Category: Art

Yungang Grottoes

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The Yungang Buddhist grottoes, a massive complex comprising 252 caves and niches with 51,000 statues carved into an area of 18,000 square meters, are a remarkable achievement of Buddhist cave art in China. Constructed from the mid-5th to early-6th century AD, the grottoes were influenced by Buddhist cave art from South and Central Asia but also incorporated distinct Chinese elements and local spirit. They played a crucial role among early Oriental Buddhist grottoes and had a far-reaching impact on Buddhist cave art in China and East Asia.

The five caves of Tanyao and their imperial patronage 

The construction of Yungang began with five cave-temples, known today as caves 16 to 20, at the west end of the cliff. These caves were imperial commissions of the Northern Wei dynasty in around 460 C.E. The Northern Wei rulers, who belonged to the Tuoba clan from northern China, had recently unified northern China after centuries of political turmoil and established Buddhism as the state religion. The dynasty’s capital, Pingcheng, became a significant center for Buddhist religious and artistic expression.

The five caves of Tanyao, created by Tan Yao, are classical masterpieces of the first peak of Chinese art, displaying a strict unity of layout and design. These caves each contain a colossal Buddha as the central icon, with Cave 20 housing a gigantic seated Buddha in a meditation posture and a standing attendant Buddha on one side. Another attendant Buddha likely existed on the other side, but it has been lost along with the cave’s exterior wall. The imperial patronage of these caves reflects the Northern Wei dynasty’s fusion of state power and religious devotion.

Buddha, Cave 20 at Yungang, Datong, China (photo: xiquinhosilva, CC BY 2.0)

The main Buddha measures roughly 13 meters in height. He has plump cheeks, a thick neck, elongated eyes, a sharply cut nose, slightly smiling lips, and broad shoulders, all of which produce a solemn appearance.

The well-preserved halo behind the main Buddha is composed of an outer band of flame patterns and two inner bands decorated with seven seated Buddhas of miniature size. The robe features zigzag patterns on the edge. The right shoulder of the main Buddha is left exposed, whereas the standing attendant Buddha on the east wall wears a robe that covers both shoulders with a high neckline. 

Historical records recount that Tanyao, a renowned monk cleric with official ranks, advised Emperor Wencheng to undertake construction of five cave-temples (Caves 16–20) to commemorate the five founding emperors of the Northern Wei dynasty. Claiming that the emperor of Northern Wei was the living Buddha, this project declared the emperor’s political and spiritual legitimacy, and strengthened the rule of the imperial family.

Buddha (left) and attendant Buddha (right), Cave 20 at Yungang (photo: xiquinhosilva, CC BY 2.0)

The statues housed in the caves and niches are in good condition and all of the caves and statues have not suffered major damage from vandalism and/or natural disasters. Restoration and repair had been made on deficient parts of some statues in the past. All the necessary attributes demonstrating the Outstanding Universal Value of Yungang Grottoes are contained within the boundary of the property area. The buffer zone provides a necessary safe area for the conservation of the Grottoes, the setting and the historic environment. These measures have enabled the Yungang Grottoes to serve as one of the greatest ancient stone carving art treasure houses in the world.

The location, caves and statues of the Yungang Grottoes have retained their historic appearance. The eaves of wooden pavilions of the caves and the related historical remains have kept the distinctive character of the times when they were constructed. The daily maintenance and conservation intervention have been conducted following the conservation principle of minimal intervention in design, materials, methodology, techniques and craftsmanship.

The cross-legged Bodhisattva Maitreya, on the east wall of the antechamber of Cave 9, phase II, Yungang Grottoes, Datong, China (photo: G41rn8, CC BY-SA 4.0)

The paired caves and the major development at Yungang

Beginning roughly a decade after the initial commission, the imperial projects at Yungang advanced to a second phase that lasted from c. 470s until 494 C.E. In contrast to the monumental Buddha found in Cave 20, the interior of the second-phase cave-temples are decorated with reliefs that depict Buddhas, bodhisattvas, and other divine figures in various scales and configurations.

One of the most distinctive features developed in the second phase of construction are paired caves—two adjacent caves featuring a similar architectural plan and pictorial program. The paired cave-temple layout is understood to symbolically represent the reign of two coincident rulers: Emperor Xiaowen (471–499 C.E.) and Empress Dowager Wenming (442–490 C.E.). The use of paired cave-temples became another means to demonstrate the dynasty’s imperial power.  

The paired Caves 5 and 6 are among the most lavishly decorated cave-temples at Yungang. Cave 6 has an antechamber and a square main chamber supported by a central pillar (see the full cave 6 in 3D). A square clerestory (window) is opened right above the passageway to the main chamber to let in light (although it is hard to see in photos or the 3D image).

In the main chamber of Cave 6, the east, south, and west walls are divided vertically into three main registers that include complex pictorial programs (the north wall features a large niche housing a trinity of Buddhas that are later repairs). We find seated Buddha figures and scenes from the Buddha’s life throughout the chamber. Depictions of the historical Buddha, who was believed to live in the Ganges River basin during the 6th century B.C.E., derived largely from Buddhist texts. The Buddha’s biography details the course of his life from birth to enlightenment, and eventually to nirvana, the final extinction. The life of the Buddha was among the most popular themes for artistic representation throughout the Buddhist world. 

The First Sermon of the Buddha at Deer Park, Cave 6, Yungang, Datong, China

One scene from the Buddha’s life (at the southern end of the east wall) shows the First Sermon of the Buddha at Deer Park, identifiable by the depiction of a pair of deer on the Buddha’s throne. We see a canopied standing Buddha flanked by two standing bodhisattvas and a myriad of worshippers in the background. Just below the standing Buddha niche, a seated Buddha with his right hand raised (the fearless gesture) can be seen in a trapezoidal-shaped niche flanked by two five-story pagodas (just visible at the edges of the scene in the photograph). Worshippers either kneel in front of the throne or stand facing the Buddha on his two sides.   

Rock-cut cave-temples

Rock-cut cave-temples first appeared in western India in the 1st century B.C.E. There are two basic types: apsidal-shaped (semicircular) chaitya (sanctuary, temple, or prayer hall in Indian religions) and vihāra caves where monks resided—both of which we find at places like the caves of Ajanta, India. Both types were transmitted eastwards to Central Asia up to the 5th century with modifications of the structures. At Yungang, the sanctuary type was further adapted into a square shape that houses a central pillar in the middle, as we find in Cave 6. At the same time, a number of architectural features find their precedents in Goguryeo tombs from present-day northeastern China and North Korea. 

But what facilitated these different traditions coming together at Yungang?

Ajanta, Cave 26, (photo: Arian Zwegers, CC: BY 2.0)

Transmissions and transformations of artistic styles

Yungang was a hub where multiple artistic traditions of South Asia, Central Asia, and pre-Buddhist China synthesized into something new. This was made possible by the Silk Road, a network of ancient trade routes linking East Asia with the rest of Eurasia. Goods and ideas have been exchanged along the Silk Road since at least the second century B.C.E. Central to the economic, cultural, and religious interactions between different parts of Eurasia, the Silk Road tied the Northern Wei territory to the sacred heartland of Buddhism in South Asia, and to Central Asian kingdoms that promoted Buddhist teachings. 

A primary factor facilitating the encounter of these varied traditions was the gathering of human resources and materials from different regions. In the 430s and 440s, the Northern Wei court issued decrees that relocated artisans and monks from its conquered lands to the capital city of Pingcheng. The concentration of people and craftsmanship in the capital led to the artistic flourishing of well-executed Buddhist monasteries, cave-temples, sculptures, and murals. Eminent monks who were active in Pingcheng had also engaged with religious activities in other urban centers such as Chang’an and Wuwei, and maintained close ties with Central Asian Buddhist communities.

Just as the form of the rock-cut cave-temples was adapted from earlier traditions in South Asia, statues and reliefs at Yungang exhibit strong stylistic and iconographic affinities with earlier Buddhist art traditions from northwestern India and Central Asia. For instance, the main colossal Buddha images in Caves 16 to 20 feature a round face, with a gentle, calm expression that creates an impression of sanctity, and a robe style that clings tightly to the body yet is rendered with schematic patterns. All of these features echo the aesthetics found in previous traditions, especially the Buddhist sculptures in Gandhara, a Buddhist center located in present-day northwest India and Pakistan. 

Yungang art exerted influence, in turn, on Central Asian cave-temples starting in the later 6th century, such as Dunhuang, indicating that a dynamic exchange took place among the major cultural centers along the Silk Road. 

An iconic form of the Buddha, 2nd–3rd century C.E., Kushan period, Gandhara, schist, 19.76 x 16.49 x 4.56 inches (The British Museum)

Sinicization reforms under the reign of Emperor Xiaowen

One of the new developments shown at Yungang that would have a long-lasting effect on Chinese Buddhist art was Sinicization, a process of adapting non-Chinese traditions into Han Chinese culture. In Cave 1, between the canopy of the central pillar and the ceiling we find intertwined dragons surrounding mountains that represent Mount Meru (the sacred mountain considered to be the center of the universe in Buddhist cosmology). The design shows strong influence of the pre-Buddhist Chinese tradition in two aspects. First, the dragons are depicted with typical Chinese conventions—a snake-like curving body with four legs. Mount Meru was not related to dragons in pre-Chinese Buddhist art traditions. The incorporation of dragons in the design reveals an integration of the motif’s symbolic reference to a spiritual life force in traditional Chinese beliefs.

Central pillar in Cave 1, c. 480s, Northern Wei, Yungang (photo: Zhangzhugang, CC BY-SA 3.0)

In Cave 6, we also see Sinicized traits in a new style of the Buddha’s monastic robe, which features loose drapery that falls around the body and clothes the Buddha entirely instead of the earlier style that clings closely to a partly exposed body. The new style finds parallel in the contemporary dress of court officials.

Overall, these new styles and motifs were a response to the political reform of Sinicization promoted by Emperor Xiaowen and Dowager Wenming during their reign in the Taihe era (477–499 C.E.). The reform aimed at legitimizing the Northern Wei regime, built by non-Chinese nomadic groups, as an imperial Chinese dynasty, and promoting a greater sense of conformity throughout the empire.

Buddha with Sinicized traits, Cave 6, Yungang, China (photo: Gisling, CC BY-SA 3.0)

The legacy of Yungang 

Despite the move of the capital to Luoyang in 494 C.E., constructions at Yungang continued for another three decades. Cave-temples of this phase are much smaller in size than at the earlier western end of the complex. Over half a millennium later in the 13th century when Yungang was the capital of the Liao Dynasty, Yungang witnessed another era of glory, with restorations of the caves and installation of wooden structures attached to their façades. Yet it was only a temporary phenomenon. The site later stayed silent for centuries until its early 20th-century rediscovery along with other major cave-temples by foreigners on expeditions.

Modern scholarship about the history and the art of Yungang Cave-temples has continued to provide new information about the site. The most recent archaeological excavations at Yungang unearthed the remains of a monastery dated to the Northern Wei dynasty above the western section of the cliff. The well-preserved foundations of courtyards, the central stupa (a sepulchral monument that refers to the Buddha), residential cells for monks, and objects continue to enrich our understanding of the site as a significant religious center from the 5th century. 

Yungang Grottoes

Link: https://peacelilysite.com/2023/03/31/yungang-grottoes/

#BuddhistArt #YungangGrottoes #BuddhaStatus #Buddhist #SilkRoad #TravelChina #BuddhistHistory #Cave-Temples #Religion

Source: smarthistory.org/yungang-grottoes

THE MYSTERY OF THE LONGYOU CAVES

linda changLeave a comment

Longyou Caves are known as the ninth wonder of the ancient world. Source: Zhangzhugang / CC BY-SA 4.0

LONGYOU CAVES IS A COMPLEX OF 24 ARTIFICIAL CAVES, CONSTRUCTED INTO THE SANDSTONE GEOLOGY OF FENGHUANG HILL IN THE ZHEJIANG PROVINCE OF CHINA.

The caves were discovered by accident in 1992, when local farmers drained several ponds revealing five large manmade caverns and 19 smaller caves.

The five caverns, independent from each other measure between 18-34 metres, reaching heights of up to 20 metres with supporting pillars and distinctive shapes remarkably curved with shaking imprints across the cavern walls and ceilings.

After news of the discovery spread across China, it was first proposed that the caves were an obscure natural wonder, as the design and formation was completely distinct from other ancient caves, quarries, mines, or ceremonial caverns constructed in china throughout antiquity to draw a comparison.

Image Credit : Zhangzhugang – CC BY-SA 3.0

Upon further study, it was found that each complete cavern has only one portal, associated with a vertical shaft with a carved stairwell that allows rainfall and surface runoff to enter the caverns. To manage the water intake, a system of drainage troughs, some drainage channels, and a water trap was carved into the cavern base to collect the water.

The caverns are also aligned along a south to southwest orientation, maximising the use of sunlight to illuminate the interior, with inclined sidewalls that reduces the stress on the cave ceilings preventing collapse.

It is highly possible that the cavern was formed by carving rock stones from top to bottom and layer by layer using short chisels with different sizes (based on several short chisels made from steel, discovered in one of the larger caves).

Image Credit : Zhangzhugang – CC BY-SA 3.0

Only one of the caves has been opened for tourism, chosen because of the stone carvings found inside which depict a horse, fish and bird. The Longyou Caves of Zhejiang province in China truly are an enigma and it has ten enduring mysteries that remain unresolved, despite more than two decades of research.

1. How Were the Longyou Caves Constructed?

A rough estimation of the workload involved in building the Longyou Caves is awe-inspiring. The quantity of rock that would have been removed in the overall excavation of the grottoes is estimated to be nearly 1,000,000 cubic meters (35,314,666 cu ft). Taking into account the average digging rate per day per person, scientists have calculated that it would take 1,000 people working day and night for six years to complete.

These calculations are based purely on hard labor, but what they haven’t taken into account is the incredible care and precision of the sculptors, meaning that the actual workload would far surpass the theoretical estimation. As for how they were constructed and what tools were used, it is still unknown. No tools have been found in the area, and, as we will explore later, scientists still don’t know how they achieved such symmetry, precision, and similarity between the different caves.

2. No Traces of Construction

Despite their size and the effort involved in creating them, so far no trace of their construction, or even their existence, has been located archival sources. Although the overall excavation involved almost a million cubic meters of stone, there is no archaeological evidence revealing where that quantity of stone went, and no evidence of the work. Moreover, there is not a single historic document that refers to them, which is highly unusual considering the sheer scale of the project. The origin of the Longyou Caves is a complete and utter mystery.

Experts wonder why the walls at the Longyou Caves in China are covered in chiseled parallel lines. (Zhangzhugang / CC BY-SA 4.0 )

3. Why Were the Walls Chiseled?

Every single one of the Longyou Caves is covered, from floor to ceiling, in parallel lines that have been chiseled into virtually every surface. The effect is a uniform pattern throughout the caves, which would have required immense manpower and endless hours to create. The question is why? Was such labor-intensive work purely for decoration? Are the lines or patterns symbolic in some way? All that is currently known is that the markings are similar to those found on pottery housed in a nearby museum, which is dated between 500 and 800 BC.

4. Lack of Fish in the Longyou Caves

When the caves were first discovered, they were filled with water, which presumably had been there for a long period of time. They had to be pumped out in order to realize that these were not just like the other “bottomless ponds” found within the area, but rather man-made structures. Most villages in southern China contain very deep ponds, which have been called “bottomless ponds” by generations of villagers. These ponds teem with fish, which are easily caught. However, after the first cave was pumped dry, not a single fish was to be seen, or any other sign of life.

5. How Did the Longyou Caves Remain So Well Preserved?

One of the most interesting and challenging questions is how the Longyou Caves have been able to keep their structural integrity for more than 2,000 years. There are no signs of collapse, no piles of rubble, and no damage despite the fact that in some areas the walls are only 50 centimeters (20 in) thick. Over the centuries, the area has gone through numerous floods, calamities and wars, the mountains have changed their appearance and exposed stones have been weathered, but inside the Longyou Caves, the form, patterns and markings are still clear and precise – it is as though they were built yesterday.

6. How Did the Builders Work in the Dark?

Due to the great depths of the caves, some areas at the bottom, which are not exposed to the opening above, are pitch-black. Yet even those dark areas are decorated with thousands of parallel lines on the walls, columns, and ceiling. So how did ancient people work in the dark? 

According to Jia Gang, a Tongji University professor specializing in civil engineering: “There should be lamps, because the cave’s mouth is very small, and the sunbeam could only shine in the cave at a certain angle during a certain period of time. As one goes deeper into the cave, the light becomes dimmer. At the cave’s bottom, which is usually dozen of meters from the mouth, one could hardly see anything.” However, this was at least two millennia ago and nothing that could have been used for lighting has been found.

7. Were the Longyou Caves Meant to be Connected?

All of the Longyou Caves are distributed across an area of only one square kilometer (0.38 sq mi). Considering such a high density, one cannot help asking whether some grottoes were meant to be connected. What would be the purpose of making so many separate caves in such a tight area without connecting them? In many areas, the walls between the caves are very thin, only 50 centimeters (20 in), but they were never linked so it appears they were intentionally kept apart. What’s more, many of the Longyou Caves are almost identical to each other.

8. Who Built the Longyou Caves?

Nobody has any idea who built the caves. Some scientists have claimed that it was not possible or logical for such as mammoth job to have been undertaken by regular village people. Only the emperor and the leaders could have organized such a huge project, like the construction of the Great Wall , which was built to defend against invasion from the outside world. But if it was commissioned by an Emperor, why are there no historical records of its construction?

9. How Did They Achieve Such Precision?

The scale of the Longyou Caves is magnificent and momentous, the design was delicate and scientific, the construction was sophisticated, and the precision is indicative of superior craftsmanship. The model, pattern and style of each cave is extremely similar. Every grotto is like a grand hall. One side is steep and another side is 45% inclined. The four walls are straight; the edges and corners are clearly demarcated. The chiseling marks within the Longyou Caves are uniform and precise.

“At the bottom of each cave, the ancient [builders] wouldn’t be able to see what the others were doing in the next grotto,” explained Yang Hongxun, an expert at the Archaeological Institute of Chinese Academy of Social Sciences. Nevertheless, “the inside of each cave had to be parallel with that of the other, or else the wall would be holed through. Thus the measure apparatus should have been very advanced. There must have been some layout about the sizes, locations, and the distances between the caves beforehand.”

With the help of modern equipment and methods, the investigators measured the sizes of the walls, and surprisingly found that the overall construction is extremely accurate. The walls between the caves are of the same thickness in different sections. So how did they achieve this precision? What were their methods?

Stairs leading down into one of the once-submerged Longyou Caves. (Zhangzhugang / CC BY-SA 4.0 )

10. What Were the Longyou Caves Used for?

Following extensive investigations and study, scientists and scholars have attempted to put forward explanations for the grottoes, but none so far provide a convincing explanation for why they were built and what they were used for.

Some archaeologists have suggested that the grottoes were the tombs of old emperors, emperor halls, or places for storage. But this interpretation is far-fetched. No funeral objects or tombs have been found and no artifacts left behind. If it were used like an emperor’s palace, the caves surely would have been designed differently, with separate rooms for different purposes like entertaining, meeting, and sleeping. But no evidence can be found of this and no traces of habitation have been found.

Another hypothesis is that the Longyou Caves were used for mining and extracting some type of mineral resource. However, mining operations would have required equipment and apparatus to extract the rocks and transport them. Again, no traces of this have been found, nor any evidence of where the rocks were taken. And of course, if the caves were just for mining, why create such intricate decorations on the walls, columns and ceilings?

Finally, some have suggested that these caves were the places for troops to be stationed and that an emperor of the past wanted to keep his soldiers out of view in order to keep his war preparations secret. However, these caves could not have been built in a short period of time. They would have taken many, many years to build so it is unlikely to have been done in preparation for war, which tends to come about much more quickly. Furthermore, there are no signs of people having stayed in the caves.

Despite decades of research, very few answers have emerged to explain the enigma of the Longyou Caves . Our ancient ancestors have achieved many wondrous things throughout history, but this discovery from China is truly an unsolved mystery which has yet to be cracked.

THE MYSTERY OF THE LONGYOU CAVES

Link: https://peacelilysite.com/2023/03/24/the-mystery-of-the-longyou-caves/

#Travel #TravelChina #LongyouCaves #Mistery

Source: https://www.ancient-origins.net/ancient-places-asia/longyou-caves-001248, https://www.heritagedaily.com/2020/08/the-mystery-of-the-longyou-caves/134874

Zhangjiajie National Forest Park

linda changLeave a comment

A Natural Wonderland of Pillar Rock Formations and Majestic Scenery

Nestled in the central-eastern region of China lies the Zhangjiajie National Park, a sprawling park that is part of the Wulingyuan Scenic Area, featuring several protected areas that boast breathtaking natural wonders. The park, covering an area of 18.59 square miles (48.15 sq km), has been recognized as a GANP (Global Geoparks Network) Ambassador Park, and it is no surprise why it has earned such an honor. The park is home to the Zhangjiajie National Forest Park, which served as the inspiration for the film Avatar, making it a must-see destination for tourists and nature lovers alike.

One of the most remarkable features of the park is its dense forests, deep ravines, deep canyons, unusual peaks, caves, and pillar-like rock formations that are scattered throughout the area. These pillar rock formations, which are made of quartz-sandstone and formed by physical erosion caused by the abundant rains, are the park’s most renowned attraction. They are not typical limestone-eroded pillars and are unique to the Zhangjiajie National Park.

The mountainous terrain, the lush forests, and the rolling clouds combine to create breathtaking scenery that inspires various forms of artwork, from literature to paintings, and even films. The landscapes created by the mountains and the pillar-like rock formations are the epitome of Chinese landscapes.

The door to the Heaven, Tianmen Mountain

Visitors to the park have the opportunity to experience the splendor of the national park through various means, including hiking, biking, and taking a cable car or elevator. Two record-holding features in the park that help visitors experience the splendor of the national park are the Bailong Elevator and the Zhangjiajie Grand Canyon Glass Bridge.

The Bailong Elevator, affectionately known as the “hundred dragons sky lift,” is the world’s tallest outdoor lift, and it carries around 50 people at a time up 1,070 feet (326 m) in less than two minutes. From the top, visitors can enjoy stunning views of the surrounding mountains and forests.

The Zhangjiajie Grand Canyon Glass Bridge is the longest and highest pedestrian glass bridge in the world, stretching across 1,410 feet (430 m) at a height of 980 feet (300 m). Walking across the bridge, visitors can experience the thrill of walking on glass while enjoying panoramic views of the canyon and the mountains beyond.

From: https://m.senseluxury.com/guides/Asia-China/article-11148
Bailong Elevator

Features

The five most spectacular sights are the unusual peaks, deep canyons, beautiful waters, thick forests, and mysterious caves.

The scenery of Zhangjiajie National Forest ParkThe scenery of Zhangjiajie National Forest Park

  • The peculiar peaks refer to the 3,000 or more mountain peaks made of quartz sandstones. The three representative peaks are Camel Peak, Drunk Stone Peak, and Five Finger Peak, which are elegant and magnificent.
  • The deep canyons refer to 32 canyons, each more than 2,000 meters in length. The most famous ones are Jinxi Canyon, Shentang Canyon, and 10-Li Gallery Canyon.
  • The beautiful water refers to the more than 800 waterscapes in the scenic area, including streams, springs, lakes, pools, and waterfalls.
  • Caves of different shapes can be found here. The most outstanding is Yellow Dragon Cave, which contains beautiful stalactites.
  • The rural landscapes also attract a lot of visitors. The local farmers are hospitable and you may visit their homes.

Zhangjiajie is picturesque to visit at any time of the year, but April to October is recommended, as winters are cold and the tourist areas are less accessible. But when is it best to go? It depends on the experience you’re looking for.  

For weather, September and October are the best times to go, when the weather is clear and comfortable. 

The national park is busy year-round except for winter from December to February. The peak season is from May to October.  

The short period from early-November to mid-November is considered to be the perfect time with good weather and without heavy crowds.  

Yuanjiajie (‘Yuan Family Territory’ 袁家界) contains “Avatar Hallelujah Mountain“. It is the most popular sight in Zhangjiajie. Yuanjiajie is a butte (steep-sided platform mountain), surrounded by higher peaks, grotesque rock pillars, and deep valleys. The highlights of Yuanjiajie include the First Bridge under Heaven, Avatar Hallelujah Mountain, and ‘Lost Souls Platform’.

The easiest way to get up to Yuanjiajie is by the famous Hundred Dragon Elevator (Bailong Elevator). But we don’t recommend it (unless you arrive before 7 am or descend before 4 pm) due to typical 2-hour lines for the 2-minute ride. A 1–1½-hour hike is a better way if you are fit. 

Tianzi Mountain (‘Heaven Son Mountain’ or ‘Emperor Mountain’ 天子山Tianzishan) offers the best chance of photographing a sea of clouds, mainly during spring or early autumn.

Don’t miss the cable car up to this area. The 30-minute ride will take you through the towering formations and give you the opportunity to take great fly-by photos. 

If your time permits, you can visit Ten-Mile Gallery where you can take a monorail train. After the train, you can hike up to Tianzi Mountain. 

Gold Whip Stream (Jinbian Xi 金鞭溪) is a brook at the foot of the towering mountains. It is about 7½ km (4½ miles) long, about two hours’ walk. 

 It is an easy and relaxing walk along the stream. It gets quieter as you walk farther from the shuttle bus stop. 

The 400-meter-high cliff by Gold Whip Stream is spectacular, especially at sunset. One thing to watch out for is the wild monkeys along the stream. 

Zhangjiajie National Park is an extraordinary destination that should be on every nature lover’s bucket list. It’s a place where visitors can connect with nature, experience the thrill of adventure, and marvel at the beauty of the world around them. Whether you’re a seasoned traveler or a first-time visitor to China, Zhangjiajie National Park is a must-see destination that will leave you breathless and in awe of the natural wonders of our world.

ZHANGJIAJIE China most Amazing National Forest Park (Avatar floating mountains). Best by drone 

A Natural Wonderland of Pillar Rock Formations and Majestic Scenery

Link: https://peacelilysite.com/2023/03/16/zhangjiajie-national-forest-park/

#Travel #TravelChina #ChineseCulture#ZHANGJIAJIE #AmazingNationalForestPark

Ode to The Plum Blossom

linda chang1 Comment

Ode to The Plum Blossom

Recently, I stumbled upon breathtaking plum blossoms while taking a walk. These delicate flowers evoked feelings of warmth and joy, reminding me of the arrival of spring. In Chinese culture, plum blossoms, beyond just being a physical flower, have become a symbol of perseverance and resilience in the face of harsh winter conditions. This significance was achieved through the extensive descriptions, sublimations, and chanting by literati and scholars over the ages. In ancient China, plum blossoms were considered a lucky symbol and were welcomed as a sign of the arrival of spring during the New Year.

When I was a child, my father taught me to recite the poem “Ode to the Plum Blossom” by Zedong Mao, reminding me to be fearless and strong like the plum blossom that blooms amidst harsh winter conditions. I really like the poem, and can still remember it.

Ode to the Plum Blossom

—to the tune of Bu Suan Zi

By Zedong Mao, December 1961

Wind and rain escorted Spring’s departure, 

Flying snow welcomes Spring’s return. 

On the ice-clad rock rising high and sheer 

A flower blooms sweet and fair. 

Sweet and fair, she craves not Spring for herself alone, 

To be the harbinger of Spring she is content. 

When the mountain flowers are in full bloom 

She will smile mingling in their midst.

But after many years of struggles, I realized that bravery and strength aren’t always enough, especially in managing relationships and family. As a wife and mother, I learned the importance of being magnanimous, compassionate, forbearing, and not rigid. I have since embraced the peaceful and compassionate philosophy of Buddhism.

H.H. Dorje Chang Buddha III, the contemporary Buddha, wrote a poem “Plum Fragrance in the Holy Land.” He broke from traditional poetry styles, instead opting for surreal techniques to directly convey spiritual essence.

To the Tune of “Jiang Jun Song”

Plum Fragrance in the Holy Realm

Reveal her icy bearing and proud bones,

See how plum blossom commands the scene,

The crowd of beauties suddenly lacks color,

Seductive peach has lost its looks.

A few casual strokes,

So many eons of wind and dust.

The smoke and fire of the human world all disappears,

Leaving only a pure fragrance from the paper,

It wafts over me, awakening my mind.

The smile of the enchanted dream still remains,

Buddha Vajradhara has come

Three times to this world.

To this Buddha Land of merciful compassion

That great one has brought purity,

Feelings of the brush,

Traces of the brush,

One smile in the wind and dust,

Now the wind and dust,

So many eons of wind and dust.

The Buddha also created an ink painting to accompany the poem. The poem delves deeper into the artist’s thoughts, while the painting provides a visual representation.

The plum blossoms depicted in the paintings symbolize the artist’s state of mind, embodying inner beauty refined from impurities. The brushwork, casually applied, was accomplished with an unfettered hand and detached mind, free of the slightest artificiality. It is a seemingly ever-changing work. Its charm, tone, transitions, and depictions represent the highest level of Eastern ink-and-wash paintings. A transparent layer of lighter ink on top of darker ink is clearly visible, imbuing the painting with a pure and fragrant air and providing the viewer with a feeling of comfort and ease.

The plum blossoms created by these skilled pens are eternal. While natural blooms may come and go, Buddha’s compassion remains steadfast.

Ode to The Plum Blossom

Link: https://peacelilysite.com/2023/02/02/ode-to-the-plum-blossom/

#DorjeChangBuddhaIII #HHDorjeChangBuddhaIII#DorjeChangBuddha#IAMA#InternationalArtMuseumofAmerica#ChinesePaintings#PlumBlossom#Paintings#

Source： https://www.oktranslation.com/LiteraryTranslation/lt_info32200.html

Hand Crafted Corals By Dr. Yuhua Shouzhi Wang

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Photo by Tom Fisk on Pexels.com

Hand Crafted Corals By Dr. Yuhua Shouzhi Wang

Dr. Yuhua Shouzhi Wang is a highly skilled and talented artist who has created a unique form of art using hand-sculpted wood and oil paints. Her faux coral sculptures are so realistic that they are often mistaken for real coral. The texture, watery tone, colors, and charm of her sculptures are breathtaking and truly unique.

In 2008, Dr. Wang’s artworks were exhibited in the Gold Room at the United States Capitol, where her talents were recognized by the United States Congress. She was officially recognized as “a great artist and sculptor” for her outstanding accomplishments and contributions to cultural exchange between the East and the West.

Coral reefs are one of nature’s most impressive creations, often referred to as the “rainforests of the sea.” They are massive structures made of limestone deposited by coral polyps. Dr. Wang’s sculptures not only capture the beauty of coral reefs but also showcase her own artistic talents. Her work truly is a testament to the power of human creativity and imagination.

Parched Ancient Coral

This piece was hand-sculpted and painted in oil colors by Professor Yuhua Shouzhi Wang. Its shape and colors are even more genuine-looking and beautiful than those of real coral from the bottom of the sea or parched islands. When touching this sculpture, it tangibly feels like coral that has been eroded through immersion in water for millions of years. One cannot help but marvel at how such coral texture is created by Prof. Wang. Corals of such kind are difficult to find. Its appeal is further enhanced by the matching hand-sculpted vase called Emerald Green Fine Jade. The set has an air of elegance and refinement, surpassing the beauty of natural coral.

Sheep Tallow Dew

Pink, moist-looking, and with an understated luster, this faux coral seems as sleek as sheep tallow jade. It conveys a sense of morning dew that is deeply moving. Its wonder, colors, lustrous beauty, overall quality, and artistic flair unite to form a precious sculpture captivating in both spirit and appearance. Combined with a hand-sculpted, delightful, elegant matching vase of milky white faux jade, it becomes a doubly charming masterpiece. When a special exhibition of the art of Yuhua Shouzhi Wang was held at the United States Capitol, it was stated in the Congressional Record that her wood-based faux coral and cobblestones that she hand-sculpted and painted with oil colors “have become treasures of the world.”

Hanging Coral

This attractively hanging coral is as clean as white jade. After it was sculpted from wood material, it was painted with oil colors and glazed. It conveys a sense of moistness and distinctive texture stemming from its natural-looking shape, hues, and luster. It is sleek yet true to life as if it were real coral. All who view it will enjoy its purity, elegance, and comforting air. Combined with the matching vase called “Cai Yi Tao,” this faux coral appears even more beautiful, attractive, and elegant than real ones in nature. This piece was on view in a dedicated exhibition of Dr. Yuhua Shouzhi Wang at the United States Capitol in 2008.

Sea Palace Monarch

This gigantic coral you now see has been named “Sea Palace Monarch.” Presumably, your first feeling was that of surprise. Is it a genuine coral? Does such large coral exist in the world? If it is not a genuine coral, then why do its luster, texture, and appearance look so real and natural? From the bottom of your heart, you would happily accept it as genuine coral because it is truly so beautiful, so aesthetically pleasing. How beautiful your living room would be if it contained this sculpture! Nonetheless, reason and knowledge tell you that this world could not possibly have genuine coral so huge and so gorgeous. Indeed, even if you searched every corner of every coral reef in the oceans of the earth, you would still not find coral of such beauty and size. Its name, “Sea Palace Monarch,” means that it is the sovereign of the seas since it is the largest treasure in all the oceans. However, such colossal and splendid coral cannot be found in real oceans because it simply does not exist in this world.

Each of these three faux coral sculptures has its own distinct allure and shades of color. The aged appearance of the mouse-fur-pattern faux coral gives it the particularly strong charm of an ancient fossil from the deep sea. However, the green faux coral, which seems permeable to light, looks as if it was taken from the waters near Malaysia and Indonesia. It was painted in vivid watercolors and conveys sublime elegance. Its delightful spring green expresses purity and freshness. The yellow faux coral resembling fine jade reveals an inner warmth that would certainly be enjoyable to the touch. Each of these three works is an embodiment of talent in sculpting and painting.

With unparalleled works of art such as this, it is no wonder the artistic accomplishments of Yuhua Shouzhi Wang were recognized as “treasures of the world.” Those amazing beautiful treasures are in the permanent exhibition at The International Art Museum of America  in downtown San Francisco. Admission of the museum is free.

Hand Crafted Corals By Dr. Yuhua Shouzhi Wang

Link: https://peacelilysite.com/2023/01/18/hand-crafted-corals-by-dr-yuhua-shouzhi-wang/

#ProfessorYuhuaShoushiWang#Art#Artist#Coral#Treasureoftheworld#craftsmanship#TheInternational Art MuseumofAmerica #Internationalfirst-classArtist

Hand Painted Cobblestones

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Hand Painted Cobblestones

If you’re a fan of cobblestone streets and the charming, rustic aesthetic they bring to a neighborhood, you’ll love these hand painted cobblestones created by Professor Yuhua Shouzhi Wang. These cobblestones were painstakingly hand-sculpted from a light-weight material and then completed with fine, dedicated brushwork by the artist.

Although they may look like real cobblestones at first glance, these pieces are actually more beautiful than the real thing. They are precious works of art, not actual cobblestones. Upon closer examination, it is clear that the texture and color tones of these faux cobblestones are just as realistic as the real ones.

Professor Wang has spent many years sculpting these cobblestones from a light-weight material, and has then meticulously completed them with her fine brushwork. The result is a set of cobblestones that are not only beautiful, but also have the same texture and color tones as real ones. It’s hard to believe that these cobblestones are not the real thing when you look at them.

In The International Art Museum of America  permanent exhibition, has a set of seventy seven these cobblestones in total. These cobblestones are more than just a pretty facade. They are truly works of art, and a testament to the dedication and talent of Professor Wang. Every pebble she creates is unique, with its own shape, texture, color, and degree of weathering and aging. And with each pebble being an independent fine brushwork painting, it’s clear to see the level of detail and craftsmanship that goes into each one.

In year 2019, New York Academy of Art has certified that Dr. Yuhua Shouzhi Wang is the international first-class artist in the world, who is ranked at the same level as Cezanne, Gaugain, Monet, and Van Gogh.

If you have the opportunity to see Professor Wang’s hand painted cobblestones in person, I highly recommend it. They are a sight to behold and a true work of art. You’ll be amazed at the level of detail and craftsmanship that has gone into creating these precious pieces. So don’t miss the chance to see these hand painted cobblestones at The International Art Museum of America  in downtown San Francisco. Admission of the museum is free.

Hand Painted Cobblestones

Link:https://peacelilysite.com/2023/01/11/hand-painted-cobblestones/

#ProfessorYuhuaShoushiWang#Art#Artist#Cobblestones#craftsmanship#TheInternational Art MuseumofAmerica #Internationalfirst-classArtist

Dr. Yuhua Shouzhi Wang Art Sold at Top Price in Spring Auction at Gianguan Auctions in New York

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Dr. Yuhua Shouzhi Wang Art Sold at Top Price in Spring Auction at Gianguan Auctions in New York

On March 18, 2019, the painting “Pomegranates in a Bamboo Basket” by Dr. Yuhua Shouzhi Wang was sold at the exceptional price of US$1.27 million during the spring auction at Gianguan Auctions in New York. Dr. Wang has been recognized by the New York Academy of Art as an international first-class artist. The auction price of this small painting, which is only twenty-seven by eighteen inches, astounded the art market!

The paintings of Dr. Yuhua Shouzhi Wang are characterized by divine, out of this world artistic conception. Her paintings carry the likeness of both the form and the spirit, and are created with profound skills. They also carry a strong sense of scholarly essence. There rarely is anyone in this world who can be of comparison. Her artistic skill is solid and formidable. Following the tradition of Chinese ink paintings as her foundation, Dr. Wang also incorporates the super-realistic skills and transcends her works to become that of distinguished style and purity. Her paintings transcend the mundane to attain the class of ease which is the highest of the four classes of artistic mastery.

Dr. Yuhua Shouzhi Wang was recognized and chronicled in the United States Congressional Record as “a great artist and sculptor,” and “treasure of the world.” In 2013, President George Christophides of the World Federation of UNESCO Clubs, Centers, and Associations (WFUCA) conferred the title “2013WFUCA” to one of her artworks.

In 2019, a solo exhibition of Dr. Yuhua Shouzhi Wang, that was held by the Department of Culture of Thailand, astounded Thailand. The Thai Department of Culture issued official notice to all schools and universities informing them to visit the exhibition and learn from the art of Dr. Yuhua Shouzhi Wang. The Department of Culture also thanked Dr. Wang for bringing her art of distinguished quality to Thailand.

International Art Museum of America

The unique artworks of Dr. Yuhua Shouzhi Wang are hard to come by. There are a small number of editions in the market. For many years, the unique artworks are collected by admirers and are rarely available in the market. During the recent Gianguan spring auction, a small painting was sold at the shocking price of US$1.27 million, making the top lot of the auction.

What is even more exceptional is that Dr. Yuhua Shouzhi Wang is the only Asian international first-class artist in the world who is ranked at the same level as Cezanne, Gaugain, Monet, and Van Gogh.

There is a dedicated gallery hall for Dr. Wang’s artworks in The International Art Museum of America, located at downtown San Francisco.

Dr. Yuhua Shouzhi Wang Art Sold at Top Price in Spring Auction at Gianguan Auctions in New York

Link: https://peacelilysite.com/2022/12/28/dr-yuhua-shouzhi-wang-art-sold-at-top-price-in-spring-auction-at-gianguan-auctions-in-new-york/

#Art#Artist#ArtAuctions#ChineseInkPaintings#Dr.YuhuaShouzhiWang#FirstClassArtist

Dr. Yuhua Shouzhi Wang’s Oil Painting : Creativity at Oneness with Nature

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Water Lilies by Claude Monet 1906

Dr. Yuhua Shouzhi Wang’s Oil Painting : Creativity at Oneness with Nature

In 1896, Claude Monet painted the first of 250 canvases with the subject of waterlilies. National treasures in France, they are among the most beloved artworks in the world. Rarely has any modern or contemporary painters achieved the depiction of water lilies as masterfully as Monet. Professor Yuhua Shouzhi Wang’s water lilies, however, are recognized as being at least at the same level of the works of Monet. With numerous honors bestowed upon her, Professor Wang is a Chinese-American artist of international renown. Being a virtuoso at the Class of Ease, the highest order of traditional ink painting, her solo exhibition at the Louvre in Paris stunned the Paris art world. She captures form and spirit with deftness of touch and economy of means that comes from an inner stillness at one with nature, much as Monet hoped of painting “the way a bird sings.”

Monet’s earliest works are studies of his Giverny water garden that include a blue-green Japanese footbridge, showing the influence of that culture upon his landscape design as well as these intimate landscape paintings. Serving as a tincture to the wellspring of Monet’s imagination, water lilies had long been of aesthetic, spiritual, and practical value in ancient Mediterranean cultures and the Far East, but they were a new sensation in the West. Monet’s pond was filled with hybrids of hardy white and exotic water lilies introduced at the 1889 Universal Exposition in Paris.

Water Lilies by Claude Monet 1916

Professor Yuhua Shouzhi Wang has a command of line and ink wash, attaining a virtuoso facility with her brush strokes. Originating within the literati, ink painting was a scholarly activity that combined poetry and calligraphy, such that the hand sought to bring forth the essence of a landscape or its elements. While there is almost formal attention to the implements and how to hold them, media and water, and even posture, the goal is simplicity, spontaneity, and self-expression with an economy of means. Unlike the Western concept of self as separate and distinct, the self in Eastern philosophy is in harmony or one with nature, and the lines in a painting convey emotion as much as observation — a merging of interior and exterior. The act of painting is one of harmony through self-discipline. Behind the spareness and flourish are years of study and intense concentration. Renowned French critic Ms. Aude de Kerros acclaims: “Ink painting is not just a skill, it is also a way of being. Yuhua Shouzhi Wang’s path is timeless. It is self-explanatory in three words: ‘unique brush stroke.’ Springing from her heart is a breath of life that accomplishes the work.”

At the turn of the century when the first in the water lily series were exhibited, Monet was highly successful, and he no longer was simply the “innocent eye” of his youthful Impressionist days. In detecting the influence of Asian art, critics responded to these flowered pools as a place of dreamlike contemplation — “a luminous abyss” — and the motif would become Monet’s obsession in his final years. As he progressed, Monet eliminated elements in the setting to create a new pictorial space with the waterlilies floating on reflective water. The everywhere all-at-once compositions have been seen by some art historians as anticipating the works of Abstract Expressionism and thus the trajectory of 20th-century Western art.

Rather than the formalized treatment of the subject, Professor Wang approaches her water lilies with the all-encompassing, painterly composition and loose brushwork available to one working in oils. Xie hua is an expression in Chinese esthetics that means “to write a picture.” The foundation of Monet’s art is painting outdoors and finding equivalents in pigments for how light transmits the scene before him. This plein airapproach thus emphasizes color more than line. Going from a masterful use of inks to using oils, Professor Wang retains her deftness of line and gesture in her transcendental rather than literal interpretation. The artform in which she is steeped asks the painter to draw upon spiritual insight, and so her waterscapes are not a series of moments of time, but the portrayal of a metaphysical plane. Monet’s waterscapes may be a dreamlike depiction of sky reflected on the water, but he adheres to the horizontal ordering of landscape, whereas Professor Wang’s compositions and the elements within are more rhythmic, fluid, multimodal, and in a way calligraphic.

Water Lilies Dreaming amidst Cloud-Like Mist depicts a gnarled branch with yellow blossoms dipping toward and into shimmering water. The twists and turns of the rough wood of perhaps a plum tree have the desired unevenness and dynamism of cursive calligraphic characters. Professor Wang contrasts this rustic, jagged form with the soft pastel hues and feathery strokes over which it arches. The wispier, diluted touches of hues are meant to suggest the pond upon which the flowers float, the cloud-filled sky above, as well as mist rising from the waters. This combination of land forms like mountains and ancient trees shrouded in mist brings forth consonance with the universal order.

Water Lilies Dreaming amidst Cloud-Like Mist by Dr. Yuhua ShouZhi Wang

The true nature of reality — the pattern and structure of the universe — is a matter of harmonious relationships. The blossoms on the branch suggest the arrival of spring, which is part of the cyclical movement of the seasons, and therein the process of change. Nature is not an aggregation of those forms we see, such as trees, rocks, rivers, birds, etc., but a series of ongoing, unfolding, inexhaustible transformation. Where the branches break the water, ripples flow outward. The petals of the water lilies open, and the water flows around and with these symbols of transformation. The first signs of spring begin to appear immediately after winter has peaked. The top of Cloud-like Mists from the Water is darkly shaded and the bottom is the whitest, which is the opposite of expectations but imparts a sense of an exchange of heaviness and lightness or the meeting of heaven and earth.

In Western art, color is most associated with change, as it relates to perceptual experience rather than conceptual understanding. In her water lily and lotus paintings, Professor Wang introduces color to her repertoire in a manner imbued with light, and she is not bound by appearances. In Water Lilies and Weeds Exude Nature Like a Song, she works with a palette of rich hues with a dominant purplish note offset by pink, blues, and greens. Eye-catching red and white flowers are dotted accents in the middle of the canvas, and in their somewhat irregular placement allow the viewer to travel through the painting. The vegetation funnels through the central section with the darker tangled weeds pressing in, both impeding and quickening the flow. The contrast of tonality is not about shadow but more a means of contrast and counterforce, and so the artist also uses color as line with the encroaching weeds. Color and the combination of color and line are used to express energy within all things and depicting a flow of unceasing change that moves to a state of balance.

Water Lilies and Weeds Exude Nature Like a Song

We see that even more dramatically in Professor Wang’s painting Leaves Are Obscured in the Wind, Yet Lotuses are Visibly Swaying on the Water. In the midst of a brooding purple color field, a sweep of animated white and blue strokes starts at the bottom of the canvas and widens to become more vivid as it stretches to the top, almost like the shape of a cyclone or swirling windstorm. Off-center in the middle is where a concentration of sky-blue bravura strokes unleashing their force upon the regular weave of red-white lotus flowers with verdant greens pads, such that the enlivening contrasting colors along with the compositional diagonal make the pond seem to sway. The artist envisions the scene as if the air breathes upon the water. Sharing space and air, we are inseparable from the natural world. Whereas Monet’s waterlilies and the mirroring reflections are a place for introspection, Professor Wang allows us to contemplate and transcend the visible.

Leaves Are Obscured in the Wind, Yet Lotuses are Visibly Swaying on the Water

Approaching oil painting as relayed by recent Western art, Professor Yuhua Shouzhi Wang adopts a uniquely creative approach that transcends culture and the East-West dichotomy. Professor Stephen Farthing, academician of the Royal College of Art in London and former Ruskin Master at the Ruskin School of Fine Art at Oxford University commented, “Professor Wang’s paintings may draw heavily on the traditions of Eastern art but they present themselves as extraordinarily Western ideas and images…” By ridding oneself of distractions from everyday life, the artist’s true nature takes over. In Water Lilies, Sky, and Water at Oneness in Beauty Like a Song, she uses a lot of impasto in which thick pigment lies on the surface. Within a square canvas, pastel shades of blue, green, pink, and gold jostle against a blended layer of more brazen hues. Throughout one sees evidence of paint dragged by a brush that suggests tendrils of vegetation, and dashes of red for lilies are sometimes obscured. The space between the act of painting and the suggestion of nature in display is thin, as creativity and nature become one and the same. With a high degree of attainment, Professor Wang can paint with the spontaneity and effortless action that arises from a serene place of non-self.

Dr. Wang is a Lifetime Honorary Chairman of The International Art Museum of America, located at downtown San Francisco. We can appreciate many of her artworks in a dedicated gallery hall at the museum.

Dr. Yuhua Shouzhi Wang’s Oil Painting : Creativity at Oneness with Nature

Link: https://peacelilysite.com/2022/12/22/dr-yuhua-shouzhi-wangs-oil-painting-creativity-at-oneness-with-nature/

#Art#Artist#WaterLily#OilPaintings#ClaudeMonet#Dr.YuhuaShouzhiWang#OnenesswithNature

Source: https://www.laweekly.com/yuhua-shouzhi-wang-creativity-at-oneness-with-nature/?fbclid=IwAR09Dk522yIPZ2_i9Y_gyZf_53QY7AB1rv718_DZtDxc67rjFgJTXaj_UUY

Treasure Room in The International Art Museum of America

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Treasure Room in The International Art Museum of America

Last Sunday, I was so blessed to have a chance to visit the treasure room in The International Art Museum of America. The room only open four times a year. Three big locks fully close the door. Three persons open locks at the same time. One museum staff accompanied me inside the room, introducing each artworks, and answering my questions. There are four pieces of extremely beautiful splendid Yun Sculptures inside the room.

From the introduction, I learned that Yun Sculpture is an art form created by H.H. Dorje Chang Buddha III. It is exquisite and mysterious, their beauty is astonishing and spellbinding, and structures are both exquisitely fine and sophisticated, with unanticipated variations. Unprecedented in history, H.H. Dorje Chang Buddha III’s Yun sculptures are the first form of art that cannot be replicated, regardless of the method used.

The first one I saw is called Holy Purity. Its color is soft and lustrous, like thin white silk. It looks as pure and noble as jade or ice, has an elegant hanging style, and is completely free of any flaw. This artwork, which is pleasing to the eye and comforting to the mind, fully deserves that name it was given, for it indeed possesses the qualities of holiness, purity, elegance, refinement, and white splendor.

Holy Purity

When look at different angles, I can see various remarkable sights, and light auspicious mist. I truly experienced a carefree and peaceful feeling that is difficult to describe. I felt my heart and soul are purified by this noble object. The pictures here are too dark, the whole sculpture is totally milky white.

Mystery of Lovely Colors

The second piece is called Mystery of Lovely Colors. Just like its name, it is a very vibrant and colorful artwork.

Mystery of Lovely Colors is a big Yun sculpture. Its structure and overall arrangement can only be described as “endlessly varied” and “unfathomably mysterious.” Phrases such as “swirling unusual colors,” “a mixture of emptiness and substance,” and “too beautiful to be absorbed all at once” are used to describe its grandeur, beauty, and elegance. When this exquisite sculpture is viewed from different angles, one can see various wonderful and fascinating sights that seem to be constantly changing.

The museum guide told me : “When this Yun sculpture was displayed in the Gold Room of the United States Capitol and at the Organization of American States, experts and scholars viewed it with admiration, praising it with words such as, “a gift from God to mankind,” “a treasure from a Buddha-land,” “captivatingly beautiful,’ and even “since the appearance of Yun sculptures, all treasures in this human world have become like stars in the sky that pale against a resplendent moon.”

Mysterious Mist Inside A Stone

Inside a small rome, there are two very special Yun sculpture pieces called Mysterious Mist in a Stone. One can see that mist is permanently sculpted in it like a miracle.

White jade-like gauze hangs inside a stone
Unmatched sculpting produces emotion amid the mist
Without words, a rare melody plays inside the cave
Such heavenly scenery is difficult to duplicate

Mist is permanently sculpted in the cave of the Mysterious Mist in a Stone, an artwork that cannot be replicated

From its external appearance, one can see that “Mysterious Mist Inside a Stone” is an ordinary greenish rock that is a few feet long. However, the inside of it is a totally different world. Its interior contains layer upon layer of what appears to be peaks and hills, forming a beautiful crisscrossing network. Its scenes seem to change endlessly, giving it a profoundly mystical quality. In some parts of the stone’s interior, there is mist as exquisite as chiffon, while in other parts the mist is so thick it covers whatever is behind it. In the latter case, a lamplight that penetrates mist must be shone into the stone to view the background scenes. One can see mist circling upward.

Mysterious Boulder with Mist

Right beside the Mysterious Mist Inside a Stone is another sculpture also has mist inside. It is called Mysterious Boulder with Mist. There are two grottoes inside the boulder, each of which contains its own scenery. When you look inside the right grotto, you will see thick mist enveloping everything. The structure of the carved scenery inside this hole is vague, since it cannot be clearly seen through the mist. You are left with the impression that the mist is a few dozen yards deep inside the hole when it is actually only three or four feet deep. When you look inside the left grotto, you will see that there is no mist at all. You will clearly see the structure of the carved scenery inside this hole. The material used to carve those two grottoes was the same, the colors applied to both of them were the same, and their depth is the same. The carving skills and inner-realization of H.H. Dorje Chang Buddha III caused this mysterious phenomenon of one side containing thick, enveloping mist and the other side containing no mist at all.

Sculptors throughout history have been able to produce material forms or images through sculpting. However, no one has been able to produce through sculpting something as insubstantial and formless as fog or mist. Nonetheless, there are sculptures of H.H. Dorje Chang Buddha III that combine both material form and mist.

While I was fascinated by those beautiful artworks, I seem to hear the works say, “I’m born on this earth in such a beautiful and exquisite way. Who or what kind of artist gave birth to me? I could not have been given life by a mundane person. “

H.H. Dorje Chang Buddha III’s Yun sculptures can truly be called peerless, priceless treasures. H.H. Dorje Chang Buddha III was able to create these treasures based upon his high state of realization, profound and extensive knowledge, as well as his penetration of the laws that underlie the birth, growth, and change of all things in the universe.

Treasure Room in The International Art Museum of America

Link: https://peacelilysite.com/2022/11/09/treasure-room-in-the-international-art-museum-of-america/

#MasterWanKoYee #DorjeChangBuddhaIII #HHDorjeChangBuddhaIII#DorjeChangBuddha#IAMA#InternationalArtMuseumofAmerica

Chinese Plum Blossom Paintings

linda chang1 Comment

Chinese Plum Blossom Paintings

One of the most beloved flowers in China, the plum blossoms (méi-huā, 梅花) have been frequently depicted in Chinese painting and poetry for centuries. The Chinese see its blossoms as both a symbol of winter as well as a harbinger of spring. It is precisely for this reason that the blossoms are so beloved, as they bloom most vibrantly amidst the winter snow, after most other plants have shed their leaves, and before other flowers appear. They are seen as an example of resilience and perseverance in the face of adversity. Though neither the plum tree nor its blossoms are very striking, they manage to exude an otherworldly exquisiteness and beautiful elegance. The demeanor and character of the plum tree thereby serves as a metaphor for inner beauty and humble display under adverse conditions. Because they blossom in winter, the plum blossom is a member of the “Three Friends of Winter (歲寒三友)”, along with the pine and the bamboo. The plum blossom is also a member of the “Four Gentlemen (四君子)” in Chinese art (the others being orchid, bamboo, and chrysanthemum), symbolizing nobility. In China, there are over 300 recorded cultivars of mei, which can be broadly divided by color into white, pink, red, purple, and light green types.

When we look through all of the ancient and modern books on plum blossom paintings, it is not difficult to discover that all of the famous master plum blossom painters had extensive knowledge, deep understanding of ancient and their own contemporary times, and immense talents. No artist in history can be found who lacked virtue and learning and still was capable of painting highly exquisite plum blossom paintings. The plum blossom paintings of ancient artists such as Mian Wang and Dongxin Jin and the modern artist Changshuo Wu are splendid works based upon the profound knowledge and virtue of their creators.

Mian Wang ( 1287-1359 ) : Early Spring at South Corner of Garden
Artist: Dongxin Jin (1687 – 1764)
Artist: Changshuo Wu (1844 – 1927)

As a contemporary artist, the Pop of Buddhist, H.H. Dorje Chang Buddha III has also painted dozens of masterpieces of plum blossom compositions. All in the book entitled Collected Plum Blossom Paintings, Calligraphy, Poems, and Songs. Wielding the brush with great facility, His Holiness creates paintings that are completely devoid of mundane garishness, have the exquisite look of ancient bronze and stone inscriptions, and are imbued with a scholarly air. His Holiness’s painting skills have surpassed the ordinary and reached the consummate mastery of a holy being. Below are several art works from the book. Some of the paintings are in the exhibition of The International Art Museum of America.

Small Portion of a Plum Grove

Yellow plum blossoms bloom in winter and are generally used during Chinese New Year celebrations as a symbol of great auspiciousness. The painting expresses beauty of a real plum blossom grove.

Drunk in a Green Garden

The turquoise plum blossom is a rare species of plum blossom. These elegant, sublime flowers have a strong resistance to coldness and a scent that is quite fresh and fragrant. This painting has a vigorous and firm style yet maintains great simplicity. The brushwork is bold, vigorous, and completely unconstrained. Large, dancing strokes of a casual hand and free mind bring to form branches and twigs.

Plum Fragrance in the Holy Realm

The brushwork, casually applied, was accomplished with an unfettered hand and detached mind, free of the slightest artificiality. It is a seemingly ever-changing work. Its charm, tone, transitions, and depictions represent the highest level of Eastern ink-and-wash paintings. A transparent layer of lighter ink on top of darker ink is clearly visible, imbuing the painting with a pure and fragrant air and providing the viewer with a feeling of comfort and ease.

Winter Powder

A most elegant and valued plum flower called ‘Dong Fen” (winter powder). It is widely known to be the king of whiter plum blossoms. A strong contrast is presented by the graceful dense ink that was used to paint the tree trunk and the whiting used to form the flowers. The spatial effect of fairness adds to the charm of the picture, showing an awareness of both emptiness and form. A very special aspect of this painting is that the artist did not apply powerful, bold strokes of uneven contour and content. Rather, ink was applied through a gradual moistening process, manifesting the strong talent of the artist.

Chinese Plum Blossom Paintings

Link: https://peacelilysite.com/2022/11/03/chinese-plum-blossom-paintings/

#DorjeChangBuddhaIII #HHDorjeChangBuddhaIII#DorjeChangBuddha#IAMA#InternationalArtMuseumofAmerica#ChinesePaintings#PlumBlossom#Paintings#WangMian#WuChangShuo

Source: https://www.comuseum.com/painting/flower-painting/plum-blossom/