A fifteen-year-old girl who had three hours, a law book, and the unwavering conviction that her sister’s life was not for sale

From : Gistreel Lifestyle. Liberia Online

She was eight years old when her father gambled her away in a card game.
Her older sister had three hours to win her back before the debt collector came.

Deadwood, Dakota Territory. 1877.
A place where law came slow, danger came fast, and survival belonged to the ruthless.

Thomas Garrett had lost everything—his mining stake, his wages, his self-respect—and now, in a drunken haze at the Gem Saloon, he’d lost something far worse:

his daughter.

The man who won her was Bullock—
not the sheriff, but a labor trafficker who “supplied” children to mining camps.
Kids as young as six spent twelve-hour days sorting ore until their lungs failed or their fingers gave out.
Most didn’t live past fourteen.

Thomas signed the paper without hesitation.
Bullock would collect little Emma at noon.

When fifteen-year-old Sarah came home from the laundry and learned what her father had done, she didn’t cry.
Didn’t scream.
Didn’t fall apart.

She simply asked, “When?”

“Tomorrow. Noon.”

Three hours until dawn.
Three hours to save her sister.

And Sarah had something her father never had:

clarity.

She knew Bullock.

Everyone did.
A cruel man who hid behind paperwork and respectability.

He’d made her father sign a contract—
which meant it could be challenged.

And Deadwood had something else:

A new federal judge who’d publicly declared that parents could not use their children to pay debts.

Sarah didn’t sleep.
She didn’t blink.

At dawn she was already standing in the courthouse, breathless, determined.

The clerk tried to dismiss her—
fifteen-year-old girls didn’t talk law.

But Sarah did.

Because before drink ruined him, her father had been a clerk…
and she’d read every law book he left lying around.

She laid out the case with the precision of a trained lawyer:

The contract violated territorial labor laws.

It constituted debt bondage of a minor.

Thomas Garrett was legally incapacitated due to intoxication.

The clerk stared. Then nodded.

He woke the judge.

Judge Isaac Parker—who would one day be known as the “Hanging Judge”—read the contract, listened to Sarah, and did something extraordinary:

He issued an emergency injunction, blocking the transfer and summoning both Bullock and Thomas Garrett to court that afternoon.

When Bullock arrived at the Garrett cabin at noon, two men at his back, he found Sarah waiting on the porch.

Not shaking.

Not pleading.

Holding a federal court order in her hand.

Bullock turned red with fury but wasn’t stupid enough to defy a judge.

At the hearing, Judge Parker didn’t hesitate.

He voided the contract.
Declared it an illegal attempt to traffic a minor.
Warned Bullock that any further attempt to collect “payment” would end with him in chains.

Then he turned to Thomas Garrett.

A father who gambled his children away forfeits the right to be a father.

Parker stripped him of parental rights and—
in a move that shocked the entire Dakota Territory—
appointed fifteen-year-old Sarah as her sister’s legal guardian.

But victory didn’t fill their stomachs.

Sarah now had an eight-year-old to raise,
no money,
no home,
and only her laundry work to survive.

What she did next became legend.

She went to five different businesswomen in Deadwood—
laundry owners, seamstresses, boarding house keepers—
and proposed a deal:

“I’ll work for reduced wages.
You house and feed my sister and me.
I’ll take the hardest jobs and the longest hours.”

Four said no.

The fifth—
a widow named Martha Bullock (no relation to the trafficker)—
said yes.

For the next three years, Sarah worked sixteen-hour days.
Emma went to school—
Sarah insisted on it.

She saved every coin.

By 1880, she’d saved enough to lease a small building and open her own laundry.

By 1882, she owned it.

She employed six women.
Paid fair wages.
Offered housing to those in need.

Emma, thirteen, kept the books.

When Emma turned eighteen, Sarah paid—
entirely from her business profits—
for her to attend normal school and become a teacher.

Emma later became a school principal
and one of the fiercest advocates for child labor reform in the state.

Sarah never married.

“I raised one child already,” she’d say with a half-smile.
“Did a better job than most with half the resources.”

She ran her business until 1910, providing work for over a hundred women across three decades.

Emma retired as the first female superintendent in her county.

When Sarah died in 1923, her obituary mentioned her “successful business career.”

Emma told the real story:

A fifteen-year-old girl who had three hours, a law book, and the unwavering conviction that her sister’s life was not for sale.

Judge Parker later said:

“Justice isn’t only about punishing the guilty.
Sometimes it’s about recognizing competence where no one else looks for it.”

The line between tragedy and triumph is thin.
Sometimes it’s nothing more than a teenage girl
who refuses to accept that her sister can be traded like poker chips—

and who’s smart enough to find the one legal lever that can stop it.

Sarah Garrett didn’t have money.
Didn’t have weapons.
Didn’t have allies.

She had time running out.
A mind trained by desperation.
And love hard enough to fight the world.

And that was enough.

Source: https://www.facebook.com/photo.php?fbid=866624929388914&set=a.764395932945148&type=3&mibextid=wwXIfr

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

Forwarded Article-- Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

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?

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

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 (1)
Sunflowers by Van Gogh (2)
Sunflowers by Van Gogh (2)
Sunflowers by Qi Baishi (1)
Sunflowers by Qi Baishi (1)
Sunflowers by Qi Baishi (1)
Sunflowers by Qi Baishi (1)
Ink-wash Painting Sunflowers by H.H. Dorje Chang Buddha III
Ink-wash Painting Sunflowers by H.H. Dorje Chang Buddha III
Oil Painting Sunflowers by H.H. Dorje Chang Buddha III
Oil Painting Sunflowers by H.H. Dorje Chang Buddha III

Jiguang Lin

October 26, 2018

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

Link: https://dharma-hhdorjechangbuddhaiii.org/vincent-van-gogh-qi-baishi-and-h-h-dorje-chang-buddha-iii-compared-whose-artwork-is-the-best/

#DorjeChangBuddhaIII #VincentVanGogh #QiBaishi #Art #ArtComparison #MasterArtists #ChinesePainting #WesternArt #ArtHistory #HighValueArt

Museum Celebrates Unprecedented “A Rock of Horizontal Charm” Display with Complimentary Admission

West Covina, CA (PRWEB) June 01, 2017

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.

For more information about “A Rock of Horizontal Charm“ or the cultural and art museum, visithttp://www.hhdcb3cam.org or call (626) 281-6378.

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.

For the original version on PRWeb visit: http://www.prweb.com/releases/2017/06/prweb14390138.htm 

Link: https://dharma-hhdorjechangbuddhaiii.org/museum-celebrates-unprecedented-a-rock-of-horizontal-charm-display-with-complimentary-admission/

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Why did The Eminent Master Qing Ding Acknowledge H.H. Dorje Chang Buddha III as His Master?


Early Life and Ordination of Dharma Master Qing Ding

Dharma Master Qing Ding was originally named Zheng QuanShan. He was born in 1903 from a well-known large family that had the Buddhist faith for many generations. He started to read and chant Buddhist sutras at the age of 7 and received basic knowledge about Buddhism from his father.

In 1939, when Zheng Quan Shan was 36, he was the major-general director of the Advanced Party, Government, and Military Training Corp of China’s Nationalist Government. While working in Chongqing, he often spent his leisure time to go to Ciyun Temple nearby to listen to Dharma Master Cheng Yi’s expositions of Buddhist sutras and Buddha-dharma.

Under the introduction and guidance of Dharma Master Cheng Yi, Zheng Quanshan was ordained as a monk in 1941 at Ciyun Temple in Chongqing and received his dharma name “Qing Ding.” During the same year, Dharma Master Qing Ding received the complete set of monastic precepts at Zhaojue Temple in Chengdu.

Dharma Master Qing Ding (Disciple of H.H. Dorje Chang Buddha III)
Dharma Master Qing Ding(Disciple of H.H. Dorje Chang Buddha III)

Zhaojue Temple in Chengdu.
Zhaojue Temple in Chengdu

Following Dharma Master Neng Hai and Attaining Lineage

Dharma Master Neng Hai

After receiving the precepts, Dharma Master Qing Ding also became a disciple of  Dharma Master Neng Hai, who was a famous eminent monk in modern Chinese history. He learned the Yidam dharma of  Yamantaka Vajra from Dharma Master Neng Hai.

After Dharma Master Neng Hai had entered nirvana, Dharma master Qing Ding succeeded Dharma Master Neng Hai’s lineage and became a dharma king and leader of the Gelug Sect of esoteric Buddhism. Dharma Master Qing Ding’s dharma power and virtue majestically astounded the world. He once manifested great supernormal powers at a demon-subduing dharma assembly and changed his own appearance into that of Ksitigarbha Bodhisattva.

The Supreme Encounter

However, at the high age of 90, he paid homage to acknowledge a young tremendous holy virtuous person as his master. Who is this young tremendous holy virtuous person? Why did Dharma Master Qing Ding acknowledge Him as his master?

This young tremendous holy virtuous person is His Holiness Dorje Chang Buddha IIIDharma Master Qing Ding observed from his state of realization that this young person is the genuine incarnation of Dorje Chang Buddha the primordial Sambhogakaya of the dharma sphere. He seized this magnificent karmic condition that is difficult to encounter in millions of eons.

Acknowledging H.H. Dorje Chang Buddha III as His Master

Dharma Master Qing Ding acknowledged H.H. Dorje Chang Buddha III as his master and beseeched for Buddha-dharma.
Dharma Master Qing Ding acknowledged H.H. Dorje Chang Buddha III as his master and beseeched for Buddha-dharma.

A Dharma brother supported Dharma Master Qing Ding and said to H.H. Dorje Chang Buddha III, “Master, Great Monk Qing Ding of zhaojue Temple came today to pay homage to become your disciple and beseech for Buddha-dharma.”

H.H. Dorje Chang Buddha III: “Okay, go ahead. You can just do four prostrations according to the four refuges. Monk Qing Ding, your are my disciple from now on. Since you are my disciple, you should act in accord with my conduct, and cultivate yourself earnestly according to my method. Sit on the seating cushion.”

(Sitting at the side was Yang Wen who worked at Chengdu No. 2 Hospital and came with Dharma Master Qing Ding. Helping Dharma Master Qing Ding from behind was the lead attendant of H.H. Dorje Chang Buddha III.)

H.H. Dorje Chang Buddha III: “I will transmit my Buddha-dharma to Great Monk Qing Ding. I hope that you will definitely abide by the religious policies, continue your advancement, and be a good monk.”

Receiving the Inner-Tantric Initiation

Master Qing Ding acknowledged H.H. Dorje Chang buddha III as his master and beseeched for Buddha-dharma. He beseeched H.H. Dorje Chang Buddha III to confer make-up inner- tantric initiation of the Yidam dharma of Yamantaka Vajra.

It turned out that when Dharma Master Qing Ding beseeched and learned the Yidam dharma of Yamantaka Vajra from Dharma Master Neng Hai, he did not receive an inner- tantric initiation. This was because although Dharma Master Neng Hai had received an inner- tantric initiation himself, he did not have the ability to confer an inner- tantric initiation to his disciple, Dharma Master Qing Ding.

The Profound Importance of Inner-Tantric Initiation

Why is an inner- tantric initiation so important? The effect of an inner-tantric initiation is that the master transmitting the dharma invites the Yidam of the dharma to be transmitted to come to the site. The Yidam will then accept the disciple in person. Therefore, as long as the disciple engages in self- cultivation in accord with the dharma, liberation from birth and death is guaranteed with a one- hundred- percent certainty.

H.H. Dorje Chang Buddha III conferred an inner- tantric initiation of the Yidam dharma of Yamantaka Vajra to Dharma Master Qing Ding. That made up what Dharma Master Qing Ding lacked and fulfilled the wish that he cherished for many years.

Why did The Eminent Master Qing Ding Acknowledge H.H. Dorje Chang Buddha III as His Master?

Video Link: https://www.youtube.com/watch?v=-L0P9wJ7KkI&feature=youtu.be

Link:https://hhdorjechangbuddhaiiidharma.com/2025/10/12/why-did-the-eminent-master-qing-ding-acknowledge-h-h-dorje-chang-buddha-iii-as-his-master/

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Beyond Form: Entering the Dreamlike Realm of Chinese Painting

Sometimes beauty finds us when we least expect it—appearing like a sudden blossom of color in an ordinary moment, stopping us in our tracks and opening our hearts to wonder.

I happened to come across two traditional Chinese paintings online, both dominated by bright pink, and was utterly astonished. I couldn’t help but study them carefully. In Chinese painting, it is rare to see large areas of pink used as the main color, since it often risks appearing vulgar. Yet in the works of H.H. Dorje Chang Buddha III, there is not the slightest trace of vulgarity. On the contrary, they radiate grandeur and magnificence, and the artist’s confident mastery of color bursts forth boldly from the canvas.

The above piece in particular was painted with a heart as pure and untainted as that of a child. Within the seemingly naïve brushstrokes lies immense skill and mastery. The style is free and natural, bold and unrestrained yet still gentle. Its simple composition is infused with deep emotion and imagination, brimming with the vitality of childlike wonder that uplifts the viewer’s spirit.

A few pink houses stand in the scene, behind which several pink fruit trees sway delicately. Ink outlines give the houses their structure, while the softly hanging trees add a tender rhythm to the picture. The artist’s unique technique and extraordinary control of color are truly breathtaking. The inscription on the work further enhances its spiritual resonance:

“Brilliant colors, vivid yet dignified; consummate skill that reveals the heart of a child.”

Indeed, this is a rare and outstanding masterpiece of Chinese painting.

This masterpiece is a freehand splash-ink landscape, where the brush moves with effortless freedom. Layer upon layer of crimson cliffs rise as though born from the artist’s own heart—lines powerful, vigorous, and full of life. Ink strokes carve the very bones of mountains and rocks, each one natural, unrestrained, yet perfectly balanced. Broad washes of pink suffuse the scene, creating an ethereal, dreamlike realm that lingers between presence and absence, as if belonging to an immortal world. To gaze upon this painting is to step into another dimension—where the heart gradually settles into stillness and begins to sense the hidden rhythms of the cosmos.

This painting was not created to showcase skill or to dazzle the eye, but as a natural outpouring of inspiration and emotion. Both ink and color arise directly from the pure stirrings of the artist’s heart.

Here, the true essence of Chinese painting—shen yun (spiritual resonance)—is revealed in its fullest clarity. The inscription makes the artist’s intent unmistakable: “With effortless spontaneity, illusion transforms into nature; in the fleeting and ethereal, the hand finds its way.” The purpose is not simply to depict form, but to open a gateway into a spiritual realm that transcends the material.

Shen yun is at once vivid and elusive—an ineffable charm, a subtle spiritual force that cannot be captured in words. It flows from the painter’s inner cultivation and profound state of mind. When spirit and technique merge seamlessly, the work attains a power far beyond outward appearance.

It is only when the viewer is touched by this shen yun that the formal elements of the painting—the structure of its composition, the interplay of colors, the rhythm of the brush, the unity of poetry and image, the harmony of form and spirit—truly come alive. These elements are essential, of course, but they are not the destination. They are the pathway to something deeper, pointing always toward a higher, transcendent experience.

These two paintings are rare gems of Chinese art, that surprise, inspire, and open a doorway to beauty both profound and pure.

Link:https://peacelilysite.com/2025/08/29/beyond-form-entering-the-dreamlike-realm-of-chinese-painting/

Childlike Delight — A New Vision of the Owl

Owls have always fascinated me with their air of enigma. Creatures of the night, they rest in the shadows by day and emerge only after dusk, rarely granting humans more than a fleeting glimpse. Across cultures, they have inspired legends both wondrous and foreboding. In ancient Greece, the wise and fearless goddess Athena chose the owl as her emblem, making it an enduring symbol of wisdom. So revered was this bird that Greek coins bore Athena’s face on one side and the owl on the other. Yet, in other parts of the world, the owl has been shrouded in darker associations, seen as a harbinger of misfortune or an omen of ill will.

In Chinese culture, the owl’s symbolism is particularly layered—holding both shadows and light. In ancient times, owls were often viewed as inauspicious creatures, linked to misfortune, death, and the old saying, “When the night owl enters a home, it never comes without cause.” And yet, in certain cultural contexts, they also stand for wisdom, keen insight, and even mysterious, almost magical power.

A Chinese ink painting by H.H. Dorje Chang Buddha III

When most people picture an owl, they think of its round, unblinking eyes and penetrating gaze—features that can feel cold, even intimidating. But my perception shifted entirely when I encountered the Chinese ink painting Childlike Delight by H.H. Dorje Chang Buddha III.

This is no ordinary artwork. With the freehand grace of traditional Chinese brushwork infused with a touch of dreamlike realism, it bridges the poetic subtlety of Eastern art and the fresh, luminous clarity of Western modernism.

With just a few effortless strokes, the artist creates a whimsical, pure, and gently humorous world—a dreamscape that seems to invite the viewer into the peaceful slumber of childhood. The small owl, covered with delicate ink spots of varying sizes and shades, appears almost as if glimpsed through a soft morning mist. Look closely, and you might see the tender image of a sleepy child, finger to lips, caught in that sweet moment before surrendering to dreams.

This is not a literal portrayal of nature, but rather nature reflected through the artist’s own heart—capturing not merely the physical form of a creature, but its spirit, vitality, and essence.

Here, the owl is reborn—not as the ominous figure of superstition, but as a symbol of innocence, purity, and quiet wisdom. The artist’s compassionate and unblemished inner world radiates through the painting, gently cleansing the heart of the viewer until it feels as fresh and clear as morning dew.

Childlike Delight reminds us that we can close the sharp, competitive eyes of rivalry and open instead the eyes of kindness, innocence, and warmth—gifts that have the power to heal, to inspire, and to light the world.

Link:https://peacelilysite.com/2025/08/15/childlike-delight-a-new-vision-of-the-owl/

The Achievements in Inner Realization Vidya by H.H. Dorje Chang Buddha III

H.H. Dorje Chang Buddha III is the true incarnation of the primordial Buddha. Buddha’s Inner Realization Vidya is unbounded and infinite, which is Buddha’s natural realization capacity. Such an immense realization capacity can only be understood by the Buddhas of ten directions. We ordinary people cannot really know much about it, except that we can see that it is as deep, profound, immense, and infinite as the universe when looking at the holy miracles that are practically demonstrated by the Buddha. Sakyamuni Buddha has once revealed the treasured imperial palace on the tip of a hair, or so we are told when reading the Buddhist sutras. What a scene that must have been! We can only yearn for it, but we cannot see it in person. However, H.H. Dorje Chang Buddha III, with His great compassion for all living beings, manifests innumerable holy miracles of wonderful state in the present time. All of us Buddhist practitioners who have the karmic affinity and a pious heart can have the fortune to witness them and therefore know the greatness and truthfulness of Buddha Dharma!

        What is listed below are only some real examples. They are all the true Buddhist holy miracles that H.H. Dorje Chang Buddha III has manifest. Many Buddhist disciples have witnessed them in person and sworn. From these examples, one can clearly know that the realization capacity of H.H. Dorje Chang Buddha III is that of a Buddha. No one else in the entire Saha World can reach His level!

  1. Buddhas bestowing Amrites instance I: On the Buddha’s Birthday in 2001, H.H. Dorje Chang Buddha III (known as Great Dharma King Yange Yishi Norbu at that time) held three Dharma assemblies and invited Limitless Life Buddha (Amitayus Buddha, 長壽佛) and Jewel-Born Buddha of South (Ratnasambhava Buddha, 南方寶生佛) to separately bestowed Amrites inside the dharma bowl, which were wondrous and miraculous beyond compare. The Amrites and shariras quickly piled up and, within 20 seconds, formed a two-foot-tall dharma pillar that is large on the top and small on the bottom. Over 200 Buddha’s Shariras of many colors flew around with the Amrites in the air and fell on the dharma pillar. The venerable elder monk Wuming, Losang Zhenzhu Rinpoche, Shi Longhui, the venerable elder monk Yizhao, and several hundred Buddhist disciples were present to witness it.

2. Buddhas bestowing Amrites instance II: On an auspicious day in the early twenty-first century, H.H. Dorje Chang Buddha III administered a Dharma Assembly in Los Angeles, USA. Buddhist disciple Shi Longhui personally washed clean a purple-gold copper bowl and put a cover on it. H.H. Dorje Chang Buddha III then practiced the Dharma. After a while, several streaks of red light shone from the sky and shot into the bowl. H.H. Dorje Chang Buddha III announced at that time that Amitabha Buddha had arrived in person. People immediately went outdoors and saw Amitabha Buddha walking in steps on lotus flowers in the air. When the Dharma Bowl’s cover was removed, the inside that had been washed clean and empty was now filled with true Amrites that were bestowed by the Buddha. The Amrites were bouncing in the bowl, and there was an exotic fragrance that filled the air. It is definitely not something from this world. At that time, over one hundred colorful shariras fell from the sky. That Dharma Assembly was videotaped for evidence.


3. The Great Dharma to Restore Youth: On October 18, 2012, H.H. Dorje Chang Buddha III manifests himself in a depleted old man’s look after having been practicing a Dharma to shoulder the sinful karma for living beings for three months. But in order not to make Buddhist disciples lose their determination to cultivate themselves should they see it, H.H. Dorje Chang Buddha III reluctantly returned to youth in front of the public within ten minutes. His wrinkles completely disappeared, and His skin became smooth and shiny as if He had undergone a complete change of physical body. He turned into a young person who was handsome, majestic, and youthful. A lot of people witnessed this incredibly great Dharma in person and swore to it.


4. Knowing In Advance and Foretelling: It was a bright, sunny day at Hotel Temozon Sur in Merida, Mexico on May 19, 2014. There was not a single bird by the water pond in the hotel. H.H. Dorje Chang Buddha III foretold that there would be many, many little birds gathering on the pond to dance in a few minutes, and it would start raining very hard at the same time, but the rain would not drive the birds away. Two minutes later, sure enough, many birds gathered on the water to dance, and a big rain ensued. The birds continued to dance on the water in spite of the rain. All the people who were present saw it with their own eyes and swore to it. The entire event was also videotaped for evidence.


5. The Holy Selection of One Hundred Bright Dharma Gates in Complete Dark (百法明門黑關擇決): On a certain auspicious day in 2013, an anonymous Tremendously Holy Guru, who is a disciple of H.H. Dorje Chang Buddha III’s but would not be revealed, was invited to administer a Holy Selection of One Hundred Bright Dharma Gates in Complete Dark for Zhenda Ruzun. The high-level Great Dharma of Holy Selection in Complete Dark to make the determination for the dharma master is superior to the Dharma of Inquiry by Flying the Paper Pieces (飛籤問訊), Holy Selection by way of Marnyi Stones (瑪尼石擇決), or Holy Selection by Vajra (金剛擇決). That Dharma Assembly determined the status of Zhenda Ruzun. In the Dharma Assembly, H.H. Dorje Chang Buddha III also performed the Dharma of Knowing in Advance and Foretelling for that anonymous Tremendously Holy Guru. He precisely and without an error foretold three times. Several hundred people witnessed that holy feat at the scene.

6. The Dharma of Holy Fire Offering: On September 19, 2018, H.H. Dorje Chang Buddha III administered the great Dharma Assembly of the Holy Fire Offering at the Holy Miracles Temple in Los Angeles, USA. The Vajra Maternity Buddha (金剛佛母) arrived in person and lit the fire from the space. The flame in the caldron was raging in a split second. Many people witnessed it.

7. The Dharma Assembly of Terma with Instant Verification (現量伏藏法會): In early 2019, H.H. Dorje Chang Buddha III presided over the Dharma Assembly of Terma with Instant Verification at the Holy Miracles Temple in Los Angeles, USA, in which an anonymous Yuzun, who is a disciple of H.H. Dorje Chang Buddha III’s and would not reveal Herself, performed the Dharma. There was one holy item, known as the Terma, among ten identically-looking items, which were wrapped with identical material in exactly the same way and covered by ten identical bowls separately. The Yuzun pointed out the Terma from the ten identical bowls precisely without an error several times consecutively. That Dharma Assembly was attended by a few hundred people who witnessed it with their own eyes.

8. At the Holy Miracles Temple of Los Angeles, USA, on February 9, 2020, H.H. Dorje Chang Buddha III demonstrated His supreme physical strengths by lifting a 434.8-pound Vajra Pestle with only one hand in public. He lifted the pestle in the air for 13 seconds before placing it back down on the platform, surpassing the top strong man of the world by 59 levels! A Vajra King of Great Strength who lifts a pestle onto the platform using one hand can pass the standard by up to 30 levels and that would be considered the very top. That is, no matter what kind of a king of strong man, a Tremendously Holy Guru, an Equal Enlightenment Bodhisattva or a Marvelous Enlightenment Bodhisattva one maybe, one’s top limit is surpassing the standard by 30 levels. H.H. Dorje Chang Buddha III, on the other hand, could lift the Vajra Pestle with a weight of 434.8 pounds, which was 59 levels over the standard, with only one hand for 13 seconds. He was truly the unprecedented Vajra King of Super Strength in this world. The Holy Virtuous Ones say that the record made by H.H. Dorje Chang Buddha III is unprecedented, they also can foretell that it will never be repeated by anyone in the future because it is the innate quality of a Buddha.

       

H.H. Dorje Chang Buddha III has infinite great kindness and compassion. To benefit living beings, He also presided over uncountable holy great Dharma assemblies, in addition to the ones mentioned above. Every time when He held a holy Dharma assembly, the corresponding Dharma purpose of the Dharma assembly was always fulfilled perfectly, and Dakinis, Dharma-guarding Deities, Yidam(s), Great Bodhisattvas and/or Buddha(s) always arrived at the scene in person and manifest corresponding holy miracles to show the greatness of Buddha Dharma. These Dharma Assemblies include the Holy Dharma Assembly to Bath the Buddha (勝義浴佛法會), the Dharma Assembly to test on Establishing Mandala Over a Stone Slab (隔石建壇考試法會), the Dharma Assembly of Celebrating the East-Bound Trip of Imparting Dharma (東行說法慶典法會), the Dharma Assembly of Initiation with Bodhi Vajra Seed (菩提金剛種子灌頂法會), the Dharma Assembly of Testing on the Holy and Virtuous Ones(考聖德法會), the Dharma Assembly of State-Practice Initiation of the Horse Stable Terma (境行馬鵬伏藏灌頂法會), the Dharma Assembly of Making the Holy Daba Buqiong Pills (煉制打靶不窮丸法會), the Dharma Assembly of Making the Kadra Ande Pills (煉制卡卓安得丸法會), the Dharma Assembly of Holy Selection of Affinity by Knowing in Advance and Foretelling (先知預言擇緣法會), and so on and on. How could these Dharma Assemblies be successful, if it wasn’t for the realization capacity from a Buddha?

Link:https://peacelilysite.com/2025/08/08/the-achievements-in-inner-realization-vidya-by-h-h-dorje-chang-buddha-iii/

Global Youth Artists Shine at the Second Annual IAMA International Youth Art Contest Awards Ceremony in San Francisco

Award recipients from the youngest age group (five- to six-years-old) at the 2025 International Youth Art Contest, pictured with Mr. KC Hsieh, IAMA President.Photo by Johnny Trieu

(Ad) On July 13th, 2025, San Francisco’s International Art Museum of America (IAMA) hosted the awards ceremony for the Second Annual International Youth Art Contest and Exhibition. The museum hosted nearly 400 attendees who were eager to see this year’s exhibition of youth artworks from around the world. Distinguished guests included Mr. Guy Djoken, Executive Director of UNESCO Center for Peace of Washington D.C.; San Francisco District Six Supervisor Matt Dorsey; and Professor Adam Caldwell, Chair of the Jury Committee and faculty member at the Academy of Art University, San Francisco. The ceremony spotlighted the creative achievements of young artists and underscored the museum’s role in fostering cultural exchange and youth artistic expression. Now, in its second year, the International Youth Art Contest and Exhibition continues to expand its reach and impact, advancing IAMA’s mission to champion emerging talent and foster intercultural connection through the arts.

Please visit https://iamasf.org/2025-iama-international-youth-art-contest-and-exhibition.

 

This year, 1,600 youth participants submitted over 3,800 artworks to the Youth Art Contest. Artists from sixty-five countries across five continents competed within four age groups. After a rigorous selection process evaluating creativity, technical skill, and overall presentation, 477 young artists from seventeen countries were selected to exhibit a total of 616 outstanding works in IAMA’s Grand Exhibition Hall. The artistic caliber and thematic richness of the selected pieces left the jury in awe.  

Attendees of the 2025 International Youth Art Contest viewing the installation in the Grand Exhibition Hall located at 1025 Market Street in San Francisco.Photo by Johnny Trieu

During his address at the awards ceremony, Mr. Guy Djoken offered high commendation for IAMA and its dedicated team, applauding their ongoing commitment to promoting international artistic exchange and cultivating a space where the public can find joy and renewed hope through art. Reflecting on the global turbulence and widespread uncertainty facing today’s global community, Mr. Djoken declared, “At a time when many live in fear—especially of war—just for us to be here at the museum, smiling and happy, and most importantly hopeful about the future—this is the best thing about this competition.” Mr. Djoken’s heartfelt message set a hopeful tone for the awards ceremony and attendees alike.

Executive Director of the UNESCO Center for Peace, Guy Djoken, was deeply impressed by the exceptional quality of the young artists’ work, finding both joy and hope for the future in their creativity.Photo by Johnny Trieu

Award recipients in the eleven – fourteen age group at the 2025 IAMA International Youth Art Contest, joined by Mr. Guy Djoken, Executive Director of the UNESCO Center for Peace in Washington, D.C., who presented the honors during the ceremony.Photo by Johnny Trieu

Matt Dorsey, San Francisco’s District Six Supervisor, also addressed the audience, expressing his appreciation for the International Art Museum of America as a true hidden gem of San Francisco’s art landscape, and pledged his continued support for the museum’s mission and contributions to the community. Supervisor Dorsey offered words of encouragement to all participating youth artists, urging them to pursue their creative passions with perseverance—regardless of the outcome—and to never stop pursuing their artistic dreams.

Award recipients in the fifteen–eighteen age group of the contest were presented with their honors by San Francisco District Six Supervisor Matt Dorsey during the awards ceremony.Photo by Johnny Trieu

Professor Caldwell praised the range of themes and talent amongst all submissions and ages, which made selecting the winners of each age group challenging for the judges. Professor Caldwell noted the importance of international art exchange, stating “It’s a great way to bridge gaps between countries. The artistic community has always crossed political, social, and ethnic borders. Art and music are among the most universal forms of expression. They allow us to feel what others felt… Art brings people together across divides.” Professor Caldwell’s wise words perfectly captured the mission and outcome of the International Youth Art Contest. 
 

Award recipients from the seven – eleven age group honored by Prof. Adam Caldwell—Chair of the Jury Committee, and faculty member at the Academy of Art University, San Francisco.Photo by Johnny Trieu

In this year’s contest, a newly introduced category for the youngest age group—participants ages five to six—garnered enthusiastic engagement from a remarkable number of budding artists. Through their sincere brushwork and vibrant imagination, these children demonstrated an extraordinary innate talent that captivated both audiences and judges alike. 

Dr. Amy Hughes, Jury Committee Member and Director of Student Services at the New York Academy of Art, recognized the courageous creativity of the youth artists reflecting, “I was struck by the fearless creativity on display — the young artists did not shy away from complex themes, experimenting with materials, and expressing deeply personal narratives. Each piece felt authentic and fresh, demonstrating both technical skill, and emotional depth. The entries explored themes ranging from family, community, and environmental justice to dreams, culture, and identity—powerfully reflecting the younger generation’s keen insights and profound emotional connection to the world around them.

Charlotte Wu, third place award recipient in the five- to six-year-old age group, looks up at her winning painting, The Garden Where She Waits.Photo by Johnny Trieu

Lucas Shao, the first place winner of the five- to six-year-old age group, depicted himself joyfully swinging through the air in his painting, Wonderland. When asked about his hopes for his art, Lucas enthusiastically declared “I hope my art makes people happy, warm, big smiles just like me!” 
 

Five-year-old Lucas Shao, winner of first place in the five- to six-year-old age group, stood proudly beside his painting Wonderland, depicting his happiness while swinging on the playground.Photo by Tong Shao

Third place winner of the five- to six-year-old age group, Kedarnath Kalidindi depicted a goldfish in a small fishtank in his painting, Freedom in Captivity, inspired by “finding inner freedom during incarceration.” The addition of this age group was an exciting component of this year’s event, and underscored the value of shining a spotlight on youth artwork, and garnering the wisdom of today’s youth.
 

Five-year-old Kedarnath Kalidindi, third-place winner in the five- to six-year-old age group, introduced his painting, Freedom in Captivity, to the audience.Photo by Johnny Trieu

Ten-year-old Irina Elena Dobrota from Romania was honored with third place in the seven- to ten-year-old age group for her painting, Flight of Dreams, which was selected for the final exhibition at IAMA. Celebrated for its gentle spirit and imaginative vision, the piece radiates themes of kindness, freedom, and hope. Irina’s achievement brought pride and joy to her local community, and she hopes her work will inspire others to believe that every heartfelt wish can take flight—if we have the courage to let it soar.

Third place winner of the seven- to ten-year-old age group, Irina Elena Dobrota’s painting, Flight of Dreams.Photo by IAMA

Ashley Hein, second place winner of the fifteen-to-eighteen-year-old age group, impressed the jury with her painting, Animal Instinct, distinguished by its mature composition and outstanding execution. Professor Caldwell commented that he had shown several of the entries to his university art students, who were deeply moved and inspired by the technical skill and creativity on display. 

Ashley Hein’s artwork, Animal Instinct, won second place in the fifteen- to eighteen-year-old age group.Photo by IAMA


 

Seventeen-year-old Kate Fieldhouse from South Africa received an honorable mention for her painting Between Worlds, which depicts a striking worldscape through an intense and creative exploration of breaking the canvas. 
 

Seventeen-year-old Kate Fieldhouse from South Africa received an Honorable Mention for her painting Between Worlds.Photo by Johnny Trieu

Sixteen-year-old Polina Larina received an Honorable Mention Award for her painting Moscow Buns Evening. During her interview, Polina shared how she views her art as an opportunity to introduce people to Russian culture, and how the Youth Art Contest inspired her to continue to pursue her art dreams, “It was my first time participating in the IAMA competition. Participation in this competition helped me to feel recognized as an artist, and inspired to keep making art and put more effort into it.” Polina’s painting, inspired by a memorable walk with her grandparents, serves as a reminder to escape into nostalgia and childhood memories in trying times. 
 

Sixteen-year-old Polina Larina (second from right, standing beside her mother) who received an Honorable Mention for her painting Moscow Buns Evening, in the Grand Exhibition Hall, joined by her parents and twin sister.Photo by Johnny Trieu

Following the ceremony, Professor Caldwell gave a masterclass for all participants, offering thoughtful insights on artistic growth, and encouraging continued exploration and confidence in their creative journeys. His masterclass focused on four elements: visual storytelling and composition, techniques and materials, the role of art in communication and expression, and advice for young artists. This is the second year Professor Caldwell has judged the artwork for the contest and delivered a masterclass for attendees of the contest.
 

Professor Caldwell delivered a knowledgeable and enlightening masterclass to attendees and participants. Photo by Johnny Trieu

About IAMA

Located in the heart of San Francisco, IAMA was voted the “Best Art Gallery” and was a finalist as the “Best Museum” in SFGate’s Best of Bay Area 2024. IAMA is dedicated to making world-class art accessible to all through exhibitions, education, and international contests. With a mission to foster peace and happiness through art—especially by nurturing the next generation—IAMA brings together works from around the globe, bridging East and West, classical and contemporary.

For the complete list of winning artworks, please visit https://iamasf.org/2025-iama-international-youth-art-contest-and-exhibition or call (415) 376-6344.

Link:https://peacelilysite.com/2025/07/28/global-youth-artists-shine-at-the-second-annual-iama-international-youth-art-contest-awards-ceremony-in-san-francisco/

Source:https://www.sfgate.com/sponsored-content/article/global-youth-artists-shine-second-annual-awards-20782182.php

Dr. Jeff Walker’s Rising Stars: Transforming Arts Education Through Passion and Purpose

Matthew Kayser Contributor

Jeff Walker

In a world increasingly dominated by artificial intelligence and digital innovation, Dr. Jeff Walker, a retired neurosurgeon turned philanthropist, is on a mission to “keep the humans in the humanities.”  His Walker’s Rising Stars Scholarship Program, launched in 2003 in partnership with the Pinellas Education Foundation in Florida, has awarded over $970,000 to high school students excelling in Dance, Instrumental, Theater, Visual Arts, and Vocal Performance. 

Now, with a bold vision to expand the program nationally, Walker is poised to reshape arts education across the United States: “I want this to expand to cover the whole country and change arts education in high school and college,” says Walker, who has made it his mission to provide free education for all. 

Walker’s inspiration—rooted in personal tragedy, a love for the arts, and a deep commitment to education—drives a movement that empowers young artists to pursue their dreams without the crushing weight of student debt. 

His path to philanthropy was anything but conventional. A Duke-trained neurosurgeon who performed over 10,000 operations and established a major trauma center in Florida, Walker’s career was defined by precision and impact. 

Yet his drive to give back stems from a deeply personal experience at age five. “I had a tragic event, a near-drowning incident,” he recalls. His best friend didn’t know how to swim. Influenced by childhood media and misunderstanding the risks, he pushed him into the water. The outcome was devastating: his friend drowned, and Walker nearly did too. “I felt so guilty, blocked it out for 15 years,” he says. “I think I tried to overcompensate by helping people. It was something that took an incredibly long time for me to forgive myself for.” 

This tragedy instilled a lifelong mission to serve others—first through medicine and later through philanthropy. His medical journey began under the influence of his father, a dentist and university chairman, and his mother. “I scrubbed in on over 200 open-heart operations,” he says. But it was in medical school that he discovered neurosurgery, drawn to the brain as “what you are.” He completed his residency at Duke by 1985, laying the foundation for a career that blended science with service. 

Walker’s love for the arts, though not as a performer, also shaped his vision: “I played the piano when I was younger, very methodical, classical music,” he shares. A humbling moment came at 15 when a friend played a Beatles song effortlessly, revealing Walker’s limitations. “I couldn’t do that at all,” he admits. 

Yet, this experience underscored his belief in the arts as a universal force: “Every culture has their own dance, songs, music, symphonies, operas—the arts are a unifying factor,” he says. “There’s so much diversity in America today, and this brings everyone together.” 

In 2003, Walker channeled his passion for education and the arts into the Walker’s Rising Stars Scholarship Program, partnering with the Pinellas Education Foundation to support local high school students. The program, which awards scholarships for arts education, is a vibrant celebration of talent, culminating in an annual event at the Mahaffey Theater. 

“The kids get there at noon, we have lunch, they audition during the day, and then put on a show at night—three-minute acts, five categories, with the county jazz band. Families are cheering, it’s super fun,” he says. 

The program’s impact transcends financial support. After the show, students gather backstage, hugging and celebrating. “They’re all aspiring artists, and you can feel the love,” Walker says. 

As a father of four and grandfather of eight, Walker connects deeply with the pride parents feel at these events. “You’ve taken these kids to music, art, dance lessons for years, and to see them on stage as young adults—the pride and love bounce off the walls.” 

The scholarships address the broader student loan crisis, which Walker views as a significant burden on young people. “Every dollar is $1 the family doesn’t have to spend on education,” he says. 

Beyond financial relief, the program instills confidence and recognition. “It’s not easy to get on that stage, knowing hundreds of kids are vying for that spot,” Walker says. “The confidence they get is key.” 

He recalls a student letter that captures the program’s transformative power: “She wrote, ‘I was going to go to St. Pete College, but after winning this, I’m going to Manhattan School of Art.’ It’s a life-changing event.” 

Walker estimates that the program changes “about half the kids’ lives,” with alumni achieving remarkable success. “They’re making a living in the arts,” he says proudly. 

Walker’s inspiration for Rising Stars is grounded in his belief in education as a pathway to opportunity: “As a Duke-trained neurosurgeon, I went to school a long time, and I owe everything I have to my education,” he states. “In the end, when you look back on your life, it’s not what you get, it’s what you give.” 

This philosophy fuels his commitment to expanding arts education, particularly in public schools. “Education is the way out,” he says. “Through hard work and education, I still believe in the American Dream—you can be anything.” 

Walker also recognizes the challenges the arts face in an increasingly digital age. He trademarked the phrase “keep the humans in the humanities” to emphasize the need for genuine human creativity. “How do you combat that? You create a generation of talented singers, dancers, actors,” he explains. The program reinforces human expression and creativity during a time when automation is on the rise. 

Now, Walker has announced the national expansion of Rising Stars, choosing the prestigious Sundance Film Festival to unveil his plan. His goal: establish 1,000 program sites, each supported by a $4 million endowment that yields 5% annually to fund 25,000 students each year. “After four years, that’s 100,000 Rising Stars in college—enough to transform arts programs,” he calculates. 

The national rollout will replicate the local model, with auditions and performances administered through public school districts and education foundations. “Everything goes through the school district, the teachers,” Walker says, highlighting a grassroots approach. Local events will feed into regional, state, and national competitions—potentially televised to amplify awareness and participation. 

“This will bring every community together to support their young people,” he says, envisioning the program as a unifying force during divisive times. 

Walker also sees the initiative as a response to the underfunding of arts education. “In high school, the arts are underfunded,” he notes. “Everybody’s talking STEM these days, but an education in the arts is very difficult.” 

The program aims to uplift students pursuing creative careers, helping them gain recognition, validation, and the resources they need to thrive. “This program tells them, ‘You’re a great singer, artist, you’ve got talent,’” Walker says. “It gives them the confidence to pursue their dreams.” 

Scaling Rising Stars nationwide presents challenges, but Walker remains focused: “As a Duke-trained neurosurgeon, I didn’t get here by luck. We have a plan.” 

He’s connecting with artists’ unions and entertainment professionals to grow the network of supporters. To aid in funding, Walker has even developed a travel toothbrush—with proceeds directed toward scholarships—and is exploring other creative avenues to generate resources. “This is a generational project,” he says. “If you can’t get the generation behind it, it’s not going to happen.” 

Walker’s long-term goal is free college education for students in the arts—including room and board. “I envision a future where Rising Stars have their own dorms, live and perform together, support each other,” he says. “If a student’s parent gets sick and they can’t afford school, let’s have a concert to raise money so they don’t drop out.” 

For Walker, the legacy is not about awards but impact: “In 2035, if every Oscar, Emmy, or Tony category has a Rising Star, that’d make me happy,” he says. 

What brings him joy is the personal fulfillment: “At first, I thought it was about sitting in the front row, hearing nice things,” he reflects. “But it makes me happy inside. I’m a good person, and this brings fulfillment, self-satisfaction, and love for myself.” 

As Walker’s Rising Stars prepares to take the national stage, it stands as a powerful testament to one man’s belief in the power of art, education, and human connection to change lives and strengthen communities. 

Link:https://peacelilysite.com/2025/07/15/dr-jeff-walkers-rising-stars-transforming-arts-education-through-passion-and-purpose/

Source: https://www.usatoday.com/story/special/contributor-content/2025/07/09/dr-jeff-walkers-rising-stars-transforming-arts-education-through-passion-and-purpose/84524014007/

Vimalakirti’s Profound Teachings on Suffering and Liberation

The Profound Wisdom of the Holy Buddha Vimalakirti

The Vimalakirti Sutra stands as one of the most profound texts in Mahayana Buddhism, offering deep insight into wisdom, compassion, and the nature of illness. One of its most significant sections, the “Chapter on Illness,” presents a powerful dialogue between Manjushri and Vimalakirti, a lay Bodhisattva of extraordinary realization.

Vimalakirti, despite his unparalleled wisdom, feigns illness to teach a vital lesson. When Manjushri visits him and asks, “Aren’t you successful in your practice? If so, how can you be ill?” Vimalakirti responds, “I am ill because all sentient beings are ill.” This response redefines illness—not as a personal affliction but as an expression of universal suffering. His illness is a manifestation of his boundless compassion, mirroring the pain of all beings so that he may guide them toward liberation.

Manjushri Bodhisattva and other disciples visiting H.H. Vimalakirti

The dialogue between Vimalakirti and Manjushri unfolds into a deeper contemplation on suffering. When asked when his illness will be cured, Vimalakirti replies, “When the last sentient being is free from illness, then my illness will be cured.” This statement embodies the heart of Mahayana Buddhism—the vow to attain enlightenment not for oneself alone but for all beings. His words resonate with the self-sacrificial love found in other spiritual traditions, such as Jesus Christ’s willingness to bear humanity’s suffering.

Vimalakirti further explains, “From ignorance comes love, and thus my illness arises.” He reveals that suffering stems from attachment—attachment to family, possessions, ambitions, and even spiritual practice. Such attachments cloud the mind, giving rise to suffering. True liberation, he teaches, comes from transcending these attachments through wisdom and compassion.

The holy and venerable Vimalakirti is unique in Buddhist history, as he was an ancient Buddha who chose to manifest as a layperson rather than an ordained monk. During the time of Shakyamuni Buddha, he played a crucial role in teaching monastics and Bodhisattvas who struggled to develop Mahayana bodhicitta. His unparalleled wisdom and skillful means helped bridge the gap between monastic and lay practitioners, proving that profound realization is not limited to those in monastic robes.

In reality, Vimalakirti was the incarnation of the supreme Buddha Dorje Chang (Vajradhara), the primordial Buddha and master of all Buddhas. Yet, instead of taking a leadership role that might have caused sectarian divisions, he humbly chose to serve as a Bodhisattva assisting Shakyamuni Buddha. His teachings, recorded in the Vimalakirti-nirdesa Sutra, are regarded as sutras in their own right, carrying the weight of authentic Buddha-dharma.

The depth of Vimalakirti’s wisdom was so vast that even the most accomplished Bodhisattvas hesitated to engage him in dialogue. When Shakyamuni Buddha asked Maitreya Bodhisattva to inquire about Vimalakirti’s health, Maitreya declined, admitting that Vimalakirti had once humbled him with his superior insight. Ultimately, only Manjushri, the ancient Buddha and master of the seven Buddhas, dared to engage Vimalakirti in discourse.

Chinese Ink painting Holy Master Vimalakirti by H.H. Dorje Chang Buddha III

Vimalakirti’s teachings were not limited to words alone—he also demonstrated his supreme realization through extraordinary miracles. In one instance, he used his boundless supernatural powers to bring the entire Buddha-land of Abhirati, including the Immovable Buddha (Aksobhya), into the human realm. Even the Immovable Buddha himself declared, “I did not do this; it was through the supernatural powers of Vimalakirti.” Such feats reveal that Vimalakirti’s realization surpassed that of all Bodhisattvas and was equal to that of Shakyamuni Buddha himself.

Shakyamuni Buddha himself affirmed the extraordinary status of Vimalakirti, stating, “One who makes offerings to that holy being should know that this is making offerings to the Buddhas. One who transcribes this sutra or keeps it in a room should know that the Tathagata exists in that room.” These words confirm that Vimalakirti was, in essence, a Buddha.

His teachings continue to inspire practitioners today, offering a profound perspective on suffering, wisdom, and compassion. His willingness to manifest illness as a teaching tool, his unparalleled debates with great Bodhisattvas, and his supernatural demonstrations all serve as timeless lessons in the path to enlightenment.

Link:https://peacelilysite.com/2025/03/28/vimalakirtis-profound-teachings-on-suffering-and-liberation/