy it is as if it were glued to the table.  I couldn’t move it even when I exerted a lot of force. I was so surprised. I put that cup on the table. How can I now not lift it? This time Wang Zha Shang Zun saw what was happening and told me, “It is no use to use force. Force cannot lift it. You have to use your mind to lift it. When your mind is not attached to anything, everything will follow your mind.” Then Wang Zha Shang Zun asked me to lift it again. Very strange. It was as if it was weightless. I easily lifted it and also when I opened the cover of the cup, there is a moving image like a video in the cover. I clearly saw a picture of one of my fellow brothers from the past and a moment when I was in Japan. It was very clear, but it quickly started to disappear. I was really surprised. I used my eyes to follow the cover. After a while it completely disappeared. Then Shang Zun said. “Any object can be used as a mirror.” So I suddenly understood why my mind and my cultivation are so important and cannot be replaced by anything else.

I pray that each of you take advantage of this most fortunate fact that the H.H. Dorje Chang Buddha is living in this world now and practice the Dharma that you learn. I also pray that you all quickly become accomplished.

Namo H.H. Dorje Chang Buddha III! Namo Shakyamuni Buddha!

A very ashamed and fortunate disciple, Zhaxi Zhuoma prostrates and offers special thanks to Wang Zha Shang Zun for teaching her this important lesson.

這份金剛寶座寺及閉關中心的二月份通訊全部用來記載本寺主持扎西卓瑪仁波且在她參加金剛法曼擇決法會後親自拜見旺扎上尊的機會以及她在拜見時得到的珍貴的佛法，由於內容對講中文和講英文的弟子們都十分重要，這份通訊同時以英文和中文發表。

我的弟子們和宣法會的其他朋友們:

從最近聯合國際世界佛教總部關於九月份舉行的金剛法曼擇決法會的文章問世以來，你們中的許多人向我問到最優秀的大聖者旺扎上尊的情況，除了成功地舉行這場了不起和非常高級的決定誰是和誰不是佛陀的真身轉世的儀式外，他是一位值得我們尊敬的非常有威儀和威力的長者。 我遇見過許多不同宗派的法王，但沒有一個是像旺扎上尊那樣的，他的功夫和品德超過他們的所有人。

在儀式後，我極其幸運地遇見他的一位講英語的侍者而要求向上尊請示並出乎我意料地得到准許。要見到他是非常難的，侍者告訴我至當時為止在美國有如此幸運而個別見到他的人可能不到100位。這位侍者把我帶到這位大摩訶薩所在的地方，能再次見到他使我非常激動。旺扎上尊大部份講藏語，但我被告知他也會講漢語的普通話，他的嗓音是我記得在儀式上所聽到的。在近距離見到他，我發現他身高超過6英尺，非常健康。因為我知道他曾在西藏閉關45年，我曾經猜想他至少有60歲，但從他的相貌猜想的話，他可能更年輕。他的侍者告訴我上尊已經93歲了，他非常精神而且看上去像一位年輕得多的人和具有與那相符的年齡的能量和氣宇。至於他的相貌，他有一部非常引人注目的鬍鬚、充滿善意的大眼睛、濃密的眉毛、長方臉型和禿頂，使我聯想到那位從印度到中國的具有這樣的鬍鬚和眉毛的“野蠻人”菩提達摩的形象，唯一的分別是旺扎上尊比通常描述中的那位禪宗的大祖師英俊得多。然而， 令人印象最深刻的是他的令人難以置信的虛心和謙遜，這是一位大聖者所在的情形！

我要求見他是為了表達對我在金剛法曼擇決受到的加持的感激，並表示我的尊敬，因為我知道只有非常高的成就者才能修那部法。在我向他頂禮時，他總是讓我不要向他而是向第三世多杰羌佛頂禮。他的侍者告訴我這位金釦三段的上尊總是帶着他的佛陀師父的法像並總是這麼做，每當他回到住處時，他做的第一件事是把第三世多杰羌佛和釋迦牟尼佛的法像放到高處並上供。我再次頂禮，但情況還是如前。旺扎說：“佛陀師父在這裡，你應該向佛陀師父頂禮，我怎麼能接受你的頂禮呢？”我遇見的其他法王總是接受甚至坐在法臺上一言不發傲慢地等待我的頂禮，旺扎上尊肯定是所有法王中的頂尖首席大法王，但他還是如此謙虛。我受到了非常大的觸動，也再次體會到我是多麼、多麼地幸運。

旺扎上尊是非常容易與其溝通的也十分和藹可親，說每一句話時都帶著微笑，他也為我準備了熱茶並讓他的侍者用傳統的中國茶杯為我倒茶，我接過茶杯放在桌子邊上。然後旺扎上尊告訴我“茶的品質不太好，是西藏的，叫老鷹茶。”但茶的非常芬芳的香味卻以事實背叛了他的謙遜的描述。我向旺扎上尊請示如何修綠度母鏡壇法，上尊說：“首先你要有一面好的鏡子，然後要受到聖義內密灌頂而被傳法，但最重要的是你要按照佛陀師父的教法而修，並讓所有人知道他們應該行善止惡，如果這樣的話這部法是非常容易修成的。但你自己要決定你是否要修這部法，佛陀師父提倡我們修自己的行並反對搞神奇的事跡，我不是讓你來修這部綠度母鏡壇法的人。”

時間過得非常快，我感到口乾而覺得要喝那杯茶，當我要拿起杯子時，杯子重得好像被膠粘在桌子上一樣。我用了很大的力還無法移動它，十分吃驚，杯子是我放在桌子上的，怎麼我現在拿不起了？這時旺扎上尊見狀對我說：“用力是沒有用的，力量不能拿起它，你一定要用你的心去拿。當你的心不執著於任何事時，任何東西都會隨你的心行動。”然後旺扎上尊讓我再拿一次，非常奇怪，它好像沒有重量一樣，我很容易地拿起了它，而且當我揭開茶杯的蓋子時，蓋子裡有一個好像是錄像一樣的動畫，并清楚地看到了我過去的一位師兄的圖像和我曾在日本的一刻它非常清楚，但很快開始消失。我實在太驚奇了，並用眼睛盯著蓋子看，過了一會它完全消失了。上尊說：“任何東西都能當作一面鏡子用。”於是我突然理解到我的心、我的修行為什麼是那麼重要而不能被任何東西所代替。

我祈禱你們每人都充分利用第三世多杰羌佛現在住在這世界這一最幸運的事實並修習你們學的法，我也祈禱你們都快速得到成就。

南無第三世多杰羌佛！南無釋迦牟尼佛！

非常慚愧和幸運的弟子扎西卓瑪頂禮感謝旺扎上尊給我上的這重要的一課。

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＃南無第三世多杰羌佛 ＃H.H. Dorje Chang Buddha III＃旺扎上尊 ＃扎西卓瑪

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

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

Original Link:

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

Link:https://ultimatefortune.blogspot.com/2018/11/HHDorjeChangBuddhaIII_21.html

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

       

International Art Museum of America

It's Vincent Van Gogh's birthday! Sunflowers (right) inspired H.H. Dorje Chang Buddha III's multidimensional painting (left).

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International Art Museum of America

This painting was created by H.H. Dorje Chang Buddha III using freehand brushwork.
This kind of artwork is a genre of Chinese traditional painting which includes poem, calligraphy, painting and seal. It was formed in a long period of artistic activities and promoted by the literati.
It focuses on the personality and the cooperation of every element in the painting.

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Summer of Love has arrived at IAMA!

Summer of Love has arrived at IAMA!

"Winter Powder" by H.H. Dorje Chang Buddha III

At the time of the New Year festival in winter, a most elegant and valued plum flower called "Dong Fen" will blossom. It is widely known to be the king of white plum blossoms.

https://www.iamasf.org/collections-home-page-iama/ — at International Art Museum of America.

1025 Market St.

San Francisco, California

@IAMA.SanFrancisco

Call (415) 376-6344