H.H. Dorje Chang Buddha III employs his ‘supernatural abstract colors’ to introduce us once more to a new world of art that is beautiful, mysterious, and soul-inspiring.
Hearing this, some may be puzzled: Western oil paintings are abstract paintings are found everywhere, yet which one among them ever fits the description “soul-inspiring”? But this truly is not just some fancy talk. As soon as you set your eyes onH.H. Dorje Chang Buddha III’s “supernatural abstract colors,” you will find the bright and dazzling red, yellow, blue, white and black colors leaping and dancing, vigorous like billows sluicing over thousands of miles, yet stored up into wonders at the fine tip of a brush. Gentle yet resolute, they freely transcend worldliness. Various colors are mixed ingeniously and beautifully, distilling beauty from their mutual nourishment. One could say they present a state of superb craftsmanship excelling nature, and of form becoming flexible and elusive. Words cannot describe such harmonious, refined, and soothing artistic enjoyment.
Vigorous Colors and Spirit Trees
Beautiful Nugget of Few Colors
Everlasting Wondrous Appeal
“Supernatural abstract color” is a perfect world composed of colors. It does not have any concrete worldly form but uses only colors to form shapes and express feelings. Color is its shape and theme, and it blends into touching charm. These colors, under the Buddha’s hand, suddenly converge into unparalleled, marvelous and bright magic, expressing the vivid spirit of a flowery scene or the vigor of the roaring sea. Yet, they can be ever so exact when their meaning is revealed through the tip of a brush. Their fine details are often revealed among rough strokes, and their charm is naturally displayed.
Chiang Wei-Kuo(蔣偉國）, the son of the former Kuomintang Chairman Chiang Kai-Shek (蒋介石), is often remembered as a prominent political figure. However, many may not know that he was also a deeply devout Buddhist, with a profound understanding of Buddhist teachings. His dedication to Buddhism led him to engage in meaningful discussions and exchanges with Western religious figures, leaving a lasting impact. In fact, the president of a league of eighty-three American universities once said that Chiang Wei-Kuo was his godfather. But beyond his public life, Chiang Wei-Kuo’s spiritual journey was one of deep significance.
In his early years, Chiang Wei-Kuo made a special pilgrimage to India, seeking to connect with the sacred sites of the Buddha and attain enlightenment.
While standing beneath the Bodhi Tree, where Shakyamuni Buddha himself attained supreme enlightenment, Chiang Wei-Kuo made a solemn vow to benefit all living beings. At that very moment, a large leaf suddenly fell from the tree. This leaf, unusually large compared to the others, seemed to be a sign. Deeply moved, Chiang Wei-Kuo took the leaf back home and showed it to his father, Chiang Kai-Shek. Touched by the story, Chiang Kai-Shek instructed his son to enshrine the leaf in the family’s ancestral hall. Since that day, the Bodhi leaf became a revered object of worship in the Chiang family’s ancestral hall.
Years later, in May 1995, Master Yi Yungao (H.H. Dorje Chang Buddha III) led a delegation of eight individuals to visit Taiwan. During this visit, Chiang Wei-Kuo, with deep reverence and devotion, requested to become a disciple of Master Yi Yungao. As part of his request, he presented the sacred Bodhi leaf as an offering. In a heartfelt gesture, Chiang Wei-Kuo personally inscribed the story of how he obtained the leaf in Bodhgaya, its significance to his family, and the profound spiritual connection it held. This offering symbolized his deep respect for the Buddha and his unwavering commitment to his spiritual path.
On November 13, 2008, the U.S. Congress hosted a special art exhibition featuring the works of Buddha Mother (Professor Yuhua Shou Zhiwang) at the Capitol Building in Washington, D.C. To ensure the safe transport of these precious artworks, a decision was made to rent an RV (Recreational Vehicle) and form a convoy with trucks carrying the pieces. Namo H.H. Dorje Chang Buddha III, along with Buddha Mother and their disciples, stayed in the RV throughout the journey, embarking on a spiritual pilgrimage across America.
The convoy, led by Namo H.H. Dorje Chang Buddha III and accompanied by several dozen disciples, departed from Los Angeles on October 25, 2008. Over the course of 33 days, they journeyed across more than 20 states, traveling from the west coast to the east coast. Despite the busy preparations for an exhibition in Washington, D.C., Namo H.H. Dorje Chang Buddha III delivered teachings to his disciples almost every evening. These teachings were later compiled into a 19-volume collection titled Teachings from the Eastward Journey.
Throughout the journey, numerous sacred signs appeared wherever Namo H.H. Dorje Chang Buddha III visited. One such miraculous event occurred when the Buddha and his disciples were resting under a Western Bodhi tree. As the Buddha was speaking to Venerable Tsemang and other disciples about Chiang Wei-Kuo’s offering of a Bodhi leaf years ago, a rustling sound suddenly came from above. With a distinct “thud,” a Western Bodhi leaf fell from the tree, astonishing everyone present.
Western Bodhi leaves typically have white veins with light pinkish veins on the back. However, this particular leaf was different. While it shared the same shape as other Bodhi leaves, its veins were strikingly red on both sides, without any trace of white veins.
Moreover, it was extraordinarily large, much larger than any other leaf on the tree. The timing of this event was miraculous, coinciding precisely with the Buddha’s recounting of how Chiang Wei-Kuo had obtained a large Bodhi leaf in India. This unique leaf falling from the Western Bodhi tree signified that wherever the true Dharma of the Tathagatas is spoken, profound responses occur.
Additionally, after the Eastward Journey ended and they returned to Los Angeles, Namo H.H. Dorje Chang Buddha III manifested amrita (nectar) at the Vajra Mandala in Pasadena. This further confirmed that the “Teachings from the Eastward Journey” are the pure and supreme authentic Dharma of the Buddha, a testament to the spiritual power and significance of the journey.
Avalokiteshvara Bodhisattva, from beginningless eons, has been tirelessly saving countless sentient beings with his immense compassionate power. Despite his boundless efforts, he felt a sense of inadequacy. Thus, from the power of samadhi born of great compassion, he formed an immense compassionate force. This force, combined with the great compassionate power of Buddhas from the ten directions, resulted in a drop of green tear flowing from his eye, transforming into the infinitely majestic green female Bodhisattva, known as Green Tara. Due to this origin, Tara’s power to save is boundless and infinite.
Green Tara is revered as the Great Compassionate One and the Holy Savior Mother Buddha. The practice of the Green Tara ritual has a rich history that originated in India and later spread to China, Tibet, Japan, and beyond. The sacred roots of this practice trace back to Green Tara herself, who was initially the ancient Buddha Pravartaka and an incarnation of Avalokiteshvara Bodhisattva.
Chanting the Green Tara mantra even once, with focused contemplation of Tara’s sacred image, brings immense merit. Such merit is equivalent to chanting the names of seventy-two billion Buddhas and Bodhisattvas as numerous as the sands of the Ganges. Both the exoteric and esoteric traditions have extensive practices based on this ritual, and many practitioners have achieved great success and benefit from it.
Over time, the original texts and mandalas related to this profound practice have suffered from omissions and distortions in their transmission. For the past two hundred years, these deviations have increasingly moved away from the authentic regulations. In recent decades, the practice has nearly completely lost its true essence. Furthermore, the representations of Green Tara have deteriorated in form, lacking the dignity of the authentic appearance. This includes discrepancies in hand mudras, attire, and overall sacred depiction, resulting in a significant loss for the Buddhist community.
The Green Tara Perfect Practice Ritual and Thangka by H.H. Dorje Chang Buddha III
In response to these issues, H.H. Dorje Chang Buddha III transmitted the “Green Tara Perfect Practice Ritual” and personally supervised the creation of the Green Tara mandala thangka.
This three-dimensional thangka is not only lightweight and portable, making it easy to carry, but also presents the mandala clearly and vividly, ensuring that it remains etched in memory. Additionally, it possesses several extraordinary merits:
Authenticity and Compliance: The Green Tara mandala presented in the thangka fully complies with the regulations of the “Green Tara Perfect Practice Ritual.” This ensures that the practice remains true to its original form.
Historical and Miraculous Significance: Tara had already attained Buddhahood countless eons ago, her divine power is illustrious, and her sacred deeds are well-documented. Today, in the “Tara Hall” in Nethang, Tibet, the sacred statue of Tara once spoke to Atisha, instructing him, further propagating her holy name and Dharma power across China and Tibet. During the creation of this three-dimensional thangka, many miraculous occurrences were witnessed. For example, the sacred image of Tara, originally looking straight ahead, appeared differently in subsequent photographs taken from the same angle: one showed her looking up at the sky, while the other depicted her looking down at sentient beings. This clearly demonstrates Avalokiteshvara Bodhisattva’s extraordinary vow power: above, he shares the same compassionate force with all Buddhas and Bodhisattvas; below, he joins in compassionate aspiration with all sentient beings in the six realms. Additionally, when viewed from different angles, the main deity of Green Tara always faces the observer, and the seed syllables in the sky behind her follow her movement, appearing above her head. Furthermore, the colorful clouds, initially close to the sun and moon, seem to remain stationary while the sun and moon move vividly between the clouds from different perspectives.
Majestic and Unmatched Representation: The sacred image of Green Tara in the thangka is exceptionally majestic and perfect, unrivaled in both China and Tibet throughout history. The twenty Taras, each with different postures, exhibit supreme Dharma power, arranged behind the main deity, appearing and disappearing miraculously. Notably, standing in different positions reveals the Great Brahma Deva, the primary protector, initially as one, then suddenly as two, and then back to one again, a phenomenon unprecedented in history! Meanwhile, the Four Great Heavenly Kings and the Eight Dragon Kings remain unchanged. Additionally, Indra, the Four Great Heavenly Kings, and the retinue of the Eight Dragon Kings, wielding their divine weapons and instruments, surround and protect Tara with unmatched divine transformation. Visualizing this thangka makes the practice highly effective and rapidly fruitful.
Validation and Praise
Upon the completion of the “Green Tara Perfect Mandala Thangka,” Buddha Master specifically instructed disciples to bring all existing Green Tara statues of various materials from around the world to the Vajra Dharma Circle for public verification. They were to determine which one is the most orthodox and perfect thangka. The Vajra marbles immediately entered the mandala thangka, confirming that the Buddhas and Dharma protectors of the ten directions unanimously endorsed it.
Many of the seven classes of Buddhist disciples, upon practicing with this three-dimensional thangka, experienced unprecedented and unique realms. High monks, living Buddhas, and even Dharma Kings from around the world have all respectfully praised and recommended this rare and precious sacred image. In truth, among all the existing Green Tara images, none can compare to the perfection and majesty of this mandala thangka. Its blessing power is extraordinarily miraculous; a single glance imprints it deeply in the mind, leaving a lasting impression.
The Green Tara Perfect Practice Ritual and its accompanying thangka, as transmitted and supervised by H.H. Dorje Chang Buddha III, represent a revival of the authentic practice of Green Tara. This thangka not only restores the true essence of the practice but also enhances the spiritual experience for practitioners worldwide, offering unparalleled blessings and merits.
It is hard to believe that anyone could possess all-encompassing wisdom. For us humans, dedicating a lifetime to mastering even one discipline is remarkable. How could someone be a philosopher, scientist, painter, sculptor, writer, doctor, and inventor all at once, mastering each within a few decades? This seems impossible by human standards. However, the Buddha’s vast and profound wisdom is genuinely real. Over 2,500 years ago, Siddhartha Gautama, the Buddha, invited anyone to ask him any question, promising a detailed answer. This is illustrated in the story of the Buddha teaching a cowherd, as recorded in the “Sutra of the Cowherd Parable.”
King Bimbisara of Magadha once invited the Buddha and 500 disciples to preach in his kingdom for three months. To provide them with fresh dairy products daily, the king arranged for cowherds to stay nearby. As the end of the three months approached, the king suggested the cowherds meet the Buddha. The cowherds, having heard of the Buddha’s wisdom, decided to test him with questions about cowherding. They reasoned that if he could answer these, he truly possessed all-encompassing wisdom.
Upon arriving at the Bamboo Grove, they were struck by the Buddha’s radiant presence. They saw him sitting under a tree, glowing like a golden mountain, radiating light like melted gold. Overwhelmed with joy, the cowherds discussed among themselves, “Regardless of whether the Shakyamuni possesses all-encompassing wisdom, anyone who sees him feels joy. His light is unparalleled, his appearance noble, and his presence exudes majesty. His radiance is clear and bright, his demeanor commanding respect, and his body adorned with the aura of virtue, making anyone who sees him feel immense joy.
If he indeed possesses all-encompassing wisdom, it must be due to his immeasurable merits. No worldly treasure can compare to the Buddha’s sublime and dignified presence, which brings great joy and pure faith to all who see him. It is clear that the Buddha must indeed possess all-encompassing wisdom.”
The shepherd thought about this and sat down to pay respects to the Buddha. They asked the Buddha, “What are the various methods a shepherd can use to ensure that the cattle thrive and reproduce well? And what conditions might prevent the cattle from growing properly and living peacefully?” The Buddha answered: There are eleven methods by which a shepherd can ensure the cattle’s well-being and reproduction. What are these eleven methods?
Understanding the Caretaker: Having a strong and capable caretaker who can protect and nourish the cattle, keeping them healthy and well-maintained. Similarly, a monk should be a respected and virtuous leader who can uphold the Dharma and guide beings toward good deeds.
Understanding Color: Knowing the colors of the cattle, such as black, white, or mixed. Similarly, a monk should understand that all phenomena in the world are composed of the four elements: earth, water, fire, and wind.
Understanding Appearance: Recognizing whether the cattle’s appearance is auspicious and whether they will be harmonious. A monk should similarly be able to discern whether someone’s actions indicate wisdom or ignorance.
Understanding Scraping: If insects bite the cattle and their blood is consumed, sores will develop. Scraping can remove these pests and promote the cattle’s well-being. Likewise, a monk should remove harmful views and misconceptions that corrupt their spiritual practice.
Understanding Wound Treatment: Applying medicine to prevent mosquito and fly bites and other injuries. Similarly, a monk should use correct Dharma teachings to protect themselves from delusions and negative emotions.
Understanding Smoke: Using smoke to drive away insects so the cattle can stay in a comfortable, insect-free shelter. Similarly, a monk should use the teaching of Dharma to lead beings to the state of emptiness and liberation.
Understanding Good Ways: Knowing the behavior and preferences of the cattle and how to keep them healthy. A monk should understand how to practice the Noble Eightfold Path to achieve Nirvana and avoid falling into the extreme paths of annihilation or eternalism.
Understanding the Right Place: Knowing how to provide a place where the cattle can live healthily and with minimal sickness. Similarly, a monk should practice and teach the Dharma to cultivate purity and increase good roots.
Understanding Good Routes: Knowing which paths are safe and which places are good for crossing rivers, avoiding places with waves and pests. Similarly, a monk should learn from knowledgeable teachers and adapt their teachings to the capacities of sentient beings.
Understanding Safe Places: Ensuring the cattle live in places free from predators and harmful creatures. Similarly, a monk should maintain mindfulness to avoid the harmful effects of negative emotions.
Understanding Milk Preservation: Ensuring that the mother cow’s milk is not consumed completely by the calf so that both the mother and the owner can benefit from it daily. Similarly, laypeople should use offerings such as clothing and food economically to benefit both the givers and receivers.
The cowherds, after hearing the Buddha’s teachings, thought, “We cowherds know only three or four methods, and our predecessors knew only five or six. Hearing the Buddha today is truly astonishing and unprecedented! The Buddha indeed possesses complete wisdom beyond doubt.”
This is described in the “Sutra of the Parable of the Cowherds.” From this, we understand that there are individuals with complete wisdom.
Today, due to the supreme and exceptional causes and conditions, the original primordial Buddha, Vajradhara has once again descended into the Saha World to manifest all-encompassing wisdom. H.H. Dorje Chang Buddha III once said: Within five years (from 1995 to 1999), if any sentient being asks ME any question, the answer should be given immediately without any hesitation. If there is any need to think about it, or if there is slight hesitation or any fabrication, or if the answer is not comprehensive, I will immediately step down from the Dharma throne and no longer be qualified to teach the Dharma.”
In the more than two thousand Dharma discourses spoken by the Buddha, He provided direct and comprehensive answers to various questions on practice and methods for His disciples. Sometimes, even before the disciples spoke, He would say, ‘I know what you want to ask. You don’t need to say anything; I will answer you directly.’ The disciples would nod in agreement. There was also Zeng Ruzhang, who studied stealth aircraft and asked why they can be invisible. Lobsang Zhenzhu Rinpoche once proposed to see Green Tara, and shortly after, a divine manifestation appeared, H.H. Dorje Chang Buddha III fulfilled his wish…
Step into the International Art Museum of America in San Francisco or the H.H. Dorje Chang Buddha III Culture and Art Museum in West Covina, and you will be able to appreciate world-class masterpieces of art. H.H. Dorje Chang Buddha III has created Chinese paintings, oil paintings, and various styles of calligraphy. In addition to mastering styles from existing schools of painting, such as Realism, Abstract, Line, and Impressionism, H.H. Dorje Chang Buddha III has independently developed sixteen unique schools of painting.
At the fourth session of the World Poets and Culture Conference held in Hungary in 1994, more than 5,600 experts and scholars representing 48 countries and regions unanimously approved conferring upon H.H. Dorje Chang Buddha III the title “Distinguished International Master,” which has an honorific status comparable to a head of state.
H.H. Dorje Chang Buddha III possesses extraordinary and saintly wisdom, perceiving the true essence of the universe and life. Whether it be within the various sects of Buddhism or in all worldly fields such as art, science, medicine, and philosophy, His accomplishments reach the highest level in every aspect, with unparalleled expertise and a unique status beyond any saint.”
The treasure book, “H.H. Dorje Chang Buddha III,” stands as a testament to this statement. However, this book contains only a drop of water from the vast ocean of Buddha’s teachings and wisdom.
The video below showcases the boundless compassion and highlights the extraordinary accomplishments of H.H.Dorje Chang Buddha III. It was published by China Educational Channels TV and features interviews with Buddhist disciples from around the globe.
The winners and finalists of the 2024 IAMA International Youth Art Contest with the President of IAMA / Photo courtesy: John TrieuMore than 400 amazing artworks by young artists from 9 countries on exhibit at IAMA Grand Exhibition Hall / Photo Courtesy: John Trieu “
The International Art Museum of America (IAMA) hosted the 2024 Youth Painting Competition and Award Ceremony on Sunday, July 14th, at its Market Street location. The event celebrated the artistic achievements of young artists, awarding certificates and cash prizes. Over 400 second-round entries are exhibited from July 13th to 21st.
IAMA’s commitment to promoting youth art development was evident throughout the competition, which included submissions from over 300 youths across nine countries. Divided into three age groups (7-10, 11-14, and 15-18), the competition awarded certificates and cash prizes to the top three winners in each group, along with ten “Young Artist Awards” per group.
The competition, with its theme of “free creation,” encouraged children to express their imagination and creativity. Judges Dr. Amy Hughes, Dr. Gabriela Sotomayor, and Prof. Adam Caldwell praised the participants’ diverse techniques and styles. Dr. Hughes noted the high quality of work, akin to graduate-level creations, while Prof. Caldwell celebrated the impressive achievements of all contestants.
The award ceremony, held on July 14th at IAMA’s Garden Hall, attracted nearly 300 attendees, who were moved by the young artists’ talent and passion. The museum’s president, Mr. KC Hsieh, and other distinguished guests, including Professor Caldwell, participated in the ceremony. The day also featured a Master Class on painting by Professor Caldwell, inspiring young artists to further explore their creativity.
Chairman of Jury Committee Professor Caldwell congratulating all at the award ceremony while 300 people attended / Photo courtesy: John Trieu
IAMA Director Mr. KC Hsieh reiterated the museum’s dedication to fostering youth art development. Emily Su, third-place winner in the 15-18 age group, expressed that the award motivates her to continue pushing the boundaries of her artistic vision.
IAMA’s mission is to make art appreciation and education accessible to all, believing that “Art is for everyone.” The International Youth Art Contest exemplifies this mission, providing a platform for young artists to pursue their passion and leadership in the art world.
Located at the heart of downtown San Francisco, on 1025 Market Street near Sixth Street, the International Art Museum of America is a permanent , non-profit museum open to the public. The museum’s goal is to utilize the exhibition forum to pass on works of art that have achieved the most exquisite beauty and preciousness in the history of civilization, in order to further humanity’s moral progress, spiritual wellbeing, cultural development and world peace. It takes as its mission bringing humanity happiness and uplifting aesthetic enjoyment.
Currently, until July 21st, the museum is hosting “Art Without Boundaries,” an inspiring exhibition showcasing paintings by artists with disabilities. This event, presented by the Arts with the Disabled Association Hong Kong in partnership with The Neighborhood Advice-Action Council, provides a platform for these talented artists to exhibit their work in an international museum. This charitable initiative aims to support artists with disabilities, aligning with IAMA’s mission to actively promote public charitable art activities.
Hong Kong’s superstar Jacky Cheung has achieved numerous successes in the entertainment industry and is widely recognized as a superstar. However, few people know about his dedication to studying Buddhism. Jacky Cheung’s master is H.H. Dorje Chang Buddha III, an internationally acclaimed master in arts, philosophy, and culture. He was awarded the International Master of Arts and Culture by the World Cultural Conference, comprising experts from 48 countries and regions. Additionally, the Chinese government built a grand museum in his honor in Dayi County, Sichuan, highlighting his unique achievements and contributions.
Around 1995, at the earnest request of many disciples, including Jacky Cheung, H.H. Dorje Chang Buddha III composed a unique masterpiece called “Rare Supreme Chant.” The lyrics, composition, singing, and chanting were all personally handled by the master.
The song’s melody is rich, and its sound changes are exquisite, ranging from powerful and resonant to gentle and intricate. It includes lion’s roars, sacred chants, deep contemplations, and even modern rock and rap elements. The singing techniques transcend traditional vocal resonance, harmonizing with the cosmic realm. This “Rare Supreme Chant” not only broadens the listener’s auditory experience, allowing them to hear various sounds, but also elevates the mind, nurtures moral strength, and purifies body and soul through the blessings of H.H. Dorje Chang Buddha III’s voice.
According to those who provided musical accompaniment for H.H. Dorje Chang Buddha III, his lyrics and melodies are filled with ancient charm and profound knowledge. His voice is versatile and spontaneous, making it difficult to complement with our limited cultural and musical expertise. While they believe his unaccompanied voice is superior, they fear that without accompaniment, the music might be too challenging for listeners to appreciate, thus missing the compassionate intention behind its creation. Despite these challenges, they made an effort to provide accompaniment, hoping listeners would understand and appreciate the master’s work. Listeners are encouraged to attentively enjoy and experience the profound benefits of the music.
The Great Bright Six Syllable Mantra is a very popular Buddhist song, with many audiotapes and CDs distributed worldwide. However, His Holiness’s rendition of the Great Bright Six Syllable Mantra is entirely different from all others I have heard. It is in a powerful vajra style, and at the end of the song, His Holiness uses the lion’s roar voice, with a bursting energy that seems to penetrate the universe and awaken all living beings.
The great bright six syllable mantra
The song “Guo Ping Chang” describes the scenery and feelings of His Holiness passing through Ping Chang (a place in Sichuan).
The sound of the flute sends me across Pingqiang, The boat docks at Wuyou, filled with lantern-lit halls. The spring breeze warmly welcomes visitors, Mist colors the dusk, but the mountains remain evergreen.
This song was sung in an opera style. It has four lines of lyrics, which the Buddha sang using four different Peking Opera styles. This fully demonstrates the Buddha’s profound vocal skills, leaving listeners deeply moved and with a lasting impression.
Passing through PingQiang
H.H. Dorje Chang Buddha III, has even composed a unique masterpiece, in modern rock and rap style, the energetic and festive song “Chinese Dragon,” showcasing the dragon’s cultural significance. This song demonstrates the Buddha’s ability to effortlessly and masterfully handle any musical form.
Chinese Dragon
The Prajnaparamita Heart Sutra is a very important Buddhist scripture. The Buddha composed an elegant and beautiful yet powerful melody for this sutra. His voice is rich and clear, strong yet gentle, as if bringing the compassionate love of the Buddhas and Bodhisattvas to every sentient being.
“Scene of Xishuang Banna Life” is a Chinese ink-and-wash painting with a three-dimensional quality reminiscent of oil paintings, created by the renowned artist H.H. Dorje Chang Buddha III. The moment I laid eyes on it, I felt a profound sense of comfort and tranquility. The painting’s primary hue is light brown, and the varying depths of this color vividly depict the fresh, clear water and misty air weaving between the trees. A few girls are making waves, chatting, and enjoying themselves as they wash clothes by the riverside. The elegant and beautiful banyan trees stand majestically, with cobblestones naturally scattered around them.
The old banyan tree, with its peeling bark and exposed roots, stands as a silent testament to the passage of time. The raised roots extend in all directions, seemingly spreading the pulse of life to distant places, using their vitality to nurture the earth and rivers. The roots nestle against the smooth, round pebbles like inseparable companions. Over time, they have become so intertwined that no one notices whether they are roots or stones, much like an elderly couple who depend on each other and cannot be separated.
Around the tree roots, a misty white space, activated by detailed depictions, brings boundless imagination to people. In the white mist, there is a vast expanse of water, with soft sunlight illuminating the surrounding forest. The endless lakes and rivers nourish the sturdy old roots, supporting them through countless hardships and weathering the elements, ultimately creating a world of their own. The intertwined and winding roots, twisting and coiling across the scene, form the main structure of the composition along with the variously shaped stones, the sculptural massive trunk, and the other responding trees. The sparse leaves hanging from the old tree are adorned in light green, contrasting with the large brown trunk, evoking the philosophical sentiment of “the true essence remains after all embellishments fade, gold emerges after being sifted by great waves.”
Beneath the tree are three graceful women in different postures, enjoying the flowing stream under the water-colored sky. Some are combing their freshly washed hair, some are holding a delicate veil, and some are drawing clear water from the stream.
The banyan tree, the stream, and the sunlight, along with the beautiful women in traditional attire, compose a symphony of southern charm, making one feel as if they can hear the whispers of the gentle breeze: “My enchanting homeland is where my heart belongs…” The setting resembles the sweet childhood memories buried in my heart.
About fifty years ago, my family lived in a small village in the mountains. There were no cars, TVs, toys, phones, or any other modern luxuries. We lived a very simple and modest life. All the mothers washed vegetables and rice in the clean creek and cooked meals. Very often, they washed clothes in the river for the whole family while the kids played in the water, on the trees, or along the riverbanks. School was far away, and we could only go there when we were old enough. But we had the biggest classroom—nature itself. We studied everything we could find: trees, flowers, insects, stones, etc. Twigs were our pens, and tree trunks were our tables. The chirping of the birds and the rushing of the stream were our music. We had physical education class all day long. We went to bed when the sun set. What a simple, happy life!
This is the beautiful and pure spiritual space created by the great artist, H.H. Dorje Chang Buddha III. This painting, “Scene of Xishuang Banna Life,” opens a window to another dimension, allowing people to experience the joy of living in a paradise. People in cities increasingly yearn for natural landscapes akin to an earthly utopia. Fortunately, noble artists create pure lands for people’s hearts, showing us wonderful scenery, evoking warm emotions, and deeply touching us.
The pure land in our hearts is like a secluded utopia, free from the noise and disturbances of the mundane world. It carries the dreams of people. When darkness descends, the pure land within can emit a serene fragrance, helping people discard the suffering brought by worries, gently wipe away the dust, and infuse a bit of brightness.
The paintings of H.H. Dorje Chang Buddha III are like wordless songs, containing endless stories, ancient calls, and boundless compassion for all sentient beings.
A commonly held view is that the body houses the soul—but have you ever thought that the soul could live elsewhere? I have experienced that feeling. Although my body was born in 1981 to my German mother in Brazil, where I grew up, 18 years later I had an “encounter” with my soul’s home in Mongolia. For almost a year, my family and I traveled east by motorhome from Germany and right across Russia. Reaching the border between Russia and western Mongolia, it took days just to receive permission to cross. Stuck in the middle of nowhere, we feared we might never make it! Finally a drunken general provided the necessary authorization and we drove freely onwards into Mongolia, sometimes without a visible road in front of us.
Beneath the expansive blue sky that crowned the arid landscape, my happy tears fell like rain. Those tears nourished a hungry artistic seed within me that desired to grow in the direction of the sunshine; to follow a path to spiritual liberation through art. I believed in such a path and it made sense to me, but until then I hadn’t known how to go about following it. Once in Mongolia, however, I was introduced by a monk at Gandantegchinlen Monastery in Ulaanbaatar to the sacred art of thangka painting, which depicts the various Buddhas, spirits, enlightened beings, and spiritual worlds of Tibetan Buddhism. I had been seeking an artistic discipline of some kind that would guide me to the divine, and this was it!
One of the paintings by Tiffani at Lama Padma Samten’s temple in Brazil
Nevertheless, it was a long road before I was accepted three years later as the first Western student at the Norbulingka Institute, founded by His Holiness the Dalai Lama, near Dharamsala in northern India. I have traveled all my life—even living for a few months with an aborigine community in the Australian outback, and spending a couple of years on a sailboat on the Brazilian coast during my teens—but India was beyond anything I could have imagined. I was sick for the first three months I spent there, during which time the school was unsure whether to accept me or not. Even my mother urged me to go home. But something inside me was unmoved by all these “tests.” I felt that if I went back, my soul would abandon my body.
I was finally accepted as a student at the Norbulingka Institute in September 2003. All the wise and holy artists I had expected to meet turned out to be mostly teenagers eager to meet a girl—a blond girl—in the studio at last. Gen-la, the master, was initially somewhat reticent, and we didn’t even share a common language. He gestured towards a Buddha face made up of many symmetrical lines and then pointed to a blank sheet of paper, so I sat on the floor near him and started to sketch. The first word I learned in Tibetan from Gen-la was “again!”—do it again! And so I did, for weeks, the same drawing over and over again until Gen-la would give me my next project.
Painting class at the Norbulingka Institute, 2005
My apprenticeship during the three years I spent there was very slow and painstaking. It was essentially this atmosphere that molded my predisposition to understand that painting a thangka is a spiritual practice in itself; the thangka is there for you to give your time and attention to, and to house your soul. It is a sacred art with a unique function. If you do not have that understanding in the very depth of your being, you will soon abandon the training. Some do not even consider thangka painting to be art, but a practice involving paint that has the same aim as any other Buddhist practice. It was a year before Gen-la even called me by my name; until then he just called me “intchi bhumo,” or “foreign girl.” And it was more than a year before I actually even touched paint, and then only because one of my classmates hid me behind a big canvas and started to teach me himself. Gen-la was actually proud of my boldness when he found out, and finally guided me on my first proper painting. Those were precious times; I was truly happy despite the difficulties I experienced, and my certainty of being on the right track never wavered.
In 2006 I returned to Brazil to discover that I was pregnant. In October that year, a little boy of Tibetan-Brazilian-German heritage was born. His father came over and we lived together for a few years until he moved to the United States to join a larger Tibetan community. Back in Brazil I was fearful that I would have to stop painting—I was 24 with a baby and no money, and all I knew how to do was paint. Afraid that such worries would make me lose my path, I continued to paint my thangkas, my son held close to my body.
When my son was only a few months old, I was contacted by a Brazilian lama—Lama Padma Samten, a disciple of Chagdud Tulku Rinpoche, who had already established a huge sangha. He had heard about me through a mutual friend and sent my son and me tickets to visit his new temple in the south of Brazil. When I finally arrived I was amazed by the size of the temple, which was built to accommodate 300. As I stood there sleep-deprived and perfumed with milk and diapers, he asked me if I would paint the interior walls. I was astonished—but I agreed!
For a month I stood gazing at those terrifyingly huge white walls in fear. I really had no idea how to start! I could not call anyone in India because of the language barrier, and the materials available in Brazil for painting murals wouldn’t be the same as those I was familiar with. So I began slowly, as Gen-la had taught me. First, I met with a local artist to learn more about the proper materials. I learned about the specific deities and mandalas that Lama Samten wished to incorporate. The members of his sangha were very supportive, and many came to help. Those who could give more of their time I trained to paint. Those who couldn’t paint, I asked to massage our aching shoulders, play some instrument or other, give yoga lessons, or even bake a cake for our tea breaks. I felt that everyone should be included. The project took five challenging years to complete, all guided by Lama Samten’s blessings.
As mentioned earlier, those tears in Mongolia had fed the artist within, and now the artist was awake. I soon had the feeling that thangka painting was a “safe zone” for me as the work is all done according to rules that, if followed, offer some guarantee of success. So, in a way, I felt that thangkas had given me discipline and now, only now, was I ready to risk expressing myself. So I began to take more seriously the opportunity to try a more intuitive kind of painting, especially when my personal life was a mess. I was allowed to explode on the canvas, I was allowed to make mistakes . . . I needed to be able to be wrong yet acceptable.
Accumulating a body of art pieces during my free time while painting the temple, with some trepidation I presented my work to Tibet House in New York. I was relieved when they accepted my work and agreed to produce my first show, in 2012—a solo exhibition titled Mystic Nostalgia, in which I sought to express that longing for a lost “home.” Not necessarily a real place; the work is more about our inner landscape . . . a mystic longing. My second exhibition will open at Tibet House on 23 October this year.
Since completing my work at the temple at the end of 2012, I have focused on holding thangka workshops, producing thangkas to order, and taking part in workshops and retreats to teach the intuitive process of self-expression through paint, movement, and writing. I believe the key is maintaining the approach of an apprentice—the beginner’s mind. I feel that I’m learning each time I teach, each time I listen to people, each time I encounter another culture or eat a different food. I learned the benefits of discipline and following rules from the thangka tradition, and when I walk into the unknown with my wild self that sometimes wants its own way, I continue to learn.
Tradition provides us with the roots and structure through which we express ourselves like a hundred branches growing in the air, catching the breeze with their lush leaves. Nourish discipline as much as you nourish your freedom and you’ll soon discover that they are one.
Tiffani Gyatso is a traditional Buddhist thangka painter and a member of the Dakini As Art Collective. To learn more about Tiffani, her work, and Dakini As Art, please visitDakini As Art.
In the history of painting in China, many renowned artists have used Namo Avalokitesvara Bodhisattva as a subject for their works. These artistic images are beloved by the people because the Bodhisattva is a symbol of compassion. These exalted artistic images subtly influence the inner world of generations, inspiring and shaping the soul of the nation.
The Mogao Caves in Dunhuang are the largest and most well-preserved repository of Buddhist art in China and the world. Among the murals in the Mogao Caves, there are masterpieces of Namo Avalokitesvara Bodhisattva created by painters over the ages, including images of the Water-Moon Guanyin, the White-Robed Guanyin, and the Eleven-Faced Guanyin. It is said that this treasure trove of painting art contains works by masters like Gu Kaizhi and others from various dynasties.
In 1940 Zhang Daqian led a group of artists to the caves of Mogao (莫高) and Yulin (榆林) for the purpose of copying their Buddhist wall paintings. The group completed over 200 paintings, and the experience left Zhang with a repository of religious imagery. He was so captivated by these unparalleled treasures that his original plan to stay for three months extended to two years, during which he dedicated himself to studying and copying the artworks. Today, his paintings of Avalokitesvara Bodhisattva are acclaimed as rare and invaluable masterpieces.
The early Tang Dynasty portrait copied by Zhang Daqian is a national first-class cultural relic
Tang Dynasty murals copied by Zhang Daqian
Mid-Tang Dynasty portrait in the Mogao Caves, copied by Zhang Daqian
At International Art Museum of America, there is a painting of Namo Guan Shi Yin Bodhisattva by H.H. Dorje Chang Buddha III that left a profound impression on me. The portrait is stunningly beautiful, executed with fine brush strokes characteristic of traditional Chinese painting. The artist used very fine and intricate strokes, rendering every detail vividly and perfectly. I could clearly see the hair, the crown, the intricate jewelry, and even the delicate patterns of the flowing ribbons. These details express the painter’s portrayal of Guan Shi Yin Bodhisattva’s meticulous compassion and love for all living beings. The entire portrait appears lifelike, exuding infinite grace, and showcasing the artist’s extraordinary skill, which is beyond perfection.
In this meticulous painting, Namo Avalokitesvara Bodhisattva is depicted wearing white garments, with a serene and compassionate expression, seemingly walking gracefully accompanied by heavenly music. The Bodhisattva’s face is as delicate as powdered jade, with elegant eyebrows and red lips, and eyes that are reserved yet radiate a light of compassion.
The Bodhisattva’s jewelry, including jade pendants, appears to emit a pleasant chime, and the pink and dark green lotus flowers beneath the feet exude a fragrant aroma. The colorful ribbons on the clothing flutter and dance in the gentle breeze. The entire painting exudes an extraordinary and majestic aura. For hundreds of years, the children of China have dreamed countless times of Namo Avalokitesvara Bodhisattva, as if the Bodhisattva is walking toward us from the vast universe.
Upon closer inspection, one can see that within the Bodhisattva’s hair, there is a small figure of Namo Amitabha Buddha, seated with a solemn and exquisite demeanor, wearing a red robe and sitting on a pink and white lotus platform.
The dark green lotus beneath the Bodhisattva’s left foot, the dark blue floral borders on the clothing, and the flowing black hair form a dynamic contrast with the light yellow-brown background and the white robe. The painting uses a large area of light yellow-brown as the background to highlight the pure and elegant clothing, with bright colors as decorative accents. This creates a composition that is both solemn and sacred, yet luxurious.
The Bodhisattva’s attire occupies a significant portion of the painting. If not handled well, it could make the painting appear empty and lifeless. However, the exceptional artist has seized this opportunity, infusing the clothing with a great amount of high-quality ink and brushwork while maintaining overall brightness. The lively and intricate lines are sometimes like flowing clouds and water, sometimes like gentle clouds, sometimes as soft as a summer breeze, and sometimes as powerful as a rushing waterfall. The interweaving lines, though densely packed, are orderly and harmonious. This extraordinary line drawing technique vividly captures the delicate texture of the gauzy fabric. Lines are the earliest form of language in the history of painting and the soul and framework of meticulous figure painting. As a vital expression in Chinese painting, “lines” have always been highly valued by painters throughout the ages.
H.H. Dorje Chang Buddha III‘s meticulous figure painting uses lines that are flexible and varied, not only vividly portraying the image of Namo Avalokitesvara Bodhisattva but also precisely conveying the Bodhisattva’s noble and pure spiritual essence. This technique of capturing the divine through form has been the artistic ideal that painters have longed for throughout history. Therefore, this great painting by Namo Qiang Buddha is destined to become a model for future generations to learn from and an immortal classic passed down through the ages.
This great artwork not only provides people with artistic enjoyment but also offers a profound spiritual experience. I stood in front of the painting for a long time, feeling as if I were leaving behind all worldly affairs and immersing myself in the Bodhisattva’s boundless compassion forever.
H.H. Dorje Chang Buddha III’s painting “Spring Rain in the Ancient City” creates a pure and exquisite inner world with extremely concise brushstrokes. Upon viewing it, one feels a sense of ethereal illusion, akin to gazing at the moon reflected in water, or the fresh and invigorating sound produced by pressing down a piano key. This artistry, which combines reality with the abstract and exudes a transcendent naturalness, enlightens the mind and often transports individuals to a realm of beauty and wonder.
With a stroke of the artist’s ingenious brush, the reality of the impermanent years and the philosophical insights contained within natural phenomena are presented on the canvas. The aesthetician, Zong Baihua, once said, “By focusing on the specifics of universal life, appreciating its colors, order, rhythm, and harmony, one glimpses the highest reflection of the self; transforming reality into the realm of the abstract, creating images as symbols, and concretizing the highest human spirit, embodying it physically – this is the realm of art.”
When admiring the Chinese painting “Spring Rain in the Ancient City,” my past painting ideas and perplexities suddenly melted away. The artistic conception in the artwork shook my inner being, and the marvelous composition deeply enlightened my mind. In the painting, a towering tree stands, firmly rooted and majestic, with branches reaching up to the sky. Through the spaces between the branches, one can see the lush greenery of trees lining the streets, exuding the freshness of spring. Above the canopy stretches the boundless sky, evoking the infinite implications of universal life. Beneath the crisscrossing branches lies the bustling city streets, where people hurry about their business. A sudden spring rain brings a new aesthetic perspective: under the vast sky, countless beings toil diligently in the wind and rain…
From the painting, we can observe that during that time in this ancient city, there weren’t many cars on the streets. People were either riding buses, bicycles, or walking. It portrays vivid, serene scenes, offering a soothing and comforting feeling to the heart.
This philosophical painting also reminds me of the verses from the poem “Nian Nu Jiao” by H.H. Dorje Chang Buddha III： “Abruptly entering the universe, The universe of a billion worlds, Stand firmly against all hardships and obstacles. Seeing through glory and riches, I simply smile. The rooster crows announcing the dawn, the morning bell hurries the moon, the whole Soha world is revealed everybody bustles about to survive,life, like smoke and snow, gone!….. “
The artist, with skillful brushstrokes and delicate ink, creates a realm that is subtle, almost mysterious. The shades of ink, varying in density and wetness, complement each other, resulting in a loose and unrestrained style, with a serene and unadorned visual essence. Whether in form, color, brushwork, or ink application, the painting breaks free from rigid constraints and embraces a sincere expression of artistic intention. Through subtle ink shades, it seeks to capture the essence beyond mere representation, embodying a style characterized by simplicity and refinement. There is no wild passion, no dramatic rhythm that sets the heart racing, and no dazzling colors. Even the composition seems to emerge effortlessly from the void. Everything is harmonious and natural, with the entire painting radiating a luminous brilliance, like jade coming to life.
This work skillfully combines the macro and micro perspectives. Through the delicate depiction of trees and leaves, it unfolds the vastness of the cosmos, as if to say, “Every stroke creates a marvelous realm.” This brushwork embodies profound Zen principles. Upon contemplation, the boundless wonders of the universe and life are revealed within this ethereal painting, inviting deep reflection.
The scenes depicted in the painting have long existed objectively within our familiar yet overlooked surroundings. The artist extracts them from everyday life and presents them anew, allowing us to view our own existence from a fresh perspective.
Just as when I first heard the violin concerto “Liang Shanbo and Zhu Yingtai,” the moment the poignant melody gently flowed out, I was immediately moved by the unfamiliar yet familiar notes. The unforgettable melody seemed like a long-lost acquaintance, evoking excitement and beauty as if meeting an old friend in a dream. This sense of beauty seems to have always existed deep within our souls, waiting to be discovered. The artist perceives this beauty and presents it to people in an appropriate form. Perhaps this is a commonality among all great and extraordinary art in the world, which is why art history refers to this type of art as the ideal reality.
Peace LiLy 