How long has it been since you truly quieted your mind to listen to a bird’s song or feel the subtle arrival of spring?
When we slow down and face a masterpiece of freehand flower-and-bird ink painting—Su Shi Nao Chun (The Scholar’s Spring) by H.H. Dorje Chang Buddha III—we find a soothing remedy for the weary soul. With just a few expressive brushstrokes, this painting captures the boundless vitality of early spring. It is not merely a visual feast of fine art; it is a profound spiritual cleansing.
Traditional Chinese ink painting is deeply rooted in the philosophy of “using objects to express one’s will, and borrowing landscapes to convey emotion.” Through the vivid depiction of nature, the artist projects their inner spiritual world and genuine feelings, achieving a sublime state where scene and emotion blend, and the self merges with nature.
The Awakening of Spring: Dialogue in the Willow Branches
Stepping into the world of the painting, what immediately catches your eye and captures your breath is the lively group of birds awakening from their slumber. Facing the spring that has quietly arrived, they chirp and frolic on the branches with joyful abandon.
If you look closely, a bird at the bottom and another at the top right gaze at each other. Their eyes and postures suggest an intimate conversation, as if they are dueting a cheerful folk song, tirelessly spreading the beautiful news of spring’s return.
The artist’s depiction of these birds features exceptionally distinct and precise body language. The fresh, vivid artistic imagery springs to life, showcasing a masterful command of ink and a brilliant compositional mind.
Mastery of Ink: Finding Hope at the Edge of a Cliff
Traditional Chinese painting dictates that “the brush establishes the form and texture, while the ink distinguishes the substantial from the ethereal.” The artistic conception of a piece is born entirely from the movement of brush and ink. The brilliance of Su Shi Nao Chun lies first and foremost in its brushwork.
The lines in this piece are remarkably crisp, rising and falling with an organic, rhythmic tension. Through the controlled weight of pressing and lifting the brush, combined with sudden pauses and sharp turns, the ink gains a raw, powerful, and profound texture.
With simple, concise, and perfectly echoed strokes, the artist wonderfully captures the living dynamism of the willow branches. The entire canvas instantly becomes alive—this aliveness reveals a pure innocence, and it is only through such innocence that true spirituality shines. Once that spirituality emerges, the painting overflows with wit and charm, effortlessly ushering the viewer into a realm of subtle wonder.
This state of effortless, natural creation stems from the artist’s extraordinarily deep spiritual and artistic cultivation. As a master of art, H.H. Dorje Chang Buddha III has dedicated Himself to various forms of painting—including landscapes, figures, flowers, and birds—since youth. His art observes the universe and all living things through the light of Prajna (transcendental wisdom). Moving from the magnificent to the microscopic, the concepts under his brush evolve from the complex to the simple, leaving the ink pure and the brushwork liberated.
His brush often ventures into positions of extreme peril, where the composition seems pushed to a cliff’s edge. Yet, with a sudden, subtle turn of the brush, a whole new horizon opens up—just like the classic Chinese idiom: “Where hills bend and streams wind, the pathway seems blocked; yet past the dark willows and festive flowers, a new village appears.” A fresh, delightful, and breathtaking realm suddenly unfolds.
Flower-and-bird ink painting is not only a vital component of traditional Chinese art holding a significant place in the global artistic landscape, but it is also a symbol of the spiritual character and cultural soul of the Chinese nation.
The philosopher Jonathan Edwards once wrote:
“Spiritual holiness… brings an inexpressible purity, brightness, peacefulness and ravishment to the soul. In other words, that it made the soul like a field or garden of God.”
True works of art possess this exact power—to cultivate the soul and inspire people to look inward at their own spiritual world.
The first time I looked at this plum blossom painting by Dorje Chang Buddha III, I immediately felt a powerful and uplifting energy flowing from it. It was not simply a beautiful painting that pleased the eyes. Rather, it carried a quiet spiritual strength that deeply touched the heart.
My first thought was that only an artist with profound inner calmness, wisdom, and spiritual realization could create such a work.
In traditional Chinese culture, plum blossoms symbolize nobility, purity, perseverance, and courage. Blossoming in the cold of winter, they have long represented the ability to remain graceful and strong amid hardship. Yet this painting expresses those qualities in a particularly extraordinary way.
The entire composition feels free from anything worldly or artificial. There is no trace of stiffness, heaviness, or forced technique. Every brushstroke appears natural, effortless, and alive. The painting possesses a wondrous elegance that cannot be achieved merely through technical skill or years of practice alone. It feels more like the crystallization of wisdom, cultivation, and inner realization.
What especially fascinates me is the unique arrangement of the plum tree itself. The roots twist and coil together, naturally forming what resembles a large bonsai pot. The varying shades of ink create rich layers, flowing movement, and a dreamlike sense of surrealism throughout the painting. The entire scene feels both realistic and ethereal at the same time, blending natural beauty with poetic imagination.
The artist employs the distinctive Chinese painting technique of “flying white” and broken brushstrokes, allowing the branches to pulse with vitality and the force of life. The bold, heavy brushwork gives the sturdy roots the powerful presence of coiled dragons gathering strength before soaring into motion. The entire composition radiates an uplifting sense of righteous energy, while also revealing the artist’s vast, bold, and magnanimous inner world.
What is even more remarkable is that the brushwork appears so simple and effortless, yet every stroke is skillful and full of spirit. Nothing feels excessive, and nothing is unnecessary. It is precisely this simplicity that gives the painting its extraordinary sense of calmness, freedom, and spiritual strength.
After completing the painting, H.H. Dorje Chang Buddha III composed the following poem:
“Plum flowers of surpassing loveliness blossom in a pot, though never are they planted. Wave the brush to plant the tree, and the roots of that old tree form their own shallow pot.”
The poem perfectly reflects the painting’s natural spontaneity and artistic wonder. The plum blossoms seem not artificially arranged, but born effortlessly from nature itself.
Perhaps this is what makes the painting so moving. Beyond its artistic beauty, it conveys a state of mind — calm yet powerful, simple yet profound, gentle yet filled with inner strength.
In today’s restless and hurried world, such artwork quietly reminds us of something precious: true beauty comes not only from technique, but from the purity, peace, and depth within the artist’s heart.
Some paintings do not rely on complexity to move us. With only a few deliberate strokes, they unfold a world full of life. This fresh and tranquil ink painting is one such work. Quiet and unassuming, it reveals a profound artistic tension and depth within simplicity and stillness.
The composition is anchored by three strong yet supple ink lines. Their texture is rich and full, their force penetrating the paper. They resemble trees, yet are not trees—more like structural forms that divide the flat surface into a grid of interwoven spaces. Within these spaces, branches stretch and intersect, while willow-like lines sway gently, creating a rhythmic sense of motion.
What is most remarkable, however, lies in what is not painted.
The empty spaces are far from void; they are charged with meaning. In these areas of intentional absence, the viewer’s imagination is invited to wander. As the saying goes, “where nothing is painted, there lies the true realm of the painting.” The composition, in its entirety, feels almost like a montage—a sequence of visual moments carefully arranged. From this minimal structure emerges a surprisingly rich and intriguing visual experience.
Bringing the scene to life are several mynah birds, rendered in bold, expressive ink. These small creatures become the focal point of the painting.
They are divided into three groups, each occupying different sections of the grid. In a small triangular space near the top, three birds gather closely together. The density of life within such a confined area creates an immediate visual tension. In contrast, a large quadrilateral space in the lower middle is occupied by just a single bird, as if it has claimed the entire openness for itself—perhaps even becoming the quiet center of the composition.
Then there is a particularly playful detail: a bird in the upper right seems to occupy the intersection of four spaces at once. Though not placed at the center, it establishes its own presence, as if declaring that even at the edge, one can still become a focal point.
These birds preen their feathers, tilt their heads, hum softly, and seem to communicate with one another. Bathed in a sense of freshness, they revel in the gentle beauty of spring, fully immersed in a life of ease and freedom. The entire painting begins to resemble a small, self-contained paradise.
This delightful and imaginative work is created by H.H. Dorje Chang Buddha III. Art, at its highest level, is not merely a display of technique—it is a reflection of the inner world. A truly great work reveals the artist’s state of mind and spiritual depth.
In this painting, what we witness is not only mastery of brush and ink, but also a sense of calm, freedom, and purity—a state of being that transcends complexity and returns to essence.
The diverse artistic creations of H.H. Dorje Chang Buddha III stand as enduring treasures of human civilization. And this seemingly simple piece gently reminds us:
In a world of endless complexity, true beauty often resides in simplicity— and true freedom may be found in the space between what is left unpainted.
Among many spiritually expressive works of art, Deep Sea Purple Moss stands out for its simplicity and depth, offering viewers a striking, almost visceral impact. This Western-style painting by H.H. Dorje Chang Buddha III may appear abstract at first glance, yet it carries profound reflections on life and inner awakening.
The entire composition is built from just three colors—black, white, and purple—yet it reveals remarkable layers and tension. The black areas resemble a boundless deep sea, mysterious and unfathomable, as if there is no visible end. This depth evokes a sense of stillness infused with latent power. This “black” not only represents the unknown world but also symbolizes the unpredictable circumstances and challenges we encounter in life.
In contrast, the white surges forward like rolling waves, powerful and unstoppable. It breaks the silence of the black, injecting movement and dramatic force into the scene. These waves seem to echo life’s turbulence—the sudden changes, hardships, and trials that compel us to confront reality head-on.
Most captivating is the vibrant touch of purple. Like sea moss growing in the depths, it persists between waves and currents, embodying a resilient and vigorous life force. Here, purple is more than a visual accent; it becomes a symbol—of endurance, of hope, and of life’s ability to thrive even in adversity.
As we contemplate this painting, we begin to see that it is not merely a depiction of the sea, but a reflection of life itself. The black deep sea represents the environment we live in; the white waves, the challenges we must face; and the purple “moss” represents who we are.
In an ever-changing world, we cannot choose every circumstance, but we can choose how we respond. Just like the purple life form in the painting that continues to grow amid stormy waters, we too must learn to adapt, to temper ourselves through trials, and to seek upward strength even in difficult situations.
With its minimalist form, this work conveys a profound truth: true growth is not gained in calm waters, but forged in the midst of surging waves.
Perhaps, the next time we face the “great waves” in our own lives, we may remember this purple moss in the deep sea—growing upward, even in the darkest depths.
Recently, I had the opportunity to visit the Triton Museum of Art, a cultural gem nestled in the heart of Santa Clara, California. Surrounded by a peaceful park, the museum offers a quiet and welcoming space where visitors can slow down, reflect, and experience the beauty and creativity of contemporary art.
Founded in 1965, the Triton Museum has long been dedicated to showcasing artists connected to California and beyond. What I appreciate most about this museum is its openness—it is free to the public, making art accessible to everyone in the community. Walking through the galleries, one can feel how art becomes a bridge connecting cultures, ideas, and human experiences.
Encountering the Art of Emanuel Harris‑Sintamarian
During my visit, one exhibition that particularly captured my attention featured the work of Romanian artist Emanuel Harris‑Sintamarian. His paintings immediately drew me in with their unique textures, layered compositions, and deeply expressive forms.
There is something both mysterious and meditative about his work. The colors and shapes seem to flow organically across the canvas, inviting viewers to pause and explore their own interpretations. Rather than presenting a straightforward image, his art feels like a visual journey—one that encourages contemplation and emotional reflection.
During my visit, I took several photos of the exhibition that I would like to share here. These images capture only a small glimpse of the atmosphere inside the gallery, but they reflect the creativity and thoughtful spirit of the artists on display.
Jesus, Popcorn and other details 2024 Acrylic, gouache on paper In Jesus, Popcorn and Other Details, I bring the sacred into direct contact with systems of spectacle, labor, and consumption. Jesus is not placed above the world, but embedded within it – caught in scaffolding, color, and movement – where belief collides with industry and visual excess. Popcorn becomes both image and metaphor, standing in for abundance, distraction, and the way meaning is consumed, repeated, and ritualized I intentionally built a dense, restless composition that resists hierarchy or stillness, reflecting how faith, entertainment, and production compete for attention in contemporary life. Rather than offering reverence or critique alone, the painting holds these tensions in place, asking the viewer to sit inside the noise and consider where meaning survives.
Through his brushwork, H.H. Dorje Chang Buddha III renders the subtle life cycle of a water bubble—its emergence, transformation, and eventual dissolution—with remarkable vitality. Though the medium is static, the painting evokes a striking sense of movement and immediacy. One almost senses the gentle drifting of bubbles across the surface, and even imagines the delicate sound that might accompany the instant when a bubble touches the ground and quietly disappears.
Beyond its visual beauty, the work carries a deeper contemplative resonance. In the fleeting rhythm of the bubbles, one cannot help but see a metaphor for the human condition. The trajectory of a bubble—from its brief formation to its silent vanishing—mirrors the arc of human life: birth, growth, aging, and departure. Life itself unfolds within the span of a breath, fragile and transient, reminding us of the importance of awareness and presence in each passing moment.
From an artistic perspective, the painting also demonstrates a remarkable command of impressionistic expression. The composition operates not only as a unified whole but also as a constellation of smaller visual worlds. Any isolated fragment of the canvas could stand independently as an exquisite impressionist study, rich in color, light, and atmosphere. This structural richness gives the work a dreamlike, almost illusory quality—where forms appear to emerge and dissolve within layers of color and movement.
In this way, the painting invites the viewer to linger, not merely to observe, but to reflect. It transforms a simple natural phenomenon into a meditation on impermanence, perception, and the delicate beauty of existence.
Click here to Wikitia page on H.H. Dorje Chang Buddha III that list major accomplishments and teachings with links.
Created in 1993, Xing Garden at Mount Rili stands as a masterful expression of the artist’s profound understanding of nature and brushwork. The painting presents a dramatic world of steep cliffs and cascading water, inviting the viewer into a landscape that feels both monumental and intimate.
Dominated by vibrant greens, the work vividly captures moss and grasses spreading freely across rocky surfaces. These lush tones breathe life into the cliffs, softening their ruggedness while emphasizing the quiet vitality that thrives within seemingly harsh terrain. Nature here is not static; it pulses with energy and renewal.
The painting employs the refined “Miaoxie” (妙写) technique—a style that reveals its true depth through careful observation. At first glance, the composition appears fluid and effortless. Yet upon closer inspection, the brushstrokes intertwine like delicate wires, layered and interwoven with extraordinary precision. These subtle lines create constant movement and variation, generating emotional richness and visual intrigue through their complexity.
One of the most captivating aspects of this work lies in its masterful use of illusory watery ink, where solidity and transparency coexist. Ink seems to flow and dissolve at the same time, offering a boundless sense of depth and atmosphere. Whether viewed from afar or examined up close, the painting reveals a bottomless waterfall, rendered with meticulous detail yet infused with powerful momentum.
What is especially striking is the contrast between refinement and strength. From a distance, the scene appears serene and orderly; yet when the viewer studies the brushwork closely, the strokes reveal unexpected vigor and boldness. Within apparent emptiness, there is substance; within seeming chaos, there is profound order. This balance embodies the highest level of artistic cultivation.
Through free yet disciplined brushwork, the artist transforms a simple natural motif—a waterfall between two cliffs—into a scene of extraordinary aesthetic depth. The power of each stroke carries both physical strength and spiritual presence, allowing the painting to transcend mere representation and enter the realm of lived experience.
Xing Garden at Mount Rili is more than a landscape painting. It is a quiet dialogue between nature and the artist’s inner world, revealing how true mastery lies not in excess, but in the ability to uncover profound beauty within simplicity.
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
Peace LiLy 