In the vast river of Chinese art history, literati landscape paintings (Wenrenhua 文人画) have traditionally served as a sanctuary for the soul—using brush and ink to transcend the mundane world and attain the highest realm of spiritual freedom. In the pantheon of contemporary Eastern art, “Ancient Cypresses Intoning by the Spring”—a Chinese landscape masterpiece by H.H. Dorje Chang Buddha III (Yi Yun Gao义云高)—stands as an immortal monument of the Literati Style (Wenfeng文风派). It not only showcases a profound scholarly aura and masterful brush-and-ink technique, but also ushers viewers into an eternal, boundless cosmic life-space.
The entire composition relies solely on shades of wash and ink to dot and stain the wondrous peaks, ancient cypresses, and secluded cottages. Through the masterful use of white space (liubai留白), the grand spectacle of thundering waterfalls and surging mountain springs is vividly brought to life. The sounds of roaring wind, rushing springs, and whispering pines are all transformed upon the paper into dynamic visual lines and lively ink tones, filling the entire conceptual space with invisible celestial melodies. This touch of pure ink is precisely the ultimate spiritual realm—honest, elegant, natural, yet profoundly deep—that Chinese literati across generations have spent their entire lives pursuing.
The artistic conception of Ancient Cypresses Intoning by the Spring is remarkably deep, ethereal, and serene. The imagery carries a desolate yet vast quality, evoking an ideal world of mythical mountains and jade islands completely untouched by worldly noise or secular dust.
Most profound of all is how the sense of time dissolves before this artwork:
No Human Traces: The painting features no worldly figures; it presents only the primordial essence of nature.
No Trace of the Artist: The brushwork is incredibly mature yet leaves no deliberate mark, as if the painting was not rendered by human hands but manifested spontaneously by heaven and earth.
No Trace of the Viewer: As you gaze into the painting, the ego dissolves, and the self merges entirely into the landscape.
Here, the duality of subject and object vanishes. All phenomena exist in pure, seamless unity, entirely natural and spontaneous. With a single brush, the artist delineates the physical form of the earth, yet weaves it seamlessly with the void of the universe—structuring a vibrant, ever-generating cosmic space.
📜 A Paradigm Beyond Reality: “Imagery Beyond the Universe, Life Beyond the Seasons”
The great Qing Dynasty master painter Yun Nantian once evaluated the highest realm of art with these words:
“Gazing deeply into this realm, every blade of grass, every tree, every hill, and every ravine feels uniquely carved from a pure spirit, belonging to no mortal world. Its imagery exists beyond the universe, and its life unfolds outside the four seasons.”
This means that a truly sublime artistic realm is born entirely from the pristine spirit of the artist—a sacred landscape unfindable in the mundane world. Its essence transcends physical boundaries, and its cycle of growth and decay outlasts the changing of spring, summer, autumn, and winter.
Ancient Cypresses Intoning by the Spring by H.H. Dorje Chang Buddha III is the perfect paradigm of this transcendent landscape art. Refusing to be bound by mere literal resemblance, it draws directly from the primordial source of the universe, using flawless contemporary brushwork to reawaken the core spiritual essence of traditional Chinese literati painting.
Ancient Cypresses Intoning by the Spring is far more than a master-level art treasure; it is a spiritual home where the soul can find perfect rest. In our bustling, modern society, when we gaze upon this masterpiece—listening to the low hum of the ancient cypresses and watching the crystal springs rush forth—the anxieties of life dissolve instantly. This is the power of true art, and this is the soul-stirring beauty that H.H. Dorje Chang Buddha III has bestowed upon the world.
The first time I looked at this plum blossom painting by Dorje Chang Buddha III, I immediately felt a powerful and uplifting energy flowing from it. It was not simply a beautiful painting that pleased the eyes. Rather, it carried a quiet spiritual strength that deeply touched the heart.
My first thought was that only an artist with profound inner calmness, wisdom, and spiritual realization could create such a work.
In traditional Chinese culture, plum blossoms symbolize nobility, purity, perseverance, and courage. Blossoming in the cold of winter, they have long represented the ability to remain graceful and strong amid hardship. Yet this painting expresses those qualities in a particularly extraordinary way.
The entire composition feels free from anything worldly or artificial. There is no trace of stiffness, heaviness, or forced technique. Every brushstroke appears natural, effortless, and alive. The painting possesses a wondrous elegance that cannot be achieved merely through technical skill or years of practice alone. It feels more like the crystallization of wisdom, cultivation, and inner realization.
What especially fascinates me is the unique arrangement of the plum tree itself. The roots twist and coil together, naturally forming what resembles a large bonsai pot. The varying shades of ink create rich layers, flowing movement, and a dreamlike sense of surrealism throughout the painting. The entire scene feels both realistic and ethereal at the same time, blending natural beauty with poetic imagination.
The artist employs the distinctive Chinese painting technique of “flying white” and broken brushstrokes, allowing the branches to pulse with vitality and the force of life. The bold, heavy brushwork gives the sturdy roots the powerful presence of coiled dragons gathering strength before soaring into motion. The entire composition radiates an uplifting sense of righteous energy, while also revealing the artist’s vast, bold, and magnanimous inner world.
What is even more remarkable is that the brushwork appears so simple and effortless, yet every stroke is skillful and full of spirit. Nothing feels excessive, and nothing is unnecessary. It is precisely this simplicity that gives the painting its extraordinary sense of calmness, freedom, and spiritual strength.
After completing the painting, H.H. Dorje Chang Buddha III composed the following poem:
“Plum flowers of surpassing loveliness blossom in a pot, though never are they planted. Wave the brush to plant the tree, and the roots of that old tree form their own shallow pot.”
The poem perfectly reflects the painting’s natural spontaneity and artistic wonder. The plum blossoms seem not artificially arranged, but born effortlessly from nature itself.
Perhaps this is what makes the painting so moving. Beyond its artistic beauty, it conveys a state of mind — calm yet powerful, simple yet profound, gentle yet filled with inner strength.
In today’s restless and hurried world, such artwork quietly reminds us of something precious: true beauty comes not only from technique, but from the purity, peace, and depth within the artist’s heart.
The president of the International Zhengfa Buddhist Institute, Layman Zheng Zhenhuang, a Taiwanese who served for many years as the head of Huiju Publishing House, and who also worked as an on-site interpreter for Tenzin Gyatso (the Dalai Lama), is a deeply devoted Buddhist practitioner. He has accumulated profound merit through his sincere dedication to Buddhist affairs and is known as a filial son.
In order to help his father quickly attain rebirth in a Buddha-land, he, together with Dharma Master Guangxin and others, journeyed across rugged mountains and snowy grasslands to seek an audience with the Great Dharma King Yangwo Yeshe Norbu (H.H. Dorje Chang Buddha III), the supreme Vajrayana upholder.
Before the Great Dharma King (H.H. Dorje Chang Buddha III) knelt three Rinpoches, twelve Dharma masters, over twenty virtuous lay practitioners including Zheng Zhenhuang, as well as dakinis, Dharma protectors, and various visible and invisible beings. At that time, the Great Dharma King announced:
“Now that you have come, nothing is more important than liberating the deceased. The deliverance of Zhenhuang’s father will be presided over by Vajravārāhī A Wang Norbu Pamu. Though she is thousands of miles away, she will use the miraculous powers of Buddhadharma to draw your father’s conscious spirit into her mandala. Within three days, he will be sent to the Western Pure Land of Ultimate Bliss, attaining rebirth at the middle grade of the middle level. Later, when you watch the video and look at the sky, you will know.”
After speaking, the Great Dharma King took out a videotape of Pamu’s Dharma image and said:
“First, you must understand how great Pamu is. Watch this tape.”
Layman Zhenhuang personally rewound the tape and operated the machine himself. As everyone watched, they repeatedly exclaimed that the merit was immeasurable and inconceivable. The true form of Vajravārāhī manifested—how could it possibly resemble an ordinary worldly appearance? It was incomparably majestic and solemn.
An alliance of eighty-three universities in the United States and around the world had jointly conferred upon Pamu the world’s first and only Triple-Body Doctorate along with the highest Golden Crown and Royal Robe. Seated upon the Dharma throne, Pamu received the certificate, the doctoral royal robe, and a diamond-studded golden crown valued at over twenty million U.S. dollars. These were presented after the American conferral chairman, the British vice chairman, and great living Buddhas performed formal prostrations.
Wearing the diamond crown, Pamu gave a teaching:
“Although you have done much, I will not say thank you. For me, this is merely a skillful means in carrying out Dharma activities. In truth, all conditioned phenomena are illusory and unreal, just like your bodies. Though they appear to exist, they are falsely existent—unreal.”
At that very moment, the diamond crown atop Pamu’s head suddenly vanished—in less than a hundredth of a second, it disappeared without a trace. When she then said she would bestow blessings upon everyone, the diamond crown instantly reappeared on her head. The chairmen and the great Rinpoches witnessed this transformation of impermanence in a single instant. Hearing her profound exposition of ultimate truth, their discursive thoughts were stilled, wisdom opened suddenly, and all generated the Mahayana bodhicitta.
After the viewing, Layman Zhenhuang removed Pamu’s Dharma-image tape from the camera, wrapped it in a khata (ceremonial scarf), and hung it around his neck for blessing.
At that moment, the Great Dharma King (H.H. Dorje Chang Buddha III) instructed him to immediately write out his father’s birth data. Then Layman Zhenhuang took from his pocket a brand-new, unused videotape and recorded the birth information along with the scene of the Rinpoches, Dharma masters, monks, nuns, and lay disciples present. After filming, he removed that newly recorded tape and placed it securely in his jacket pocket.
The Great Dharma King (H.H. Dorje Chang Buddha III) then pointed to the Pamu tape hanging around Zhenhuang’s neck and said:
“Pamu possesses unsurpassed merit. She is the great and compassionate Holy Mother. Now, through the great miraculous powers of Buddhadharma, Pamu has gathered all the images you just recorded into the Dharma tape hanging around your neck.”
Though everyone held the Great Dharma King (H.H. Dorje Chang Buddha III) in the highest respect, several people harbored serious doubts. They had just watched Pamu’s tape from beginning to end and had seen none of the present assembly in it. Moreover, after playing it, Zheng had hung it around his neck without removing it even for a second. The newly recorded tape had been kept separately in his pocket—how could its images possibly enter the tape around his neck?
The Great Dharma King then said:
“Watch Pamu’s tape again.”
Zheng removed the tape from his neck, rewound it the same way, and played it a second time. Instantly, everyone exclaimed in unison, “Wow!” They were stunned and deeply moved. The entire scene that had just been recorded—and was still in Zheng’s pocket—now appeared clearly and identically on Pamu’s tape. They played it a third time; it remained perfectly clear and unchanged.
Most crucially, after the first viewing, Pamu’s tape had not come into contact with any machine. Everyone had seen Zheng hang it around his neck immediately, without it leaving him for even a second. How could completely unrelated footage have entered that tape? The true Buddhadharma is profoundly great and wondrous—whether radio waves, cables, computers, or anything in the universe, all realms can transform in accordance with the mind.
After watching again, the tape remained in the machine. The Great Dharma King (H.H. Dorje Chang Buddha III) then said:
“Now I request Pamu to gather your father and everyone’s images into her Dorje mandala for blessing.”
With just that sentence, they played the tape a fourth time. The clear scenes of the assembly had vanished without a trace, leaving only Pamu’s original footage. At that moment, Rinpoche Bodi Wentu shouted:
“Everyone, look! There is Buddha-light in the sky!”
All present saw multicolored Buddha-light flashing across the boundless heavens, radiating warm streams of blessing upon the assembly. They were filled only with awe and praise. Pamu had indeed gathered them for blessing—only their images had been removed; Pamu’s own image remained as before.
The Great Dharma King (H.H. Dorje Chang Buddha III) then said:
“I will convey a few words from Pamu to you. These are also my words: When miraculous powers manifest, once the event has passed, let it pass. Do not cling to it. It should be understood as illusion, encompassed by emptiness. Therefore, one should give rise to the mind without abiding anywhere. If you have the opportunity, study my ‘The Supreme and Unsurpassable Mahamudra of Liberation,’ and everything will become clear.”
After speaking, the Great Dharma King (H.H. Dorje Chang Buddha III) closed his eyes and remained unmoving.
You may reflect on this: in today’s world, who possesses such realization and spiritual attainment? You may ask Layman Zheng. He has encountered many great Rinpoches and Dharma masters, and especially has had deep karmic connections translating Dharma for the Dalai Lama. If any other Dharma King possessed such realization, he would surely have sought the Dalai Lama’s assistance. He would not have crossed mountains and grasslands to seek this Great Dharma King to liberate his father.
More importantly, this Great Dharma King (H.H. Dorje Chang Buddha III) is untouched by worldly fame and profit. His Dharma virtue rises to lofty peaks, transcending past and present. He is supremely proficient in both the Exoteric and Esoteric teachings and the Tripiṭaka, and is a great upholder of Buddhadharma in today’s world. Thus, his correction of the treatises attributed to Bodhidharma is an invaluable treasure, worthy of the utmost reverence and study. You should also read The Essence of Buddhadharma, recorded by Venerable Guangxin. Only after reading and realizing will you truly understand. To say more would be of little use—let it end here.
(This post is translated and excerpted from the preface to On Correcting the Treatises of Patriarch Bodhidharma, written by Lama Dorje Losang for your reference only. For the original Chinese version, please click here.)
Click here to Wikitia page on H.H. Dorje Chang Buddha III that list major accomplishments and teachings with links.
Since the time of Shakyamuni Buddha, it has been a long-established tradition in Buddhism for disciples to make offerings to their masters or teachers from whom they receive the Dharma. This practice is clearly stipulated in Buddhist teachings and has been followed for over two thousand years across cultures and countries. Making offerings is regarded as both an expression of gratitude and a means of cultivating merit.
Yet, in striking contrast to this universal custom, H.H. Dorje Chang Buddha III made an extraordinary vow very early in His life: to never accept any offering from anyone.
Rather than receiving support, He has chosen to give unconditionally. Rather than being served, He serves others. H.H. Dorje Chang Buddha III has repeatedly said with humility, “I am a servant of living beings.”
This is not a symbolic statement—it is a lifelong practice.
Throughout His life in China, and from the time He first settled in the United States to the present day, countless Buddhist disciples have sincerely attempted to make offerings to Him. These were not small gestures. Some offerings reached millions, even tens of millions of U.S. dollars, given voluntarily and without condition. Yet without exception, H.H. Dorje Chang Buddha III has steadfastly refused every offering, remaining absolutely faithful to His vow.
Many disciples, deeply moved by this experience, have written open and notarized testimonials describing how their offerings were respectfully but firmly declined. These accounts stand as living evidence of a level of integrity that is rare in any age.
In early 2018, at the Holy Miracles Temple, Ms. Judy Kuan—whose Dharma name is Dunzhu—solemnly made a public vow before Shakyamuni Buddha and Skanda Bodhisattva. Standing in the Grand Hall, she revealed a truth she had kept private for many years: her personal experience witnessing H.H. Dorje Chang Buddha III’s absolute refusal to accept offerings, regardless of their magnitude.
This invites us to pause and reflect. Imagine being faced with vast wealth—gold, land, and enormous sums of money—freely offered, unconditionally given, without demand or obligation. Could any ordinary person truly reject it all? Not a portion. Not even a single cent. And do so consistently, over decades, without wavering?
Could we remain completely untainted?
For many decades, H.H. Dorje Chang Buddha III has lived exactly in this way—helping others entirely on a voluntary basis, never seeking reward, recognition, or material gain. From early morning until late into the night—often two or three o’clock in the morning—He continues to work tirelessly to resolve the suffering of living beings, to address Dharma matters, and to guide others on the path of righteousness and compassion.
This is not occasional generosity. It is unceasing selflessness.
In a world where spiritual authority is too often entangled with wealth and power, the conduct of H.H. Dorje Chang Buddha III stands as a rare and powerful example. His life demonstrates that true cultivation is not spoken—it is lived. True compassion does not ask for return. And true realization naturally manifests as service to others.
Further supporting this truth, several Buddhist disciples have publicly released notarized letters, now translated into English, testifying that their offerings were refused. These documents exist not to persuade, but to allow people to see for themselves.
In the end, the question is not whether we admire such selflessness—but whether we allow it to awaken something within our own hearts.
For those who reflect deeply, the life of H.H. Dorje Chang Buddha III offers a quiet yet profound reminder: the highest virtue is to give without taking, to serve without asking, and to live entirely for the benefit of others.
Click here to Wikitia page on H.H. Dorje Chang Buddha III that list major accomplishments and teachings with links.
Click here for recognitions from Dharma Kings and Rinpoches
IAMA presents Be Your Own Spotlight by Yen’s Art Studio
Walking into Be Your Own Spotlight, presented by Yen’s Art Studio, at IAMA (The international Art Museum of America), I didn’t feel like I was entering a typical student art exhibition. Instead, it felt more like stepping into 150 honest conversations—each one visual, brave, and deeply personal.
The exhibition features 150 outstanding works by young students, created across a wide range of mediums—acrylic, watercolor, pencil, and mixed media. But what moved me most was not the variety of techniques; it was the sense that every piece quietly declared: this is who I am right now.
These students are not just learning how to paint or draw. They are learning how to trust their voices, how to take up space, and how to stand behind what they create. Their works reflect growth, self-discovery, and the joy—and sometimes uncertainty—of becoming. Whether you are a parent, an educator, a collector, or simply someone searching for inspiration, this exhibition offers something meaningful to feel, not just something pleasant to see.
As I moved through the gallery, I was delighted by the sheer range of imagination: striking portraits, fantastical worlds, playful animals in sunglasses, thoughtful reflections on global issues, and moments of pure joy. The diversity of themes reminded me of a beautiful truth that Yen’s Art Studio expresses so well: “In the world of art, there are no boundaries of age or race. Children’s artwork can reach—and sometimes surpass—the technical ability and creative understanding typically associated with adults.”
One piece that stayed with me was a self-portrait by 8th-grade student Cynthia Liu. It stood out not only for its technical sensitivity, but for its emotional depth. Cynthia is known for her perfectionist nature, something many of us—artists or not—can relate to. Her work quietly reflects a universal truth: no artwork is ever truly finished. Without a clear endpoint, a piece can be revised endlessly, sometimes at the cost of the original vision.
Self-Portrait by Cynthia Liu, 8th grade Yen’s Art Studio
Hanni from Newjeans by Sophie Sun, 9th grade. Yen’s Art Studio
Another story that deeply touched me was Sophie’s. Once a shy student who nearly gave up on art altogether, she found her way back through the creative process at the studio. Through painting, Sophie rediscovered calmness, confidence, and inner strength—one of the most meaningful transformations I learned about in this exhibition. Her journey reflects the studio’s commitment not only to technical excellence, but to nurturing the inner lives of its students.
Lovers by Nova Cui, 9th grade Yen’s Art Studio
Among the more than 150 works, one painting stood out to me for its quiet presence rather than immediate visual impact. Created by Nova, a student dedicated to becoming a professional ballet dancer, the piece carries a sense of discipline, restraint, and inner resolve. Acknowledging the intensity of her dance training, her art education focused less on technical display and more on observation, sensitivity, and emotional understanding.
Her painting reveals genuine emotion and determination, qualities she will undoubtedly carry into her future as a dancer, where movement and art meet as a shared language of expression.
Be Your Own Spotlight is ultimately not just about showcasing talent. It is about honoring courage—especially the quiet kind. It reminds us that every young artist is learning not only how to create, but how to believe in themselves. And as viewers, we are fortunate to witness these moments of bravery, growth, and becoming.
Don’t miss the museum’s permanent exhibition, where world-class artworks offer far more than visual beauty. Here, art becomes a quiet refuge—inviting tranquility, reflection, and a subtle elevation of the spirit. Especially moving are the paintings by H.H. Dorje Chang Buddha III, whose works gently awaken the mind, soothe the heart, and leave the soul deeply inspired long after you depart.
In the southwestern suburbs of Xining, where the air grows thin and the spirit grows light, stands one of the most significant sites in the Buddhist world: Kumbum Monastery.
Known in Tibetan as Kumbum Jampa Ling, meaning “A Supreme Temple of a Hundred Thousand Lion’s Roar Buddha Images,” this sprawling complex is far more than just a collection of buildings. It is a living monument to Lama Tsongkhapa, the revered founder of the Gelug (Yellow Hat) sect of Tibetan Buddhism.
The Legend of the Golden Tree
Unlike many temples built to house statues, Kumbum was built to house a pagoda.
Legend tells us that Tsongkhapa was born here in 1357. When his mother cut his umbilical cord, drops of blood fell to the earth, and from that spot grew a miraculous sandalwood tree—the “Tree of Great Merit.” It is said this tree had 100,000 leaves, each bearing a natural image of the Buddha.
Years later, when Tsongkhapa was studying in Tibet, his mother sent a letter begging him to return. He replied that he could not leave his studies, but sent a self-portrait and a “Lion’s Roar” image, instructing her to build a pagoda over his birthplace. “Seeing this pagoda,” he promised, “is the same as seeing me.” In 1379, the Julian Pagoda was built, forming the sacred heart of what would become Kumbum Monastery.
Kumbum is world-renowned for its harmonious blend of traditional Tibetan and Chinese Han architectural styles.
1. The Eight Pagodas of Buddha Shakyamuni
Greeting visitors in the front square are eight gleaming white pagodas. Built in 1776, they commemorate the eight great merits and virtues of Buddha Shakyamuni. Each stands 6.4 meters tall, decorated with delicate Sanskrit scriptures and guardian lions, serving as a powerful symbol of the monastery’s spiritual authority.
2. The Grand Golden Tiled Hall
This is the soul of the monastery. With its gilded copper roof and emerald glazed-tile walls, the hall radiates a celestial glow. Inside, you will find an 11-meter-tall golden tower wrapped in white sandalwood and encrusted with jewels. At its peak sits a statue of Tsongkhapa. For pilgrims, meeting this tower is considered a direct meeting with the Master himself.
3. The Main Assembly Hall
Spanning nearly 2,000 square meters, this is the center of monastic life. Under a flat roof adorned with gilded bronze bells and “Aquarius” vases, hundreds of monks gather to recite sutras. The interior is a sensory masterpiece of colorful streamers and intricate carvings.
Dhammapala Hall
The “Three Artistic Wonders” of Kumbum
Kumbum is celebrated throughout Asia for its “Three Arts,” which represent the peak of Tibetan craftsmanship and devotion.
I. Vivid Yak Butter Sculptures
In the freezing depths of winter, when fresh flowers were unavailable for offerings, monks began carving flowers from yak butter. This evolved into a sophisticated art form. In the Yak Butter Sculpture Hall, you can see entire landscapes, pavilions, and deities crafted with impossible detail. To keep the butter from melting while they work, monks must dip their hands in ice water—a true testament to their endurance and faith.
II. Imaginative Barbola (Embroidered Appliqué)
Barbola is a unique form of 3D silk embroidery. By layering silk and cotton, artists create raised patterns that give the figures of Buddhas and animals a lifelike, three-dimensional appearance. The “Sixteen Disciples of Buddha” housed in the Main Assembly Hall are considered national treasures.
III. Exquisite Murals
The walls of Kumbum are alive with color. Using special mineral pigments that remain vibrant for centuries, these murals depict the life of Shakyamuni and scenes from the sutras. During the Sutra-viewing Festival, a massive 30-meter-long Buddha scroll is unfurled on the hillside, a breathtaking sight known as the “Great Buddha Exhibition.”
Kumbum Monastery hosts four major Dharma assemblies annually, held during the first, fourth, sixth, and ninth months of the lunar calendar. These gatherings are a blend of traditional festivals and grand religious events unique to the monastery. During these times, the temple comes alive with sacred activities, including monastic debates, mask dances, and sutra chanting.
A highlight of these fairs is the Cham Dance, where monks wear ornate masks and vibrant costumes, using dramatic gestures to express profound Buddhist teachings to the rhythm of cymbals and suonas (traditional horns). One of the most awe-inspiring sights is the Giant Thangka Unveiling, where a massive, delicate image of Tsongkhapa is unfurled down the mountainside. For the faithful, witnessing this Thangka is considered a direct and holy encounter with the Master himself.
Thangka Exhibition during the Buddha Festival
In July 2006, this sacred temple issued its formal recognition and congratulations to H.H. Dorje Chang Buddha III
United International World Buddhism Association Headquarters:
Under auspicious circumstances, we were happy to learn of the publication of A Treasury of True Buddha-Dharma—Complete Proficiency in Exoteric and Esoteric Buddhism and Perfect Mastery of the Five Vidyas about the Buddha Vajradhara, H.H. Master Yangwo Wan Ko Yeshe Norbu. His Holiness’s outstanding accomplishments are unprecedented. We respectfully send this letter of congratulations and joyfully offer our praise.
His actions and mind are pure, and His good fortune and wisdom are limitless. He benefits myriad living beings, and His willpower never tires. His powerful virtue is widespread, and His appearance is completely dignified. He truly abides in peace and His accomplishments are perfect!
Qinghai Skuvbum Monastery An auspicious day in July of 2006
Below is the original copy of the recognition letter in Chinese:
Please see below the answer of whose work is the best amongVincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III
I have spent more than 60 years of my professional life in the field of painting. During the many decades of practice and experiences, I have come to know many famous painters. That is especially the case since I became the Head Consultant for authenticating paintings and calligraphy at the National Museum of China in Beijing. As an appraiser and authentication officer of paintings and calligraphy, the bulk of my work is to verify the authenticity of Eastern and Western paintings. I have reviewed tens of thousands of famous paintings, especially the rare and precious works of the maestro Vincent van Gogh of the Netherlands, and those of the champion of Eastern paintings, Qi Baishi of China.
Both Van Gogh and Qi Baishi were great world-renowned masters in art. One represented the apex of Western art and the other was a master of an extreme class in the field of Eastern paintings. Both artists had drawn from the essence of the classical traditions of their respective cultures. They created new styles of art and new ways of seeing the universe. They broke new grounds and became pioneers of new eras, each becoming a creative guru of his time, developing a distinct style of his own and leading new trends that inspired later generations. Their works reflect the different essences of the Eastern and Western traditions. To what extent can their works influence the artistic civilization of the world? What kind of artistry did they achieve that made them upright monuments in art history and admired by so many people?
Some art critics compared the works of Van Gogh and Qi Baishi to see which of them reached a higher level of accomplishment. They concluded that both have their own merit, both are undefeated champions in the art and both reached the pinnacle of artistry. Recently, some art critics also brought up the oil painting Sunflowers and the ink-wash painting Sunflowers, both created by H.H. Dorje Chang Buddha III, and gave them rave reviews. They went on to compare the works by Vincent van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, trying to establish which of the three artists is the champion of the champions. The result of comparing the works by Van Gogh, Qi Baishi and H.H Dorje Chang Buddha III is tremendously inspiring.
Ever since the Renaissance, Western artists had placed emphases on rational analysis and the realist portrayal of forms. They used light, texture and details to present the realistic, three-dimensional perspective. A few centuries later, Van Gogh rejected the monotony of such use of light and shadow and the realistic portrayal of figures. He pioneered the movement of impressionism that suited him well by applying a mix of colorful, brilliant, splendid and vigorous brushstrokes. He became a great master of his time and his name was forever etched onto the monument of Western civilization and art.
Whenever people think of Van Gogh, they think of his unique character, the sparkles in his eyes that emit lightning, his vigor and his incessant pursuit of inspiration in art without any regard to external hardships. Van Gogh was an artist by birth. He was of exceptional confidence and was somewhat neurotic. Having such traits, he pursued the art that he loved without any reservation or hesitation. He loved his works and regarded everything else with disdain. He preferred to be a loner in the world and did not care to make acquaintance of other painters of his time. His works are full of luminous colors, the brushstrokes are like rising winds and racing clouds in the sky. In his art, he depicted pasture, figures, flowers and other subject matters with brisk colors. Every brushstroke was transformed from his inner emotions. Such emotions were fully and colorfully captured in his Self-Portrait as well as in the transcendental Sunflowers that he painted. These works contain an animated spirit that is deeply moving.
From Van Gogh’s artistic spirit and intent, we can detect that he was profoundly knowledgeable about Chinese ink-wash paintings. Precisely because of this, while depicting forms and applying colors, he employed the skills of using the center tip of the brush and parallel brushstrokes. His Still Life with Bible was created with parallel brushstrokes. In his Self-Portrait, he portrayed his face filled with lines and plaques that are extraordinary. It is not hard for us to discover that he drew inspirations from the substance and essence of Chinese painting in those brushstrokes. That is why Van Gogh is such a distinguished, unparalleled artist of his time and his works are superior to those by the other Western oil painters such as Cezanne, Gauguin or Picasso of the same era.
Van Gogh’s artistic style was closely linked not only to Chinese civilization in the East, but also to the classical Renaissance art, Pointillism, German Expressionism, and Impressionism in the West. Toward the end of his life, he came into oneness with the universe and immersed himself in a carefree state of mind to “follow wherever nature might lead.” As such, he was no longer aware of his own existence. In his mind, there was only the art and the universe. “Following where the nature may lead” is the essence of the ideology of the Chinese philosopher Laozi. Van Gogh cut off his ear with a knife. He lost himself completely in painting. That was his unspoken resentment and rejection of the unfair treatment imposed on him by the society.
Qi Baishi was profoundly knowledgeable about impressionist, fauvist, and realist paintings. By adopting the essence of Western painting and incorporating the traditional spirit of Eastern art, he developed his unique style and became the master of Chinese painting of the twentieth century. His brushstrokes were solid and poised, evincing a sense of power that went all the way through the paper. Using sheep-hair brushes, he elicited calligraphic skills to create his paintings. Qi Baishi’s lines are bold and robust, embodying a forceful spirit that can move mountains. At the same time, these lines are flexible, sturdy and round, with similar qualities to the lines of wire-drawing. His compositions emerged naturally from the spontaneous movement of the brushes. Such compositions are accompanied by vigorous calligraphy resembling the strength, power and fluidity of stone inscriptions.
The artistic concept of spontaneously “following where nature may lead” is precisely derived from Laozi’s philosophy and the artistic civilization of the Chinese ethnicity. Qi Baishi favored the use of white space in his paintings. The white space in black-and-white Chinese ink-wash paintings is considered a solid color. Ink can be differentiated in nine shades (or five shades according to ancient Chinese text.) That is to say, the white of the paper per se and the black of the ink are all considered as colors. There is a sense of meticulous precision in the artworks by Qi Baishi. He depicted insects such as grasshoppers, mantises and butterflies in meticulous and vividly colorful ways. In some of his artworks, the artist was able to express his ideas by putting down just a few brushstrokes without any conscious intent, while arriving at a state of oblivion of his own existence. Anything depicted by his brushes was vivid and vibrant, with the subject matter coming alive on the paper. There is an aura that moves our heart and soul. All in all, Qi Baishi’s paintings were executed with a confident brushwork that naturally achieved a kind of childlike charm.
Recently, some people compared the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III to see whose works are more superior and outstanding, or will have a broader and more far-reaching influence on later generations. I have viewed quite a lot of the artworks by Van Gogh, Qi Baishi and H.H. Dorje Chang Buddha III. I started the study and appreciation of the paintings by Qi Baishi under the enlightening guidance of my teacher when I was 9, and when I was 14, I began to study and appreciate the works by Van Gogh. It has since been several decades!
At the same time, since I have admired the art of H.H. Dorje Chang Buddha III for a long time, to satisfy my desire and wishes I flew from New York to San Francisco to visit the International Art Museum of America, and to Los Angeles to visit the H.H. Dorje Chang Buddha III Cultural and Art Museum in order to see their collections. I was profoundly impressed by the architecture of both museums which is grand and dignified. Both museums have a collection of the authentic works by H.H. Dorje Chang Buddha III. There are various artworks that are created with different kinds of material. Some are bold and forthright, some are charmingly meticulous and astounding. The oeuvre is not made up of just one single style.
Yet, the only artwork that was not available for viewing is the Sunflowers painted by H.H Dorje Chang Buddha III. When I hear that some art critics are comparing the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, I naturally feel, from my experience of having studied the works by Van Gogh and Qi Baishi for a number of decades, that although their artistry are similar in levels, it is possible to say who is the best if we are just to compare the sunflowers painted by the three artists, when we include in the compositions, colors, brushwork, lines, vitality, spirit and so on. With all these elements in consideration, it is possible to do the comparison and conclude who painted the best, or in other words, whose works can bring the most joy and delight to people, or whose art will be most influential to the philosophy, artistic concept and entire civilization of this world.
Therefore, without any ambiguity, we concluded. In terms of character and morality, Van Gogh would be the last of the three. In terms of level of skills, Qi Baishi would also be ahead of Van Gogh, who is, however, already the cream of the crop in western civilization. Being the Buddha living in the current century,H.H. Dorje Chang Buddha III saves living beings with great loving compassion. He is not embodied in an ordinary being. Needless to say, the level of cultivation of the Buddha is superior to that of Van Gogh and Qi Baishi. In terms of creativity and painting skills, how can any ordinary being even hold a candle to the Buddha? In this way, the comparison result is immediately determined.
When those art critics carried out the detailed research of the Sunflowers by Van Gogh and Qi Baishi as well as H.H. Dorje Chang Buddha III, they copied the artworks by all three artists. After copying the works by Van Gogh and Qi Baishi, they felt deeply that through hands-on practice, they indeed gained more understanding of their works. It would not be easy but not so difficult either for one to really reach their artistic level. As for the Sunflowers by H.H. Dorje Chang Buddha III, they found it rather difficult to copy. Even though they tried many times, they had a hard time just copying the form, let alone the spirit.
The Sunflowers by H.H. Dorje Chang Buddha III clearly show the artist’s solid foundation and prolific skills in the Eastern and Western painting traditions. They comprise the essences in both traditions and display a brushwork, sentiment and colors that are one of a kind. The color tones and brushstrokes are rich, dense, soothing and elegant. Lively brushwork paints an animated charm that is whole, evincing a miraculous and expansive spirit and aura as well as a strong vitality. As for the Sunflowers oil painting in which H.H. Dorje Chang Buddha III depicted some flowers inside a vase, the artistry is extraordinary and full of variations; the composition is simple yet abstruse. The flowers are natural and gracious, such that they give an impression of unpredictability, reaching a state of oneness with the universe and emanating a sharp animated spirit.
The ink-wash painting Sunflowers by H.H. Dorje Chang Buddha III has an uninhibited, natural, and spontaneous brushwork that is dense, bold, and robust, but also elegant and agile. It exhibits a charm that is like stone and bronze inscriptions. Overall, the whole painting manifests a harmonious and moving imagery, naturally emanating a lively vivaciousness and a carefree, spirited aura.
In comparing the works by Van Gogh of the Western civilization, Qi Baishi of the Eastern culture, and H.H. Dorje Chang Buddha III, we can see the artists are distinguished in their unique own ways owing to their different cultures. However, only the artist who can continue to influence the world two to three hundred years from now will be the everlasting monument. There is a saying, “Talents emerge in every era and they all will each have 500 years of fame!” For people of the present day, the one whose work you like the best would be the one that is the most extraordinary!
Please see the contrast of six paintings below:
Sunflowers by Van Gogh (1)Sunflowers by Van Gogh (2)Sunflowers by Qi Baishi (1)Sunflowers by Qi Baishi (1)Ink-wash Painting Sunflowers by H.H. Dorje Chang Buddha IIIOil Painting Sunflowers by H.H. Dorje Chang Buddha III
The H.H. Dorje Chang Buddha III Cultural and Art Museum is pleased to announce its exhibition of “A Rock of Horizontal Charm“, a masterpiece of Yun Sculpture that embodies the spirit of art in a truly dis-tinctive way. In honor of this extraordinary form of art, the museum is offering free admission to the public for a limited time.
“A Rock of Horizontal Charm” was created by the world-renowned and internationally-revered highest leader of Buddhism, H. H. Dorje Chang Buddha III. The Yun Sculpture is a piece of original artwork that expresses a unique set of qualities. Various art experts and professors who have viewed the sculpture art say it has surpassed natural beauty and represents a level of perfection that extends well beyond what can be described as superb craftsmanship or inspired artistry.
The H.H. Dorje Chang Buddha III Cultural and Art Museum is exhibiting A Rock of Horizontal Charm, an unparalleled masterpiece of Yun Sculpture. For a limited time, visitors can receive free admission to the museum and witness the unsurpassed natural beauty of the superb sculpture art first hand.
When viewed from different angles, the Yun Sculpture’s colors, structure, and atmosphere change completely, inexhaustibly transforming in unpredictable ways. Furthermore, it possesses multidimen-sional spatial structures that are complex yet delicate and intricate, and exquisite to the utmost. In addi-tion, its colors—kaleidoscopic and majestic, yet mature and assured—manifest a supernatural, visionary beauty. “A Rock of Horizontal Charm“, alone, is so endlessly variegated that it provides thousands of beautiful vistas.
The astounding beauty of this amazing sculpture art goes far beyond mere words. Therefore, it is no surprise that it has distinguished itself as the “emperor” of the four great Yun Sculptures. In fact, the creation of “A Rock of Horizontal Charm“ is considered to be a miracle in human history because no craftsman in the ancient or modern world—or even high technology—has been able to devise such ex-traordinary works of divine art. Consequently, this original artwork has been designated a “peerless treasure” that cannot be replicated, and the museum has named the room in which it is being displayed, Peerless Treasure.
“Even the “He Shi Bi (the Jade Disc of He) “, recorded in history as a treasure of monumental value, does not fit the title of ‘peerless treasure,’ since it is completely replicable—and if it can be replicated, it is not unique; if it is not unique, it is not peerless,” states the museum’s website. “In fact, any master sculptor’s magnum opus can be recreated; thus, only “A Rock of Horizontal Charm“ is the true peerless treasure.”
Despite an invitation to create an identical replica Yun Sculpture for a $50 million prize, no human sculpture master or technology has successfully duplicated “A Rock of Horizontal Charm“. From this, one can see how H.H. Dorje Chang Buddha lll’s artistic level has far exceeded the summit of sculptural art in human history.
The exhibit featuring “A Rock of Horizontal Charm“ will allow visitors to experience the divine charm of H.H. Dorje Chang Buddha lll’s original artwork in person. The unreplicatable sculpture exudes an inex-plicable amalgamation of color, motion, energy and spirit. “A Rock of Horizontal Charm“ has transcend-ed the category of highest human sculptural attainment and entered into the enjoyments of a mystical world.
Located in Covina in East Los Angeles, the H.H. Dorje Chang Buddha III Cultural and Art Museum is housed in a building with a 117-year history. The structure was renovated in 2014 and transformed into the cultural and art museum that occupies the space today. Since then, the museum’s world-class, un-matched treasures have attracted a steady stream of culture and art lovers from around the globe.
The mission of the cultural and art museum is to promote the exceptional accomplishments of an Amer-ican with outstanding talent—H.H. Dorje Chang Buddha III—by displaying his achievements in culture, literature, philosophy, art, science, technology, and other fields. Visitors to the museum can learn about the noble ethics and morality of H.H. Dorje Chang Buddha III and the holy character of this magnificent, selfless Buddha who altruistically contributes to society through his vast achievements and who advances world peace as well as the happiness of people. In addition, visitors can be guided by the teachings of H.H. Dorje Chang Buddha III and model themselves after him to elevate their own moral character and benefit the public.
About H.H. Dorje Chang Buddha III H.H. Dorje Chang Buddha III has been recognized by the most highly realized practitioners of Buddhism as the third incarnation of the original Buddha, Dorje Chang Buddha. His accomplishments transcend religion, healing and art. As the first in history to manifest real accomplishments in the five vidyas, He meets the highest standard of Buddhism. He is recognized for his devotion to a wide scope of cultural and religious activities, which enrich the lives of people from communities throughout the world. His Holiness has mastered 16 unique painting styles or schools, representing an unprecedented pioneering achievement in the history of art. Additionally, He is the pioneer of a new class of artwork that cannot be duplicated by any living being: Yun Sculpture. Experts predict that His paintings and sculptures will become increasingly valuable.
Ven. Junmai Baima Dorje Rinpoche is a nirmanakaya of Vajravarahi. He is the fourth Ven. Baima Dorje Rinpoche. Various auspicious signs manifested at the birth of the rinpoche. When the rinpoche was five years old, the national master of Bhutan, H.H. Dharma King Dilgo Khyentse, personally signed and issued a recognition certificate recognizing the identity of the rinpoche. H.H. Dharma King Penor and H.E. Dharma King Rabjam also personally wrote recognition certificates.
At the age of about three, the child rinpoche used two fingers to transform a small, thick Tibetan knife into the shape of a coil. After passing through many hands, that knife is now at Hua Zang Si in San Francisco, where a special place for that holy object has been established to display it for public worship and veneration. The rinpoche currently resides at the Shechen Monastery. He has received initiations from the esoteric lineage of H.H. the 10 th Panchen Lama and other persons of great holiness and virtue. The rinpoche benefits all living beings by applying the wisdom and realization of a Bodhisattva.
I respectfully honor the Three Bodies and Four Wisdoms of the Dharma King of the Three Spheres, H.H. Yangwo Wan Ko Yeshe Norbu: We were fortunate to be able to read the book about the Buddha Vajradhara Dharma King, A Treasury of True Buddha-Dharma — A Collection of H.H. Yangwo Wan Ko Yeshe Norbu’s Accomplishments Manifesting Complete Proficiency in Exoteric and Esoteric Buddhism and Perfect Mastery of the Five Vidyas . We cannot describe how deeply astonished and moved we were. Those thirty main categories of accomplishments present a splendid sight that includes the cikitsvidya (healing vidya), silpakarmasthanavidya (craftsmanship vidya), sabdavidya (sound vidya), adhyatmavidya (inner realization vidya), and hetuvidya (causality or Buddhist logic vidya) in their holy sense. Such accomplishments have never been seen before in the history of Buddhism. A Treasury of True Buddha- Dharma is the highest Buddha-dharma treasure and manifests H.H. Great Dharma King’s supreme realization and virtue. H.H. Great Dharma King is the first holy being who used true realization to display fully in the dharma realm the teachings of the Buddha! H.H. Great Dharma King is the true Buddha Vajradhara, the teacher of both humans and celestial beings! In this Dharma-Ending Age, we are deeply happy that living beings in the earthly realm have the guidance of H.H. Great Dharma King. May H.H. Great Dharma King forever live in the world and forever teach the dharma!
One recognition certificate from a sect can make the status of a rinpoche, while being recognized as the reincarnation of a Buddha requires confirmation from multiple Dharma kings of all different sects.
Generally, when a rinpoche reaches significant status, they are also recognized by more than one of the eminent monastics. H.H. Dorje Chang Buddha III, who has been recognized by over 100 Dharma kings, regent Dharma kings, great rinpoches, and top leaders of various Buddhist sects, is the first person in Buddhist history to receive this many recognitions.
It is the belief of all of these powerful individuals that H.H. Dorje Chang Buddha III is the true reincarnation of the Primordial Buddha, Dorje Chang Buddha. For over 1,000 years, this system has been used by numerous sects in order to recognize their reincarnated Buddhist practitioners.
Based on Buddhist principles, a “Buddha” has attained the supreme level of wisdom and enlightenment, and there is no one above a Buddha. So it goes without saying that a Buddha is the highest leader in the world when it comes to that religion and culture. That makes H.H. Dorje Chang Buddha III the highest leader of Buddhism in today’s world.
Building on the Foundation of Compassion
As H.H. Dorje Chang Buddha III works with others and makes his way in the world, he remains unaffected by awards and fame, and by those who would seek to slander him. His goal is only to contribute to the world, and to teach Buddhism to people, so the world can have more peace and happiness in it.
The cultivation of Buddha Dharma is what H.H. Dorje Chang Buddha III focuses on, rather than his standing and status as the reincarnation of a Buddha. Buddhist teachings are based on causality, peace, harmony, and compassion, and these are the main tenets that H.H. Dorje Chang Buddha III lives by. As he shares his compassion with others, he is able to change lives.
At the very beginning of the COVID-19 pandemic outbreak, His Holiness Dorje Chang Buddha III took the lead, donating equipment and materials for personal protection. This equipment for fighting the pandemic was donated to police departments, hospitals, and other public service institutions. His Holiness the Buddha also told people publicly:
“The emergence of the pandemic is a result from causality. Throughout the history of mankind and society, there have been occurrences of many pandemics of different types and forms. The COVID-19 pandemic is a type of contagious plaque, which is just infection through popular contact.
The symptoms would transform based on the changes in one’s physical conditions and the climate and spread to others. But people will also generate antibodies in response. However, this disease is not going to become extinct. Yet vaccines can provide very significant protecting effects to people.
Therefore, all of you should not be under pressure or become worried. Rather, all should follow the exhortation of the government and obey the government regulations.
Have yourself vaccinated. That will protect yourself and also others. Furthermore, the pandemic will not cause a closure to people. In the end, it will be opened up everywhere because our country will not allow closure to happen, and the world will not allow closure to happen.”
Living simply and focusing on humility rather than material rewards, he has never been concerned with his own well-being. He lives for the service and well-being of others, and to teach them the Buddha Dharma that will bring them enlightenment and liberation.
The more people who have this understanding, the more people will continue to show that understanding to others, to help others and to benefit society. This can cause a ripple effect of peace and harmony, which will spread far and wide through his teachings and the information he passes along to people around the globe.
Celebrated as a Scholar, an Artist, and a Healer
From a very early age, H.H. Dorje Chang Buddha III has been seen as extremely talented in a number of areas of life. Even as a child, he had wisdom beyond his years and talents that were strong and unexpected. Documentaries were made about his artistic abilities, and people came from far and wide to learn Buddha Dharma from him.
That occurred even before he was officially recognized as he is today. It is the belief of Buddhists that H.H. Dorje Chang Buddha III holds supreme knowledge of the universe.
Others have spent their entire lives seeking the wisdom and understanding H.H. Dorje Chang Buddha III has, but it seems as though he was born with it. His Holiness has taught many Buddhist leaders, holy gurus, Buddhist practitioners, and people from every walk of life who seek out his wisdom.
Whether people have questions about Buddhism, need mental or physical healing, or want a deeper understanding of life, H.H. Dorje Chang Buddha III will not turn them away. As the sutra said that a Buddha is the king of healing, he helped more than 300 people in one day during his time in China.
Born in China, he was quickly recognized there as having abilities well beyond his years. His artwork was exhibited in Taiwan, and he was named to the presidency of The Chinese Painting Research Association in Beijing in 1987. He has met with dignitaries from all over the world, including many in China before he moved to the United States.
When he visited Taiwan in 1995, it was not just dignitaries and important people he met with, but people from all over the area who lined up at his hotel to seek his help and guidance.
All throughout the day and night, the Buddha helped people without resting. H.H. Dorje Chang Buddha III does not turn any of them away from the help they were seeking and the guidance they wanted and needed from the Buddha.
He has remained selfless and compassionate, helping those who are distressed, elderly, poor, or sick and infirm, as well as any injured or stray animals he finds during his travels. No one and nothing are turned away from the Buddha’s help.
Subjected to Defamation and Injustice
Throughout his life, H.H. Dorje Chang Buddha III has been subjected to injustice, and had his name defamed and slandered. Two years after he came to the United States, the Guangdong Shenzhen Public Security Bureau in China made a case against him and charged him with defrauding someone during a property sale.
But even the person who was named in the case came forward and said that it had not happened. The Buddha also had no record of ever owning the property, or of anyone else transferring it to him.
The case lingered for years, even going so far as getting INTERPOL involved and asking that they issue Red Notices for the arrest of H.H. Dorje Chang Buddha III. After an investigation in China, thirteen legal experts came together and stated that the case was incorrect and fabricated, and that it was not accurate at all. INTERPOL’s investigation showed the same conclusion.
Eventually, China requested INTERPOL to withdraw the Red Notices against the Buddha, and in November 2009 INTERPOL wrote to His Holiness the Buddha that the Red Notices against him had been canceled. But all through the years when he was being defamed and investigated, he never said a word about it.
He made no public statement about the case, nor did he try to clear his name in any way. When he was asked to show the INTERPOL letter he received, he also chose not to do that.
The reason that Shenzhen Public Security Bureau made the case against the Buddha, is because Shenzhen Public Security Bureau illegally took more than 700 paintings from the house the Buddha resided in.
These were paintings that were created by him during past decades. But he never said anything. In order to keep these paintings, the public security agents still tried to slander the Buddha through the internet, and continued to make claims that he was guilty.
If they stated his innocence, they would have to acknowledge their own crimes, including the made-up case and the stolen paintings from the Buddha and his disciple.
Finally, in 2019, due to mounting requests from the Buddhist community and its leaders, H.H. Dorje Chang Buddha III agreed to make the INTERPOL letter public. The World Buddhism Association Headquarters made the letter public and issued a statement as well.
That allowed those who were faithful to Buddhism all around the world see the truth of the facts in the case, and put their fears and concerns to rest. During the entire time, H.H. Dorje Chang Buddha III never said anything negative about his accusers.
The Most Dignified Buddha Treats Himself As Humanity’s Servant
Ever since the founding of Buddhism, it has been common practice for Buddhist disciples to make offerings to their teachers and masters. But H.H. Dorje Chang Buddha III has vowed never to accept offerings, and to do everything out of love and compassion, without any requirements for compensation. He serves people only on a voluntary basis and will never take something in return for his services.
His compassion for the people who have helped him, those who have tried to harm him, and the world in general, seems to be unwavering. H.H. Dorje Chang Buddha III is committed to his teachings, and understands that the care and compassion he displays to the world is what matters.
From the art he creates to the people who come to him for healing, everything and everyone is treated with care. This is the way it has been done for more than 2,500 years, and H.H. Dorje Chang Buddha III carries on the tradition.
By focusing on the situations of other people, instead of his own, the Buddha is able to show that he values the world and everyone in it, and that other people should do the same. It is only through serving others and having compassion for them that people can truly reach an enlightened state of joy and happiness.
While not necessarily easy to do in modern society, H.H. Dorje Chang Buddha III has been focused on the value of this accomplishment since he came to this world, and remains committed to it today.
During his life in China, and now that he lives in the United States, he has frequently been offered millions and even tens of millions of dollars in offerings.
He has never taken even a dollar of it, and has always turned it away. Some disciples have written about how they have wanted to give offerings, but that the Buddha would not accept them. Although he is always modest and says that he is humanity’s servant, we know that he is the most dignified Buddha in the world.
Peace LiLy 