If you are looking for an inspiring cultural experience in San Francisco this summer, make sure to visit the International Art Museum of America. Their newest exhibition, Eastern Charm Awakens: Where Art Meets Silk, offers a breathtaking look at creativity, tradition, and the powerful bond between mother and daughter.
Exhibition Dates: July 18 – August 2, 2026
Location: International Art Museum of America, San Francisco
A Unique Mother-Daughter Collaboration
At the heart of Eastern Charm Awakens is a rare and extraordinary creative dialogue between Yuan Yuan (Rebecca) Xu and her daughter, Angela Tse.
Despite being only 10 years old, Angela is an exceptional talent whose detailed Chinese brush paintings capture depth, beauty, and traditional technique far beyond her years. Inspired by her daughter’s artwork, Xu Yuan Yuan—a multitalented, interdisciplinary fashion designer—has translated Angela’s painted brushstrokes directly into intricate, wearable fashion.
Walking through the gallery, visitors are treated to a dynamic side-by-side experience:
Traditional Chinese Aesthetics: Angela’s fine brushwork grounds the exhibit in rich cultural heritage.
Contemporary Fashion: Yuan Yuan’s garments take elements, motifs, and colors from those paintings, turning two-dimensional art into fluid movement, luxurious textures, and living forms.
This seamless blend transforms static artwork into a tactile, lived experience—showing how ancient artistic traditions can continually inspire modern design.
Whether you are a lover of fine arts, fashion design, or simply looking to experience a touching story of intergenerational talent, Eastern Charm Awakens is not to be missed.
Be sure to stop by before August 2, 2026, to immerse yourself in this magical synthesis of silk, ink, and vision!
The International Art Museum of America has been named Best Museum and Best Art Gallery in SFGATE’s Best of Bay Area 2026, as well as a finalist for Best Event Space/Venue. The museum itself is well worth a visit anytime.
IAMA Wins Best Museum and Best Art Gallery in SFGATE’s Best of Bay Area 2026
The International Art Museum of America is proud to announce that we have been named Best Museum and Best Art Gallery in SFGATE’s Best of Bay Area 2026. IAMA was also recognized as a finalist for Best Event Space/Venue, making this an especially meaningful year for our museum, our team, and our community.
Hannah Taschek, KC Hsieh and Emilio Jimenez celebrating at the SFGATE Best of Bay Area 2026 event at Chase Center, where the International Art Museum of America was recognized as Best Museum, Best Art Gallery, and a finalist for Best Event Space/Venue.
This recognition would not have been possible without the support of our fans, followers, visitors, members, partners, and friends. To everyone who took the time to vote for IAMA, share our work, visit the museum, attend our events, and continue supporting our mission: thank you. Your support helped make this achievement possible, and we are truly grateful.
To celebrate this special recognition, our team attended the SFGATE Best of Bay Area 2026 event at Chase Center, where we joined other Bay Area businesses, organizations, and community leaders for an unforgettable evening. The event was filled with great conversations, new connections, delicious food and drinks, and a lively atmosphere that truly captured the spirit of the Bay Area.
One of the highlights of the night was having the chance to step onto the actual Chase Center court, where NBA legends have played. We even had the opportunity to shoot some hoops, making the celebration even more memorable for our team.
Throughout the evening, we enjoyed a special performance by Club Fugazi, met the Golden State Valkyries mascot, and connected with many inspiring people from across the Bay Area. It was a wonderful reminder of how vibrant, creative, and diverse our local community is.
Club Fugazi performers brought the energy to the Chase Center court during the SFGATE Best of Bay Area 2026 celebration.
Winning Best Museum and Best Art Gallery is an honor that motivates us to continue growing, improving, and creating meaningful cultural experiences for our visitors. Being named a finalist for Best Event Space/Venue also highlights IAMA’s role as a welcoming venue for corporate events, community gatherings, cultural events, private celebrations, and special programs.
This recognition belongs to everyone who has been part of IAMA’s journey. Thank you for voting, following, visiting, sharing, participating, and believing in what we do.
We look forward to welcoming you to the museum soon and continuing to celebrate art, culture, and community together.
Artworks of His Holiness Dorje Chang Buddha III and Professor Yuhua Shouzhi Wang enable the next generation to comprehend the essence of art from different cultures
SAN FRANCISCO – On November 2,2019 the Provost of the New York Academy of Art, Peter Drake, led 15 Master’s students to the International Art Museum of America (IAMA) in San Francisco and conducted a class on site. When the group was copying original works of world class artists such as those of His Holiness Dorje Chang Buddha III and Professor Yuhua Shouzhi Wang, they praised the art profusely.
Matthew Kuan, the President of the International Art Museum of America in San Francisco, welcomed the visiting group. Loretta Huang, Director of Museum Operations, and staff introduced artworks in each gallery to the visitors. The President of World Journal San Francisco Ken Lo came to meet members of the group including Peter Drake. Lo also acclaimed the Museum’s collection and exhibition program.
Provost of the New York Art Academy Peter Drake gave instructions to Master’s students about how to copy the artworks
Drake had visited the International Art Museum of America before and was amazed by the artworks exhibited there. In this trip, he personally led 15 students to study the artworks by copying them. He said that this was the first time these students had ever been to the IAMA in San Francisco.
Amy Hughes is a Master’s student from the U.K. and has been living and studying in New York for five years. She specializes in the study of oil painting. She said that this visit had enabled her to truly comprehend the essence of art from different cultures. She is especially impressed by the expansiveness and profundity of Han Chinese culture.
Dongqin Fang is a 2019 Master’s degree graduate and a teaching assistant at the New York Academy of Art specializing in oil painting and sculpture. He expressed being truly shocked by the large number of original paintings by top Chinese artists at the International Art Museum of America in San Francisco, and that he has gained a lot from being there. He said this is also the first time he ever looked at Yun sculptures created by H.H. Dorje Chang Buddha III at a close distance. To him, those sculptures exude a mystique that feels like “heavenly bliss.”
The Provost of the New York Art Academy PeterDrake lead Master’s students to copy the art exhibits; the group is deeply impressed by the exquisite artworks in the International Art Museum of America.They took a group photo in front of the painting Misty Appeal of a Dilapidated Pond.
Out of approximately 250 artworks exhibited in the International Art Museum of America, more than 100 of them are on loan from H.H. Dorje Chang Buddha III whose works have repeatedly achieved the highest prices at art auctions, beyond those ever reached by any living artists.
The art pieces that caught everyone’s attention are the rare world treasures of Yun sculptures exhibited in the Treasure Room, including A Pillar Holding Up Heaven, and another work esteemed to be “miraculously divine artistry of Buddha” within which mist was carved to become an actual part of the artwork. Yun sculpture is uniquely originated by H.H. Dorje Chang Buddha III. It embodies a multi-dimensional sense of space; its beauty transcends natural scenery, and its colors are more exquisite than those of natural rock formations. Inside the stone cave of the Yun sculpture, one can see richly magnificent colors as if they were intrinsically part of the art, with no trace of rendering. From the carving knife comes the melting cave with enigmatic and miraculous scenery. Auspicious clouds and natural mist float inside the melting cave of the artwork and do not dissipate, exuding the sense of an otherworldly paradise.
H.H. Dorje Chang Buddha III originated 16 unique and unprecedented painting styles. Exquisite works of art created by His Holiness the Buddha capture the quintessence of art and culture. They encompass Chinese ink painting, Western oil painting, sculpture, calligraphy, stone and bronze inscription, poetry, verse, song, ode, colorfully painted tile and other media. In His Holiness’s paintings, subject matters include landscape, flower, bird, animal, fish, insect, and human figures. The range of profound techniques include traditional Chinese painting methods such as meticulous style, freestyle, and ink wash; as well as Western painting styles such as figurative, abstract, impressionist, and line drawing.
Recently, when paintings of Professor Yuhua Shouzhi Wang were exhibited at the Louvre Museum in Paris, they stunned the European art world. Professor Wang’s art has attained the highest state of artistry and accomplishment. Experts in the field of art all held her paintings in high esteem. One of Professor Yuhua Shouzhi Wang’s small paintings Pomegranates in a Basket realized a top auction price of US$1.27 million in the Spring auction at the Gianguan Auction House in New York on March 13 of this year. It clearly shows that the art of Professor Yuhua Shouzhi Wang is recognized by art collectors and people of foresight alike.
Loretta Huang, Director of Museum Operations at the International Art Museum of America in San Francisco said that levels of artistic creation in painting can be categorized in four classes. First is the Class of Proficiency where one’s sketching skill achieves resemblance of form. Second is the Class of Wonderment in which the paintings are wondrously beautiful. Third is the Class of Divinity where both form and spirit are fully enlivened. Fourth is the Class of Ease where the artist possesses extraordinary skill and is able to paint anything at will to accomplish a magnificent masterpiece. The art of the Honorary Lifetime President of the Museum, Professor Yuhua Shouzhi Wang, is of the Class of Ease, a Class that few Chinese artists have ever achieved. The artistry of Professor Yuhua Shouzhi Wang is esteemed to be of the same standing as Western painters such as Cezanne and Gauguin.
Loretta Huang said that in addition to exhibiting the art of H.H. Dorje Chang Buddha III and Professor Yuhua Shouzhi Wang, the International Art Museum of America also showcases works by renowned artists including Wu Changshuo, Qi Baishi, Huang Binhong, Pan Tianshou, Fu Baoshi, Xu Beihong, Li Keran, Zhang Daqian, Yun Shouping, and others; as well as authentic calligraphic art by the Emperor Yongzheng. What differentiates IAMA from many other museums is the eminence of the artworks it exhibits.
Three musicians by Fu Baoshi
The International Art Museum of America in San Francisco holds three criteria for artworks to be admitted for exhibition: First, the works of the artist must be collected by at least two world famous art museums. Second, the auction price of the artist’s works must exceed US$200,000 per square foot. Third, the artist must have substantial influence or status in the world, such as being director of a museum or provost of an art academy.
Rare Opportunity to Copy Original Artwork, Everyone Puts their Heart and Soul to Study
The Provost of the New York Academy of Art, Peter Drake, led 15 graduate students in a 3-hour Master Class at the International Art Museum of America in San Francisco to study the artworks by copying them on site.
The collection of the International Art Museum of America includes many original artworks. Students and members of the faculty from the New York Academy of Art especially cherished the opportunity to study on site. After everyone toured the Museum, each selected a different ink painting and sketched it in great detail to explore the wondrousness embedded in the brushwork.
The Han Chinese culture goes back to an ancient origin and will continues to flourish for a long time. Chinese painting and calligraphy make up a major part of such culture. There is a big difference between appreciating and copying art. Appreciating is skimming the surface; only through copying can one engage in an in-depth study of the works.
Qindong Fang, a student of Chinese ethnicity, said it awed him that some of his fellow American students could actually copy Chinese calligraphy, and Museum staff members of different ethnicities could even read what they copied. Through copying, he said, his fellow students could gain better knowledge of the culture of Chinese painting and calligraphy, and explore in-depth the 16 unique painting styles originated by H.H. Dorje Chang Buddha III; and this has been a wonderful learning experience.
The moment your eyes rest upon “Flowers in the Garden”—a Chinese painting masterpiece by His Holiness Dorje Chang Buddha III—a sense of transcendent peace and quiet joy quietly washes over you.
The painting opens with a frame full of vital rhythm and poetic grace:
In a quiet garden, flower buds tremble on the verge of blooming, while a few solitary plum blossoms quietly unfold along the branches.
Look closely, and you can almost pierce through the canvas to inhale the faint, delicate fragrance drifting out from the silence. There is no noisy clamor of a garden in full, chaotic bloom. Instead, there are only a few scattered blossoms softly opening on the branch—yet in a single snapshot of time, they touch the tenderest part of the human heart, stirring a unique and profound sense of delight.
The Mastery of Elegance: Simple Strokes, Infinite Meaning
What truly mystifies viewers about “Flowers in the Garden” is its incredibly minimalist yet profoundly rich visual language. This artwork elevates the traditional ink-and-brush techniques of Chinese painting to their absolute zenith:
Lines that Vibrate with the Soul: The sparse, calculated lines in the painting are relaxed yet full of hidden strength, moist yet aged with character. They are not merely the structural forms of branches; they feel like the physical vibration of the creator’s soul, whispering endless stories across time. These rhythmic, undulating lines serve both as a deeply expressive emotional language and the powerful skeletal framework that supports the entire composition.
The Ethereal Space of Ink and Void: As our gaze passes through these sweeping lines to contemplate the negative space they divide, an otherworldly sense of emptiness embraces us. It is a beauty akin to “looking at flowers through a fog, or gazing at the moon reflected in water”—illusory, misty, and wonderfully detached from the mundane world.
Within this luminous, spiritually charged space, the creator embeds a crisp, rhythmically swift calligraphic inscription. The calligraphy and the painting reflect and elevate one another, suddenly bringing forth an indescribable artistic beauty.
This artistic ambiance—which flawlessly uses the solid to guide the void, remaining completely natural and untainted by the world—possesses an almost miraculous power of attraction. Effortlessly, it cleanses the viewer’s inner restlessness, transporting us into a completely transcendent, breathtakingly beautiful spiritual realm.
Words have an end, but artistic conception is infinite. “Flowers in the Garden” is far more than a traditional Chinese painting for passive appreciation; it is a tangible manifestation of H.H. Dorje Chang Buddha III’s world-astonishing artistic genius brought to the human realm.
How long has it been since you truly quieted your mind to listen to a bird’s song or feel the subtle arrival of spring?
When we slow down and face a masterpiece of freehand flower-and-bird ink painting—Su Shi Nao Chun (The Scholar’s Spring) by H.H. Dorje Chang Buddha III—we find a soothing remedy for the weary soul. With just a few expressive brushstrokes, this painting captures the boundless vitality of early spring. It is not merely a visual feast of fine art; it is a profound spiritual cleansing.
Traditional Chinese ink painting is deeply rooted in the philosophy of “using objects to express one’s will, and borrowing landscapes to convey emotion.” Through the vivid depiction of nature, the artist projects their inner spiritual world and genuine feelings, achieving a sublime state where scene and emotion blend, and the self merges with nature.
The Awakening of Spring: Dialogue in the Willow Branches
Stepping into the world of the painting, what immediately catches your eye and captures your breath is the lively group of birds awakening from their slumber. Facing the spring that has quietly arrived, they chirp and frolic on the branches with joyful abandon.
If you look closely, a bird at the bottom and another at the top right gaze at each other. Their eyes and postures suggest an intimate conversation, as if they are dueting a cheerful folk song, tirelessly spreading the beautiful news of spring’s return.
The artist’s depiction of these birds features exceptionally distinct and precise body language. The fresh, vivid artistic imagery springs to life, showcasing a masterful command of ink and a brilliant compositional mind.
Mastery of Ink: Finding Hope at the Edge of a Cliff
Traditional Chinese painting dictates that “the brush establishes the form and texture, while the ink distinguishes the substantial from the ethereal.” The artistic conception of a piece is born entirely from the movement of brush and ink. The brilliance of Su Shi Nao Chun lies first and foremost in its brushwork.
The lines in this piece are remarkably crisp, rising and falling with an organic, rhythmic tension. Through the controlled weight of pressing and lifting the brush, combined with sudden pauses and sharp turns, the ink gains a raw, powerful, and profound texture.
With simple, concise, and perfectly echoed strokes, the artist wonderfully captures the living dynamism of the willow branches. The entire canvas instantly becomes alive—this aliveness reveals a pure innocence, and it is only through such innocence that true spirituality shines. Once that spirituality emerges, the painting overflows with wit and charm, effortlessly ushering the viewer into a realm of subtle wonder.
This state of effortless, natural creation stems from the artist’s extraordinarily deep spiritual and artistic cultivation. As a master of art, H.H. Dorje Chang Buddha III has dedicated Himself to various forms of painting—including landscapes, figures, flowers, and birds—since youth. His art observes the universe and all living things through the light of Prajna (transcendental wisdom). Moving from the magnificent to the microscopic, the concepts under his brush evolve from the complex to the simple, leaving the ink pure and the brushwork liberated.
His brush often ventures into positions of extreme peril, where the composition seems pushed to a cliff’s edge. Yet, with a sudden, subtle turn of the brush, a whole new horizon opens up—just like the classic Chinese idiom: “Where hills bend and streams wind, the pathway seems blocked; yet past the dark willows and festive flowers, a new village appears.” A fresh, delightful, and breathtaking realm suddenly unfolds.
Flower-and-bird ink painting is not only a vital component of traditional Chinese art holding a significant place in the global artistic landscape, but it is also a symbol of the spiritual character and cultural soul of the Chinese nation.
The philosopher Jonathan Edwards once wrote:
“Spiritual holiness… brings an inexpressible purity, brightness, peacefulness and ravishment to the soul. In other words, that it made the soul like a field or garden of God.”
True works of art possess this exact power—to cultivate the soul and inspire people to look inward at their own spiritual world.
Through his brushwork, H.H. Dorje Chang Buddha III renders the subtle life cycle of a water bubble—its emergence, transformation, and eventual dissolution—with remarkable vitality. Though the medium is static, the painting evokes a striking sense of movement and immediacy. One almost senses the gentle drifting of bubbles across the surface, and even imagines the delicate sound that might accompany the instant when a bubble touches the ground and quietly disappears.
Beyond its visual beauty, the work carries a deeper contemplative resonance. In the fleeting rhythm of the bubbles, one cannot help but see a metaphor for the human condition. The trajectory of a bubble—from its brief formation to its silent vanishing—mirrors the arc of human life: birth, growth, aging, and departure. Life itself unfolds within the span of a breath, fragile and transient, reminding us of the importance of awareness and presence in each passing moment.
From an artistic perspective, the painting also demonstrates a remarkable command of impressionistic expression. The composition operates not only as a unified whole but also as a constellation of smaller visual worlds. Any isolated fragment of the canvas could stand independently as an exquisite impressionist study, rich in color, light, and atmosphere. This structural richness gives the work a dreamlike, almost illusory quality—where forms appear to emerge and dissolve within layers of color and movement.
In this way, the painting invites the viewer to linger, not merely to observe, but to reflect. It transforms a simple natural phenomenon into a meditation on impermanence, perception, and the delicate beauty of existence.
Click here to Wikitia page on H.H. Dorje Chang Buddha III that list major accomplishments and teachings with links.
Created in 1993, Xing Garden at Mount Rili stands as a masterful expression of the artist’s profound understanding of nature and brushwork. The painting presents a dramatic world of steep cliffs and cascading water, inviting the viewer into a landscape that feels both monumental and intimate.
Dominated by vibrant greens, the work vividly captures moss and grasses spreading freely across rocky surfaces. These lush tones breathe life into the cliffs, softening their ruggedness while emphasizing the quiet vitality that thrives within seemingly harsh terrain. Nature here is not static; it pulses with energy and renewal.
The painting employs the refined “Miaoxie” (妙写) technique—a style that reveals its true depth through careful observation. At first glance, the composition appears fluid and effortless. Yet upon closer inspection, the brushstrokes intertwine like delicate wires, layered and interwoven with extraordinary precision. These subtle lines create constant movement and variation, generating emotional richness and visual intrigue through their complexity.
One of the most captivating aspects of this work lies in its masterful use of illusory watery ink, where solidity and transparency coexist. Ink seems to flow and dissolve at the same time, offering a boundless sense of depth and atmosphere. Whether viewed from afar or examined up close, the painting reveals a bottomless waterfall, rendered with meticulous detail yet infused with powerful momentum.
What is especially striking is the contrast between refinement and strength. From a distance, the scene appears serene and orderly; yet when the viewer studies the brushwork closely, the strokes reveal unexpected vigor and boldness. Within apparent emptiness, there is substance; within seeming chaos, there is profound order. This balance embodies the highest level of artistic cultivation.
Through free yet disciplined brushwork, the artist transforms a simple natural motif—a waterfall between two cliffs—into a scene of extraordinary aesthetic depth. The power of each stroke carries both physical strength and spiritual presence, allowing the painting to transcend mere representation and enter the realm of lived experience.
Xing Garden at Mount Rili is more than a landscape painting. It is a quiet dialogue between nature and the artist’s inner world, revealing how true mastery lies not in excess, but in the ability to uncover profound beauty within simplicity.
IAMA presents Be Your Own Spotlight by Yen’s Art Studio
Walking into Be Your Own Spotlight, presented by Yen’s Art Studio, at IAMA (The international Art Museum of America), I didn’t feel like I was entering a typical student art exhibition. Instead, it felt more like stepping into 150 honest conversations—each one visual, brave, and deeply personal.
The exhibition features 150 outstanding works by young students, created across a wide range of mediums—acrylic, watercolor, pencil, and mixed media. But what moved me most was not the variety of techniques; it was the sense that every piece quietly declared: this is who I am right now.
These students are not just learning how to paint or draw. They are learning how to trust their voices, how to take up space, and how to stand behind what they create. Their works reflect growth, self-discovery, and the joy—and sometimes uncertainty—of becoming. Whether you are a parent, an educator, a collector, or simply someone searching for inspiration, this exhibition offers something meaningful to feel, not just something pleasant to see.
As I moved through the gallery, I was delighted by the sheer range of imagination: striking portraits, fantastical worlds, playful animals in sunglasses, thoughtful reflections on global issues, and moments of pure joy. The diversity of themes reminded me of a beautiful truth that Yen’s Art Studio expresses so well: “In the world of art, there are no boundaries of age or race. Children’s artwork can reach—and sometimes surpass—the technical ability and creative understanding typically associated with adults.”
One piece that stayed with me was a self-portrait by 8th-grade student Cynthia Liu. It stood out not only for its technical sensitivity, but for its emotional depth. Cynthia is known for her perfectionist nature, something many of us—artists or not—can relate to. Her work quietly reflects a universal truth: no artwork is ever truly finished. Without a clear endpoint, a piece can be revised endlessly, sometimes at the cost of the original vision.
Self-Portrait by Cynthia Liu, 8th grade Yen’s Art Studio
Hanni from Newjeans by Sophie Sun, 9th grade. Yen’s Art Studio
Another story that deeply touched me was Sophie’s. Once a shy student who nearly gave up on art altogether, she found her way back through the creative process at the studio. Through painting, Sophie rediscovered calmness, confidence, and inner strength—one of the most meaningful transformations I learned about in this exhibition. Her journey reflects the studio’s commitment not only to technical excellence, but to nurturing the inner lives of its students.
Lovers by Nova Cui, 9th grade Yen’s Art Studio
Among the more than 150 works, one painting stood out to me for its quiet presence rather than immediate visual impact. Created by Nova, a student dedicated to becoming a professional ballet dancer, the piece carries a sense of discipline, restraint, and inner resolve. Acknowledging the intensity of her dance training, her art education focused less on technical display and more on observation, sensitivity, and emotional understanding.
Her painting reveals genuine emotion and determination, qualities she will undoubtedly carry into her future as a dancer, where movement and art meet as a shared language of expression.
Be Your Own Spotlight is ultimately not just about showcasing talent. It is about honoring courage—especially the quiet kind. It reminds us that every young artist is learning not only how to create, but how to believe in themselves. And as viewers, we are fortunate to witness these moments of bravery, growth, and becoming.
Don’t miss the museum’s permanent exhibition, where world-class artworks offer far more than visual beauty. Here, art becomes a quiet refuge—inviting tranquility, reflection, and a subtle elevation of the spirit. Especially moving are the paintings by H.H. Dorje Chang Buddha III, whose works gently awaken the mind, soothe the heart, and leave the soul deeply inspired long after you depart.
Please see below the answer of whose work is the best amongVincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III
I have spent more than 60 years of my professional life in the field of painting. During the many decades of practice and experiences, I have come to know many famous painters. That is especially the case since I became the Head Consultant for authenticating paintings and calligraphy at the National Museum of China in Beijing. As an appraiser and authentication officer of paintings and calligraphy, the bulk of my work is to verify the authenticity of Eastern and Western paintings. I have reviewed tens of thousands of famous paintings, especially the rare and precious works of the maestro Vincent van Gogh of the Netherlands, and those of the champion of Eastern paintings, Qi Baishi of China.
Both Van Gogh and Qi Baishi were great world-renowned masters in art. One represented the apex of Western art and the other was a master of an extreme class in the field of Eastern paintings. Both artists had drawn from the essence of the classical traditions of their respective cultures. They created new styles of art and new ways of seeing the universe. They broke new grounds and became pioneers of new eras, each becoming a creative guru of his time, developing a distinct style of his own and leading new trends that inspired later generations. Their works reflect the different essences of the Eastern and Western traditions. To what extent can their works influence the artistic civilization of the world? What kind of artistry did they achieve that made them upright monuments in art history and admired by so many people?
Some art critics compared the works of Van Gogh and Qi Baishi to see which of them reached a higher level of accomplishment. They concluded that both have their own merit, both are undefeated champions in the art and both reached the pinnacle of artistry. Recently, some art critics also brought up the oil painting Sunflowers and the ink-wash painting Sunflowers, both created by H.H. Dorje Chang Buddha III, and gave them rave reviews. They went on to compare the works by Vincent van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, trying to establish which of the three artists is the champion of the champions. The result of comparing the works by Van Gogh, Qi Baishi and H.H Dorje Chang Buddha III is tremendously inspiring.
Ever since the Renaissance, Western artists had placed emphases on rational analysis and the realist portrayal of forms. They used light, texture and details to present the realistic, three-dimensional perspective. A few centuries later, Van Gogh rejected the monotony of such use of light and shadow and the realistic portrayal of figures. He pioneered the movement of impressionism that suited him well by applying a mix of colorful, brilliant, splendid and vigorous brushstrokes. He became a great master of his time and his name was forever etched onto the monument of Western civilization and art.
Whenever people think of Van Gogh, they think of his unique character, the sparkles in his eyes that emit lightning, his vigor and his incessant pursuit of inspiration in art without any regard to external hardships. Van Gogh was an artist by birth. He was of exceptional confidence and was somewhat neurotic. Having such traits, he pursued the art that he loved without any reservation or hesitation. He loved his works and regarded everything else with disdain. He preferred to be a loner in the world and did not care to make acquaintance of other painters of his time. His works are full of luminous colors, the brushstrokes are like rising winds and racing clouds in the sky. In his art, he depicted pasture, figures, flowers and other subject matters with brisk colors. Every brushstroke was transformed from his inner emotions. Such emotions were fully and colorfully captured in his Self-Portrait as well as in the transcendental Sunflowers that he painted. These works contain an animated spirit that is deeply moving.
From Van Gogh’s artistic spirit and intent, we can detect that he was profoundly knowledgeable about Chinese ink-wash paintings. Precisely because of this, while depicting forms and applying colors, he employed the skills of using the center tip of the brush and parallel brushstrokes. His Still Life with Bible was created with parallel brushstrokes. In his Self-Portrait, he portrayed his face filled with lines and plaques that are extraordinary. It is not hard for us to discover that he drew inspirations from the substance and essence of Chinese painting in those brushstrokes. That is why Van Gogh is such a distinguished, unparalleled artist of his time and his works are superior to those by the other Western oil painters such as Cezanne, Gauguin or Picasso of the same era.
Van Gogh’s artistic style was closely linked not only to Chinese civilization in the East, but also to the classical Renaissance art, Pointillism, German Expressionism, and Impressionism in the West. Toward the end of his life, he came into oneness with the universe and immersed himself in a carefree state of mind to “follow wherever nature might lead.” As such, he was no longer aware of his own existence. In his mind, there was only the art and the universe. “Following where the nature may lead” is the essence of the ideology of the Chinese philosopher Laozi. Van Gogh cut off his ear with a knife. He lost himself completely in painting. That was his unspoken resentment and rejection of the unfair treatment imposed on him by the society.
Qi Baishi was profoundly knowledgeable about impressionist, fauvist, and realist paintings. By adopting the essence of Western painting and incorporating the traditional spirit of Eastern art, he developed his unique style and became the master of Chinese painting of the twentieth century. His brushstrokes were solid and poised, evincing a sense of power that went all the way through the paper. Using sheep-hair brushes, he elicited calligraphic skills to create his paintings. Qi Baishi’s lines are bold and robust, embodying a forceful spirit that can move mountains. At the same time, these lines are flexible, sturdy and round, with similar qualities to the lines of wire-drawing. His compositions emerged naturally from the spontaneous movement of the brushes. Such compositions are accompanied by vigorous calligraphy resembling the strength, power and fluidity of stone inscriptions.
The artistic concept of spontaneously “following where nature may lead” is precisely derived from Laozi’s philosophy and the artistic civilization of the Chinese ethnicity. Qi Baishi favored the use of white space in his paintings. The white space in black-and-white Chinese ink-wash paintings is considered a solid color. Ink can be differentiated in nine shades (or five shades according to ancient Chinese text.) That is to say, the white of the paper per se and the black of the ink are all considered as colors. There is a sense of meticulous precision in the artworks by Qi Baishi. He depicted insects such as grasshoppers, mantises and butterflies in meticulous and vividly colorful ways. In some of his artworks, the artist was able to express his ideas by putting down just a few brushstrokes without any conscious intent, while arriving at a state of oblivion of his own existence. Anything depicted by his brushes was vivid and vibrant, with the subject matter coming alive on the paper. There is an aura that moves our heart and soul. All in all, Qi Baishi’s paintings were executed with a confident brushwork that naturally achieved a kind of childlike charm.
Recently, some people compared the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III to see whose works are more superior and outstanding, or will have a broader and more far-reaching influence on later generations. I have viewed quite a lot of the artworks by Van Gogh, Qi Baishi and H.H. Dorje Chang Buddha III. I started the study and appreciation of the paintings by Qi Baishi under the enlightening guidance of my teacher when I was 9, and when I was 14, I began to study and appreciate the works by Van Gogh. It has since been several decades!
At the same time, since I have admired the art of H.H. Dorje Chang Buddha III for a long time, to satisfy my desire and wishes I flew from New York to San Francisco to visit the International Art Museum of America, and to Los Angeles to visit the H.H. Dorje Chang Buddha III Cultural and Art Museum in order to see their collections. I was profoundly impressed by the architecture of both museums which is grand and dignified. Both museums have a collection of the authentic works by H.H. Dorje Chang Buddha III. There are various artworks that are created with different kinds of material. Some are bold and forthright, some are charmingly meticulous and astounding. The oeuvre is not made up of just one single style.
Yet, the only artwork that was not available for viewing is the Sunflowers painted by H.H Dorje Chang Buddha III. When I hear that some art critics are comparing the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, I naturally feel, from my experience of having studied the works by Van Gogh and Qi Baishi for a number of decades, that although their artistry are similar in levels, it is possible to say who is the best if we are just to compare the sunflowers painted by the three artists, when we include in the compositions, colors, brushwork, lines, vitality, spirit and so on. With all these elements in consideration, it is possible to do the comparison and conclude who painted the best, or in other words, whose works can bring the most joy and delight to people, or whose art will be most influential to the philosophy, artistic concept and entire civilization of this world.
Therefore, without any ambiguity, we concluded. In terms of character and morality, Van Gogh would be the last of the three. In terms of level of skills, Qi Baishi would also be ahead of Van Gogh, who is, however, already the cream of the crop in western civilization. Being the Buddha living in the current century,H.H. Dorje Chang Buddha III saves living beings with great loving compassion. He is not embodied in an ordinary being. Needless to say, the level of cultivation of the Buddha is superior to that of Van Gogh and Qi Baishi. In terms of creativity and painting skills, how can any ordinary being even hold a candle to the Buddha? In this way, the comparison result is immediately determined.
When those art critics carried out the detailed research of the Sunflowers by Van Gogh and Qi Baishi as well as H.H. Dorje Chang Buddha III, they copied the artworks by all three artists. After copying the works by Van Gogh and Qi Baishi, they felt deeply that through hands-on practice, they indeed gained more understanding of their works. It would not be easy but not so difficult either for one to really reach their artistic level. As for the Sunflowers by H.H. Dorje Chang Buddha III, they found it rather difficult to copy. Even though they tried many times, they had a hard time just copying the form, let alone the spirit.
The Sunflowers by H.H. Dorje Chang Buddha III clearly show the artist’s solid foundation and prolific skills in the Eastern and Western painting traditions. They comprise the essences in both traditions and display a brushwork, sentiment and colors that are one of a kind. The color tones and brushstrokes are rich, dense, soothing and elegant. Lively brushwork paints an animated charm that is whole, evincing a miraculous and expansive spirit and aura as well as a strong vitality. As for the Sunflowers oil painting in which H.H. Dorje Chang Buddha III depicted some flowers inside a vase, the artistry is extraordinary and full of variations; the composition is simple yet abstruse. The flowers are natural and gracious, such that they give an impression of unpredictability, reaching a state of oneness with the universe and emanating a sharp animated spirit.
The ink-wash painting Sunflowers by H.H. Dorje Chang Buddha III has an uninhibited, natural, and spontaneous brushwork that is dense, bold, and robust, but also elegant and agile. It exhibits a charm that is like stone and bronze inscriptions. Overall, the whole painting manifests a harmonious and moving imagery, naturally emanating a lively vivaciousness and a carefree, spirited aura.
In comparing the works by Van Gogh of the Western civilization, Qi Baishi of the Eastern culture, and H.H. Dorje Chang Buddha III, we can see the artists are distinguished in their unique own ways owing to their different cultures. However, only the artist who can continue to influence the world two to three hundred years from now will be the everlasting monument. There is a saying, “Talents emerge in every era and they all will each have 500 years of fame!” For people of the present day, the one whose work you like the best would be the one that is the most extraordinary!
Please see the contrast of six paintings below:
Sunflowers by Van Gogh (1)Sunflowers by Van Gogh (2)Sunflowers by Qi Baishi (1)Sunflowers by Qi Baishi (1)Ink-wash Painting Sunflowers by H.H. Dorje Chang Buddha IIIOil Painting Sunflowers by H.H. Dorje Chang Buddha III
Award recipients from the youngest age group (five- to six-years-old) at the 2025 International Youth Art Contest, pictured with Mr. KC Hsieh, IAMA President.Photo by Johnny Trieu
(Ad) On July 13th, 2025, San Francisco’s International Art Museum of America (IAMA) hosted the awards ceremony for the Second Annual International Youth Art Contest and Exhibition. The museum hosted nearly 400 attendees who were eager to see this year’s exhibition of youth artworks from around the world. Distinguished guests included Mr. Guy Djoken, Executive Director of UNESCO Center for Peace of Washington D.C.; San Francisco District Six Supervisor Matt Dorsey; and Professor Adam Caldwell, Chair of the Jury Committee and faculty member at the Academy of Art University, San Francisco. The ceremony spotlighted the creative achievements of young artists and underscored the museum’s role in fostering cultural exchange and youth artistic expression. Now, in its second year, the International Youth Art Contest and Exhibition continues to expand its reach and impact, advancing IAMA’s mission to champion emerging talent and foster intercultural connection through the arts.
This year, 1,600 youth participants submitted over 3,800 artworks to the Youth Art Contest. Artists from sixty-five countries across five continents competed within four age groups. After a rigorous selection process evaluating creativity, technical skill, and overall presentation, 477 young artists from seventeen countries were selected to exhibit a total of 616 outstanding works in IAMA’s Grand Exhibition Hall. The artistic caliber and thematic richness of the selected pieces left the jury in awe.
Attendees of the 2025 International Youth Art Contest viewing the installation in the Grand Exhibition Hall located at 1025 Market Street in San Francisco.Photo by Johnny Trieu
During his address at the awards ceremony, Mr. Guy Djoken offered high commendation for IAMA and its dedicated team, applauding their ongoing commitment to promoting international artistic exchange and cultivating a space where the public can find joy and renewed hope through art. Reflecting on the global turbulence and widespread uncertainty facing today’s global community, Mr. Djoken declared, “At a time when many live in fear—especially of war—just for us to be here at the museum, smiling and happy, and most importantly hopeful about the future—this is the best thing about this competition.” Mr. Djoken’s heartfelt message set a hopeful tone for the awards ceremony and attendees alike.
Executive Director of the UNESCO Center for Peace, Guy Djoken, was deeply impressed by the exceptional quality of the young artists’ work, finding both joy and hope for the future in their creativity.Photo by Johnny TrieuAward recipients in the eleven – fourteen age group at the 2025 IAMA International Youth Art Contest, joined by Mr. Guy Djoken, Executive Director of the UNESCO Center for Peace in Washington, D.C., who presented the honors during the ceremony.Photo by Johnny Trieu
Matt Dorsey, San Francisco’s District Six Supervisor, also addressed the audience, expressing his appreciation for the International Art Museum of America as a true hidden gem of San Francisco’s art landscape, and pledged his continued support for the museum’s mission and contributions to the community. Supervisor Dorsey offered words of encouragement to all participating youth artists, urging them to pursue their creative passions with perseverance—regardless of the outcome—and to never stop pursuing their artistic dreams.
Award recipients in the fifteen–eighteen age group of the contest were presented with their honors by San Francisco District Six Supervisor Matt Dorsey during the awards ceremony.Photo by Johnny Trieu
Professor Caldwell praised the range of themes and talent amongst all submissions and ages, which made selecting the winners of each age group challenging for the judges. Professor Caldwell noted the importance of international art exchange, stating “It’s a great way to bridge gaps between countries. The artistic community has always crossed political, social, and ethnic borders. Art and music are among the most universal forms of expression. They allow us to feel what others felt… Art brings people together across divides.” Professor Caldwell’s wise words perfectly captured the mission and outcome of the International Youth Art Contest.
Award recipients from the seven – eleven age group honored by Prof. Adam Caldwell—Chair of the Jury Committee, and faculty member at the Academy of Art University, San Francisco.Photo by Johnny Trieu
In this year’s contest, a newly introduced category for the youngest age group—participants ages five to six—garnered enthusiastic engagement from a remarkable number of budding artists. Through their sincere brushwork and vibrant imagination, these children demonstrated an extraordinary innate talent that captivated both audiences and judges alike.
Dr. Amy Hughes, Jury Committee Member and Director of Student Services at the New York Academy of Art, recognized the courageous creativity of the youth artists reflecting, “I was struck by the fearless creativity on display — the young artists did not shy away from complex themes, experimenting with materials, and expressing deeply personal narratives. Each piece felt authentic and fresh, demonstrating both technical skill, and emotional depth. The entries explored themes ranging from family, community, and environmental justice to dreams, culture, and identity—powerfully reflecting the younger generation’s keen insights and profound emotional connection to the world around them.
Charlotte Wu, third place award recipient in the five- to six-year-old age group, looks up at her winning painting, The Garden Where She Waits.Photo by Johnny Trieu
Lucas Shao, the first place winner of the five- to six-year-old age group, depicted himself joyfully swinging through the air in his painting, Wonderland. When asked about his hopes for his art, Lucas enthusiastically declared “I hope my art makes people happy, warm, big smiles just like me!”
Five-year-old Lucas Shao, winner of first place in the five- to six-year-old age group, stood proudly beside his painting Wonderland, depicting his happiness while swinging on the playground.Photo by Tong Shao
Third place winner of the five- to six-year-old age group, Kedarnath Kalidindi depicted a goldfish in a small fishtank in his painting, Freedom in Captivity, inspired by “finding inner freedom during incarceration.” The addition of this age group was an exciting component of this year’s event, and underscored the value of shining a spotlight on youth artwork, and garnering the wisdom of today’s youth.
Five-year-old Kedarnath Kalidindi, third-place winner in the five- to six-year-old age group, introduced his painting, Freedom in Captivity, to the audience.Photo by Johnny Trieu
Ten-year-old Irina Elena Dobrota from Romania was honored with third place in the seven- to ten-year-old age group for her painting, Flight of Dreams, which was selected for the final exhibition at IAMA. Celebrated for its gentle spirit and imaginative vision, the piece radiates themes of kindness, freedom, and hope. Irina’s achievement brought pride and joy to her local community, and she hopes her work will inspire others to believe that every heartfelt wish can take flight—if we have the courage to let it soar.
Third place winner of the seven- to ten-year-old age group, Irina Elena Dobrota’s painting, Flight of Dreams.Photo by IAMA
Ashley Hein, second place winner of the fifteen-to-eighteen-year-old age group, impressed the jury with her painting, Animal Instinct, distinguished by its mature composition and outstanding execution. Professor Caldwell commented that he had shown several of the entries to his university art students, who were deeply moved and inspired by the technical skill and creativity on display.
Ashley Hein’s artwork, Animal Instinct, won second place in the fifteen- to eighteen-year-old age group.Photo by IAMA
Seventeen-year-old Kate Fieldhouse from South Africa received an honorable mention for her painting Between Worlds, which depicts a striking worldscape through an intense and creative exploration of breaking the canvas.
Seventeen-year-old Kate Fieldhouse from South Africa received an Honorable Mention for her painting Between Worlds.Photo by Johnny Trieu
Sixteen-year-old Polina Larina received an Honorable Mention Award for her painting Moscow Buns Evening. During her interview, Polina shared how she views her art as an opportunity to introduce people to Russian culture, and how the Youth Art Contest inspired her to continue to pursue her art dreams, “It was my first time participating in the IAMA competition. Participation in this competition helped me to feel recognized as an artist, and inspired to keep making art and put more effort into it.” Polina’s painting, inspired by a memorable walk with her grandparents, serves as a reminder to escape into nostalgia and childhood memories in trying times.
Sixteen-year-old Polina Larina (second from right, standing beside her mother) who received an Honorable Mention for her painting Moscow Buns Evening, in the Grand Exhibition Hall, joined by her parents and twin sister.Photo by Johnny Trieu
Following the ceremony, Professor Caldwell gave a masterclass for all participants, offering thoughtful insights on artistic growth, and encouraging continued exploration and confidence in their creative journeys. His masterclass focused on four elements: visual storytelling and composition, techniques and materials, the role of art in communication and expression, and advice for young artists. This is the second year Professor Caldwell has judged the artwork for the contest and delivered a masterclass for attendees of the contest.
Professor Caldwell delivered a knowledgeable and enlightening masterclass to attendees and participants. Photo by Johnny Trieu
About IAMA
Located in the heart of San Francisco, IAMA was voted the “Best Art Gallery” and was a finalist as the “Best Museum” in SFGate’s Best of Bay Area 2024. IAMA is dedicated to making world-class art accessible to all through exhibitions, education, and international contests. With a mission to foster peace and happiness through art—especially by nurturing the next generation—IAMA brings together works from around the globe, bridging East and West, classical and contemporary.
Peace LiLy 