After learning about Eastern painting, American painter Graves said: “I realized that art and nature are landscapes of the soul, from which we can perceive the essence of human existence.” When you are fortunate enough to encounter these masterpieces, you will gain insight into the essence of Eastern art.
“Bi Shang Zhi Gong (Skillful Brushwork)” is a masterpiece of Chinese flower and bird painting that appears fresh and clear at first glance, profound in meaning after viewing, and unforgettable after further contemplation. The composition is extremely simple: in the center of the painting is a uniquely shaped bird with a flat, long beak and a spotlessly white belly. It sits comfortably and alone on the curved, thick trunk. Its eyes are ethereal and deep, as if completely focused; its posture demonstrates that wherever it is, is the focal point.
Upon careful observation, you will find that everything in the painting is in a state of colorful transformation. The bird’s head and back are painted with two blocks of ink that are close in shade, creating a melting effect, with the ink color seemingly still wet and spreading around.
The trunk’s ink lines are clear and distinct, resembling a tree yet not quite a tree, as if constantly changing in the impermanence. At the bottom left of the tree, a branch twists and turns out, creating an S-shaped composition in the painting that is still in motion. The painting also uses color sparingly, with only a warm and friendly purple-brown color applied to the bird’s beak and the trunk.
This painting has a fascinating story behind it. It was created in 1982 during the filming of a movie in Sanhe, Sichuan. The painting captures an on-the-spot portrayal of a real-life scene. The artist used ink sparingly, treating it as if it were as precious as gold, while still showcasing his exceptional skills. At the time, the News Film Studio of China was producing a documentary exclusively about the artist, Master Yi Yungao (H.H. Dorje Chang Buddha III).
The cameramen and other observers witnessed a wild duck landing on a withered tree trunk. Master Yi Yungao quickly picked up his brush and swiftly completed the entire painting. By the time the wild duck took flight again, the painting had already been finished. Furthermore, the artistic mastery embodied in this artwork is extraordinary. It not only preserves the elegance, purity, and high-quality of traditional paintings but also introduces a new style—expressing the artistic conception of returning to original purity and simplicity. The artist, with an unfettered hand and mind, applies his most mature skills without the slightest attachment and with minimal, natural brushstrokes.
This masterpiece Chinese painting by H.H. Dorje Chang Buddha III is rich in literary atmosphere and varied in layers. It does not merely depict the external world, but rather it serves as a true manifestation of the inner spirit, transcending the natural material form to open up the world through the illumination of life’s spiritual light, reflecting the spiritual world. Appreciating the painting can reveal the pure world behind it, where everything, including the self, is forgotten, remaining untainted.
Han Suyin was born in Xinyang, Henan Province, China, on September 12, 1916, to a Chinese father and a Belgian mother. She was raised in a multicultural and multilingual environment, which greatly influenced her future writings and perspectives.
Ms. Han Suyin gained international recognition as a prolific writer, primarily known for her semi-autobiographical novels. Her most famous work, “A Many-Splendored Thing,” published in 1952, became a bestseller and was adapted into a successful Hollywood film titled “Love Is a Many-Splendored Thing” in 1955. She authored numerous novels, essays, and articles that delved into themes of love, cultural identity, and East-West relations.
Ms. Han Suyin, an extraordinary figure in her own right, shared a remarkable connection with world leaders and spiritual luminaries from across the globe. Her life was intertwined with a little-known story of profound affinity with a great sage.
In February 1982, Ms. Han Suyin and her husband, Mr. Lu Wenxing, made a long-awaited journey to Sichuan, their ancestral homeland, to celebrate the Chinese New Year with their family. This marked her first return to Sichuan for the New Year since the establishment of the People’s Republic of China. As a professional writer, she was an unwavering observer of the human and cultural aspects of her homeland. She once articulated, “My life will forever traverse two opposing directions, leaving love to embrace love; leaving China to return to China.” This succinctly summarized her life’s journey. Her deep love for this ancient land fueled an unceasing quest for individuals with profound philosophical ideals, firmly convinced that within the mystical realm of China’s ancient civilization, cultural giants awaited discovery to awe the Western world.
Fate and reason have their own ways. Soon, Ms. Han Suyin discerned her calling with remarkable acumen. While visiting an exhibition of Chinese paintings at Sichuan’s Wenshu Monastery, she was captivated by a yet-to-be-displayed masterpiece of a soaring eagle. The painting exuded vastness, antiquity, ethereality, and enduring profundity. Having toured renowned art museums worldwide and seen countless world-famous paintings, she found herself profoundly moved by this artwork, eagerly wishing to acquire it as a lifelong treasure. Regrettably, the exhibition had not yet officially opened, dashing her immediate hopes.
With the assistance of the local cultural department, Ms. Han Suyin eventually tracked down the artist behind the masterpiece. To her astonishment, the creator was an elegant young man, and an instant kinship developed between Ms. Han and this young prodigy. Their conversations touched upon a spectrum of subjects, from various styles within the Chinese art scene to global artistic movements and the evolution of humanistic ideals.
Upon parting ways, Ms. Han Suyin not only acquired the eagle painting for her collection but also handpicked two additional Chinese paintings, intending them as cherished gifts for her close friends. Thus, an international writer and an ancient sage forged a profound and enduring connection.
In 1993, eleven years later, Ms. Han Suyin reflected on this treasured memory, describing it as follows: “…I was the first fortunate individual to witness His artwork and immediately recognize His talent. His painting technique, marked by ever-shifting nuances and a compelling balance of strength and delicacy in each brushstroke, left an indelible impression on me. His vast knowledge and wide-ranging interests extended beyond art into the realm of traditional Chinese herbal medicine. His passion for medicine stemmed from his father’s status as a renowned traditional Chinese medicine practitioner. Moreover, he ventured into enhancing a particular palace-grade tea and brought it to market. In recent years, he has dedicated himself to creating a significant work, striving to establish a new life philosophy rooted in the authentic principles of Buddhism and the universe. Consequently, he produced internationally acclaimed paintings. His series of paintings featuring Buddhist monks garnered high praise in Japan and Singapore. His achievements were also acknowledged in North America, where he assumed a professorship at the Sino-American Cultural and Arts Research Institute and served as the president of the Chinese Painting Research Association at the Chinese Social Welfare and Education Center in Beijing. I genuinely believe he is an exceptional artist, and I am firmly convinced that his unwavering pursuit of knowledge will lead to even greater accomplishments…”
So, who is this extraordinary sage whom Ms. Han Suyin esteemed, and whom the world came to admire? None other than H.H. Dorje Chang Buddha III.
It must be acknowledged that Ms. Han Suyin’s discerning judgment was remarkably precise, as she firmly believed. H.H. Dorje Chang Buddha III‘s achievements were indeed unparalleled. In 1994, at the World Poets Conference, 5,612 experts and scholars from 48 countries and regions acclaimed Mr. Yi Yungao (H.H. Dorje Chang Buddha III ) as the world’s sole supreme international master, acknowledging his extraordinary contributions in Buddhism, the humanities, medicine, painting, and his lofty moral character. On September 28 of the same year, special envoys from the conference traveled to Sichuan to present him with the certificate of supreme international master, bearing the signature of the President of the International Olympic Committee, Samaranch.
In the year 2000, H.H. Dorje Chang Buddha III‘s artworks “Thunderous” and “Great Strength Vajra” achieved prices exceeding 2.12 million dollars and 2.2 million dollars, respectively, in the international market. Then, in March 2015, his artwork “Ink Lotus” set a record price at the New York Spring Auction, reaching an astonishing 1.65 million dollars per square foot.
Another piece, “Loquat,” measuring six square feet, was successfully auctioned at an astounding price of 10.2 million dollars at the New York Zhenguan International Auction Company’s autumn auction, establishing an unprecedented record for Chinese paintings in the auction market. When calculated on a per square foot basis, it reached an astonishing 1.7 million dollars per square foot. The painting, “Loquat,” drew praise from experts at the auction company during the autumn preview, exceeding the criteria of a “masterpiece” set by ancient Chinese art critics. They described it as follows: “In the style of H.H. Dorje Chang Buddha III , this painting exhibits an ever-changing technique, with strength and depth in every brushstroke, and an endless charm.”
World news media reports have hailed H.H. Dorje Chang Buddha III as an “unprecedented master in the history of Chinese painting” and as the “pioneer who propelled Chinese painting art onto the global stage.” At this juncture, we, the younger generation, express our deep admiration and respect for Ms. Han Suyin’s extraordinary discernment.
Back in May 1995, a remarkable event unfolded that showcased the extraordinary acupuncture technique of our era, the Galloping Horse Wonderful Needle. This revelation occurred through an exclusive interview that shed light on this unparalleled medical practice.
The context of this revelation traces back to a significant cultural and artistic exchange initiative between mainland China and Taiwan. Master Yi Yungao(H.H. Dorje Chang Buddha III), a distinguished figure, received an invitation from the Olympia Sports and Cultural Foundation and the Yun Chi Zenjue Society to lead a delegation of eight individuals on a journey to Taiwan. The initial intention was to maintain a low profile upon their arrival, yet fate had different plans. The Taiwanese public welcomed them with an unprecedented fervor at Chiang Kai-shek International Airport, creating a sight that defied expectations.
Wu Jingguo, the Chairman of the Olympia Foundation, recounted the astonishing scenes that unfolded. More than 4,000 people gathered at the airport to extend their warm welcome, and an escort of over 1,300 vehicles accompanied them as they departed from the airport. This culminated in an astonishing journey of approximately 3.5 hours from the airport to the Grand Hyatt Hotel, where Master Yi Yungao was lodged. The hotel’s premises were adorned with a vibrant assembly of well-wishers, offering flowers and orchestrating musical performances in a grand welcoming procession. This spectacle vividly captured the deep respect and reverence that the people of Taiwan held for Master Yi Yungao, underscoring the profound impact he had on their hearts and minds.
The question arises: what attributes define Master Yi Yungao and evoke such genuine admiration from the public? The answer lies in his multifaceted accomplishments that span diverse domains, including art, philosophy, Buddhism, ethics, morality, and literature. It’s these exceptional contributions that have led to his esteemed recognition as a “master.” His acclaim is far-reaching, and a testament to this is his official designation as a “Special International Grand Master” in 1994. This recognition was conferred by a consortium of 5,612 experts and scholars representing 48 countries and regions, each hailing from diverse academic backgrounds and institutions.
In essence, the unparalleled Galloping Horse Wonderful Needle technique and the reverence for Master Yi Yungao are emblematic of his profound impact on both medical science and human hearts, resonating through time.
During his participation in the art exhibition as part of the Taiwan delegation, Master Yi Yungao’s mastery of the painting realm spans a broad spectrum of subjects. He showcases remarkable expertise in landscapes, figures, flowers, animals, and beyond. His artistic styles encompass meticulous detailing, freehand expression, and daring color palettes. His ink strokes flow seamlessly, and his depictions emanate from the essence of their forms, exuding an inherent elegance and vibrant spirituality. For instance, a showcased artwork titled “Tiger” presents a dynamic portrayal of a tiger seemingly in motion from any angle, aptly named “Versatile in All Directions.” Another piece, “Homage to Guanyin Bodhisattva,” exudes an extraordinary beauty. Upon inquiry, he modestly likened it to Dunhuang paintings, acknowledging certain resemblances while highlighting the distinctive cloud composition in the attire, drawn with a single, uninterrupted stroke. The divergence extends to the treatment of color ribbons. Moreover, his splashed-ink paintings, acclaimed by some connoisseurs as akin to Zhang Daqian’s works, radiate an authenticity that resonates harmoniously.
Although Master Yi Yungao and Zhang Daqian have never crossed paths, he attested to observing Zhang Daqian’s splashed-ink paintings and learning from them. He expressed his intent to emulate and glean insights from Zhang Daqian’s works.
Venerable Master Yi Yun granted our publication an exclusive interview at the Grand Hyatt Hotel, where he shared the following insights:
Question: What is the primary purpose of your visit to Taiwan this time?
Answer: My main reason for visiting Taiwan this time was in response to an invitation from the Olympia Foundation to participate in an art exhibition and engage in cross-strait cultural exchanges.
Question: What are your impressions after experiencing Taiwan?
Answer: The warm reception I’ve received from the Taiwanese people during this visit has deeply moved me. Whether it was at the airport or the hotel, the reception was overwhelming, resembling a sea of people. Even as I ventured outside the city, to places like Xizhi and Nankan in Taipei County, the warm welcome persisted. They celebrated with firecrackers, fireworks, and tremendous enthusiasm. Some individuals even crafted flags bearing my likeness to welcome me. I’m genuinely touched by this reception, which vividly demonstrates the growing harmony in cross-strait cultural exchanges. This harmony is pivotal for the cause of Chinese reunification and significantly fosters the profound emotional connections between people on both sides of the strait, connections that cannot be severed.
Question: How did the art exhibition fare this time?
Answer: Our visit to Taiwan this time was prompted by an invitation from the Olympia Foundation to organize an art exhibition. The primary objective was to enhance cultural and artistic exchanges between the two sides. The exhibition turned out to be a resounding success. During the opening ceremony on May 12th, we were honored by the presence of notable individuals, including Mr. Chiang Yen-shih, a member of the Presidential Office’s Advisory Council, and General Song Changzhi, a strategic advisor to the Presidential Office. We deeply appreciate this reception and believe that this exchange in the realm of painting will yield fruitful outcomes for both sides.
Question: What is your perspective on art?
Answer: Discussing art is a profound endeavor that cannot be encapsulated within a mere hour or two. In fact, I’ve delved into this subject in my previous writings. (Quoting from the master’s work, “I’ve previously mentioned that I don’t consider myself an artist. This assertion is in response to the prevailing perception of artists today. My journey began under the tutelage of a master in my childhood, driven not solely by artistic interest. Through exploring the universe, life, and society, I ventured into the realm of wisdom development and gained insights. Naturally, artistic skills and perspectives emerged. Art contributes to the diverse world, adorning the multifaceted fabric of human existence with vibrant hues. Its function shouldn’t be overly exaggerated.”)
Entrance to the Master Wan Ko Yee Museum-China
Question: A “Master Yi Yun Gao Museum” has been established in Dayi County, Sichuan Province. Building a memorial hall for someone who is alive is quite rare. Could you elaborate on the process and motives behind establishing this hall?
Answer: After being bestowed with the title of “Special International Master” by 5,612 experts and scholars from 48 countries and regions at the 4th World Poets Culture Conference, and receiving the affection of individuals from my hometown, suggestions emerged to create a memorial hall. The completion of this hall has genuinely humbled me, and I’m profoundly aware of the goodwill and kindness of the people. It amplifies my sense of responsibility. To further the common good, I’m motivated to invest more effort. While I can be perceived as a “caretaker” of this hall, it truly belongs to the public, serving the greater societal welfare. Displaying artworks and cultural exhibits in this venue primarily aims to promote ethics, morality, and art. It seeks to inspire young students to delve into cultural arts, thereby nurturing Eastern philosophy, propagating Chinese culture, and enhancing the well-being of the populace. Visitor numbers to the hall continue to rise steadily.
Question: Your prowess in acupuncture, particularly the “Galloping Horse Wonderful Needle” technique, is widely recognized. Could you elucidate this technique?
Answer: The “Galloping Horse Wonderful Needle” technique in acupuncture is genuinely a “seeing is believing” situation. Its effects can be witnessed firsthand by those with physical ailments. (At that moment, Ms. Jiang Chengling Hui, the publisher of this magazine, expressed her willingness to experience it. Venerable Master Yi Yun inserted an acupuncture needle between the thumb and index finger of her right hand. As he exclaimed “swell,” Ms. Jiang echoed “swell.” Then, with a “go” from him, she exclaimed “it’s gone.” The needle had moved up her arm. Those present, including our magazine colleagues and others, were astonished.) This “Galloping Horse Wonderful Needle” technique is truly unparalleled globally.
Due to the late hour, as a substantial audience awaited Venerable Master Yi Yun and the clock struck midnight, our group of interviewers, filled with awe about the “Galloping Horse Wonderful Needle” acupuncture technique, concluded the visit.
(Note: Galloping Horse Wonderful Needle is a unique healing technique of Buddhism requiring special powers, and it is used to cure people of their illnesses. It is said that common people cannot master this technique. In order to apply this technique, one must have reached a very high state of training in the Vajra Fist Dharma of esoteric Buddhism. One must also have entered the phase that transcends the generation and completion phases. Through special skills, one produces a power that adjusts the “external four great elements.” (earth, water, fire, and wind) One then uses one’s concentration powers to bring about needle treatment reactions that course through the body like a galloping horse. Additionally, one must use thought to guide the “internal four great elements” of the patient’s body so that his body undergoes acute changes in an instant. Using the energy channels and acupuncture points, the obstructions of illness are expelled one after another. Why does that treatment produce such amazing effects? It has to do with the ultimate truths of the universe.)
In Taichung there is an elderly layman. All nine members of his family are devout Buddhists. They have followed and learned from a famous old monk for many years. However, what they hear from this old monk is completely theory. Each of them can talk about the sutras in a clear and logical fashion. However, none of them have real skills associated with the Buddha-dharma.
In the autumn of 1995 the Elder Dharma King happened to be in Taiwan propagating the dharma. The elderly layman requested instruction from the Elder Dharma King by saying, “This year I am already eighty-one years old. I do things in furtherance of Buddhism everyday. I have donated over one-half of my vast wealth. Nevertheless, I have never seen a real Buddha or Bodhisattva. The only knowledge I have of supernormal dharma powers comes from what I read in books. Why do the Buddhas and Bodhisattvas not come down to our house? May I ask the Elder Dharma King, what is the Buddha-dharma?”
When the Dharma King heard these words, he chanted “Wobamei!” He then said, “Layman, you all have not learned the Buddha-dharma. How could you have any true skills?” When all of the members of the layman’s family heard this, they felt quite surprised. With his brows tightly knit, the old layman said, “My entire family devoutly learns Buddhism and recites sutras. How is it that we are not learning the Buddha-dharma? Could it be said that these sutras are all false?”
The Elder Dharma King said, “It is true that all of you are reading sutras and learning Buddhism. Those sutras are genuine sutras and are dharma treasures. The knowledge concerning Buddhism which those old monks impart to all of you is also genuine knowledge. However, this is Buddhist studies. It is not the Buddha-dharma! In Esoteric Buddhism, Buddhist studies is called the exoteric teachings portion. This is what we are required to learn when we first enter Esoteric Buddhism. After we have learned the exoteric teachings portion and we have this foundation of theory, we must then enter into real, practical cultivation of our conduct, speech and thoughts. The process of putting this into practice is called cultivation of the Buddha-dharma.
“Take, for example, the practice whereby one invites the Buddhas and Bodhisattvas to bestow nectar. In theory, people think that this is simply reciting mantras, reciting passages from sutras and visualizing. In theory, people think that nectar is simply water which has been empowered by mantras. However, in the real practice of the Buddha-dharma, there is a special dharma method to invite the Buddhas to directly bestow true nectar from the sky. The shape of this nectar is unlike any other thing on this earth. It has unlimited power. It can cure all illnesses and can easily increase one’s life span! This is because this is the Buddha-dharma, not Buddhist studies.”
The old layman said, “I received the Kalachakra Vajra Initiation from the Dalai Lama!” Elder Dharma King Losang said, “Last year a Great Rinpoche wanted to introduce the Dalai Lama to me. I did not have any spare time. I wanted to do other things in furtherance of the Buddha-dharma. I did not meet him. I do not know much about him and will not comment on him. I do not have any right to inquire into that initiation. I hope that you are able to receive benefits from it.”
When the old layman and his family heard this, it was as if they had awakened from a big dream. Their eyes became teary, they knelt down on the ground and respectfully requested the Elder Dharma King to teach them the dharma. After a moment, the Elder Dharma King slowly said, “Today I will teach the dharma to your entire family. I will also teach the dharma to all living beings.” Following his words, a beam of red light emanated from in between his eyebrows which circled the room. The Elder Dharma King then said, “Do no evil. Do that which is good. Deeply study the sutras. This is Buddhist studies. Do no evil. Do that which is good. Recite the Buddha’s name with all your mind. This is the way to ascend to the Pure Land. Do no evil. Do that which is good. Deeply study the sutras. Esoteric initiations in which supernormal powers are manifested and which comply with Know the True Doctrine is the Buddha-dharma.”
After the old layman heard these words, he put his palms together and respectfully asked, “Other than Know the True Doctrine, what books should I read?” Dharma King Losang said, “With respect to Know the True Doctrine, it is enough if you understand its contents. The most important thing is that you read the books of Ah Wang Nuo Bu Pa Muand Great Dharma King Yangwo Yisinubu [H.H. Dorje Chang Buddha III]. The more you read such books the better. You must also live in accordance with the principles contained therein. This is the best method!”
The old layman said, “I will remember your words. I would like to ask another question. Does every Rinpoche have a mind which regards all things as equal?” The Elder Dharma King instructed, “The most difficult thing to attain in one’s cultivation and in one’s practice of the Buddha-dharma is a mind which regards all things as equal. Without such a mind, one will pursue fame, gain, riches, high government positions and occupation of other people’s land. One with a mind which regards all things as equal does not pursue such things.
“For example, some people want to cut apart my native place, Tibet. Actually, this way of thinking is a deviation from cultivation. Is this cultivation or is this fighting for something based upon personal desire? Tibetan people, Chinese people and people of every other race and ethnicity should all be considered our close family members who are on an equal footing! We should cause all of these people to unite so that they can live together in friendship and love and develop their common happiness. The Buddha taught us that all living beings have the Buddha nature and that we should treat them equally and with love. We should not desire government positions. Only by cutting off the concept of self, cutting off erroneous thinking and cutting off attachment to things of the world can one reach high spiritual states! This is the certain truth of the Buddha-dharma. We must love others equally in order that we may give rise to the four limitless states of mind. With the four limitless states of mind as our foundation, we will be able to enter into the state of the sacred bodhimind. If one cannot even renounce selfish desires and cannot even look after all living beings on an equal basis, then how can one enlighten oneself and enlighten others?”
In today’s world, where the distinction between authentic and counterfeit Buddhism has become blurred, and false teachings and deceptive individuals are proliferating, influential monks and virtuous figures advocated strongly for the International Buddhist Headquarters to organize a conference involving distinguished Buddhist institutions worldwide. The objective was to discern the genuine from the spurious and establish the truth. This conference was eventually convened on May 6th, 2000, in Taiwan and concluded on May 12th.
The International Buddhist Headquarters stands as the preeminent institution in the realm of Buddhism. Given the prevalent influence of biased and misguided individuals within the Buddhist community, and the dearth of accomplished practitioners who have genuinely practiced and realized the authentic Dharma, much of the teachings provided to followers remain confined to theoretical realms. While many profess expertise in Buddhism and Buddhist Studies, true exemplars of adept masters in the Buddhist teachings are seldom encountered. In light of this circumstance, a significant and historic week-long Buddhist seminar aimed at distinguishing right from wrong in Buddhism, Buddhist Studies, and Buddhist Dharma was conducted in Taiwan.
Representatives from diverse Buddhist organizations across the globe were extended invitations, including the International Buddhist Sangha Association, the American Buddhist Association, the United International Buddhist Association, the World Buddhist Sangha Association, the American Esoteric Buddhism Association, the International Diamond Sutra Association, and more. More than two thousand eminent monks and virtuous practitioners hailing from both Exoteric and Esoteric traditions participated in this event.
Delegates from 28 countries took part in this event, representing national-level Buddhist societies, associations, related temples, and Buddhist research institutions. More than two thousand esteemed monks from around the world attended this international conference. After thorough scrutiny and evaluation, several prominent figures came under serious examination. Notably, six individuals underwent open judgments and deliberations, with representatives from various nations engaging in discussions that ultimately led to resolutions.
The conclusions drawn from these deliberations affirmed that Li Hongzhi, Zhang Hongbao, Qinghai, and Song Qili are advocates of cults. Their interpretations of Buddhist teachings diverge entirely from the canonical sutras of Buddha. These individuals not only selectively extract passages and blur distinctions between right and wrong, but also display a deficiency in grasping fundamental principles and an absence of profound insight into the core Buddhist scriptures. Their teachings are entirely self-contrived, misleading the public, and lack substantial evidence of authentic accomplishment.
Moreover, subsequent to an evaluation and discussions revolving around recorded teachings and videos of Mr. Yi Yungao (comprising 2953 audio tapes and 137 video tapes), in addition to his written works, high-ranking monks from various nations concurred that Mr. Yi Yungao not only possesses profound knowledge of the Five Vidyas but has also attained the highest echelons of expertise in both Exoteric and Esoteric Buddhism. A unanimous consensus was reached, acknowledging Mr. Yi Yun Gao as the truly deserving Grand Dharma King.
However, it became evident from Mr. Yi’s own teachings that he modestly regards himself as an ordinary practitioner, akin to everyone else, merely a dedicated worker within the Sangha. His exceptional virtues and extensive erudition gained widespread agreement among the attendees. The conference officially conferred upon Mr. Yi Yun Gao the esteemed title of Authentic Buddhist Grand Master. Mr. Shen Jia Zhen’s teachings were found to be fundamentally aligned with the doctrines, and as such, he was bestowed with the title of “Good Knowledgeable Teacher.”
The conference approached its subject matter with a solemn and impartial stance, subjecting it to rigorous scrutiny and critical analysis in order to discern between genuine Buddhism and spurious doctrines. In a landscape populated by counterfeit monks and fabricated living Buddhas, peddling misleading Buddhist teachings that lead to a deprivation of wisdom and vitality, the conference sought to establish a clear demarcation between authenticity and deceit. The comprehensive assessment culminated in the resounding recognition of Mr. Yi Yungao as a bona fide Buddhist master of authentic teachings, earning him the highest accolades and cementing his status as a true Dharma King. The conference wholeheartedly acknowledged his profound accomplishments, recognizing him as a genuine benefactor to sentient beings, guiding them on the path to liberation.
In 2008, a significant revelation emerged when Master Yi Yungao, renowned as the Great Dharma King Wan Ko Yeshe Norbu, had his true identity unveiled within the pages of the treasure book titled “H.H. Dorje Chang Buddha III“. This revelation marked a pivotal moment as it confirmed that the Great Dharma King was, in fact, the third incarnation of the primordial and highest Buddha in the dharma realm, known as Dorje Chang Buddha. The authenticity of His Holiness’ identity was solidified through the endorsement of official written documents, which were issued by esteemed leaders, regent dharma kings, and eminent rinpoches from various major Buddhist sects across the globe.
Chinese calligraphy has transcended its role as a mere communication tool and has become an art form highly esteemed even in an era dominated by ballpoint pens and computers. No longer limited to intellectuals and officials, calligraphy is now practiced by professional artisans and enthusiastic amateurs. Calligraphers employ brushes to beautifully ink five distinct styles of script: ‘seal’, ‘official’, ‘cursive’, ‘running’, and ‘regular’. While calligraphy can be found on various surfaces, even adorning the rocky walls of cliffs, it is most commonly seen on letters, scrolls, literary works, and fan coverings.
Throughout history, the Chinese have believed that no art form or field of study can truly reflect a person’s moral character and knowledge as effectively as calligraphy. The accomplishments or creations in other arts or fields often overshadow one’s shortcomings in knowledge and character. However, calligraphy stands apart from this convention. It functions as a three-dimensional mirror, projecting the depth of knowledge, moral character, and mental strength with each brushstroke. There is no hiding or concealing these qualities. When examining an individual’s ordinary handwriting of Chinese characters, one can often discern their level of education. This is even more evident when examining their calligraphy.
In the annals of history, there is no account of an unknowledgeable person making significant contributions to calligraphy. Profound and extensive knowledge does not necessarily guarantee expertise in calligraphy. However, great calligraphers possess both knowledge and skillful brushwork. Without exception, the renowned calligraphers of past generations were literary masters who possessed deep knowledge. Notable examples include Xizhi Wang, Su Huai, Shaoji He, Huaiguan Zhang, Fei Yue, and in more recent times, Youren Yu. Each of them was an erudite literary figure and exemplar of virtue.
Knowledge serves as the pillar and cornerstone of calligraphy, while moral character is reflected in the style and allure of the art form. Thus, calligraphy demands a combination of knowledge and moral character.
When one appreciate the calligraphy of H.H. Dorje Chang Buddha III, one can understand that why chinese believe that calligraphy combines one’s knowledge, moral character and mental strength .The calligraphy of H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu Holiest Tathagata is not bound by worldly conventions and is devoid of unnecessary flamboyance. It is highly refined and based upon ingenious artistic conception. His Holiness’s strokes are sometimes written in a swift curling style. However, in an instant, His Holiness can express the innocent and natural charm of a child. There is wonder in even common strokes. His calligraphy is naturally graceful, exhibiting depth and brilliance. The calligraphy of His Holiness contains an invisible force that makes the characters seem much grander than they appear on a superficial level. His strokes look harmoniously smooth and unbroken. The Chinese characters may appear strong and vigorous, like a soaring dragon or mighty tiger. They may appear clear and gently elegant, like slowly floating clouds, cranes flying among pine trees, or dancing swans. They may appear simple and unadorned, like the free heart of a child. They are gracefully understated and completely devoid of any mundane quality. The calligraphy of H.H. Dorje Chang Buddha IlI is natural in quality and resonates with the true nature of the universe. A deep power underlies His Holiness’s strokes.
Crane Dance by H.H. Dorje Chang Buddha III at 1990
Red-crowned cranes tend not to build ness for themselves since they often stay in various places. When quiet, they frequently engage in meditational observation. When in motion, they frequently dance. Their nature is noble, pure, elegant and simple. They develop their virtue, are not attached to a specific abode, and take care of themselves so as to enjoy their natural lifespan. That is why since ancient times they have been praised for their longevity.
The ability of H.H. Dorje Chang Buddha III to reach such great heights in calligraphy is completely due to His Holiness’s vast knowledge and profound talents. Of course, His Holiness is extremely adept at learning from the styles of others since this is a simple matter for a Buddha. For example, even in the initial stage of learning calligraphy, H.H. Dorje Chang Buddha III had solid skills in the traditional cursive style of writing and also had extensive learning.
Calligraphy : A Qi jue poem (Thin Gold Cursive Style of Calligraphy)
Above is a qi jue poem written by H.H. Dorje Chang Buddha IIIat 1982. A qi jue poem is a four-line poem with seven characters to a line and a strict tonal pattern and rhyme scheme. The phonetic reading of the poem is as follows: “hua gong ri yue li yang tian, xi cheng xi feng liu yue xian, gu peng lai cong ba sheng wang, shi zhi shu qi yi dong can.” One can see that this work has surpassed all traces of the mundane and has transcended all earthly impurities. Its style is lofty and pure. When that poem was written, H.H. Dorje Chang Buddha III was living in the seclusion of an ancient temple. His Holiness used his extraordinary realization to express his thoughts and feelings. The first line expresses that although His Holiness lived alone and secluded in the room of a temple, He governed the universe and bestowed blessings upon living beings. The next line, “xi cheng xi feng liu yue xian,” conveys the scene that during the idle month of June H.H. Dorje Chang Buddha III bathed in the Buddha-state of coolness while under the scorching sun. His Holiness was free of all worldly cares and attachments, and his body merged with the universe. When friends came, His Holiness heard the horns of their cars, but He had already transcended the world, residing in quietude and non-action. H.H. Dorje Chang Buddha III kept no notion of the date, and His Holiness’s mind did not abide in anything whatsoever. The people of the world were ignorantly attached to the changing seasons and came in their cars and horses to inform H.H. Dorje Chang Buddha III that summer had long passed and the winter was about to end. The ancient Buddha acknowledged this and smiled.
In recent years, there are works of H.H. Dorje Chang Buddha III that have been written in the cursive mode of calligraphy, showing a flowing and unobstructed style, and expressing even more than before the charm of this writing technique. For example, the work Fei Cui Jade expresses the spirit of an immortal or Buddha, thoroughly transcending the three worlds of reincarnation, standing proudly above the five elements of the universe. It is truly calligraphy beyond the category of calligraphy, expressing a feeling that incorporates the whole universe.
Fei Cui Jade: Created with an unfettered hand and unattached mind, it has the appearance of a celestial writing accomplished with a childlike mind and steady strokes of the brush.
His Holiness’s calligraphy of the Chinese characters lang ga luo bu (Treasure of Heaven) excels the writing of calligraphers throughout history. It transcends all traces of worldliness. It expresses deep strength, like that which can break jade. The style of another calligraphic work called wu wo nai da cheng (No-Self Is Great Accomplishment), conveys the firmness and simplicity of steel and the vigor of a sharp knife. However, these same characters also contain delicate beauty. That calligraphic style truly surpasses styles of the past and present.
Lang ga luo bu (Treasure of Heaven)
Another calligraphic style of H.H. Dorje Chang Buddha III is revealed in the writing of the Chinese characters xiao bu dian (Tiny). Such calligraphy shows the childlike innocence of a very old man, and its arrangement expresses the utmost ease and lack of rigid constraints. It is high-class calligraphy that does not even seem to be calligraphy. It is so elegant and refined that it completely transcends the mundane.
Tiny (Xiao bu dian)
Beholding the character sheng (holy) written by His Holiness, one can see that it simultaneously embodies both the softness of ribbons and the inner-firmness of steel. Its inner beauty flows to the surface. Another example is the character fo, which means Buddha. The writing of that character demonstrates that His Holiness has truly attained the summit of calligraphic skills that the ancients extolled in the old saying, “the old pine branch cannot be weighed down by heavy snow; the might of a brush will lift a thousand-pound bronze cauldron.”
The Chinese character “sheng,” which means “holy.”
The Chinese character “fo,” which means “Buddha.”
In fact, the calligraphy of H.H. Dorje Chang Buddha III has a deep foundation and an internal richness. It embodies the manifold sensations that one could possibly experience in one lifetime. The essence of all things in the universe converges at the tip of His Holiness’s brush. With such a transcendent state of realization, the myriad things of the universe are in the palm of this Buddha. The calligraphy of H.H. Dorje Chang Buddha III is like a treasury. It can be vigorous, smooth, or naturally beautiful. His Holiness incorporates the best techniques of all of the schools of calligraphy. No words can really describe this! His Holiness’s calligraphic skills have reached the highest degree of proficiency and naturalness that only a Buddha could reach!
The Way to the True Source of Calligraphy and Painting
No-Self Is Great Accomplishment
Hua Zang Si (Inscription of a Buddhist temple in San Francisco)
Chinese ancient poem Han Shan Si Temple in rapid cursive style by H.H. Dorje Chang Buddha III
On June 1st, 2002 Buddhist disciple Hou Yushan peacefully passed away at his home in Los Angeles. Witnessed by his wife, Hou Li Qingqiu, the celestial realm appeared before him as Shakyamuni, Amitabha Buddha, and Avalokiteshvara, guiding him towards the ultimate state of bliss. Prior to his passing, Hou Yushan expressed his unwavering determination to learn Buddhism in this lifetime under the guidance of his master.
Hou Liqingqiu, a devoted practitioner of Chinese medicine in California, addressed over 20 monks who gathered in their home for a Buddhist practice session in honor of Hou Yushan. She shared the remarkable journey of her husband, stating that he had dedicated many years to the study of Buddhism. Diagnosed with lung cancer four years ago, Hou Yushan had endured arduous and prolonged treatments. However, his life took a transformative turn a year and a half ago when he and his wife attended the Yiyungao International Cultural Foundation, where they listened to the enlightening teachings of Master Yiyungao (H.H. Dorje Chang Buddha III).
Deeply inspired by the teachings on the pre-recorded dharma discourse, Hou Yushan developed profound admiration and sincerity towards Great Master Yi. He actively participated in the group cultivation programs of the foundation, he never missed an opportunity to listen to the pre-recorded dharma discourse. Despite the advice of others to focus on rest and recovery, Hou Yushan insisted on continuing his full-time volunteer work at the foundation, driven by his desire to meet Master Yun Gao Yi as soon as possible.
In February of year 2002, Hou Yushan and his wife sought refuge under the guidance of Great Master Yi Yungao (H.H. Dorje Chang Buddha III) through the American Master Yiyungao International Cultural Foundation, led by Lobsang Gyatso Rinpoche. Upon meeting the revered master, they were pleasantly surprised to find that their preconceived notions were far from reality. Master Yi was not the distant figure they had imagined, instead, he displayed approachability and warmth. With utmost sincerity, they sought empowerment to learn the Dharma, presenting their offerings. However, Master Yi, without even glancing at them, humbly declined their offerings, explaining that he could not set such a precedent. Nonetheless, Great Master Yi graciously provided them with the empowerment and transmission of the Dharma. Hou Yushan diligently practiced the teachings and swiftly progressed, experiencing a sudden disappearance of his cancer pains.
Hou Yushan’s wife Hou Liqingqiu shared the incredible experience with the monastery
On the auspicious occasion of Buddha Bathing Day in May 2002, Hou Yushan and Hou Liqingqiu had the opportunity to reunite with Master Yi Yungao (H.H. Dorje Chang Buddha III). When asked about his wishes, despite his terminal illness, Hou Yushan expressed his sole desire to learn how to attain a stable rebirth in the Land of Ultimate Bliss. In response, Master Yi advised him to adopt a different practice method, specifically the Pure Land School’s method of reciting Buddha, with a particular emphasis on Amitabha. Additionally, Master Yi imparted a secret handprint of rebirth, promising that through this method, Hou Yushan would soon witness the state of Amitabha and be guided by Buddhas and Bodhisattvas to the Paradise of Ultimate Bliss. The compassion demonstrated by the master was profound, as he called Hou Yushan to his side and secretly shared the sacred handprint with him. Hou Yushan experienced indescribable excitement and joy upon receiving this precious gift—the profound Great Dharma of the Supreme PureLand Buddha Dharma.
Ever since Hou Yushan received the transmission of Amitabha Dharma on the Buddha Bathing Festival, his wife has witnessed a remarkable transformation in his condition. Hou Liqingqiu, the wife saw golden rays of yellow and red light radiating from his head and back at any given time. As a result, all the cancer-related pains in his body have vanished, along with the swelling. He no longer required the morphine painkillers prescribed by the hospital.
One day, Hou Yushan asked his daughter Lily, who worked as an anesthetist in the hospital, about his complexion. Lily responded, saying, “Dad, your complexion is genuinely vibrant, and your spirits are high. One would never guess that you are a patient.” On the morning of May 25, Hou Yushan shared with his wife that during his Dharma practice the previous night, he entered a state of samaya and visited the Land of Ultimate Bliss. He described the indescribable beauty of the paradise, filled with captivating shades of red, green, and purple.
Hou Liqingqiu eagerly inquired, “Can you provide me with an analogy to illustrate its beauty?” After a moment of contemplation, Hou Yushan responded, “The Paradise of Ultimate Bliss surpasses any scenery in this world. Do you recall our visit to West Lake when we were young? In the early morning, the misty air and the colorful reflections on the lake created a breathtaking view. However, the beauty of the Paradise surpasses even that. Furthermore, the Buddha informed me that he would come to fetch me in seven days, urging me to proclaim to the world that the greatest Dharma in existence is with our master.”
On May 31, Hou Yushan carefully settled all family matters and left final words for his daughter. He advised her, “Do not hold your mother responsible for everything in her life. However, there is one thing you can admonish her for: if your mother ever strays from Buddhism and deviates from following Vajra Master (Master Yi Yungao – H.H. Dorje Chang Buddha III), remind her to earnestly practice under our Master Yungao’s guidance without hesitation.” Then, he turned to his wife, Hou Li Qingqiu, and earnestly said, “In your life, it doesn’t matter if you make other mistakes, but there is one thing you must not falter in: wholeheartedly follow the Vajra Master in dedicated practice. Your success lies solely in following his guidance, as his Dharma is the true path.”
Hou Yushan informed his wife that he would pass away that night and advised her, “Pay close attention tonight. At the moment of my passing, I fear I may fall into drowsiness and enter a demonic realm. Do not sleep, but remind me to visualize the Vajra Master above my head and Amitabha Buddha atop my head, while reciting the mantra wholeheartedly.” That night, in their seaside home, Hou Li Qingqiu had already foreseen that her husband, Hou Yushan, would depart to the Buddhist realm. Therefore, she set four alarms to ring at different times, once every hour. True to her premonition, at 6:15 a.m. on June 1st, Hou Yushan’s pulse and breathing slowed down. Hou Li Qingqiu shook his bed, and together they chanted, “Namo Vajra Guru! Namo Amitabha!” Hou Yushan held the secret handprint taught by Master Yi Yungao.
At that moment, Hou Li Qingqiu heard heavenly music, and Hou Yushan’s body emitted increasingly powerful golden light. She witnessed the appearance of Shakyamuni Buddha, Amitabha Buddha, Guanyin Bodhisattva, and other Buddhas and Bodhisattvas in the sky by the seaside. The merging rays of light grew more potent. After about five minutes, the Buddhas and Bodhisattvas, along with the celestial splendor, disappeared. It was then that she remembered to check Hou Yushan’s pulse, which had ceased along with his heartbeat.
Zhang Tianyou, the president of the American Master Yi Yungao International Cultural Foundation, was the first to arrive at Hou Yushan’s residence after his passing. He observed Hou Yushan, who appeared peacefully asleep, with no signs of pain on his face. Hou Yushan’s hands held the secret handprint from his previous life.
The incident deeply moved Long Hui, the chairman of the International Federation of Buddhist Monks and Nuns and the abbot of Huazang Temple. She continuously praised the greatness of Master Yi, stating that she often witnessed the suffering experienced by lung cancer patients at the end of their lives. However, the Pure Land method of reciting Buddha taught by Master Yi could transform a lung cancer patient’s condition within a month, filling their surroundings with auspicious golden light and relieving their pain. This would ultimately lead them to be reborn in the Land of Ultimate Bliss under the guidance of Buddhas and Bodhisattvas. Long Hui marveled at the tremendous power of Tathagata-rectification, beyond the capacity of words to express.
On the night before his passing, Hou Yushan personally prepared gifts and $5,000, and said to his wife, “The master never accepts offerings. He did not accept my offerings. Tonight, as I pass away, tomorrow you shall make the offerings and send them to the master. Please ensure he accepts them.” On June 1st, Hou Li Qingqiu faithfully followed her husband’s final instructions and sent the offering package to Yi Yungao, kneeling on the ground with tears in her eyes. She implored Master Yi to accept the offering, shouting loudly, “My supreme Buddha Vajra Master!” The master replied, “Do not address me as such, for I am not a Buddha. I am merely an ordinary practitioner, just like everyone else.” Hou Li Qingqiu explained that it was Hou Yushan’s testamentary offering, to which the master responded, “It seems there is no other way. These relics of Layman Hou shall be displayed in the temple and not for individual use.” The master immediately transferred $6,000 from his personal funds for Layman Hou’s burial expenses and informed the masters of two prominent temples to offer their support in accumulating merit for the deceased.
The High-Leg Treasure Horse is a thoroughbred horse with great stamina. When this treasure horse perspires, it appears to be bleeding due to the color of its perspiration. According to ancient legend, it is the most precious among all species of horses. It has the reputation of being able to travel over three hundred miles a day. Long mane hairs and a mighty, strong-willed, handsome appearance are its prominent characteristics. The High-Leg Treasure Horses in this painting have longer legs than horses commonly seen in paintings. The hairs of their manes are also long and strong. An extremely rare brushwork technique that combines haziness with clarity was applied to paint the hairs of the horses. The gossamer-thin hairs are strong but pliable. One can clearly see the natural effect of sunlight on the horses’ manes. Moreover, contrasting variations of dark and light are seen in every hair. The hairs of the horses are depicted with a realistic effect that nonetheless transcend their natural look.
An artistic technique was used to thoroughly capture on paper the charm and atmosphere of the grassland, lake, sky, and land. The “haziness technique” was applied to express a state of realization in which there is no distinction between emptiness and form. The ancient cypress tree was drawn in one shade of green without the need to add decorative touches in several different shades of green. Both the spirit and form of the tree were captured through the artist’s brush. In addition, elegant charm is revealed by a small number dots of red leaves in the background that compliment the scene. The most difficult part of this work of art was painting the roots, trunk, and leaves in a spontaneous, casual manner using the center brush-up technique yet maintaining a scholarly tone. Such mastery of painting cannot be easily attained and requires solid skills in calligraphy, literature, and painting as well as a noble moral character. From the brushwork style and details of this painting, we can sense the profound inner-cultivation of a renowned scholar. The abilities of a literary giant with abundant talent are visible everywhere. The scholarly tone and brushwork style are skinful and vigorous, totally free of any trace of the mundane, and reflect the highest level of painting and calligraphy. Anyone who lifts a brush in an attempt to paint such painting will appreciate the fact that this scholarly style cannot be accomplished by anyone other than a literary giant who is a great master of art. This painting coherently unites realism and small-scale freehand brushwork as well as the use of haze and clarity.
This painting is in the permanent exhibition of The International Art Museum of America. H.H. Dore Chang Buddha III, an artist of great talent, has created sixteen distinctive painting styles. The composition we are discussing here belongs to the “Menglong” style. This style combines realism and non-realism to capture the essence of the portrayed subject, resulting in a seemingly realistic but actually non-representational depiction. The brush strokes and color application in these paintings create a whimsical and dreamlike appearance, where the real and surreal merge into a lovely and hazy composition.
When I was respectfully on my knees and holding my palms together in front of my kind Buddha Master’s dharma seat for the first time, as soon as I raised my eyebrows to have my eyesight in a light contact with the loving, compassionate, and benevolent eyes of my Buddha Master, I immediately had the belief that my Master is a Buddha! However, my Buddha Master never stated to anyone what holy being he was in past lifetimes. Conversely, he always claimed to be a servant of everyone.
During the past ten years, I closely attended by the side of my Buddha Master and also carried out quite a number of Buddhist deeds following my Buddha Master. The holy states and holy realizations manifested by my Buddha Master such as proficient in both exoteric and esoteric Buddhism, perfect and deep mastery of the Five Vidyas, and great wisdom unrivaled by any human or holy beings are unprecedented in the history of both exoteric and esoteric Buddhism.
My firm belief of “My master is a Buddha” that I had in my mind for years was finally confirmed from the treasure book of H. H. Dorje Chang Buddha IIIthat was presented to the Congress of the United States by the International Buddhism Shanga Association on April 3, 2008. The identity of my Buddha Master, known by people in the world as Master Wan Ko Yee, was revealed through either meditation or practice of the dharma in a profound state of supernatural vision by the first-class great holy virtuous ones, who are incarnations of Buddhas and Bodhisattvas. They announced the background of H.H. Wan Ko Yeshe Norbu, who was long ago recognized by H.H. Great Dharma King Zunsheng (the manifestation of Mahavairocana Buddha) as Buddha Vajradhara. Through strict practice of the dharma and meditation these holy monastics deeply entered the dharma realm and supernaturally saw the true source. The result was they learned that this being of great virtue and holiness is the second incarnation of Vimalakirti and the third incarnation of Dorje Chang Buddha. They wrote down their certificates of recognition according to the rules of Buddhism in which they recognized that H.H. Master Wan Ko Yee is H.H. Dorje Chang Buddha III — the highest ancient Buddha in exoteric, esoteric, Mahayana, Hinayana, and Vajrayana Buddhism; the master of the Five Buddhas in the five directions; and the master of the great mahasattva Vajrasattva. That is, they recognized that H.H. Master Wan Ko Yee is the Holiest Tathagata Wan Ko Yeshe Norbu, the current greatest leader of Buddhism in the entire dharma realm!
Those eminent monks and dharma kings also wrote words praising H.H. Dorje Chang Buddha III as being the highest and greatest holy being and the only one in the history of Buddhism who has truly exhibited before living beings item after item of accomplishments in the Five Vidyas.
From that, I realized the truth behind what I experienced quite a few years ago when a huge and gigantic material, in less than two hours of time, became a piece of extremely finely carved and crafted miraculously wondrous holy Yun sculpture artwork. Such holy realization was just a manifestation of the craftsmanship vidya of the Five Vidyas by my magnificent Buddha Master, due to the affinity of living beings.
My Grand Master, H.H. Great Dharma King Zunsheng, stated in a formal pronouncement about my great and kind Buddha Master that the realization of any eminent monastic or person of great virtue in the world today cannot rival the realization of Holiest Tathagata Wan Ko Yeshe Norbu. H.H. Great Dharma King Zunsheng also made the following vow of truth: “If any person or holy being is able to duplicate the mysterious sculpted treasures created by H.H. Wan Ko Yeshe Norbu, then this formal pronouncement of Great Dharma King Zunsheng has deceived the public.” (The mysterious sculpted treasures are “Enchanting Colors of Utmost Mystery,” “Mysterious Boulder with Mist,” and certain other Yun sculptures with specific names.)
Yun Sculpture by H.H. Dorje Chang Buddha III
According to the system and rules of Buddhism in this world, there are only two beings of great holiness whose expositions of the dharma can be categorized as sutras. One of them is Sakyamuni Buddha. The other is the holy and venerable Vimalakirti. Besides those two, all other expositions of the dharma can only be called commentary rather than sutras. This is true no matter how great the Bodhisattva who has expounded the dharma is.
Some people say that Hui Neng (the sixth patriarch master of the Zen School) gave the Platform Sutra of the Sixth Patriarch. Actually, the word sutra was used due to exaggerated praise given to Hui Neng by people of the world who did not understand the system and rules of Buddhism. The rank of the sixth patriarch was even lower than that of many Bodhisattvas. For example, Maitreya Bodhisattva is the next Buddha, who will conduct the Dragon Flower Assembly. The position of Maitreya Bodhisattva is very much higher than that of Hui Neng. However, expositions of the dharma given by Maitreya Bodhisattva cannot be called sutras. They can only be accepted as commentary. An example of this is the Yogācāra-bhūmi-śāstra. (Discourse on the Stages of Concentration Practice)
The holy and venerable Vimalakirti descended into this world during the time of Sakyamuni Buddha. He is the only ancient Buddha who transformed into a layman to expound the dharma. Sakyamuni Buddha personally taught the four types of disciples. Among them were the 500 monks who were difficult to teach and who did not want to arouse Mahayana bodhicitta. A skillful means was used to teach all of the monastics and 8,000 Bodhisattvas. After the ancient Buddha Dorje Chang expounded dharma in Abhirati (World of Wonderful Joy), the Buddha responded to karmic conditions by transforming into the holy and venerable Vimalakirti to help the Buddha teach the sangha, Bodhisattvas, and other disciples. The goal was to protect and uphold the Buddha-dharma taught by Sakyamuni Buddha. The level of realization attained by the holy and venerable Vimalakirti was the same as that attained by Sakyamuni Buddha. However, He did not want to assume the status of another leader of the religion in the human realm, thereby causing sectarianism and adding to the self-centeredness of practitioners. Considering that Sakyamuni Buddha became a Buddha in this earthly World, the holy and venerable Vimalakirti acknowledged Sakyamuni as Buddha and chose to assist Sakyamuni Buddha by manifesting as a Bodhisattva.
Thus, the holy and venerable Vimalakirti acted in the same way that the ancient Buddha Zheng Fa Ming (True Dharma Brightness) Tathagata acted when the Buddha transformed into Kuan Shi Yin Bodhisattva and also acted in the same way as Manjushri Bodhisattva, the Master of seven Buddhas, did to play the role of a Bodhisattva to support Sakyamuni Buddha. All of this was done to benefit living beings. If two Buddhas of the same rank appeared at the same time, it would cause worldly divisions. It would hinder the development of Buddha-dharma and the saving of living beings. Actually, Buddhas do not care who emerges as the leader of Buddhism. The Buddhas appear in whatever form and manner that best benefit living beings. Everything is done for the benefit of living beings based upon bodhicitta.
Therefore, people in general have no way of discovering that the realization and enlightenment of the holy and venerable Vimalakirti were that high and that He was the incarnation of Dorje Chang Buddha, the foremost ancient Buddha who existed before Sakyamuni Buddha. However, the dharma discourses of the holy and venerable Vimalakirti are sutras, just as the dharma discourses of the Buddha, not commentaries. In the system of Buddhism, one such discourse is called Vilmalakirti-nirdesa Sutra (The Sutra of Vimalakirti). That sutra came into being during the same time period Sakyamuni Buddha was giving sutras. It is a very important Buddhist sutra. The Vimalakirti-nirdesa Sutra has been studied and followed in both Mahayana Buddhism and Hinayana Buddhism that was mostly propagated in Southern Asia.
When H.H. Dorje Chang Buddha III was born, the beating of drums suddenly sounded in the sky, and beautiful, heavenly music could be heard. Three rainbows approximately forty to fifty meters (131-164 feet) apart appeared simultaneously in the sky. The middle one was primarily blue, the right one primarily red, and the left one primarily white. At birth, the entire body of His Holiness was dark blue. No cries from His Holiness could be heard. Rather, His Holiness opened his mouth and very clearly stated, “I have entered this world. I am completely proficient in exoteric and esoteric Buddhism and will wondrously manifest the Five Vidyas. Compare and you will know.” After speaking such words, His Holiness remained silent and appeared just like an ordinary child. The parents of His Holiness thought that they had given birth to a mysterious and extraordinary human being but did not tell anyone about this. His Holiness did not speak again until He was three years old.
When His Holiness was three years old, H.H. Mahavairocana Dharma King Zunsheng guided His Holiness in learning the Tripitaka. At that time, His Holiness was taught to recite the heart mantra of Dorje Chang Buddha seven times. This little child suddenly laughed heartily and immediately manifested the Three Bodies and Four Wisdoms. H.H. Great Dharma King Zunsheng at once tested His Holiness’s knowledge of the Tripitaka and the esoteric scriptures. The Dharma Prince child explained such writings with great facility. There was nothing in them that His Holiness did not understand. His Holiness had realized all of the doctrines and principles of such teachings.
H.H. Mahavairocana Dharma King Zunsheng then gave the following formal pronouncement: “Dorje Chang Buddha has come to this world a third time. The holy and venerable Vimalakirti has descended from the skies a second time. He completely understands the scriptures on the dharma. His Four Wisdoms are wonderfully perfect. He is an ancient Buddha upon whom living beings can rely. No master is qualified to teach Him. His mysterious sculpted treasures will be spectacular and unique in the world. He will be able to take mist that will stay inside His sculptures. He will manifest His realization and consummate skills. No holy person in the world will be able to duplicate such works. If anyone will be able to duplicate such works without differing from the original at all, my words have deceived the world. Vimalakirti Wan Ko is Buddha Vajradhara. He will cause the Buddhas to bestow nectar that many will see descend from the sky. He is of utmost benefit to sentient beings. He has the compassion and wisdom of an ancient Buddha. I hereby reveal these words to prove the veracity of my formal pronouncement.” H.H. Mahavairocana Dharma King Zunsheng also gave His Holiness the dharma name Yangwo Yizhi Dharma Prince, which means Dharma Prince supreme leader of Buddhism with the highest wisdom.
H.H. Mahavairocana Zunsheng then said, “During the Dharma-Ending Age in the earthly world, there will be many evil teachers and demons who will claim to be genuine holy persons. In order to distinguish the genuine from the false, I now make a strict formal pronouncement that will serve as the testing standard. The pronouncement is as follows: There will not be a fourth incarnation of Dorje Chang Buddha in this earthly realm within the next 5,000 years. The third Dorje Chang Buddha will be the only such holy being, and there will not be an incarnation of another Dorje Chang Buddha in this earthly realm for 5,000 years. Based on causes and conditions that accord with the dharma, I now lay out tests to determine whether a person is that true Buddha if he claims to be the true incarnation of that Buddha. He must successfully invoke the Buddhas to bestow nectar. He must be able to perform the Golden Vase Selection of Karmic Affinity and predict the results of that ceremony beforehand. He must be able to eliminate karmic obstructions in a clearly visible manner. He must be able to replicate wondrous multicolored sculptures. He must be able to take mist, place it inside a hollowed out sculpted boulder, and have the mist stay there. If a person is able to do all five of these things without exception, then he is the true fourth Dorje Chang Buddha. No matter how great a holy terton may be, no matter if a person leaves concave imprints on rocks with his hands or feet, no matter how vast a person’s manifold supernatural powers may be, if he cannot do these five holy things, then he certainly is not the true incarnation of Dorje Chang Buddha. An ancient Buddha who descends to this earthly realm will have no difficulty meeting these five tests. I leave these five observable tests to guard against those in the future who make false claims.”
The Dharma Prince was acting as the holy and venerable Vimalakirti did when Vimalakirti received different teachings and knowledge, took on the appearance of an ordinary person, and learned things tirelessly. No one knows why the Dharma Prince did so. At the age of sixteen, the Dharma Prince wrote a work on the dharma called A Monk Expounds the Absolute Truth to a Layperson. After that writing was buried, great master Hui Yong unearthed it. Renqing Luozhu and Suolang Danbu respectfully offered that writing to H.H. Mahavairocana Zunsheng Yeshe Norbu to evaluate. H.H. Zunsheng Yeshe Norbu personally promulgated that dharma called A Monk Expounds the Absolute Truth to a Layperson in front of the four types of Buddhist disciples. After He finished promulgating that dharma, He personally led the four types of Buddhist disciples in kneeling down and facing that writing on the dharma. He then made the following formal pronouncement: “An ancient Buddha has arrived in the east.” He recognized that the Dharma Prince was H.H. Dorje Chang Buddha III, conferred upon His Holiness the title Yangwo Wan Ko Yeshe Norbu, and said that His Holiness is the Holiest Tathagata. He also called that dharma A Monk Expounds the Absolute Truth to a Layperson Sutra.
There are certain time periods relating to H.H. Dorje Chang Buddha III ’s propagating the dharma and benefiting living beings. Before the age of eleven was the period during which His Holiness was engaged in the Tripitaka of exoteric Buddhism. From the age of eleven to fifteen was the period during which His Holiness was engaged in the esoteric dharma of the Kagyu school. During that time, he was called Dusum Khenpa Lion’s Roar Dharma Prince. After the age of fifteen was the period during which His Holiness was engaged in the esoteric teachings of the Geluk school. His Holiness was at that time called the reincarnation of Master Tsongkhapa. That was also the time period during which His Holiness flawlessly propagated the tantric scriptures of the Sakya, Nyingma, and all of the other schools. At this time, His Holiness was called the embodiment of the body, speech, and mind of Guru Padmasambhava.
Because my Buddha Master is an ancient Buddha who has come to this world again, His Holiness upholds the principles of “making no distinction between exoteric and esoteric Buddhism or among all of the sects and schools; teaching living beings according to their particular circumstances; and pervasively propagating the teachings of the Buddhas to all.” Thus, His Holiness is the Buddha Vajradhara Great Dharma King of the “Buddha Sect” who pervasively saves all living beings. My Buddha Master has repeatedly admonished everyone with the following counsel: “There is no differentiation among the various schools and sects in my mind. There is only Buddhism. However, for a dharma king, rinpoche, or acharya of any school or sect, as long as he or she does not commit violations in the 128 evil and erroneous views, abides by the teachings of the Buddha, attains liberation, and then saves other living beings based on their particular karmic conditions, he or she is worthy of praise.” Of course, The Supreme and Unsurpassable Mahamudra of Liberation is the greatest dharma among supreme great dharmas for cultivators to receive and practice. That is why my Buddha Master is the only one in this world possessing the realization of opening up the Niwan Daoguo for all kinds people to enable them to attain heavenly and holy states.
[Please respectfully read in detail the treasure book of H. H. Dorje Chang Buddha III to acquire great wisdom, accomplishment and liberation. If you have the affinity to receive and practice the dharma of The Supreme and Unsurpassable Mahamudra of Liberation, you will be certain to get great wisdom and attain great accomplishment and liberation.]
Su Shi was a writer, artist, calligrapher, pharmacologist, and statesman of the Song Dynasty, and one of the major poets of the era. His courtesy name was Zizhan and his pseudonym was Dongpo Jushi (東坡居士 “Resident of Dongpo”), and he is often referred to as Su Dong Po (蘇東坡). When we appreciate Chinese literature, Su Shi is widely regarded as one of the most accomplished figures, having produced some of the most well-known poems, lyrics, prose, and essays. His poetry has a long history of popularity and influence in China, Japan, and other areas in the near vicinity and is well known in the English-speaking parts of the world through the translations. Su Shi was the greatest writer of Song ci lyrics, often celebrating the joys of relaxed and transitory pleasures. This “To the Tone of Nian Nu Jiao Memories of the Past at Red Cliff” is one the most popular poems.
With his new bride, the Lord Qiao’s younger daughter,
Dashing and debonair,
Silk-capped, with feather fan,
He laughed and jested
While the dread enemy fleet was burned to ashes!
In fancy through those scenes of old I range,
My heart overflowing, surely a figure of fun.
A man grey before his time.
Ah, this life is a dream,
Let me drink to the moon on the river!
This poem was a tribute to the famous battle at Red Cliff, which took place on the Yangtze river in Sichuan at year 208 CE. Through the description of the magnificent scenery on the Moonlit Night River, he expressed the remembrance of the famous and heroic characters of that era. The lyrics are vigorous and create a majestic atmosphere. It is a powerful poem, and has been ranked as a masterpiece throughout the ages.
I heard a song recently, that touched me so deeply, I could not help but cry. The song uses the lyrics of a poem written by H.H. Dorje Chang Buddha III, with the same Song ci style as “To the Tune of Nian-Nu-Jiao”. The bold and unconstrained poem entitled “To the Tune of Nian-Nu-Jiao: Abruptly Entering the Universe” has a powerful spirit that moved me deeply. Here is the English translation.
To the Tune of Nian-Nu-Jiao : Abruptly Entering the Universe
Abruptly entering the universe, The universe of a billion worlds, Stand firmly against all hardships and obstacles. Seeing through glory and riches, I simply smile. The rooster crows announcing the dawn, The morning bell hurries the moon, The whole Soha world is revealed. Everybody bustles about to survive, Life, like smoke and snow, gone!
Recalling when I was young, I mastered the pen and the sword but liked Buddhism best. The lion’s roar of the Buddha shook the universe! Countless suffering patients visited me, Day and night I pondered their cures. Millions of strands of thoughts Slowly turn toward prajna wisdom, Swaying the three worlds. I wish that my remaining life Be devoted to the benefit of all sentient beings.
The mood of this poem is broad and vast, and filled with emotion. The poem manages to capture the massiveness of the universe and centuries of human affairs. It begins with aspiration soaring to the sky, and ends with a very down to the earth message: serving and helping all living beings with all that he has.
Comparing the two poems, it is evident that the work of H.H. Dorje Chang Buddha III not only provides a much broader view of the world and human existence, but also uplifts the reader to a much higher spiritual level. H.H. Dorje Chang Buddha III truly is an outstanding and timeless master of letters and also has boundless compassion and mercy to all living beings.
I also found an astonishing fact, based upon his extraordinary accomplishments in the areas of Buddhism, the humanities, painting, calligraphy and ethics, the World Poets and Culture Congress, which is composed of 5,612 experts and scholars from 48 different countries and regions, selected Master Wan Ko Yee (H.H. Dorje Chang Buddha III ) as the world’s only “Distinguished International Master.” The resolution conferring upon him this title was mailed to the People’s Republic of China and was made public in Hungary on September 15, 1994. The “Distinguished International Master” certificate was signed by the then President of the international Olympic Committee, Juan Antonio Samaranch.
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Peace LiLy 