IAMA presents Be Your Own Spotlight by Yen’s Art Studio
Walking into Be Your Own Spotlight, presented by Yen’s Art Studio, at IAMA (The international Art Museum of America), I didn’t feel like I was entering a typical student art exhibition. Instead, it felt more like stepping into 150 honest conversations—each one visual, brave, and deeply personal.
The exhibition features 150 outstanding works by young students, created across a wide range of mediums—acrylic, watercolor, pencil, and mixed media. But what moved me most was not the variety of techniques; it was the sense that every piece quietly declared: this is who I am right now.
These students are not just learning how to paint or draw. They are learning how to trust their voices, how to take up space, and how to stand behind what they create. Their works reflect growth, self-discovery, and the joy—and sometimes uncertainty—of becoming. Whether you are a parent, an educator, a collector, or simply someone searching for inspiration, this exhibition offers something meaningful to feel, not just something pleasant to see.
As I moved through the gallery, I was delighted by the sheer range of imagination: striking portraits, fantastical worlds, playful animals in sunglasses, thoughtful reflections on global issues, and moments of pure joy. The diversity of themes reminded me of a beautiful truth that Yen’s Art Studio expresses so well: “In the world of art, there are no boundaries of age or race. Children’s artwork can reach—and sometimes surpass—the technical ability and creative understanding typically associated with adults.”
One piece that stayed with me was a self-portrait by 8th-grade student Cynthia Liu. It stood out not only for its technical sensitivity, but for its emotional depth. Cynthia is known for her perfectionist nature, something many of us—artists or not—can relate to. Her work quietly reflects a universal truth: no artwork is ever truly finished. Without a clear endpoint, a piece can be revised endlessly, sometimes at the cost of the original vision.
Self-Portrait by Cynthia Liu, 8th grade Yen’s Art Studio
Hanni from Newjeans by Sophie Sun, 9th grade. Yen’s Art Studio
Another story that deeply touched me was Sophie’s. Once a shy student who nearly gave up on art altogether, she found her way back through the creative process at the studio. Through painting, Sophie rediscovered calmness, confidence, and inner strength—one of the most meaningful transformations I learned about in this exhibition. Her journey reflects the studio’s commitment not only to technical excellence, but to nurturing the inner lives of its students.
Lovers by Nova Cui, 9th grade Yen’s Art Studio
Among the more than 150 works, one painting stood out to me for its quiet presence rather than immediate visual impact. Created by Nova, a student dedicated to becoming a professional ballet dancer, the piece carries a sense of discipline, restraint, and inner resolve. Acknowledging the intensity of her dance training, her art education focused less on technical display and more on observation, sensitivity, and emotional understanding.
Her painting reveals genuine emotion and determination, qualities she will undoubtedly carry into her future as a dancer, where movement and art meet as a shared language of expression.
Be Your Own Spotlight is ultimately not just about showcasing talent. It is about honoring courage—especially the quiet kind. It reminds us that every young artist is learning not only how to create, but how to believe in themselves. And as viewers, we are fortunate to witness these moments of bravery, growth, and becoming.
Don’t miss the museum’s permanent exhibition, where world-class artworks offer far more than visual beauty. Here, art becomes a quiet refuge—inviting tranquility, reflection, and a subtle elevation of the spirit. Especially moving are the paintings by H.H. Dorje Chang Buddha III, whose works gently awaken the mind, soothe the heart, and leave the soul deeply inspired long after you depart.
In the southwestern suburbs of Xining, where the air grows thin and the spirit grows light, stands one of the most significant sites in the Buddhist world: Kumbum Monastery.
Known in Tibetan as Kumbum Jampa Ling, meaning “A Supreme Temple of a Hundred Thousand Lion’s Roar Buddha Images,” this sprawling complex is far more than just a collection of buildings. It is a living monument to Lama Tsongkhapa, the revered founder of the Gelug (Yellow Hat) sect of Tibetan Buddhism.
The Legend of the Golden Tree
Unlike many temples built to house statues, Kumbum was built to house a pagoda.
Legend tells us that Tsongkhapa was born here in 1357. When his mother cut his umbilical cord, drops of blood fell to the earth, and from that spot grew a miraculous sandalwood tree—the “Tree of Great Merit.” It is said this tree had 100,000 leaves, each bearing a natural image of the Buddha.
Years later, when Tsongkhapa was studying in Tibet, his mother sent a letter begging him to return. He replied that he could not leave his studies, but sent a self-portrait and a “Lion’s Roar” image, instructing her to build a pagoda over his birthplace. “Seeing this pagoda,” he promised, “is the same as seeing me.” In 1379, the Julian Pagoda was built, forming the sacred heart of what would become Kumbum Monastery.
Kumbum is world-renowned for its harmonious blend of traditional Tibetan and Chinese Han architectural styles.
1. The Eight Pagodas of Buddha Shakyamuni
Greeting visitors in the front square are eight gleaming white pagodas. Built in 1776, they commemorate the eight great merits and virtues of Buddha Shakyamuni. Each stands 6.4 meters tall, decorated with delicate Sanskrit scriptures and guardian lions, serving as a powerful symbol of the monastery’s spiritual authority.
2. The Grand Golden Tiled Hall
This is the soul of the monastery. With its gilded copper roof and emerald glazed-tile walls, the hall radiates a celestial glow. Inside, you will find an 11-meter-tall golden tower wrapped in white sandalwood and encrusted with jewels. At its peak sits a statue of Tsongkhapa. For pilgrims, meeting this tower is considered a direct meeting with the Master himself.
3. The Main Assembly Hall
Spanning nearly 2,000 square meters, this is the center of monastic life. Under a flat roof adorned with gilded bronze bells and “Aquarius” vases, hundreds of monks gather to recite sutras. The interior is a sensory masterpiece of colorful streamers and intricate carvings.
Dhammapala Hall
The “Three Artistic Wonders” of Kumbum
Kumbum is celebrated throughout Asia for its “Three Arts,” which represent the peak of Tibetan craftsmanship and devotion.
I. Vivid Yak Butter Sculptures
In the freezing depths of winter, when fresh flowers were unavailable for offerings, monks began carving flowers from yak butter. This evolved into a sophisticated art form. In the Yak Butter Sculpture Hall, you can see entire landscapes, pavilions, and deities crafted with impossible detail. To keep the butter from melting while they work, monks must dip their hands in ice water—a true testament to their endurance and faith.
II. Imaginative Barbola (Embroidered Appliqué)
Barbola is a unique form of 3D silk embroidery. By layering silk and cotton, artists create raised patterns that give the figures of Buddhas and animals a lifelike, three-dimensional appearance. The “Sixteen Disciples of Buddha” housed in the Main Assembly Hall are considered national treasures.
III. Exquisite Murals
The walls of Kumbum are alive with color. Using special mineral pigments that remain vibrant for centuries, these murals depict the life of Shakyamuni and scenes from the sutras. During the Sutra-viewing Festival, a massive 30-meter-long Buddha scroll is unfurled on the hillside, a breathtaking sight known as the “Great Buddha Exhibition.”
Kumbum Monastery hosts four major Dharma assemblies annually, held during the first, fourth, sixth, and ninth months of the lunar calendar. These gatherings are a blend of traditional festivals and grand religious events unique to the monastery. During these times, the temple comes alive with sacred activities, including monastic debates, mask dances, and sutra chanting.
A highlight of these fairs is the Cham Dance, where monks wear ornate masks and vibrant costumes, using dramatic gestures to express profound Buddhist teachings to the rhythm of cymbals and suonas (traditional horns). One of the most awe-inspiring sights is the Giant Thangka Unveiling, where a massive, delicate image of Tsongkhapa is unfurled down the mountainside. For the faithful, witnessing this Thangka is considered a direct and holy encounter with the Master himself.
Thangka Exhibition during the Buddha Festival
In July 2006, this sacred temple issued its formal recognition and congratulations to H.H. Dorje Chang Buddha III
United International World Buddhism Association Headquarters:
Under auspicious circumstances, we were happy to learn of the publication of A Treasury of True Buddha-Dharma—Complete Proficiency in Exoteric and Esoteric Buddhism and Perfect Mastery of the Five Vidyas about the Buddha Vajradhara, H.H. Master Yangwo Wan Ko Yeshe Norbu. His Holiness’s outstanding accomplishments are unprecedented. We respectfully send this letter of congratulations and joyfully offer our praise.
His actions and mind are pure, and His good fortune and wisdom are limitless. He benefits myriad living beings, and His willpower never tires. His powerful virtue is widespread, and His appearance is completely dignified. He truly abides in peace and His accomplishments are perfect!
Qinghai Skuvbum Monastery An auspicious day in July of 2006
Below is the original copy of the recognition letter in Chinese:
Please see below the answer of whose work is the best amongVincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III
I have spent more than 60 years of my professional life in the field of painting. During the many decades of practice and experiences, I have come to know many famous painters. That is especially the case since I became the Head Consultant for authenticating paintings and calligraphy at the National Museum of China in Beijing. As an appraiser and authentication officer of paintings and calligraphy, the bulk of my work is to verify the authenticity of Eastern and Western paintings. I have reviewed tens of thousands of famous paintings, especially the rare and precious works of the maestro Vincent van Gogh of the Netherlands, and those of the champion of Eastern paintings, Qi Baishi of China.
Both Van Gogh and Qi Baishi were great world-renowned masters in art. One represented the apex of Western art and the other was a master of an extreme class in the field of Eastern paintings. Both artists had drawn from the essence of the classical traditions of their respective cultures. They created new styles of art and new ways of seeing the universe. They broke new grounds and became pioneers of new eras, each becoming a creative guru of his time, developing a distinct style of his own and leading new trends that inspired later generations. Their works reflect the different essences of the Eastern and Western traditions. To what extent can their works influence the artistic civilization of the world? What kind of artistry did they achieve that made them upright monuments in art history and admired by so many people?
Some art critics compared the works of Van Gogh and Qi Baishi to see which of them reached a higher level of accomplishment. They concluded that both have their own merit, both are undefeated champions in the art and both reached the pinnacle of artistry. Recently, some art critics also brought up the oil painting Sunflowers and the ink-wash painting Sunflowers, both created by H.H. Dorje Chang Buddha III, and gave them rave reviews. They went on to compare the works by Vincent van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, trying to establish which of the three artists is the champion of the champions. The result of comparing the works by Van Gogh, Qi Baishi and H.H Dorje Chang Buddha III is tremendously inspiring.
Ever since the Renaissance, Western artists had placed emphases on rational analysis and the realist portrayal of forms. They used light, texture and details to present the realistic, three-dimensional perspective. A few centuries later, Van Gogh rejected the monotony of such use of light and shadow and the realistic portrayal of figures. He pioneered the movement of impressionism that suited him well by applying a mix of colorful, brilliant, splendid and vigorous brushstrokes. He became a great master of his time and his name was forever etched onto the monument of Western civilization and art.
Whenever people think of Van Gogh, they think of his unique character, the sparkles in his eyes that emit lightning, his vigor and his incessant pursuit of inspiration in art without any regard to external hardships. Van Gogh was an artist by birth. He was of exceptional confidence and was somewhat neurotic. Having such traits, he pursued the art that he loved without any reservation or hesitation. He loved his works and regarded everything else with disdain. He preferred to be a loner in the world and did not care to make acquaintance of other painters of his time. His works are full of luminous colors, the brushstrokes are like rising winds and racing clouds in the sky. In his art, he depicted pasture, figures, flowers and other subject matters with brisk colors. Every brushstroke was transformed from his inner emotions. Such emotions were fully and colorfully captured in his Self-Portrait as well as in the transcendental Sunflowers that he painted. These works contain an animated spirit that is deeply moving.
From Van Gogh’s artistic spirit and intent, we can detect that he was profoundly knowledgeable about Chinese ink-wash paintings. Precisely because of this, while depicting forms and applying colors, he employed the skills of using the center tip of the brush and parallel brushstrokes. His Still Life with Bible was created with parallel brushstrokes. In his Self-Portrait, he portrayed his face filled with lines and plaques that are extraordinary. It is not hard for us to discover that he drew inspirations from the substance and essence of Chinese painting in those brushstrokes. That is why Van Gogh is such a distinguished, unparalleled artist of his time and his works are superior to those by the other Western oil painters such as Cezanne, Gauguin or Picasso of the same era.
Van Gogh’s artistic style was closely linked not only to Chinese civilization in the East, but also to the classical Renaissance art, Pointillism, German Expressionism, and Impressionism in the West. Toward the end of his life, he came into oneness with the universe and immersed himself in a carefree state of mind to “follow wherever nature might lead.” As such, he was no longer aware of his own existence. In his mind, there was only the art and the universe. “Following where the nature may lead” is the essence of the ideology of the Chinese philosopher Laozi. Van Gogh cut off his ear with a knife. He lost himself completely in painting. That was his unspoken resentment and rejection of the unfair treatment imposed on him by the society.
Qi Baishi was profoundly knowledgeable about impressionist, fauvist, and realist paintings. By adopting the essence of Western painting and incorporating the traditional spirit of Eastern art, he developed his unique style and became the master of Chinese painting of the twentieth century. His brushstrokes were solid and poised, evincing a sense of power that went all the way through the paper. Using sheep-hair brushes, he elicited calligraphic skills to create his paintings. Qi Baishi’s lines are bold and robust, embodying a forceful spirit that can move mountains. At the same time, these lines are flexible, sturdy and round, with similar qualities to the lines of wire-drawing. His compositions emerged naturally from the spontaneous movement of the brushes. Such compositions are accompanied by vigorous calligraphy resembling the strength, power and fluidity of stone inscriptions.
The artistic concept of spontaneously “following where nature may lead” is precisely derived from Laozi’s philosophy and the artistic civilization of the Chinese ethnicity. Qi Baishi favored the use of white space in his paintings. The white space in black-and-white Chinese ink-wash paintings is considered a solid color. Ink can be differentiated in nine shades (or five shades according to ancient Chinese text.) That is to say, the white of the paper per se and the black of the ink are all considered as colors. There is a sense of meticulous precision in the artworks by Qi Baishi. He depicted insects such as grasshoppers, mantises and butterflies in meticulous and vividly colorful ways. In some of his artworks, the artist was able to express his ideas by putting down just a few brushstrokes without any conscious intent, while arriving at a state of oblivion of his own existence. Anything depicted by his brushes was vivid and vibrant, with the subject matter coming alive on the paper. There is an aura that moves our heart and soul. All in all, Qi Baishi’s paintings were executed with a confident brushwork that naturally achieved a kind of childlike charm.
Recently, some people compared the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III to see whose works are more superior and outstanding, or will have a broader and more far-reaching influence on later generations. I have viewed quite a lot of the artworks by Van Gogh, Qi Baishi and H.H. Dorje Chang Buddha III. I started the study and appreciation of the paintings by Qi Baishi under the enlightening guidance of my teacher when I was 9, and when I was 14, I began to study and appreciate the works by Van Gogh. It has since been several decades!
At the same time, since I have admired the art of H.H. Dorje Chang Buddha III for a long time, to satisfy my desire and wishes I flew from New York to San Francisco to visit the International Art Museum of America, and to Los Angeles to visit the H.H. Dorje Chang Buddha III Cultural and Art Museum in order to see their collections. I was profoundly impressed by the architecture of both museums which is grand and dignified. Both museums have a collection of the authentic works by H.H. Dorje Chang Buddha III. There are various artworks that are created with different kinds of material. Some are bold and forthright, some are charmingly meticulous and astounding. The oeuvre is not made up of just one single style.
Yet, the only artwork that was not available for viewing is the Sunflowers painted by H.H Dorje Chang Buddha III. When I hear that some art critics are comparing the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, I naturally feel, from my experience of having studied the works by Van Gogh and Qi Baishi for a number of decades, that although their artistry are similar in levels, it is possible to say who is the best if we are just to compare the sunflowers painted by the three artists, when we include in the compositions, colors, brushwork, lines, vitality, spirit and so on. With all these elements in consideration, it is possible to do the comparison and conclude who painted the best, or in other words, whose works can bring the most joy and delight to people, or whose art will be most influential to the philosophy, artistic concept and entire civilization of this world.
Therefore, without any ambiguity, we concluded. In terms of character and morality, Van Gogh would be the last of the three. In terms of level of skills, Qi Baishi would also be ahead of Van Gogh, who is, however, already the cream of the crop in western civilization. Being the Buddha living in the current century,H.H. Dorje Chang Buddha III saves living beings with great loving compassion. He is not embodied in an ordinary being. Needless to say, the level of cultivation of the Buddha is superior to that of Van Gogh and Qi Baishi. In terms of creativity and painting skills, how can any ordinary being even hold a candle to the Buddha? In this way, the comparison result is immediately determined.
When those art critics carried out the detailed research of the Sunflowers by Van Gogh and Qi Baishi as well as H.H. Dorje Chang Buddha III, they copied the artworks by all three artists. After copying the works by Van Gogh and Qi Baishi, they felt deeply that through hands-on practice, they indeed gained more understanding of their works. It would not be easy but not so difficult either for one to really reach their artistic level. As for the Sunflowers by H.H. Dorje Chang Buddha III, they found it rather difficult to copy. Even though they tried many times, they had a hard time just copying the form, let alone the spirit.
The Sunflowers by H.H. Dorje Chang Buddha III clearly show the artist’s solid foundation and prolific skills in the Eastern and Western painting traditions. They comprise the essences in both traditions and display a brushwork, sentiment and colors that are one of a kind. The color tones and brushstrokes are rich, dense, soothing and elegant. Lively brushwork paints an animated charm that is whole, evincing a miraculous and expansive spirit and aura as well as a strong vitality. As for the Sunflowers oil painting in which H.H. Dorje Chang Buddha III depicted some flowers inside a vase, the artistry is extraordinary and full of variations; the composition is simple yet abstruse. The flowers are natural and gracious, such that they give an impression of unpredictability, reaching a state of oneness with the universe and emanating a sharp animated spirit.
The ink-wash painting Sunflowers by H.H. Dorje Chang Buddha III has an uninhibited, natural, and spontaneous brushwork that is dense, bold, and robust, but also elegant and agile. It exhibits a charm that is like stone and bronze inscriptions. Overall, the whole painting manifests a harmonious and moving imagery, naturally emanating a lively vivaciousness and a carefree, spirited aura.
In comparing the works by Van Gogh of the Western civilization, Qi Baishi of the Eastern culture, and H.H. Dorje Chang Buddha III, we can see the artists are distinguished in their unique own ways owing to their different cultures. However, only the artist who can continue to influence the world two to three hundred years from now will be the everlasting monument. There is a saying, “Talents emerge in every era and they all will each have 500 years of fame!” For people of the present day, the one whose work you like the best would be the one that is the most extraordinary!
Please see the contrast of six paintings below:
Sunflowers by Van Gogh (1)Sunflowers by Van Gogh (2)Sunflowers by Qi Baishi (1)Sunflowers by Qi Baishi (1)Ink-wash Painting Sunflowers by H.H. Dorje Chang Buddha IIIOil Painting Sunflowers by H.H. Dorje Chang Buddha III
The H.H. Dorje Chang Buddha III Cultural and Art Museum is pleased to announce its exhibition of “A Rock of Horizontal Charm“, a masterpiece of Yun Sculpture that embodies the spirit of art in a truly dis-tinctive way. In honor of this extraordinary form of art, the museum is offering free admission to the public for a limited time.
“A Rock of Horizontal Charm” was created by the world-renowned and internationally-revered highest leader of Buddhism, H. H. Dorje Chang Buddha III. The Yun Sculpture is a piece of original artwork that expresses a unique set of qualities. Various art experts and professors who have viewed the sculpture art say it has surpassed natural beauty and represents a level of perfection that extends well beyond what can be described as superb craftsmanship or inspired artistry.
The H.H. Dorje Chang Buddha III Cultural and Art Museum is exhibiting A Rock of Horizontal Charm, an unparalleled masterpiece of Yun Sculpture. For a limited time, visitors can receive free admission to the museum and witness the unsurpassed natural beauty of the superb sculpture art first hand.
When viewed from different angles, the Yun Sculpture’s colors, structure, and atmosphere change completely, inexhaustibly transforming in unpredictable ways. Furthermore, it possesses multidimen-sional spatial structures that are complex yet delicate and intricate, and exquisite to the utmost. In addi-tion, its colors—kaleidoscopic and majestic, yet mature and assured—manifest a supernatural, visionary beauty. “A Rock of Horizontal Charm“, alone, is so endlessly variegated that it provides thousands of beautiful vistas.
The astounding beauty of this amazing sculpture art goes far beyond mere words. Therefore, it is no surprise that it has distinguished itself as the “emperor” of the four great Yun Sculptures. In fact, the creation of “A Rock of Horizontal Charm“ is considered to be a miracle in human history because no craftsman in the ancient or modern world—or even high technology—has been able to devise such ex-traordinary works of divine art. Consequently, this original artwork has been designated a “peerless treasure” that cannot be replicated, and the museum has named the room in which it is being displayed, Peerless Treasure.
“Even the “He Shi Bi (the Jade Disc of He) “, recorded in history as a treasure of monumental value, does not fit the title of ‘peerless treasure,’ since it is completely replicable—and if it can be replicated, it is not unique; if it is not unique, it is not peerless,” states the museum’s website. “In fact, any master sculptor’s magnum opus can be recreated; thus, only “A Rock of Horizontal Charm“ is the true peerless treasure.”
Despite an invitation to create an identical replica Yun Sculpture for a $50 million prize, no human sculpture master or technology has successfully duplicated “A Rock of Horizontal Charm“. From this, one can see how H.H. Dorje Chang Buddha lll’s artistic level has far exceeded the summit of sculptural art in human history.
The exhibit featuring “A Rock of Horizontal Charm“ will allow visitors to experience the divine charm of H.H. Dorje Chang Buddha lll’s original artwork in person. The unreplicatable sculpture exudes an inex-plicable amalgamation of color, motion, energy and spirit. “A Rock of Horizontal Charm“ has transcend-ed the category of highest human sculptural attainment and entered into the enjoyments of a mystical world.
Located in Covina in East Los Angeles, the H.H. Dorje Chang Buddha III Cultural and Art Museum is housed in a building with a 117-year history. The structure was renovated in 2014 and transformed into the cultural and art museum that occupies the space today. Since then, the museum’s world-class, un-matched treasures have attracted a steady stream of culture and art lovers from around the globe.
The mission of the cultural and art museum is to promote the exceptional accomplishments of an Amer-ican with outstanding talent—H.H. Dorje Chang Buddha III—by displaying his achievements in culture, literature, philosophy, art, science, technology, and other fields. Visitors to the museum can learn about the noble ethics and morality of H.H. Dorje Chang Buddha III and the holy character of this magnificent, selfless Buddha who altruistically contributes to society through his vast achievements and who advances world peace as well as the happiness of people. In addition, visitors can be guided by the teachings of H.H. Dorje Chang Buddha III and model themselves after him to elevate their own moral character and benefit the public.
About H.H. Dorje Chang Buddha III H.H. Dorje Chang Buddha III has been recognized by the most highly realized practitioners of Buddhism as the third incarnation of the original Buddha, Dorje Chang Buddha. His accomplishments transcend religion, healing and art. As the first in history to manifest real accomplishments in the five vidyas, He meets the highest standard of Buddhism. He is recognized for his devotion to a wide scope of cultural and religious activities, which enrich the lives of people from communities throughout the world. His Holiness has mastered 16 unique painting styles or schools, representing an unprecedented pioneering achievement in the history of art. Additionally, He is the pioneer of a new class of artwork that cannot be duplicated by any living being: Yun Sculpture. Experts predict that His paintings and sculptures will become increasingly valuable.
One recognition certificate from a sect can make the status of a rinpoche, while being recognized as the reincarnation of a Buddha requires confirmation from multiple Dharma kings of all different sects.
Generally, when a rinpoche reaches significant status, they are also recognized by more than one of the eminent monastics. H.H. Dorje Chang Buddha III, who has been recognized by over 100 Dharma kings, regent Dharma kings, great rinpoches, and top leaders of various Buddhist sects, is the first person in Buddhist history to receive this many recognitions.
It is the belief of all of these powerful individuals that H.H. Dorje Chang Buddha III is the true reincarnation of the Primordial Buddha, Dorje Chang Buddha. For over 1,000 years, this system has been used by numerous sects in order to recognize their reincarnated Buddhist practitioners.
Based on Buddhist principles, a “Buddha” has attained the supreme level of wisdom and enlightenment, and there is no one above a Buddha. So it goes without saying that a Buddha is the highest leader in the world when it comes to that religion and culture. That makes H.H. Dorje Chang Buddha III the highest leader of Buddhism in today’s world.
Building on the Foundation of Compassion
As H.H. Dorje Chang Buddha III works with others and makes his way in the world, he remains unaffected by awards and fame, and by those who would seek to slander him. His goal is only to contribute to the world, and to teach Buddhism to people, so the world can have more peace and happiness in it.
The cultivation of Buddha Dharma is what H.H. Dorje Chang Buddha III focuses on, rather than his standing and status as the reincarnation of a Buddha. Buddhist teachings are based on causality, peace, harmony, and compassion, and these are the main tenets that H.H. Dorje Chang Buddha III lives by. As he shares his compassion with others, he is able to change lives.
At the very beginning of the COVID-19 pandemic outbreak, His Holiness Dorje Chang Buddha III took the lead, donating equipment and materials for personal protection. This equipment for fighting the pandemic was donated to police departments, hospitals, and other public service institutions. His Holiness the Buddha also told people publicly:
“The emergence of the pandemic is a result from causality. Throughout the history of mankind and society, there have been occurrences of many pandemics of different types and forms. The COVID-19 pandemic is a type of contagious plaque, which is just infection through popular contact.
The symptoms would transform based on the changes in one’s physical conditions and the climate and spread to others. But people will also generate antibodies in response. However, this disease is not going to become extinct. Yet vaccines can provide very significant protecting effects to people.
Therefore, all of you should not be under pressure or become worried. Rather, all should follow the exhortation of the government and obey the government regulations.
Have yourself vaccinated. That will protect yourself and also others. Furthermore, the pandemic will not cause a closure to people. In the end, it will be opened up everywhere because our country will not allow closure to happen, and the world will not allow closure to happen.”
Living simply and focusing on humility rather than material rewards, he has never been concerned with his own well-being. He lives for the service and well-being of others, and to teach them the Buddha Dharma that will bring them enlightenment and liberation.
The more people who have this understanding, the more people will continue to show that understanding to others, to help others and to benefit society. This can cause a ripple effect of peace and harmony, which will spread far and wide through his teachings and the information he passes along to people around the globe.
Celebrated as a Scholar, an Artist, and a Healer
From a very early age, H.H. Dorje Chang Buddha III has been seen as extremely talented in a number of areas of life. Even as a child, he had wisdom beyond his years and talents that were strong and unexpected. Documentaries were made about his artistic abilities, and people came from far and wide to learn Buddha Dharma from him.
That occurred even before he was officially recognized as he is today. It is the belief of Buddhists that H.H. Dorje Chang Buddha III holds supreme knowledge of the universe.
Others have spent their entire lives seeking the wisdom and understanding H.H. Dorje Chang Buddha III has, but it seems as though he was born with it. His Holiness has taught many Buddhist leaders, holy gurus, Buddhist practitioners, and people from every walk of life who seek out his wisdom.
Whether people have questions about Buddhism, need mental or physical healing, or want a deeper understanding of life, H.H. Dorje Chang Buddha III will not turn them away. As the sutra said that a Buddha is the king of healing, he helped more than 300 people in one day during his time in China.
Born in China, he was quickly recognized there as having abilities well beyond his years. His artwork was exhibited in Taiwan, and he was named to the presidency of The Chinese Painting Research Association in Beijing in 1987. He has met with dignitaries from all over the world, including many in China before he moved to the United States.
When he visited Taiwan in 1995, it was not just dignitaries and important people he met with, but people from all over the area who lined up at his hotel to seek his help and guidance.
All throughout the day and night, the Buddha helped people without resting. H.H. Dorje Chang Buddha III does not turn any of them away from the help they were seeking and the guidance they wanted and needed from the Buddha.
He has remained selfless and compassionate, helping those who are distressed, elderly, poor, or sick and infirm, as well as any injured or stray animals he finds during his travels. No one and nothing are turned away from the Buddha’s help.
Subjected to Defamation and Injustice
Throughout his life, H.H. Dorje Chang Buddha III has been subjected to injustice, and had his name defamed and slandered. Two years after he came to the United States, the Guangdong Shenzhen Public Security Bureau in China made a case against him and charged him with defrauding someone during a property sale.
But even the person who was named in the case came forward and said that it had not happened. The Buddha also had no record of ever owning the property, or of anyone else transferring it to him.
The case lingered for years, even going so far as getting INTERPOL involved and asking that they issue Red Notices for the arrest of H.H. Dorje Chang Buddha III. After an investigation in China, thirteen legal experts came together and stated that the case was incorrect and fabricated, and that it was not accurate at all. INTERPOL’s investigation showed the same conclusion.
Eventually, China requested INTERPOL to withdraw the Red Notices against the Buddha, and in November 2009 INTERPOL wrote to His Holiness the Buddha that the Red Notices against him had been canceled. But all through the years when he was being defamed and investigated, he never said a word about it.
He made no public statement about the case, nor did he try to clear his name in any way. When he was asked to show the INTERPOL letter he received, he also chose not to do that.
The reason that Shenzhen Public Security Bureau made the case against the Buddha, is because Shenzhen Public Security Bureau illegally took more than 700 paintings from the house the Buddha resided in.
These were paintings that were created by him during past decades. But he never said anything. In order to keep these paintings, the public security agents still tried to slander the Buddha through the internet, and continued to make claims that he was guilty.
If they stated his innocence, they would have to acknowledge their own crimes, including the made-up case and the stolen paintings from the Buddha and his disciple.
Finally, in 2019, due to mounting requests from the Buddhist community and its leaders, H.H. Dorje Chang Buddha III agreed to make the INTERPOL letter public. The World Buddhism Association Headquarters made the letter public and issued a statement as well.
That allowed those who were faithful to Buddhism all around the world see the truth of the facts in the case, and put their fears and concerns to rest. During the entire time, H.H. Dorje Chang Buddha III never said anything negative about his accusers.
The Most Dignified Buddha Treats Himself As Humanity’s Servant
Ever since the founding of Buddhism, it has been common practice for Buddhist disciples to make offerings to their teachers and masters. But H.H. Dorje Chang Buddha III has vowed never to accept offerings, and to do everything out of love and compassion, without any requirements for compensation. He serves people only on a voluntary basis and will never take something in return for his services.
His compassion for the people who have helped him, those who have tried to harm him, and the world in general, seems to be unwavering. H.H. Dorje Chang Buddha III is committed to his teachings, and understands that the care and compassion he displays to the world is what matters.
From the art he creates to the people who come to him for healing, everything and everyone is treated with care. This is the way it has been done for more than 2,500 years, and H.H. Dorje Chang Buddha III carries on the tradition.
By focusing on the situations of other people, instead of his own, the Buddha is able to show that he values the world and everyone in it, and that other people should do the same. It is only through serving others and having compassion for them that people can truly reach an enlightened state of joy and happiness.
While not necessarily easy to do in modern society, H.H. Dorje Chang Buddha III has been focused on the value of this accomplishment since he came to this world, and remains committed to it today.
During his life in China, and now that he lives in the United States, he has frequently been offered millions and even tens of millions of dollars in offerings.
He has never taken even a dollar of it, and has always turned it away. Some disciples have written about how they have wanted to give offerings, but that the Buddha would not accept them. Although he is always modest and says that he is humanity’s servant, we know that he is the most dignified Buddha in the world.
Hidden in the quiet county of Yixian in northern China, Fengguo Temple has stood for over a thousand years as a living testament to ancient Chinese wisdom and spiritual devotion. Its magnificent Mahavira Hall, the largest single-story wooden structure of its time, houses seven colossal clay Buddhas that have miraculously survived the centuries. This temple is not only an architectural marvel but also a sacred symbol of harmony, resilience, and faith that continues to inspire all who visit.
A Thousand Years of Faith and Architecture
Beyond the Shanhai Pass, in the northern part of Jinzhou City, Liaoning Province, stands the quiet county of Yixian, home to one of China’s most magnificent ancient temples — Fengguo Temple. This remarkable site, founded over a millennium ago, is not only a masterpiece of Liao Dynasty Buddhist architecture but also a living testament to the extraordinary ingenuity of ancient Chinese builders and the enduring power of faith.
In 2020, Fengguo Temple celebrated its thousandth anniversary. Through a thousand years of wind, snow, wars, and earthquakes, its grand Mahavira Hall still stands tall — a miracle in both architecture and spirituality.
The Majestic Great Hall
The heart of Fengguo Temple is its Mahavira Hall (Great Buddha Hall), one of the Eight Great Structures of the Liao Dynasty. Built in 1020 CE, it measures 49.5 meters wide, 26.6 meters deep, and 19.9 meters high, covering an area of 1,317 square meters. Standing on a 3.2-meter-high platform, the hall is the largest single-story wooden structure of ancient China — magnificent, solemn, and breathtaking.
Ingeniously designed, the hall uses a “reduced-column” method to maximize interior space while maintaining perfect stability. Ancient builders applied advanced techniques known as “side-foot” and “rising beam”, ensuring the building’s balance and graceful proportions. The massive bracket sets under the eaves are bold yet refined, exuding strength and elegance.
Thanks to its precise structural mechanics, the Great Hall has remained perfectly upright for a thousand years, without any sign of warping or tilting — an unparalleled achievement in the history of wooden architecture.
The Seven Buddhas: Eternal Clay Sculptures
Inside the Great Hall, seven colossal clay Buddha statues, each about nine meters tall, sit side by side upon a brick platform. From east to west, they are: Kashyapa Buddha, Krakucchanda Buddha, Sikhin Buddha, Vipashyin Buddha, Visvabhu Buddha, Kanakamuni Buddha, and Shakyamuni Buddha.
These are the “Seven Buddhas of the Past” mentioned in Buddhist scriptures, symbolizing the eternal cycle of enlightenment in our world. Each Buddha exudes solemn dignity, with serene expressions and graceful postures, reflecting the Liao Dynasty’s continuation of Tang-style Buddhist artistry. Two bodhisattvas stand beside each Buddha, adding vitality and compassion to this sacred tableau.
This magnificent ensemble is the oldest and largest group of colored clay Buddha statues in the world. Despite being made of fragile clay, they have miraculously survived for over a thousand years, their colors still soft and luminous. This endurance is nothing short of a miracle — a union of artistic mastery and the blessings of faith.
The Legend of the Buddha Catching a Shell
During the Liaoshen Campaign in the late 1940s, Yixian became a battlefield. Amid the chaos, a shell pierced through the roof of the Great Hall and fell directly into the right hand of the Shakyamuni Buddha statue. Miraculously, the shell did not explode.
Locals still tell this story as “The Buddha Caught the Shell with His Hand.” Whether fact or legend, it adds an aura of mystery and divine protection to the temple’s long history — as if the Buddhas themselves were silently safeguarding their sacred home.
The Flying Devas of Liao
The beams and rafters inside the Great Hall are adorned with over 4,000 square meters of original Liao Dynasty murals. Among them, the heavenly maidens — the Flying Devas — are the most enchanting. With radiant faces and flowing ribbons, they drift gracefully through clouds, offering flowers and fruits to the Seven Buddhas below.
Their movement contrasts beautifully with the Buddhas’ stillness, creating a breathtaking scene of divine harmony and devotion. The surrounding walls also preserve Yuan and Ming dynasty murals depicting ten Buddhas, eight Bodhisattvas, and the Eleven-Faced Avalokiteshvara, adding even more layers of spiritual and artistic richness to this timeless sanctuary.
A Thousand Years of Wonder
Standing before this majestic hall — a wooden structure that has endured a millennium — and gazing upon the clay Buddhas whose serene faces have survived a thousand winters, one cannot help but wonder:
How can a wooden palace withstand ten centuries of storms and wars? How can clay sculptures remain whole and radiant after a thousand years?
Is it the wisdom of the ancients? The strength of art? Or the blessing of the Dharma itself?
Perhaps the answer lies within every beam, every brushstroke, and every tranquil smile of the Buddhas.
May the Buddhas and Bodhisattvas bless all beings with peace, compassion, and happiness. Namo Amitabha.
Sometimes beauty finds us when we least expect it—appearing like a sudden blossom of color in an ordinary moment, stopping us in our tracks and opening our hearts to wonder.
I happened to come across two traditional Chinese paintings online, both dominated by bright pink, and was utterly astonished. I couldn’t help but study them carefully. In Chinese painting, it is rare to see large areas of pink used as the main color, since it often risks appearing vulgar. Yet in the works of H.H. Dorje Chang Buddha III, there is not the slightest trace of vulgarity. On the contrary, they radiate grandeur and magnificence, and the artist’s confident mastery of color bursts forth boldly from the canvas.
The above piece in particular was painted with a heart as pure and untainted as that of a child. Within the seemingly naïve brushstrokes lies immense skill and mastery. The style is free and natural, bold and unrestrained yet still gentle. Its simple composition is infused with deep emotion and imagination, brimming with the vitality of childlike wonder that uplifts the viewer’s spirit.
A few pink houses stand in the scene, behind which several pink fruit trees sway delicately. Ink outlines give the houses their structure, while the softly hanging trees add a tender rhythm to the picture. The artist’s unique technique and extraordinary control of color are truly breathtaking. The inscription on the work further enhances its spiritual resonance:
“Brilliant colors, vivid yet dignified; consummate skill that reveals the heart of a child.”
Indeed, this is a rare and outstanding masterpiece of Chinese painting.
This masterpiece is a freehand splash-ink landscape, where the brush moves with effortless freedom. Layer upon layer of crimson cliffs rise as though born from the artist’s own heart—lines powerful, vigorous, and full of life. Ink strokes carve the very bones of mountains and rocks, each one natural, unrestrained, yet perfectly balanced. Broad washes of pink suffuse the scene, creating an ethereal, dreamlike realm that lingers between presence and absence, as if belonging to an immortal world. To gaze upon this painting is to step into another dimension—where the heart gradually settles into stillness and begins to sense the hidden rhythms of the cosmos.
This painting was not created to showcase skill or to dazzle the eye, but as a natural outpouring of inspiration and emotion. Both ink and color arise directly from the pure stirrings of the artist’s heart.
Here, the true essence of Chinese painting—shen yun (spiritual resonance)—is revealed in its fullest clarity. The inscription makes the artist’s intent unmistakable: “With effortless spontaneity, illusion transforms into nature; in the fleeting and ethereal, the hand finds its way.” The purpose is not simply to depict form, but to open a gateway into a spiritual realm that transcends the material.
Shen yun is at once vivid and elusive—an ineffable charm, a subtle spiritual force that cannot be captured in words. It flows from the painter’s inner cultivation and profound state of mind. When spirit and technique merge seamlessly, the work attains a power far beyond outward appearance.
It is only when the viewer is touched by this shen yun that the formal elements of the painting—the structure of its composition, the interplay of colors, the rhythm of the brush, the unity of poetry and image, the harmony of form and spirit—truly come alive. These elements are essential, of course, but they are not the destination. They are the pathway to something deeper, pointing always toward a higher, transcendent experience.
These two paintings are rare gems of Chinese art, that surprise, inspire, and open a doorway to beauty both profound and pure.
Owls have always fascinated me with their air of enigma. Creatures of the night, they rest in the shadows by day and emerge only after dusk, rarely granting humans more than a fleeting glimpse. Across cultures, they have inspired legends both wondrous and foreboding. In ancient Greece, the wise and fearless goddess Athena chose the owl as her emblem, making it an enduring symbol of wisdom. So revered was this bird that Greek coins bore Athena’s face on one side and the owl on the other. Yet, in other parts of the world, the owl has been shrouded in darker associations, seen as a harbinger of misfortune or an omen of ill will.
In Chinese culture, the owl’s symbolism is particularly layered—holding both shadows and light. In ancient times, owls were often viewed as inauspicious creatures, linked to misfortune, death, and the old saying, “When the night owl enters a home, it never comes without cause.” And yet, in certain cultural contexts, they also stand for wisdom, keen insight, and even mysterious, almost magical power.
A Chinese ink painting by H.H. Dorje Chang Buddha III
When most people picture an owl, they think of its round, unblinking eyes and penetrating gaze—features that can feel cold, even intimidating. But my perception shifted entirely when I encountered the Chinese ink painting Childlike Delight by H.H. Dorje Chang Buddha III.
This is no ordinary artwork. With the freehand grace of traditional Chinese brushwork infused with a touch of dreamlike realism, it bridges the poetic subtlety of Eastern art and the fresh, luminous clarity of Western modernism.
With just a few effortless strokes, the artist creates a whimsical, pure, and gently humorous world—a dreamscape that seems to invite the viewer into the peaceful slumber of childhood. The small owl, covered with delicate ink spots of varying sizes and shades, appears almost as if glimpsed through a soft morning mist. Look closely, and you might see the tender image of a sleepy child, finger to lips, caught in that sweet moment before surrendering to dreams.
This is not a literal portrayal of nature, but rather nature reflected through the artist’s own heart—capturing not merely the physical form of a creature, but its spirit, vitality, and essence.
Here, the owl is reborn—not as the ominous figure of superstition, but as a symbol of innocence, purity, and quiet wisdom. The artist’s compassionate and unblemished inner world radiates through the painting, gently cleansing the heart of the viewer until it feels as fresh and clear as morning dew.
Childlike Delight reminds us that we can close the sharp, competitive eyes of rivalry and open instead the eyes of kindness, innocence, and warmth—gifts that have the power to heal, to inspire, and to light the world.
If you are willing to look with your heart, you will see starlight in a wolf’s eyes.
On this planet, humanity is not the only protagonist. Every forest, every river, every creature shares the same sky and breath with us. True civilization is not the conquest of nature, but the choice to live in harmony with it.
Li Weiyi, a wildlife animator, has spent years drifting between forests and grasslands, sketching the fleeting emotions in an animal’s eyes and the untamed spirit in its movements. Her brush captures not just form, but soul. Gentle and perceptive, she treats animals as friends and believes, with unshakable conviction: all beings are equal.
The Call of the Grassland
In April 2010, she arrived in the vast Ruoergai grasslands of Sichuan. The wind bent the grass like waves, silver mountains gleamed under the sun, and the openness was almost intoxicating. But behind the beauty was a brutal truth—conflicts between humans and wildlife were pushing many animals toward tragedy.
Then she heard a story that broke her heart. A male wolf, desperate to feed his mate who had just given birth, ventured into a human settlement in search of food. He was caught in a trap, killed by herders, and skinned. His mate waited for days before realizing he was gone. In grief, she ate poisoned bait and followed him in death, leaving six starving pups behind.
Li Weiyi resolved to find them. Days of searching through freezing wind and endless grass finally brought her to the den. Five pups had already died. The last survivor lay weak and trembling, barely breathing. When she whispered, it crawled toward her with eyes full of trust. At that moment, she became its only family.
She named him Green—for the color of the grasslands, for life, hope, and freedom.
Life Between a Woman and a Wolf
In Chengdu, Green grew into a curious, spirited companion. He swam instinctively the first time he fell into water, learned to press the TV remote with his paws, and loved wolf documentaries—howling whenever his kind appeared on screen.
But a wolf will always be a wolf. Green chewed through wires, stole raw meat from neighbors, and refused a leash with stubborn pride. On the streets, he walked with head held high, as if declaring to the world: I am a wolf, not a pet.
A walk with a stray dog ended in tragedy when the dog was hit by a car, sending Green into a panicked dash through traffic. Authorities warned Li Weiyi that Green could no longer live in the city.
Preparing for the Return
She briefly considered a zoo, but one look at an old wolf with dull eyes, torn ears, and walls scarred with escape attempts ended that thought. She sold her home, bought an off-road vehicle and a camera, and returned to the Ruoergai grasslands with Green to begin his rewilding.
There, he sparred with Tibetan mastiffs, relearned the fight for survival, and endured nights of hunger in temperatures as low as –15°C. Li Weiyi stayed by his side through it all, determined to awaken the wolf within him.
Parting and Return
One month later, Green’s howl was answered by a wild pack. He walked toward the mountains, pausing to look back, eyes filled with reluctance. Li Weiyi waved him on, tears blurring her vision, and he vanished into the snow.
He became a ruler of the grassland, fathering pups of his own—but three were killed by humans, a grim reminder that coexistence was still far away.
Two years later, she saw him again from a distance, carrying hares—her favorite food. He stood watching her, not approaching. He belonged to the wild now. His eyes held both sadness and something unspoken.
Li Weiyi began returning to the grassland each year to help wolves like Green survive. And in August 2020, after a decade of intertwined lives, Green ran back into her arms. She held him tightly, tears streaming—warmth, reunion, and harmony made flesh.
Li Weiyi turned her story into the book and film Back to the Wolf Pack. It ends with a haunting question:
“We can rescue a wolf, but can we change the fate of the entire pack?”
This is not only a question for wolves—it is a question for humanity. Every time we expand our territory, every time we place our wants above the needs of other life, we risk silencing the very voices that make this planet alive.
We are not the masters of the Earth. We are one part of a vast, breathing community of life.
In 2020, China’s first wild wolf sanctuary was established—a small but hopeful echo of Li Weiyi’s ten years of dedication. But the work is far from over.
If we truly wish for harmony with nature, it begins with a choice—to see, to care, and to act—before the howls fade forever.
Award recipients from the youngest age group (five- to six-years-old) at the 2025 International Youth Art Contest, pictured with Mr. KC Hsieh, IAMA President.Photo by Johnny Trieu
(Ad) On July 13th, 2025, San Francisco’s International Art Museum of America (IAMA) hosted the awards ceremony for the Second Annual International Youth Art Contest and Exhibition. The museum hosted nearly 400 attendees who were eager to see this year’s exhibition of youth artworks from around the world. Distinguished guests included Mr. Guy Djoken, Executive Director of UNESCO Center for Peace of Washington D.C.; San Francisco District Six Supervisor Matt Dorsey; and Professor Adam Caldwell, Chair of the Jury Committee and faculty member at the Academy of Art University, San Francisco. The ceremony spotlighted the creative achievements of young artists and underscored the museum’s role in fostering cultural exchange and youth artistic expression. Now, in its second year, the International Youth Art Contest and Exhibition continues to expand its reach and impact, advancing IAMA’s mission to champion emerging talent and foster intercultural connection through the arts.
This year, 1,600 youth participants submitted over 3,800 artworks to the Youth Art Contest. Artists from sixty-five countries across five continents competed within four age groups. After a rigorous selection process evaluating creativity, technical skill, and overall presentation, 477 young artists from seventeen countries were selected to exhibit a total of 616 outstanding works in IAMA’s Grand Exhibition Hall. The artistic caliber and thematic richness of the selected pieces left the jury in awe.
Attendees of the 2025 International Youth Art Contest viewing the installation in the Grand Exhibition Hall located at 1025 Market Street in San Francisco.Photo by Johnny Trieu
During his address at the awards ceremony, Mr. Guy Djoken offered high commendation for IAMA and its dedicated team, applauding their ongoing commitment to promoting international artistic exchange and cultivating a space where the public can find joy and renewed hope through art. Reflecting on the global turbulence and widespread uncertainty facing today’s global community, Mr. Djoken declared, “At a time when many live in fear—especially of war—just for us to be here at the museum, smiling and happy, and most importantly hopeful about the future—this is the best thing about this competition.” Mr. Djoken’s heartfelt message set a hopeful tone for the awards ceremony and attendees alike.
Executive Director of the UNESCO Center for Peace, Guy Djoken, was deeply impressed by the exceptional quality of the young artists’ work, finding both joy and hope for the future in their creativity.Photo by Johnny TrieuAward recipients in the eleven – fourteen age group at the 2025 IAMA International Youth Art Contest, joined by Mr. Guy Djoken, Executive Director of the UNESCO Center for Peace in Washington, D.C., who presented the honors during the ceremony.Photo by Johnny Trieu
Matt Dorsey, San Francisco’s District Six Supervisor, also addressed the audience, expressing his appreciation for the International Art Museum of America as a true hidden gem of San Francisco’s art landscape, and pledged his continued support for the museum’s mission and contributions to the community. Supervisor Dorsey offered words of encouragement to all participating youth artists, urging them to pursue their creative passions with perseverance—regardless of the outcome—and to never stop pursuing their artistic dreams.
Award recipients in the fifteen–eighteen age group of the contest were presented with their honors by San Francisco District Six Supervisor Matt Dorsey during the awards ceremony.Photo by Johnny Trieu
Professor Caldwell praised the range of themes and talent amongst all submissions and ages, which made selecting the winners of each age group challenging for the judges. Professor Caldwell noted the importance of international art exchange, stating “It’s a great way to bridge gaps between countries. The artistic community has always crossed political, social, and ethnic borders. Art and music are among the most universal forms of expression. They allow us to feel what others felt… Art brings people together across divides.” Professor Caldwell’s wise words perfectly captured the mission and outcome of the International Youth Art Contest.
Award recipients from the seven – eleven age group honored by Prof. Adam Caldwell—Chair of the Jury Committee, and faculty member at the Academy of Art University, San Francisco.Photo by Johnny Trieu
In this year’s contest, a newly introduced category for the youngest age group—participants ages five to six—garnered enthusiastic engagement from a remarkable number of budding artists. Through their sincere brushwork and vibrant imagination, these children demonstrated an extraordinary innate talent that captivated both audiences and judges alike.
Dr. Amy Hughes, Jury Committee Member and Director of Student Services at the New York Academy of Art, recognized the courageous creativity of the youth artists reflecting, “I was struck by the fearless creativity on display — the young artists did not shy away from complex themes, experimenting with materials, and expressing deeply personal narratives. Each piece felt authentic and fresh, demonstrating both technical skill, and emotional depth. The entries explored themes ranging from family, community, and environmental justice to dreams, culture, and identity—powerfully reflecting the younger generation’s keen insights and profound emotional connection to the world around them.
Charlotte Wu, third place award recipient in the five- to six-year-old age group, looks up at her winning painting, The Garden Where She Waits.Photo by Johnny Trieu
Lucas Shao, the first place winner of the five- to six-year-old age group, depicted himself joyfully swinging through the air in his painting, Wonderland. When asked about his hopes for his art, Lucas enthusiastically declared “I hope my art makes people happy, warm, big smiles just like me!”
Five-year-old Lucas Shao, winner of first place in the five- to six-year-old age group, stood proudly beside his painting Wonderland, depicting his happiness while swinging on the playground.Photo by Tong Shao
Third place winner of the five- to six-year-old age group, Kedarnath Kalidindi depicted a goldfish in a small fishtank in his painting, Freedom in Captivity, inspired by “finding inner freedom during incarceration.” The addition of this age group was an exciting component of this year’s event, and underscored the value of shining a spotlight on youth artwork, and garnering the wisdom of today’s youth.
Five-year-old Kedarnath Kalidindi, third-place winner in the five- to six-year-old age group, introduced his painting, Freedom in Captivity, to the audience.Photo by Johnny Trieu
Ten-year-old Irina Elena Dobrota from Romania was honored with third place in the seven- to ten-year-old age group for her painting, Flight of Dreams, which was selected for the final exhibition at IAMA. Celebrated for its gentle spirit and imaginative vision, the piece radiates themes of kindness, freedom, and hope. Irina’s achievement brought pride and joy to her local community, and she hopes her work will inspire others to believe that every heartfelt wish can take flight—if we have the courage to let it soar.
Third place winner of the seven- to ten-year-old age group, Irina Elena Dobrota’s painting, Flight of Dreams.Photo by IAMA
Ashley Hein, second place winner of the fifteen-to-eighteen-year-old age group, impressed the jury with her painting, Animal Instinct, distinguished by its mature composition and outstanding execution. Professor Caldwell commented that he had shown several of the entries to his university art students, who were deeply moved and inspired by the technical skill and creativity on display.
Ashley Hein’s artwork, Animal Instinct, won second place in the fifteen- to eighteen-year-old age group.Photo by IAMA
Seventeen-year-old Kate Fieldhouse from South Africa received an honorable mention for her painting Between Worlds, which depicts a striking worldscape through an intense and creative exploration of breaking the canvas.
Seventeen-year-old Kate Fieldhouse from South Africa received an Honorable Mention for her painting Between Worlds.Photo by Johnny Trieu
Sixteen-year-old Polina Larina received an Honorable Mention Award for her painting Moscow Buns Evening. During her interview, Polina shared how she views her art as an opportunity to introduce people to Russian culture, and how the Youth Art Contest inspired her to continue to pursue her art dreams, “It was my first time participating in the IAMA competition. Participation in this competition helped me to feel recognized as an artist, and inspired to keep making art and put more effort into it.” Polina’s painting, inspired by a memorable walk with her grandparents, serves as a reminder to escape into nostalgia and childhood memories in trying times.
Sixteen-year-old Polina Larina (second from right, standing beside her mother) who received an Honorable Mention for her painting Moscow Buns Evening, in the Grand Exhibition Hall, joined by her parents and twin sister.Photo by Johnny Trieu
Following the ceremony, Professor Caldwell gave a masterclass for all participants, offering thoughtful insights on artistic growth, and encouraging continued exploration and confidence in their creative journeys. His masterclass focused on four elements: visual storytelling and composition, techniques and materials, the role of art in communication and expression, and advice for young artists. This is the second year Professor Caldwell has judged the artwork for the contest and delivered a masterclass for attendees of the contest.
Professor Caldwell delivered a knowledgeable and enlightening masterclass to attendees and participants. Photo by Johnny Trieu
About IAMA
Located in the heart of San Francisco, IAMA was voted the “Best Art Gallery” and was a finalist as the “Best Museum” in SFGate’s Best of Bay Area 2024. IAMA is dedicated to making world-class art accessible to all through exhibitions, education, and international contests. With a mission to foster peace and happiness through art—especially by nurturing the next generation—IAMA brings together works from around the globe, bridging East and West, classical and contemporary.
Peace LiLy 