The beauty of art emanates from the soul, while the beauty of the soul reflects one’s internal cultivation. In Professor Yu Hua Shou Zhi Wang’s “Yu Hua Shou Zhi Wang Flower and Bird Painting Album,” we are presented with a delightful sense of freshness and warmth, coupled with a profound and uplifting force. Let’s savor the experience of “Yu Hua Shou Zhi Wang Flower and Bird Painting Album” together and witness the extraordinary talent and profound moral character of the artist!
Professor Yu Hua Shou Zhi Wang’s works are characterized by strong and powerful brushstrokes, showcasing a rich and diverse palette, and exuding a poetic and artistic charm. Each piece is infused with sunlight, radiating sincerity, simplicity, and a delightful sense of innocence and romance. As we immerse ourselves in Professor Yu Hua Shou Zhi Wang’s “Yu Hua Shou Zhi Wang Flower and Bird Painting Album,” we can deeply sense the artist’s love and compassion for animals. Each artwork invites us into a transcendent dialogue with a sage-like presence, revealing the captivating allure of art!
Professor Yu Hua Shou Zhi Wang is brimming with compassion and care for all living beings, be it humans or animals, even including honeybees that can sting. She treats each of them with equal and attentive concern.
A few years ago, bees would frequently visit Professor Yu Hua Shou Zhi Wang’s residence. The first time they built a hive at her home, they even stung someone. Some people suggested removing the beehive to prevent further harm, but Professor Yu Hua Shou Zhi Wang firmly disagreed. She felt deep empathy for the bees, as they had finally found a shelter from wind and rain. She made it clear that if they had to leave, the bees should not be harmed. In fact, she would rather move out herself than cause suffering to the bees. As a result, Professor Yu Hua Shou Zhi Wang and her family decided to move to her art studio to live.
Another incident involving Professor Wang showcases her compassionate nature when she saved a butterfly that had fallen into the water. Concerned about the butterfly’s well-being, she took it home and cared for it for a few days until it was fully recovered, and only then did she release it back into the wild.
The compassionate and kind professor frequently utilizes the money earned from selling her paintings to release captured living beings, such as birds, fish, and more. On numerous occasions, she has purchased large quantities of fish, sometimes weighing several cabins or even tens of tons, to set them free. There have been instances where she bought an entire boat-load of fish from a large fishing vessel, ensuring their liberation and return to their natural habitats.
I couldn’t help but ponder: When two conflicting interests clash, do we prioritize the welfare of others or our own interests first? It’s a challenging question, and not many people in this world can genuinely put the welfare of others before their own. However, Professor Yu Hua Shou Zhi Wang managed to do just that. She consistently places the well-being of all beings ahead of her own interests. Her unwavering compassion and greatness are truly remarkable and serve as an inspiring example for us all.
In daily life, Professor Yu Hua Shou Zhi Wang is very frugal. She is reluctant to waste even the water used for daily living tasks, such as washing rice or clothes. She often collects and saves the used water to water the garden or flush the toilet. Additionally, Professor Yu Hua Shou Zhi Wang frequently donates his own salary to help those in need. When asked by students, “You can earn a lot of money from selling just one of your artworks, so why are you still so frugal?” At moments like these, Professor Yu Hua Shou Zhi Wang advises the students to cherish their blessings and not to waste anything. He encourages them to use the money saved from being frugal to support more people who are facing difficulties.
The well-known saying, “Deeply hidden talent not easily revealed” aptly describes Dr. Yuhua Shouzhi Wang’s morality and inner refinement. The characteristics of an artist’s paintings essentially reflect the character of the painter. From the paintings above you can find humility, inner peace, harmony and noble morality of professor Wang.
Dr. Yuhua Shouzhi Wang is the Lifetime Honorary Chairwoman of the International Art Museum of America. The museum has a dedicated gallery exhibiting her artworks.
At February 2019, the solo art exhibition of Dr. Yuhua Shouzhi Wang was held at the Ratchadamnoen Contemporary Art Center of the Department of Culture of Thailand. Dr. Yuhua Shouzhi Wang is a distinguished international art master of world renown who is highly recognized by the art world both in the East and in the West.
I am very pleased to have the opportunity to appreciate Dr. Wang’s ink paintings which are truly refreshing. I feel like I have entered an art sanctuary of wonderful colors where I can stroll slowly, appreciate silently, and savor the details thoroughly. As I am strolling along, I notice that I have left the noise of the world behind, and I sense the clarity, peacefulness and serenity in my mind.
Great masters specializing in painting flowers and fruits in the recent 100 years are such as Wu Changshuo and Qi Baishi. As I view Dr. Wang’s works, I feel that her artworks are of the top quality in the free hand style of liberal expressivity.
Professor Wang’s paintings contains the brushwork of traditional Chinese ink painting while incorporating the strategies of Western painting. Her art, honoring tradition and breaking new grounds at the same time, is unique and unfathomable, sophisticated and powerful.
From the paintings, we can see how Professor Wang especially pursues and places emphasis on the spirit, the sensibilities, and artistic conception of ink painting through which she shows the different characteristics of Chinese and Western paintings. She merges these characteristics into her distinguished style.
Professor Wang’s ink paintings are leading me into the refreshing and beautiful nature, allowing my restless soul to rest peacefully.
In one of the paintings, three lotuses stand elegantly and the pods have just become fully grown. The stems created by seal-script brushstrokes have a pure and dignified presence.
The composition is clean, simple and effective; echoing the legacy of Bada Shanren. The painting seems to symbolize noble qualities of a lotus that grows out of the sledge yet remains pure, sending off its refreshing fragrance.
Standing in front of the Vitality at the Lotus Pond, I am drawn to the full composition of the ink-wash pastel flowers and the carefree, other-worldly artistic conception. The painting is enlivening a wondrous scenery of lotus in misty rain where the flowers can be compared to the renown classic beauty Xishi who was known to look elegant whether she adorned her face with rich or simple colors.
In a loquat painting, the fruits are painted in a semi-abstract manner. Powerful brushstrokes are used to depict the leaves and the stems. Under Dr. Wang’s sophisticated, forceful and unrestrained brushwork, the leaves of the loquat tree appear robust and energetic. The round and perfect yellow fruits depicted by Dr. Wang in the style of realism look adorable and delicious. There is a sense of classic elegance throughout the composition which also leads one to think of prosperity, peacefulness, and a big family with many children and grandchildren.
A painting depicting cockscomb flowers is inscribed with the verse “Red and white cockscombs are cherished delights. A few strokes of the brushes capture the pleasantness.” The color contrast of the red and white cockscomb flowers seems ordinary yet it is most exceptional. This is truly an extraordinary conception. The upstanding, bright and red flowers with heads held high give a sense of positivity, upward mobility, and vigorous passion.
In another painting, the plum blossoms are energetic and full of power, with slanting branches that are charmingly graceful. The composition of this painting is audacious, lively, and untainted by the mundane, giving a unique sense of spirituality. In this painting, the rich colors are not garish, the faint colors are not cold. The artistic conception is truly transcendent in depicting the subtle fragrance and gentle movement of the flowers.
The five petals of a plum blossom symbolize the five good fortunes including happiness, joy, longevity, wellbeing, and peace. There is a saying that goes, “The plum blossoms give out a sweet fragrance after enduring the bitter cold.” Plum blossom symbolizes strong and noble character.
In the painting Plum Blossoms, Professor Wang has penned the inscription that says, “The charm of the ink and brush is in the spirit, the way of painting plum blossoms is just the same.” The inscription speaks of how vivaciousness and the highest state of artistry can be achieved through the ink, the brush, the color and the lines.
With a faithful mind, I appreciate the paintings one by one silently. I read each and every classic inscription carefully. I feel as if I am taken into a brand-new state of being where I experience poetry in the paintings, paintings in the poetry, and wonderful melodies in praise of the nature’s embrace.
German philosopher Goethe once described art in this way: Beauty is the highest principle of art. It is also the highest goal.”
Professor Yuhua Wang’s paintings are extraordinary. The excellence of her art does not lie in how the artist represents the form of nature, but in how she uses the form to express her mind, and how she brings out the spirit within the form. Her paintings express humanity’s wishes for peace and happiness; they express humanity’s praise to the qualities of freshness, transcendence, nobility and elegance; and they also express humanity’s gratitude to the selfless beneficence of flowers, trees and plants.
In this sanctuary of art, we have enjoyed a precious experience of beauty. Our souls are cleansed and transformed by beauty.
I wish that Professor Yuhua Wang’s exhibition will tour different parts of the world, so more people may enjoy the beauty of nature, the beauty of art, the beauty of life, and the beauty of character.
We also look forward to seeing more of the art of Dr. Yuhua Wang that is of the style of ease.
Chinese calligraphy has transcended its role as a mere communication tool and has become an art form highly esteemed even in an era dominated by ballpoint pens and computers. No longer limited to intellectuals and officials, calligraphy is now practiced by professional artisans and enthusiastic amateurs. Calligraphers employ brushes to beautifully ink five distinct styles of script: ‘seal’, ‘official’, ‘cursive’, ‘running’, and ‘regular’. While calligraphy can be found on various surfaces, even adorning the rocky walls of cliffs, it is most commonly seen on letters, scrolls, literary works, and fan coverings.
Throughout history, the Chinese have believed that no art form or field of study can truly reflect a person’s moral character and knowledge as effectively as calligraphy. The accomplishments or creations in other arts or fields often overshadow one’s shortcomings in knowledge and character. However, calligraphy stands apart from this convention. It functions as a three-dimensional mirror, projecting the depth of knowledge, moral character, and mental strength with each brushstroke. There is no hiding or concealing these qualities. When examining an individual’s ordinary handwriting of Chinese characters, one can often discern their level of education. This is even more evident when examining their calligraphy.
In the annals of history, there is no account of an unknowledgeable person making significant contributions to calligraphy. Profound and extensive knowledge does not necessarily guarantee expertise in calligraphy. However, great calligraphers possess both knowledge and skillful brushwork. Without exception, the renowned calligraphers of past generations were literary masters who possessed deep knowledge. Notable examples include Xizhi Wang, Su Huai, Shaoji He, Huaiguan Zhang, Fei Yue, and in more recent times, Youren Yu. Each of them was an erudite literary figure and exemplar of virtue.
Knowledge serves as the pillar and cornerstone of calligraphy, while moral character is reflected in the style and allure of the art form. Thus, calligraphy demands a combination of knowledge and moral character.
When one appreciate the calligraphy of H.H. Dorje Chang Buddha III, one can understand that why chinese believe that calligraphy combines one’s knowledge, moral character and mental strength .The calligraphy of H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu Holiest Tathagata is not bound by worldly conventions and is devoid of unnecessary flamboyance. It is highly refined and based upon ingenious artistic conception. His Holiness’s strokes are sometimes written in a swift curling style. However, in an instant, His Holiness can express the innocent and natural charm of a child. There is wonder in even common strokes. His calligraphy is naturally graceful, exhibiting depth and brilliance. The calligraphy of His Holiness contains an invisible force that makes the characters seem much grander than they appear on a superficial level. His strokes look harmoniously smooth and unbroken. The Chinese characters may appear strong and vigorous, like a soaring dragon or mighty tiger. They may appear clear and gently elegant, like slowly floating clouds, cranes flying among pine trees, or dancing swans. They may appear simple and unadorned, like the free heart of a child. They are gracefully understated and completely devoid of any mundane quality. The calligraphy of H.H. Dorje Chang Buddha IlI is natural in quality and resonates with the true nature of the universe. A deep power underlies His Holiness’s strokes.
Crane Dance by H.H. Dorje Chang Buddha III at 1990
Red-crowned cranes tend not to build ness for themselves since they often stay in various places. When quiet, they frequently engage in meditational observation. When in motion, they frequently dance. Their nature is noble, pure, elegant and simple. They develop their virtue, are not attached to a specific abode, and take care of themselves so as to enjoy their natural lifespan. That is why since ancient times they have been praised for their longevity.
The ability of H.H. Dorje Chang Buddha III to reach such great heights in calligraphy is completely due to His Holiness’s vast knowledge and profound talents. Of course, His Holiness is extremely adept at learning from the styles of others since this is a simple matter for a Buddha. For example, even in the initial stage of learning calligraphy, H.H. Dorje Chang Buddha III had solid skills in the traditional cursive style of writing and also had extensive learning.
Calligraphy : A Qi jue poem (Thin Gold Cursive Style of Calligraphy)
Above is a qi jue poem written by H.H. Dorje Chang Buddha IIIat 1982. A qi jue poem is a four-line poem with seven characters to a line and a strict tonal pattern and rhyme scheme. The phonetic reading of the poem is as follows: “hua gong ri yue li yang tian, xi cheng xi feng liu yue xian, gu peng lai cong ba sheng wang, shi zhi shu qi yi dong can.” One can see that this work has surpassed all traces of the mundane and has transcended all earthly impurities. Its style is lofty and pure. When that poem was written, H.H. Dorje Chang Buddha III was living in the seclusion of an ancient temple. His Holiness used his extraordinary realization to express his thoughts and feelings. The first line expresses that although His Holiness lived alone and secluded in the room of a temple, He governed the universe and bestowed blessings upon living beings. The next line, “xi cheng xi feng liu yue xian,” conveys the scene that during the idle month of June H.H. Dorje Chang Buddha III bathed in the Buddha-state of coolness while under the scorching sun. His Holiness was free of all worldly cares and attachments, and his body merged with the universe. When friends came, His Holiness heard the horns of their cars, but He had already transcended the world, residing in quietude and non-action. H.H. Dorje Chang Buddha III kept no notion of the date, and His Holiness’s mind did not abide in anything whatsoever. The people of the world were ignorantly attached to the changing seasons and came in their cars and horses to inform H.H. Dorje Chang Buddha III that summer had long passed and the winter was about to end. The ancient Buddha acknowledged this and smiled.
In recent years, there are works of H.H. Dorje Chang Buddha III that have been written in the cursive mode of calligraphy, showing a flowing and unobstructed style, and expressing even more than before the charm of this writing technique. For example, the work Fei Cui Jade expresses the spirit of an immortal or Buddha, thoroughly transcending the three worlds of reincarnation, standing proudly above the five elements of the universe. It is truly calligraphy beyond the category of calligraphy, expressing a feeling that incorporates the whole universe.
Fei Cui Jade: Created with an unfettered hand and unattached mind, it has the appearance of a celestial writing accomplished with a childlike mind and steady strokes of the brush.
His Holiness’s calligraphy of the Chinese characters lang ga luo bu (Treasure of Heaven) excels the writing of calligraphers throughout history. It transcends all traces of worldliness. It expresses deep strength, like that which can break jade. The style of another calligraphic work called wu wo nai da cheng (No-Self Is Great Accomplishment), conveys the firmness and simplicity of steel and the vigor of a sharp knife. However, these same characters also contain delicate beauty. That calligraphic style truly surpasses styles of the past and present.
Lang ga luo bu (Treasure of Heaven)
Another calligraphic style of H.H. Dorje Chang Buddha III is revealed in the writing of the Chinese characters xiao bu dian (Tiny). Such calligraphy shows the childlike innocence of a very old man, and its arrangement expresses the utmost ease and lack of rigid constraints. It is high-class calligraphy that does not even seem to be calligraphy. It is so elegant and refined that it completely transcends the mundane.
Tiny (Xiao bu dian)
Beholding the character sheng (holy) written by His Holiness, one can see that it simultaneously embodies both the softness of ribbons and the inner-firmness of steel. Its inner beauty flows to the surface. Another example is the character fo, which means Buddha. The writing of that character demonstrates that His Holiness has truly attained the summit of calligraphic skills that the ancients extolled in the old saying, “the old pine branch cannot be weighed down by heavy snow; the might of a brush will lift a thousand-pound bronze cauldron.”
The Chinese character “sheng,” which means “holy.”
The Chinese character “fo,” which means “Buddha.”
In fact, the calligraphy of H.H. Dorje Chang Buddha III has a deep foundation and an internal richness. It embodies the manifold sensations that one could possibly experience in one lifetime. The essence of all things in the universe converges at the tip of His Holiness’s brush. With such a transcendent state of realization, the myriad things of the universe are in the palm of this Buddha. The calligraphy of H.H. Dorje Chang Buddha III is like a treasury. It can be vigorous, smooth, or naturally beautiful. His Holiness incorporates the best techniques of all of the schools of calligraphy. No words can really describe this! His Holiness’s calligraphic skills have reached the highest degree of proficiency and naturalness that only a Buddha could reach!
The Way to the True Source of Calligraphy and Painting
No-Self Is Great Accomplishment
Hua Zang Si (Inscription of a Buddhist temple in San Francisco)
Chinese ancient poem Han Shan Si Temple in rapid cursive style by H.H. Dorje Chang Buddha III
In traditional China, painting was revered as “silent poetry,” while poetry was seen as “painting with sound.” Both art forms found expression through the medium of calligraphy, which was considered the “art of handwriting.” Scholars and artist-scholars incorporated calligraphic brushstrokes into their paintings, viewing their artworks as vehicles for self-expression. Consequently, painting was not only regarded as an art form of equal purity and lyricism to poetry and contemplative thought but also as a means to evoke sensory experiences, emotions, and a holistic engagement with the world.
For Western observers, it may be intriguing why Chinese artists incorporate writing in their paintings and what significance the characters hold. By examining some of H.H. Dorje Chang Buddha III’s paintings, we can gain insight into these questions and witness the embodiment of the concept known as the “Three Perfections.” This concept represents the harmonious fusion of fine painting, poetry, and calligraphy within a single artwork.
Song of the Waves in the Three Gorges by H.H. Dorje Chang Buddha III
This painting, titled “Song of the Waves in the Three Gorges,” beautifully captures the grandeur of splash-ink technique alongside the charm of water and ink colors. Its overall tone carries a weighty presence. The brushwork employed in this artwork evokes a powerful sense of momentum, lively charm, and a vividness akin to the scene of a long, flowing river just passing by. The inclusion of a few small sailboats adds elegance to the water scene as they gracefully navigate through it. The combination of the mighty river and awe-inspiring mountains, enveloped in mist and holding sacred spaces, has a purifying effect on one’s emotions. This painting possesses a quality that is reminiscent of both poetry and calligraphy.
Notably, H.H. Dorje Chang Buddha III has inscribed an elegant Chinese poem onto this painting, which can be translated as follows: “The song of waves echoes in the gorge. Hanging colors of rocky cliffs burst with charm. A few cloudy, misty mountains reveal shades of blue. The vast water’s melody sets the sails in motion.” This poem aptly captures the beautiful and misty landscape of the Three Gorges, where the water and sky harmoniously blend, and human emotions become intertwined with the scenery. This painting serves as an artistic paragon, showcasing the mastery of poetic, calligraphic, and painting skills.
Yi Shan Shui Yun Liang Qing Nong ( One Landscape Charm Presents Two Strong Emotions) By H.H. Dorje Chang Buddha III
This remarkable painting showcases a rare combination of splash-ink and splash-color techniques, displaying the artist’s bold and skillful brushwork. The resulting natural effect achieved through these techniques is truly indescribable. Within the bold and dynamic brushstrokes, one can discern countless intricate details and traces of charm emerging from the flowing watery ink.
The painting depicts a scene of mountains and water during the approaching dusk, conveying a profound message. The poem imparts the wisdom that we should strive to engage in virtuous deeds rather than harmful actions, treating all living beings with kindness and respect. By embodying such a way of life, one can transcend to another realm and grasp the truth of existence beyond the concepts of birth and death. This painting offers a profound contemplation on the purpose and significance of human existence.
The calligraphy in the two art works are executed in a cursive style, known for its swift and dynamic strokes. Cursive writing is often characterized by its rapidity and vitality, effectively conveying the artist’s profound emotions.
The Title “A Lotus Pond Has Carp” suggests profound Philosophical implications that transcend everyday life. In addition to its masterful artistry, the painting contains subtle messages of the Dao and its fruits. The lyrics on the left and right sides of this work correspond perfectly with the image of the fish, forming a whole that awakens and enlightens, richly rewarding its viewers.
Why is this painting so artistically enchanting that it stirs the hearts of those who see it? One reason is that the fish are depicted with uncanny realism. The swimming carp are infused with vitality. The painting’s details clearly reveal the damage done to the carp’s skin, accumulated over a lifetime in the water, through lines that fade in and out. Appearing as delicate as a fine gauze, the translucent fins, for example, possess a natural realism. Texture and spirit are captured with utter precision, providing the viewer with stirring aesthetic pleasure. The surface and bottom of the pond are depicted with a wonderfully hazy charm, while the lotus flowers, leaves, and pods are portrayed in bold freehand brushwork with distinct and unusual brushstrokes rapidly applied.
The painting is mainly composed of back ink and rich colors. Only a few brushstrokes were used to create each vibrantly red flower, which seem to emit a pure fragrance. The hanging lotus pods embellish the painting, conveying an elegant contrast of hues and instilling a sense of vitality. As the fish swim about, free of any inhibition, the sunlight faintly reflecting off the water ripples provides the illusion of movement that occurs in the natural world.
When examined more closely, the painting has an intricate style to ascertain, for it seems to transcend realistic fine brushwork and convey the feeling of freehand brushwork. It is not in the style of conventional paintings. Instead, freehand brushwork was applied to produce the effect of fine brushwork with close attention to detail.
Fine brushwork was applied that transcends realism. The real and the surreal blend, resulting in a work that excels the beauty of a natural lotus pond. It represents a combination of techniques from the “Menglong” style of painting and bold, large-scale freehand brushwork.
For the painting, H.H. Dorje Chang Buddha III composed these lyrics of a Dao song: “No Dao exists on the high mountain, yet hearts yearn to go there. A lotus pond has carp; men have inquired about them. Which path leads to the truth is worth pondering. It would be better to look tranquil to our original nature, like a lotus flower sitting over its leaves in tranquility.” These lyrics speak of mysteries unknown to the ordinary person – seeing fish, not as fish; seeing water, not as water; no Dao exists on the high mountain, so no value exists in searching for it; and the fish have neither life nor death.
To understand the origin of the painting, we must ask: where did the fish come from? What state of realization was relied upon and gave birth to this exquisite painting? What form of realization manifested this mysterious, hazy, and illusory painting? The magical illusion of the fish and water is nothing more than a superficial image. Spirit is within; A life force underlies spirit. Spirit is empty or nothingness. The original essence of all things is neither empty nor substantive. Everything illusory and impermanent quickly changes in time and space, but their original nature remains constant. Thus, the lyrics of the Dao song continue: “To find our original nature, do not seek the source, as the source is our original nature, tranquil and unmoving, like a lotus flower sitting over its leaves in tranquility. There is no such thing as arising, passing away, and change. From this surpassing wisdom, usages that arise from Buddha-nature will naturally manifest. These usages include calligraphy and painting. Only in such a way is a consummate work created.” Thus, one should understand the tremendous meaning of this song of Dao written in this painting. Profound mysteries are deeply hidden within it.
In case the viewer remains oblivious to right stanza, on the left side of the painting, the second stanza of the song continues with: “The carp rely on the Dao, and the Dao awakens the fish.” The Dao refers to the state of holy ones, a realm that transcends the realm of ordinary people. It does not refer to regular abilities. The artist created this carp painting based on such a holy state. “The Dao awakens the fish” means that this painting of carp in a lotus pond was accomplished based on the wisdom of the transcendent Dao. Only with such wisdom could this lifelike, graceful scene of carp swimming in water be painted, a setting that combines the real and the surreal, emptiness and substance in such a wondrously appealing way. This scene of carp complimented by the boldly and powerfully depicted lotus leaves results from the artist’s awakening to the holy Dao.
This painting of carp, then, is merely an expression of one who has attained the Dao and reached enlightenment. Thus, this work is not just an ordinary combination of brush strokes, color, ink, and water. Instead, it results from techniques derived from the beautiful application of holy wisdom. The profound mysteries contained in “A Lotus Pond Has Carp” cannot possibly be conveyed by the superficial meaning of the words in its title! Actually, this explanation is entirely unnecessary. All those with discerning eyes will understand once they see the lyrics of the Dao song and the calligraphic skills with which they were written on the painting.
On November 13th 2008, at the Capitol in Washington D.C., several members of Congress and the Congressional Arts Caucus held an exhibition of the artwork of Professor Yuhua Wang and an official reception honoring her. The exhibition hall was crowded with people, including numerous officials and dignitaries. Many members of Congress, council members of the District of Columbia, ambassadors, and diplomats came to appreciate the exhibits on display. They praised the beauty of the artwork as being beyond imagination and praised Dr. Wang for bringing the light of beautiful art into the Capitol. Even after the exhibition ended, there were still members of Congress who came to the exhibition hoping to view Dr. Wang’s works of art.
Professor Wang personally attended the official reception in her honor. The hall was filled to capacity, making it a very grand occasion indeed. Members of Congress and members of the Congressional Arts Caucus added their support by signing and presenting certificates of commendation. During the official reception, members of Congress gave speeches expressing their respect for Professor Yuhua Wang. They praised Professor Wang for her outstanding contributions to world color-painting, sculpture, oriental arts, and the development of cultural exchange. A Congressional Commendation stated that Professor Wang is a selfless person whose moral character is noble. It also stated that through her practice of Buddhism, she benefits humanity and all living beings. Members of Congress who initiated the exhibition proudly presented that Congressional Commendation to Professor Wang as a symbol of appreciation and gratitude for her service to America and humanity. The Mayor of Washington D.C., Adrian M. Fenty, presented to Professor Wang a certificate welcoming the exhibition of her artwork in the nation’s capital and welcoming her to visit the entire area of Washington D.C.
Members of Congress who initiated and held this art exhibition included Corrine Brown, Danny Davis, Eliot L. Engel, Adam Schiff, Neil Abercrombie, Chaka Fattah, David Wu, and others.
Dr. Yuhua Wang was born in China and permanently resides in the United States. She is currently a research professor at the College of Liberal Arts at Auburn University in the United States. She has been highly commended by the president and vice-president of Auburn University and by the dean of the college where she is a visiting professor for her achievements in the study of colors. Her faux coral and cobblestones that she hand-sculpted from light-weight material and painted have been praised in the Congressional Record as being “treasures of the world.” The Congressional Record also states, “In the history of Chinese art, her lotus flower paintings are unsurpassed…”
Professor Stephen Farthing, who is a world-renown authoritative scholar on art, the Rootstein Hopkins Research Chair in Drawing at the University of the Arts in London, and a R.A. (Royal Academician), evaluated the artwork of Dr. Wang. He concluded that her paintings may draw heavily upon the traditions of Eastern art but they present themselves as extraordinarily western ideas and images. He also said that Dr. Wang’s paintings very elegantly bring two forces together-the force that rejects perspective and the force of photorealism. In his short foreword to the book World’s Highest-Level Color Paintings and Ink-Wash Paintings-the Art of Professor Yuhua Wang, Professor Farthing wrote that that the space Dr. Wang’s paintings occupy was only opened up in Western culture in the 20th Century. He also wrote that Professor Wang’s paintings “…reach across cultures to celebrate the space that exists intellectually and emotionally between representation and abstraction, between a fact and an idea.”
It is said that a person’s creations are a reflection of his or her character. Dr. Yuhua Wang has always been a very diligent person who leads a simple life. Even when she is ill, she still attends to her daily life and is unwilling to have others do her work. All who meet her sense her goodness, compassion, friendliness, elegance, and noble character. Seeing her creations is like seeing her in person. In either case, one is left with a feeling of great comfort, ease, and peace.
On July 30, 2008, the United States Congressional Record affirmed that “…Dr. Yuhua Wang…has been recognized as a great artist and sculptor.” It was also stated in that Congressional Record that she takes great pleasure in helping others, is a selfless person whose moral character is noble, and has made great contributions to the development of cultural exchange between the East and West. Additionally, Denis G. Antoine, Ph.D., Dean of the Ambassadors of the Western Hemisphere, wrote in a congratulatory letter that the color forms created by Professor Wang are pioneering and without comparison, and her paintings unleash blissful emotions. He also wrote that Professor Wang’s works make people not only think of but also perceive a world of colors that brings a calming a peaceful impact on the mind.
The exhibition displayed four of Professor Wang’s hand-sculpted faux coral painted in oil colors. Those works are entitled “Glamour in Pink,” “Arching Branches,” “Parched Antiquity,” and “Cinnabar Nectar.” Another exhibit is called “Seventy-Seven Stones,” which are exquisitely hand-sculpted and painted faux cobblestones. Additionally, there will be displayed ten ink-wash paintings called “Spiritual Air,” “The Appeal of Lotuses,” “Two Chicks Under the Wool Tree,” “Ink Alone Excels Nature,” “Auspicious Atmosphere at the Lotus Pond,” “Light, Elegant Ink; Three Lovely Flowers,” “Yuhua,” “Lotus Fragrance Blown by the Wind,” “Golden Lotuses,” and “A Bit of Charming Autumn Scenery.” The three oil paintings on exhibition were “Flying Object in the Night,” “Heavenly World,” and “Exuberant Life.” All of these exhibits were authentic, and most of them were chosen by International Arts Publishing to be included in the book World’s Highest-Level Color Paintings and Ink-Wash Paintings-the Art of Professor Yuhua Wang.
At the exhibition, news reporters asked Professor Yuhua Wang which one of the works of art that she created is her favorite. Her answer, which she gave without hesitation, has profound meaning. She said, “Whichever work of art is everyone’s favorite is my favorite work of art!”
United States Senator Dianne Feinstein stated in her certificate of commendation that Professor Wang’s work in the oriental arts across the nation has distinguished her as a leader in the field. In a congratulatory letter, United States Congressman Edward Royce praised Dr. Wang for her outstanding accomplishments in education and art, especially in the areas of lotus flower paintings and sculpting.
Professor Wang’s hand-sculpted faux coral on which she painted oil colors are even more genuine-looking and more beautiful in form and color than real coral found at the bottom of the sea or on islands. Touching these works of art is like touching real coral that has been immersed and eroded in water. One cannot help but admire Dr. Wang for creating coral with a texture of having been immersed and eroded in water for thousands of years. This texture is difficult to find even with real coral at the bottom of the sea. The forms and colors of her faux coral reveal a quality of elegance and good taste. Such works of art are many times more beautiful than natural coral and have become rare artistic treasures. It is no wonder that her art is regarded as “treasures of the world.”
The cobblestones that Professor Yuhua Wang hand-sculpted from light-weight material and painted are exquisite and were made with meticulous attention to detail. These intriguingly and unpredictably varied faux cobblestones are not only genuine-looking, they are even more beautiful than real cobblestones. Their spots, streaks, watermarks, weathered appearance, reflecting light, and hues are all lifelike and exquisite. In all of their myriad variations, these cobblestones capture the spirit and form of real cobblestones yet surpass the beauty of natural ones. None of her cobblestones duplicates any other cobblestone in form, lines, color, or extent of weathered or aged appearance. Each cobblestone is in and of itself a meticulously and realistically painted work of art. Just like Leonardo da Vinci’s Mona Lisa and Vincent van Gogh’s Sunflower Paintings, Dr. Wang’s oil painting on these cobblestones has been called wondrous color application and the most superb art in the world.
The ink and wash paintings of Professor Wang are boldly arranged yet lack the slightest trace of affectation. They have an air of ease and smoothness and convey a sense of complete naturalness. They express loftiness and broadmindedness and are imbued with deep charm and liveliness. Those works of art by Professor Wang can indeed be called ink and wash paintings of the highest order.
A great artist concluded that the lotus flowers painted by Professor Wang are the best in the world. He said, “She has an amazingly wide variety of techniques that she applies in an unpredictable way. It is hard to imagine that there is someone in this world with such adroit artistry. In her brushwork, she merges charm, strength, hues, scholarliness, graceful jaggedness, vitality, self-cultivation, and morality.”
The modern paintings of Dr. Wang have a unique style to them. Their lines flow smoothly and freely. Their diverse and unpredictable color combinations can express bold intensity, overflowing enthusiasm, traditional elegance, inspiring vitality, rustic charm, or majestic splendor. Those paintings are truly a feast for the eyes. Deeply embedded within them are feelings and wondrous skills. Her modern paintings are very sophisticated and should be carefully viewed. Actually, a magnifying glass would reveal that each of the many different parts that make up one of her modern paintings is a work of art in and of itself with its own unending appeal. This proves that Professor Yuhua Wang’s color application in modern paintings is another area where she has attained consummate artistic mastery.
Take, for example, her work entitled Yuhua. The leaves were painted with bold strokes, giving them a sense of natural charm. The stem was painted from top to bottom with one vigorous stroke of the brush, producing a gracefully jagged effect. The flower conveys the sense that it was painted with ease. It does not have the form of a flower but appears like a flower. This adeptly created work is not tainted by the slightest artificial brushstroke. In all of these aspects, Yuhua embodies the apex of artistic accomplishment.
The exhibits displayed in this Congressional exhibition deserve to be called works of art that are unique in the entire world.
The High-Leg Treasure Horse is a thoroughbred horse with great stamina. When this treasure horse perspires, it appears to be bleeding due to the color of its perspiration. According to ancient legend, it is the most precious among all species of horses. It has the reputation of being able to travel over three hundred miles a day. Long mane hairs and a mighty, strong-willed, handsome appearance are its prominent characteristics. The High-Leg Treasure Horses in this painting have longer legs than horses commonly seen in paintings. The hairs of their manes are also long and strong. An extremely rare brushwork technique that combines haziness with clarity was applied to paint the hairs of the horses. The gossamer-thin hairs are strong but pliable. One can clearly see the natural effect of sunlight on the horses’ manes. Moreover, contrasting variations of dark and light are seen in every hair. The hairs of the horses are depicted with a realistic effect that nonetheless transcend their natural look.
An artistic technique was used to thoroughly capture on paper the charm and atmosphere of the grassland, lake, sky, and land. The “haziness technique” was applied to express a state of realization in which there is no distinction between emptiness and form. The ancient cypress tree was drawn in one shade of green without the need to add decorative touches in several different shades of green. Both the spirit and form of the tree were captured through the artist’s brush. In addition, elegant charm is revealed by a small number dots of red leaves in the background that compliment the scene. The most difficult part of this work of art was painting the roots, trunk, and leaves in a spontaneous, casual manner using the center brush-up technique yet maintaining a scholarly tone. Such mastery of painting cannot be easily attained and requires solid skills in calligraphy, literature, and painting as well as a noble moral character. From the brushwork style and details of this painting, we can sense the profound inner-cultivation of a renowned scholar. The abilities of a literary giant with abundant talent are visible everywhere. The scholarly tone and brushwork style are skinful and vigorous, totally free of any trace of the mundane, and reflect the highest level of painting and calligraphy. Anyone who lifts a brush in an attempt to paint such painting will appreciate the fact that this scholarly style cannot be accomplished by anyone other than a literary giant who is a great master of art. This painting coherently unites realism and small-scale freehand brushwork as well as the use of haze and clarity.
This painting is in the permanent exhibition of The International Art Museum of America. H.H. Dore Chang Buddha III, an artist of great talent, has created sixteen distinctive painting styles. The composition we are discussing here belongs to the “Menglong” style. This style combines realism and non-realism to capture the essence of the portrayed subject, resulting in a seemingly realistic but actually non-representational depiction. The brush strokes and color application in these paintings create a whimsical and dreamlike appearance, where the real and surreal merge into a lovely and hazy composition.
Springtime Snow-White Plum Blossoms as Pure as Jade
At the International Art Museum of America in downtown San Francisco, there is a special exhibition room, dedicated to Professor Yuhua Shouzhi Wang. This installation was established in 2018, containing a variety of water and ink paintings as wells as sketches. Professor Wang’s acclaimed works have been displayed all over the world, including an exhibition at Congress in 2008, where they called her work a ‘treasure of the world’. In 2019, Professor Wang’s art was exhibited at Shanghai Exhibition Center in China and the Louvre Museum in Paris. An art critic Aude de Kerros praised this event in Paris, saying ‘I have curated and critiqued so many art exhibitions, yet I have never seen an exhibition like this where all the guests are so touched and amazed by the art.’ Following the Paris exhibition, Professor Peter Drake, the Provost of the New York Academy of Art, presented a certificate to Professor Wang, recognizing her extraordinary contributions to representational and abstract art. In December 2020, the Chairman of Centre for Peace in United Nations Educational, Scientific and Cultural Organization (UNESCO), Guy Djoken awarded an “International First-Class Artist” title to Professor Wang for her accomplishment. Professor Wang is the only Asian artist who has ever received such a title. On December 29th 2020, Chairman Guy Djoken came to the museum to personally present the title certificate to Professor Wang.
Hand crafted cobblestone
Hand Crafted Coral Sea Palace Monarch
Many people are aware that Professor Yuhua Shouzhi Wang is a world-renowned artist. However, the true identity of Professor Yuhua Shouzhi Wang is revealed as Fomu, Holy Mother the Great Mahasattva. She embodies great wisdom and compassion, noble morality, kindness, altruism, and selflessness in a perfect manner. She always considers other people’s well-being and is humble and very approachable. The compassion and kindness of Fomu, Holy Mother the Great Mahasattva, are pure and flawless. For example, in 2015, someone sneaked into the International Art Museum of America in San Francisco and tried to steal an artwork that had been acclaimed by the World Federation of UNESCO (WFUCA). This person was arrested by the police on site and subsequently detained. Since the artwork that he tried to steal was one of Fomu’s masterpieces, the court repeatedly requested Fomu to provide a valuation of the artwork, so that they could use her valuation to determinethe term for sentencing. When Fomu, Holy Mother the Great Mahasattva, knew about this person’s distress, She provided a statement saying that the artwork was rather ordinary and had no value. The court had no way of sentencing the person to any term and had to release him.
Another time, Fomu, Holy Mother the Great Mahasattva, saved a butterfly that had fallen into the water. Worried about the butterfly’s safety, Fomu brought it home and kept it for a few days to make sure the butterfly is well-recovered before letting it fly away. Fomu relentlessly led disciples to conduct life-releases. She went every week to woodlands to feed ducks and birds and never missed a week. She paid for it with Her own money and never accepted offerings from Buddhist disciples. Fomu, Holy Mother the Great Mahasattva, is well known for Her diligence and thriftiness. For many decades, the noble Fomu, Holy Mother the Great Mahasattva, always cooked Her own meals and washed Her own clothes. She never entrusted others to do Her chores. She would save the food that She could not finish eating and finish it the next day or two. She was never wasteful. Usually, Fomu, Holy Mother the Great Mahasattva, would even save the water that She did not finish drinking, the water used for washing vegetables or hands, or wastewater from the filter and use it for irrigating flowers or flushing toilet. Through Her deeds, the Great Fomu, Holy Mother the Great Mahasattva, was teaching us how to start with the small things, cherish our good fortune, and actualize our cultivation practices.It is impossible to recount all the numerous exemplary deeds of Fomu.
Photo from internet weixin.com
Wherever Fomu, Holy Mother the Great Mahasattva, went, dragon Dharma protectors were present, and holy miracles manifested. When Fomu performed initiation and transmitted Dharma, holy states were manifested. For example, at the Antelope Valley, Fomu’s hat turned into a black garuda. In New Jersey, the hair of Fomu, Holy Mother the Great Mahasattva, suddenly went up and wrapped around a tall building in Manhattan on the opposite shore. In San Francisco, a twin Buddha light suddenly appeared, centered around where Fomu stood. All cultivators are touched by the compassion and morality of Fomu, Holy Mother the Great Mahasattva.
Recently, I stumbled upon breathtaking plum blossoms while taking a walk. These delicate flowers evoked feelings of warmth and joy, reminding me of the arrival of spring. In Chinese culture, plum blossoms, beyond just being a physical flower, have become a symbol of perseverance and resilience in the face of harsh winter conditions. This significance was achieved through the extensive descriptions, sublimations, and chanting by literati and scholars over the ages. In ancient China, plum blossoms were considered a lucky symbol and were welcomed as a sign of the arrival of spring during the New Year.
When I was a child, my father taught me to recite the poem “Ode to the Plum Blossom” by Zedong Mao, reminding me to be fearless and strong like the plum blossom that blooms amidst harsh winter conditions. I really like the poem, and can still remember it.
Ode to the Plum Blossom
—to the tune of Bu Suan Zi
By Zedong Mao, December 1961
Wind and rain escorted Spring’s departure,
Flying snow welcomes Spring’s return.
On the ice-clad rock rising high and sheer
A flower blooms sweet and fair.
Sweet and fair, she craves not Spring for herself alone,
To be the harbinger of Spring she is content.
When the mountain flowers are in full bloom
She will smile mingling in their midst.
But after many years of struggles, I realized that bravery and strength aren’t always enough, especially in managing relationships and family. As a wife and mother, I learned the importance of being magnanimous, compassionate, forbearing, and not rigid. I have since embraced the peaceful and compassionate philosophy of Buddhism.
H.H. Dorje Chang Buddha III, the contemporary Buddha, wrote a poem “Plum Fragrance in the Holy Land.” He broke from traditional poetry styles, instead opting for surreal techniques to directly convey spiritual essence.
To the Tune of “Jiang Jun Song”
Plum Fragrance in the Holy Realm
Reveal her icy bearing and proud bones,
See how plum blossom commands the scene,
The crowd of beauties suddenly lacks color,
Seductive peach has lost its looks.
A few casual strokes,
So many eons of wind and dust.
The smoke and fire of the human world all disappears,
Leaving only a pure fragrance from the paper,
It wafts over me, awakening my mind.
The smile of the enchanted dream still remains,
Buddha Vajradhara has come
Three times to this world.
To this Buddha Land of merciful compassion
That great one has brought purity,
Feelings of the brush,
Traces of the brush,
One smile in the wind and dust,
Now the wind and dust,
So many eons of wind and dust.
The Buddha also created an ink painting to accompany the poem. The poem delves deeper into the artist’s thoughts, while the painting provides a visual representation.
The plum blossoms depicted in the paintings symbolize the artist’s state of mind, embodying inner beauty refined from impurities. The brushwork, casually applied, was accomplished with an unfettered hand and detached mind, free of the slightest artificiality. It is a seemingly ever-changing work. Its charm, tone, transitions, and depictions represent the highest level of Eastern ink-and-wash paintings. A transparent layer of lighter ink on top of darker ink is clearly visible, imbuing the painting with a pure and fragrant air and providing the viewer with a feeling of comfort and ease.
The plum blossoms created by these skilled pens are eternal. While natural blooms may come and go, Buddha’s compassion remains steadfast.
Dr. Yuhua Shouzhi Wang is a highly skilled and talented artist who has created a unique form of art using hand-sculpted wood and oil paints. Her faux coral sculptures are so realistic that they are often mistaken for real coral. The texture, watery tone, colors, and charm of her sculptures are breathtaking and truly unique.
In 2008, Dr. Wang’s artworks were exhibited in the Gold Room at the United States Capitol, where her talents were recognized by the United States Congress. She was officially recognized as “a great artist and sculptor” for her outstanding accomplishments and contributions to cultural exchange between the East and the West.
Coral reefs are one of nature’s most impressive creations, often referred to as the “rainforests of the sea.” They are massive structures made of limestone deposited by coral polyps. Dr. Wang’s sculptures not only capture the beauty of coral reefs but also showcase her own artistic talents. Her work truly is a testament to the power of human creativity and imagination.
Parched Ancient Coral
This piece was hand-sculpted and painted in oil colors by Professor Yuhua Shouzhi Wang. Its shape and colors are even more genuine-looking and beautiful than those of real coral from the bottom of the sea or parched islands. When touching this sculpture, it tangibly feels like coral that has been eroded through immersion in water for millions of years. One cannot help but marvel at how such coral texture is created by Prof. Wang. Corals of such kind are difficult to find. Its appeal is further enhanced by the matching hand-sculpted vase called Emerald Green Fine Jade. The set has an air of elegance and refinement, surpassing the beauty of natural coral.
Sheep Tallow Dew
Pink, moist-looking, and with an understated luster, this faux coral seems as sleek as sheep tallow jade. It conveys a sense of morning dew that is deeply moving. Its wonder, colors, lustrous beauty, overall quality, and artistic flair unite to form a precious sculpture captivating in both spirit and appearance. Combined with a hand-sculpted, delightful, elegant matching vase of milky white faux jade, it becomes a doubly charming masterpiece. When a special exhibition of the art of Yuhua Shouzhi Wang was held at the United States Capitol, it was stated in the Congressional Record that her wood-based faux coral and cobblestones that she hand-sculpted and painted with oil colors “have become treasures of the world.”
Hanging Coral
This attractively hanging coral is as clean as white jade. After it was sculpted from wood material, it was painted with oil colors and glazed. It conveys a sense of moistness and distinctive texture stemming from its natural-looking shape, hues, and luster. It is sleek yet true to life as if it were real coral. All who view it will enjoy its purity, elegance, and comforting air. Combined with the matching vase called “Cai Yi Tao,” this faux coral appears even more beautiful, attractive, and elegant than real ones in nature. This piece was on view in a dedicated exhibition of Dr. Yuhua Shouzhi Wang at the United States Capitol in 2008.
Sea Palace Monarch
This gigantic coral you now see has been named “Sea Palace Monarch.” Presumably, your first feeling was that of surprise. Is it a genuine coral? Does such large coral exist in the world? If it is not a genuine coral, then why do its luster, texture, and appearance look so real and natural? From the bottom of your heart, you would happily accept it as genuine coral because it is truly so beautiful, so aesthetically pleasing. How beautiful your living room would be if it contained this sculpture! Nonetheless, reason and knowledge tell you that this world could not possibly have genuine coral so huge and so gorgeous. Indeed, even if you searched every corner of every coral reef in the oceans of the earth, you would still not find coral of such beauty and size. Its name, “Sea Palace Monarch,” means that it is the sovereign of the seas since it is the largest treasure in all the oceans. However, such colossal and splendid coral cannot be found in real oceans because it simply does not exist in this world.
Each of these three faux coral sculptures has its own distinct allure and shades of color. The aged appearance of the mouse-fur-pattern faux coral gives it the particularly strong charm of an ancient fossil from the deep sea. However, the green faux coral, which seems permeable to light, looks as if it was taken from the waters near Malaysia and Indonesia. It was painted in vivid watercolors and conveys sublime elegance. Its delightful spring green expresses purity and freshness. The yellow faux coral resembling fine jade reveals an inner warmth that would certainly be enjoyable to the touch. Each of these three works is an embodiment of talent in sculpting and painting.
With unparalleled works of art such as this, it is no wonder the artistic accomplishments of Yuhua Shouzhi Wang were recognized as “treasures of the world.” Those amazing beautiful treasures are in the permanent exhibition at The International Art Museum of America in downtown San Francisco. Admission of the museum is free.
Peace LiLy 