Author Archives: greatprajna

OAS办义云(H.H.第三世多杰羌佛)高韵雕艺展

標準

OAS辦義雲高韻雕藝展-簡

 

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。

 

 

星岛日报 SING TAO DAILY

NO7883

SUB RATE $196YR POSTAGE PAID AT NEW YORK N.Y.U.S.P.S. 536210 ISSN:1062-9246 POSTMASTER:SEND ADDRESS CHANGES TO SING TAO DAILY 188 LAFAYETTE ST.,N.Y.,N.Y. 10013 PUBLISH DAILY

2003年8月1日星期五 农历癸未年七月初四 美东版 EASTERN EDITION

FRIDAY,AUG 1,2003 WWW.SINGTAO.COM

OAS辦義雲高韻雕藝展-簡1

 

OAS办义云(H.H.第三世多杰羌佛)高韵雕艺展

 

本报记者田边华盛顿报导

由美、加、墨等三十四国组成的美洲国家组织(OAS)於七月二十八日(星期一)晚间在华府西北区22街的马里欧饭店举办了一场《义云高大师韵雕艺术作品展》,邀请各国驻美大使、美国参、众议员及少数侨界人士前往观赏旅居加州的义云高(H.H.第三世多杰羌佛大师所创作的三件韵雕作品及二十六桢作品照片,参观者对这项创新艺术均留下深刻印象。

前哥伦比亚总统、现任美洲国家组织祕书长凯萨.盖维瑞雅亲自主持了展览的开幕仪式,其他前往参观的贵宾还包括千里达共和国大使、哥伦比亚大使、巴贝多大使、格林纳达大使、乌拉圭大使、巴拉圭大使、哈瑞汉众议员、白宫总统亚太顾问委员会主席祖炳民教授、商务部助理副部长董继玲以及著名书画家毛戎、侨界闻人饶世永、沈葆夫妇等。盖维瑞雅秘书长在致词时推崇义云高(H.H.第三世多杰羌佛大师在佛学、哲学、科学等方面都有很高的成就,因此也有很高的艺术境界;他所创作的韵雕艺术,是超越自然美的艺术精魂,为人类带来美好的享受。

根据记者实际观赏体会,韵雕有別於传统意义上的雕刻作品,是一种创新的艺术,所使用的素材也很独特,是一种延展性很强的特殊树脂,无论是创意以及雕塑手法都是前所未见的。

韵雕作品中看不出刀刻的痕迹,甚至很难看出作品表达的究竟是现实世界里的什么现象;习惯了欣赏罗丹的《思想者》等传统雕刻艺术的人,在韵雕作品前可得好好思量,细细体会。

义云高(H.H.第三世多杰羌佛大师的随行者表示,韵雕作品的内涵是允许观众自由畅想的。既然如此,大胆的言论和想像就不可避免。从作品的造型和著色来看,记者将韵雕所表现的内容理解为人体内部的微观组织结构,从这个意义上说,韵雕的内涵是歌颂生命,惊叹生命的奇特。

此次展览作品分两大类:韵雕原作三件《神祕石中雾》、《高士图》和《堂皇块石兮》及二十六件韵雕图片的展示。

《神秘石中雾》是一件重约四百磅的作品,外部呈现墨绿色,透过观望口看去,里面则是”洁白的世界”,颇似地质现象中的”溶洞”,透过灯光效果,可以显现出洞中的雾境。《高士图》塑造出巍峨的崇山峻岭,老翁闲居其间;《堂皇块石兮》则为名符其实堂皇巨作,突显出巨石变化莫测的层次和色彩。

B1 星岛日报  SING TAO WASHINGTON  DC

大华府  2003年8月1日  星期五  WWW.SINGTAO.COM

 

 

OAS办义云(H.H.第三世多杰羌佛)高韵雕艺展

 

此文章链接:https://greatprajna.org/2018/12/09/oas%E5%8A%9E%E4%B9%89%E4%BA%91%EF%BC%88h-h-%E7%AC%AC%E4%B8%89%E4%B8%96%E5%A4%9A%E6%9D%B0%E7%BE%8C%E4%BD%9B%EF%BC%89%E9%AB%98%E9%9F%B5%E9%9B%95%E8%89%BA%E5%B1%95/

 

 

#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

廣告

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」

標準

 

【視頻】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」

 

 

 

 

下面是禄东赞法王写下的拜别文:

拜别文

南无第三世多杰羌佛恩师

弟子禄东赞慈仁嘉措决定圆寂

人生岁月集苦,奔走求道学佛,

从师依止多位,广钦宣化卡鲁,

顶果钦哲法王,萨迦不共道果,

勤修苦练无效。感恩佛陀师父,

解脱手印无上,密传灌顶圣法,

我达生死自由,现量见证为实,

就此落笔离世,墨迹未乾圆寂,

南无羌佛恩师!弟子东赞拜别。

2018年9月20日

 

此文章鏈接:https://greatprajna.org/2018/12/07/%E7%AC%AC%E4%B8%89%E4%B8%96%E5%A4%9A%E6%9D%B0%E7%BE%8C%E4%BD%9B%E5%BC%9F%E5%AD%90%E7%A5%BF%E6%9D%B1%E8%B4%8A-%E6%85%88%E4%BB%81%E5%98%89%E6%8E%AA%E6%B3%95%E7%8E%8B%E5%9C%93%E5%AF%82%EF%BC%8C%E7%94%9F/

 

歡迎訂閱此視頻:https://www.youtube.com/channel/UCqD8…

 

#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

大师威震画坛 大力再创天价

標準

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。

自立晚报

中华民国八十九年十一月二十六日

大师威震画坛 大力再创天价

【台北讯】众所瞩目创下世界中国画史在世画家最高成交纪录,世界知名集佛法和艺术於一身的义云高(H.H.第三世多杰羌佛大师再次以「大力王尊者」之作品(见上图),刷新了他自己所创下打破世界在世画家的最高价位,此次由英国画商以新台币六千七百多万元落槌价,掌声雷动,久久不止。

义云高(H.H.第三世多杰羌佛大师所获得的殊荣更加深人们对西元两千年的深刻印象,珍藏提供了以下各项事实的证明文件:今年三月八日美国加利福尼亚州政府和旧金山市政府根据大师各行异別的惊世成就颁布两千年三月八日为义云高大师庆祝日,并获得美国及世界他国九十二所大学的荣誉博士和教授之位,这在全世界华人历史上是最高荣誉。

同年五月十二日在台北由联合国际世界佛教总部召集了全球四百一十六个佛教组织、协会、寺院共二千一百三十七位高僧大德推举义云高大师为显密圆通的正宗佛教大师。

义云高(H.H.第三世多杰羌佛在台传人指出,艺术无非是义大师在佛法里面沧海滴水而已,正因为他是显密圆融无碍,五明圆满的法王级大师,五明之一的工巧明,使义大师在艺术书画上的成就之高前无古人。今年五月二十八日甄藏国际艺术公司以义大师一幅「威震图」创天价以每平方寸为美金四百五十五元卖出,震撼了整个世界画坛,昨天甄藏国际艺术公司又在举世惊叹中拍卖了这幅「大力王尊者」,更加证明了义云高大师的技法、风格及品类真是全面性的格高境大。

中国教科文国画研究会顾问周颖南早在意现几已绝版的「义云高(H.H.第三世多杰羌佛大师画集」的序言中指出,义大师能以几十种不同的技法,无论是山水、人物、走兽、花鸟、鱼虫等,不管是工笔、写意、泼墨,无所不精,无所不通,无一不是具有真实的传统功夫而创新。

大师威震画坛 大力再创天价

此文章链接:https://greatprajna.org/2018/12/01/%E5%A4%A7%E5%B8%88%E5%A8%81%E9%9C%87%E7%94%BB%E5%9D%9B-%E5%A4%A7%E5%8A%9B%E5%86%8D%E5%88%9B%E5%A4%A9%E4%BB%B7/

此视频链接:https://www.youtube.com/watch?v=3mWCW…

#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

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

標準

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

 

此文章链接:https://greatprajna.org/2018/11/28/%E7%A1%AE%E6%98%AF%E4%B8%80%E5%B9%85%E4%BA%86%E4%B8%8D%E8%B5%B7%E7%9A%84%E7%94%BB%E6%94%B6%E8%97%8F%E5%AE%B6%E6%8E%A8%E5%B4%87%E4%B9%89%E4%BA%91%E9%AB%98%EF%BC%88h-h-%E7%AC%AC%E4%B8%89%E4%B8%96/

 

 

#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

 

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

標準

超自然韻雕創始人義雲高

 

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。
中央日報     中華民國九十三年二月十五日
義雲高(H.H.第三世多杰羌佛)獲英頒授-Fellowship-英國皇家藝術學院的Fellow中央日報

 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-英國皇家藝術學院的Fellow中央日報-圖2-1024x690
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)
#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

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

標準

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

 

 

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

 

此文章链接:https://greatprajna.org/2018/11/24/%E5%AF%B9-%E3%80%8A%E6%A2%B5%E9%AB%98%E3%80%81%E9%BD%90%E7%99%BD%E7%9F%B3-pk-%E7%AC%AC%E4%B8%89%E4%B8%96%E5%A4%9A%E6%9D%B0%E7%BE%8C%E4%BD%9B%EF%BC%8C%E7%9C%8B%E8%B0%81%E7%9A%84%E4%BD%9C%E5%93%81/

 

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

 

#第三世多杰羌佛艺术 #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 #第三世多杰羌佛佛法

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

標準

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

 

时间: 11/11/2018

VINCENT VAN GOGH, QI BAISHI, AND H.H. DORJE CHANG BUDDHA III COMPARED. WHOSE ARTWORK IS THE BEST?

 

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

 

#DorjeChangBuddhaIII #DorjeChangBuddha #Buddha