Recently, I had the opportunity to visit the Triton Museum of Art, a cultural gem nestled in the heart of Santa Clara, California. Surrounded by a peaceful park, the museum offers a quiet and welcoming space where visitors can slow down, reflect, and experience the beauty and creativity of contemporary art.
Founded in 1965, the Triton Museum has long been dedicated to showcasing artists connected to California and beyond. What I appreciate most about this museum is its openness—it is free to the public, making art accessible to everyone in the community. Walking through the galleries, one can feel how art becomes a bridge connecting cultures, ideas, and human experiences.
Encountering the Art of Emanuel Harris‑Sintamarian
During my visit, one exhibition that particularly captured my attention featured the work of Romanian artist Emanuel Harris‑Sintamarian. His paintings immediately drew me in with their unique textures, layered compositions, and deeply expressive forms.
There is something both mysterious and meditative about his work. The colors and shapes seem to flow organically across the canvas, inviting viewers to pause and explore their own interpretations. Rather than presenting a straightforward image, his art feels like a visual journey—one that encourages contemplation and emotional reflection.
During my visit, I took several photos of the exhibition that I would like to share here. These images capture only a small glimpse of the atmosphere inside the gallery, but they reflect the creativity and thoughtful spirit of the artists on display.
Jesus, Popcorn and other details 2024 Acrylic, gouache on paper In Jesus, Popcorn and Other Details, I bring the sacred into direct contact with systems of spectacle, labor, and consumption. Jesus is not placed above the world, but embedded within it – caught in scaffolding, color, and movement – where belief collides with industry and visual excess. Popcorn becomes both image and metaphor, standing in for abundance, distraction, and the way meaning is consumed, repeated, and ritualized I intentionally built a dense, restless composition that resists hierarchy or stillness, reflecting how faith, entertainment, and production compete for attention in contemporary life. Rather than offering reverence or critique alone, the painting holds these tensions in place, asking the viewer to sit inside the noise and consider where meaning survives.
Through his brushwork, H.H. Dorje Chang Buddha III renders the subtle life cycle of a water bubble—its emergence, transformation, and eventual dissolution—with remarkable vitality. Though the medium is static, the painting evokes a striking sense of movement and immediacy. One almost senses the gentle drifting of bubbles across the surface, and even imagines the delicate sound that might accompany the instant when a bubble touches the ground and quietly disappears.
Beyond its visual beauty, the work carries a deeper contemplative resonance. In the fleeting rhythm of the bubbles, one cannot help but see a metaphor for the human condition. The trajectory of a bubble—from its brief formation to its silent vanishing—mirrors the arc of human life: birth, growth, aging, and departure. Life itself unfolds within the span of a breath, fragile and transient, reminding us of the importance of awareness and presence in each passing moment.
From an artistic perspective, the painting also demonstrates a remarkable command of impressionistic expression. The composition operates not only as a unified whole but also as a constellation of smaller visual worlds. Any isolated fragment of the canvas could stand independently as an exquisite impressionist study, rich in color, light, and atmosphere. This structural richness gives the work a dreamlike, almost illusory quality—where forms appear to emerge and dissolve within layers of color and movement.
In this way, the painting invites the viewer to linger, not merely to observe, but to reflect. It transforms a simple natural phenomenon into a meditation on impermanence, perception, and the delicate beauty of existence.
Click here to Wikitia page on H.H. Dorje Chang Buddha III that list major accomplishments and teachings with links.
Created in 1993, Xing Garden at Mount Rili stands as a masterful expression of the artist’s profound understanding of nature and brushwork. The painting presents a dramatic world of steep cliffs and cascading water, inviting the viewer into a landscape that feels both monumental and intimate.
Dominated by vibrant greens, the work vividly captures moss and grasses spreading freely across rocky surfaces. These lush tones breathe life into the cliffs, softening their ruggedness while emphasizing the quiet vitality that thrives within seemingly harsh terrain. Nature here is not static; it pulses with energy and renewal.
The painting employs the refined “Miaoxie” (妙写) technique—a style that reveals its true depth through careful observation. At first glance, the composition appears fluid and effortless. Yet upon closer inspection, the brushstrokes intertwine like delicate wires, layered and interwoven with extraordinary precision. These subtle lines create constant movement and variation, generating emotional richness and visual intrigue through their complexity.
One of the most captivating aspects of this work lies in its masterful use of illusory watery ink, where solidity and transparency coexist. Ink seems to flow and dissolve at the same time, offering a boundless sense of depth and atmosphere. Whether viewed from afar or examined up close, the painting reveals a bottomless waterfall, rendered with meticulous detail yet infused with powerful momentum.
What is especially striking is the contrast between refinement and strength. From a distance, the scene appears serene and orderly; yet when the viewer studies the brushwork closely, the strokes reveal unexpected vigor and boldness. Within apparent emptiness, there is substance; within seeming chaos, there is profound order. This balance embodies the highest level of artistic cultivation.
Through free yet disciplined brushwork, the artist transforms a simple natural motif—a waterfall between two cliffs—into a scene of extraordinary aesthetic depth. The power of each stroke carries both physical strength and spiritual presence, allowing the painting to transcend mere representation and enter the realm of lived experience.
Xing Garden at Mount Rili is more than a landscape painting. It is a quiet dialogue between nature and the artist’s inner world, revealing how true mastery lies not in excess, but in the ability to uncover profound beauty within simplicity.
IAMA presents Be Your Own Spotlight by Yen’s Art Studio
Walking into Be Your Own Spotlight, presented by Yen’s Art Studio, at IAMA (The international Art Museum of America), I didn’t feel like I was entering a typical student art exhibition. Instead, it felt more like stepping into 150 honest conversations—each one visual, brave, and deeply personal.
The exhibition features 150 outstanding works by young students, created across a wide range of mediums—acrylic, watercolor, pencil, and mixed media. But what moved me most was not the variety of techniques; it was the sense that every piece quietly declared: this is who I am right now.
These students are not just learning how to paint or draw. They are learning how to trust their voices, how to take up space, and how to stand behind what they create. Their works reflect growth, self-discovery, and the joy—and sometimes uncertainty—of becoming. Whether you are a parent, an educator, a collector, or simply someone searching for inspiration, this exhibition offers something meaningful to feel, not just something pleasant to see.
As I moved through the gallery, I was delighted by the sheer range of imagination: striking portraits, fantastical worlds, playful animals in sunglasses, thoughtful reflections on global issues, and moments of pure joy. The diversity of themes reminded me of a beautiful truth that Yen’s Art Studio expresses so well: “In the world of art, there are no boundaries of age or race. Children’s artwork can reach—and sometimes surpass—the technical ability and creative understanding typically associated with adults.”
One piece that stayed with me was a self-portrait by 8th-grade student Cynthia Liu. It stood out not only for its technical sensitivity, but for its emotional depth. Cynthia is known for her perfectionist nature, something many of us—artists or not—can relate to. Her work quietly reflects a universal truth: no artwork is ever truly finished. Without a clear endpoint, a piece can be revised endlessly, sometimes at the cost of the original vision.
Self-Portrait by Cynthia Liu, 8th grade Yen’s Art Studio
Hanni from Newjeans by Sophie Sun, 9th grade. Yen’s Art Studio
Another story that deeply touched me was Sophie’s. Once a shy student who nearly gave up on art altogether, she found her way back through the creative process at the studio. Through painting, Sophie rediscovered calmness, confidence, and inner strength—one of the most meaningful transformations I learned about in this exhibition. Her journey reflects the studio’s commitment not only to technical excellence, but to nurturing the inner lives of its students.
Lovers by Nova Cui, 9th grade Yen’s Art Studio
Among the more than 150 works, one painting stood out to me for its quiet presence rather than immediate visual impact. Created by Nova, a student dedicated to becoming a professional ballet dancer, the piece carries a sense of discipline, restraint, and inner resolve. Acknowledging the intensity of her dance training, her art education focused less on technical display and more on observation, sensitivity, and emotional understanding.
Her painting reveals genuine emotion and determination, qualities she will undoubtedly carry into her future as a dancer, where movement and art meet as a shared language of expression.
Be Your Own Spotlight is ultimately not just about showcasing talent. It is about honoring courage—especially the quiet kind. It reminds us that every young artist is learning not only how to create, but how to believe in themselves. And as viewers, we are fortunate to witness these moments of bravery, growth, and becoming.
Don’t miss the museum’s permanent exhibition, where world-class artworks offer far more than visual beauty. Here, art becomes a quiet refuge—inviting tranquility, reflection, and a subtle elevation of the spirit. Especially moving are the paintings by H.H. Dorje Chang Buddha III, whose works gently awaken the mind, soothe the heart, and leave the soul deeply inspired long after you depart.
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.
Please see below the answer of whose work is the best amongVincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III
I have spent more than 60 years of my professional life in the field of painting. During the many decades of practice and experiences, I have come to know many famous painters. That is especially the case since I became the Head Consultant for authenticating paintings and calligraphy at the National Museum of China in Beijing. As an appraiser and authentication officer of paintings and calligraphy, the bulk of my work is to verify the authenticity of Eastern and Western paintings. I have reviewed tens of thousands of famous paintings, especially the rare and precious works of the maestro Vincent van Gogh of the Netherlands, and those of the champion of Eastern paintings, Qi Baishi of China.
Both Van Gogh and Qi Baishi were great world-renowned masters in art. One represented the apex of Western art and the other was a master of an extreme class in the field of Eastern paintings. Both artists had drawn from the essence of the classical traditions of their respective cultures. They created new styles of art and new ways of seeing the universe. They broke new grounds and became pioneers of new eras, each becoming a creative guru of his time, developing a distinct style of his own and leading new trends that inspired later generations. Their works reflect the different essences of the Eastern and Western traditions. To what extent can their works influence the artistic civilization of the world? What kind of artistry did they achieve that made them upright monuments in art history and admired by so many people?
Some art critics compared the works of Van Gogh and Qi Baishi to see which of them reached a higher level of accomplishment. They concluded that both have their own merit, both are undefeated champions in the art and both reached the pinnacle of artistry. Recently, some art critics also brought up the oil painting Sunflowers and the ink-wash painting Sunflowers, both created by H.H. Dorje Chang Buddha III, and gave them rave reviews. They went on to compare the works by Vincent van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, trying to establish which of the three artists is the champion of the champions. The result of comparing the works by Van Gogh, Qi Baishi and H.H Dorje Chang Buddha III is tremendously inspiring.
Ever since the Renaissance, Western artists had placed emphases on rational analysis and the realist portrayal of forms. They used light, texture and details to present the realistic, three-dimensional perspective. A few centuries later, Van Gogh rejected the monotony of such use of light and shadow and the realistic portrayal of figures. He pioneered the movement of impressionism that suited him well by applying a mix of colorful, brilliant, splendid and vigorous brushstrokes. He became a great master of his time and his name was forever etched onto the monument of Western civilization and art.
Whenever people think of Van Gogh, they think of his unique character, the sparkles in his eyes that emit lightning, his vigor and his incessant pursuit of inspiration in art without any regard to external hardships. Van Gogh was an artist by birth. He was of exceptional confidence and was somewhat neurotic. Having such traits, he pursued the art that he loved without any reservation or hesitation. He loved his works and regarded everything else with disdain. He preferred to be a loner in the world and did not care to make acquaintance of other painters of his time. His works are full of luminous colors, the brushstrokes are like rising winds and racing clouds in the sky. In his art, he depicted pasture, figures, flowers and other subject matters with brisk colors. Every brushstroke was transformed from his inner emotions. Such emotions were fully and colorfully captured in his Self-Portrait as well as in the transcendental Sunflowers that he painted. These works contain an animated spirit that is deeply moving.
From Van Gogh’s artistic spirit and intent, we can detect that he was profoundly knowledgeable about Chinese ink-wash paintings. Precisely because of this, while depicting forms and applying colors, he employed the skills of using the center tip of the brush and parallel brushstrokes. His Still Life with Bible was created with parallel brushstrokes. In his Self-Portrait, he portrayed his face filled with lines and plaques that are extraordinary. It is not hard for us to discover that he drew inspirations from the substance and essence of Chinese painting in those brushstrokes. That is why Van Gogh is such a distinguished, unparalleled artist of his time and his works are superior to those by the other Western oil painters such as Cezanne, Gauguin or Picasso of the same era.
Van Gogh’s artistic style was closely linked not only to Chinese civilization in the East, but also to the classical Renaissance art, Pointillism, German Expressionism, and Impressionism in the West. Toward the end of his life, he came into oneness with the universe and immersed himself in a carefree state of mind to “follow wherever nature might lead.” As such, he was no longer aware of his own existence. In his mind, there was only the art and the universe. “Following where the nature may lead” is the essence of the ideology of the Chinese philosopher Laozi. Van Gogh cut off his ear with a knife. He lost himself completely in painting. That was his unspoken resentment and rejection of the unfair treatment imposed on him by the society.
Qi Baishi was profoundly knowledgeable about impressionist, fauvist, and realist paintings. By adopting the essence of Western painting and incorporating the traditional spirit of Eastern art, he developed his unique style and became the master of Chinese painting of the twentieth century. His brushstrokes were solid and poised, evincing a sense of power that went all the way through the paper. Using sheep-hair brushes, he elicited calligraphic skills to create his paintings. Qi Baishi’s lines are bold and robust, embodying a forceful spirit that can move mountains. At the same time, these lines are flexible, sturdy and round, with similar qualities to the lines of wire-drawing. His compositions emerged naturally from the spontaneous movement of the brushes. Such compositions are accompanied by vigorous calligraphy resembling the strength, power and fluidity of stone inscriptions.
The artistic concept of spontaneously “following where nature may lead” is precisely derived from Laozi’s philosophy and the artistic civilization of the Chinese ethnicity. Qi Baishi favored the use of white space in his paintings. The white space in black-and-white Chinese ink-wash paintings is considered a solid color. Ink can be differentiated in nine shades (or five shades according to ancient Chinese text.) That is to say, the white of the paper per se and the black of the ink are all considered as colors. There is a sense of meticulous precision in the artworks by Qi Baishi. He depicted insects such as grasshoppers, mantises and butterflies in meticulous and vividly colorful ways. In some of his artworks, the artist was able to express his ideas by putting down just a few brushstrokes without any conscious intent, while arriving at a state of oblivion of his own existence. Anything depicted by his brushes was vivid and vibrant, with the subject matter coming alive on the paper. There is an aura that moves our heart and soul. All in all, Qi Baishi’s paintings were executed with a confident brushwork that naturally achieved a kind of childlike charm.
Recently, some people compared the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III to see whose works are more superior and outstanding, or will have a broader and more far-reaching influence on later generations. I have viewed quite a lot of the artworks by Van Gogh, Qi Baishi and H.H. Dorje Chang Buddha III. I started the study and appreciation of the paintings by Qi Baishi under the enlightening guidance of my teacher when I was 9, and when I was 14, I began to study and appreciate the works by Van Gogh. It has since been several decades!
At the same time, since I have admired the art of H.H. Dorje Chang Buddha III for a long time, to satisfy my desire and wishes I flew from New York to San Francisco to visit the International Art Museum of America, and to Los Angeles to visit the H.H. Dorje Chang Buddha III Cultural and Art Museum in order to see their collections. I was profoundly impressed by the architecture of both museums which is grand and dignified. Both museums have a collection of the authentic works by H.H. Dorje Chang Buddha III. There are various artworks that are created with different kinds of material. Some are bold and forthright, some are charmingly meticulous and astounding. The oeuvre is not made up of just one single style.
Yet, the only artwork that was not available for viewing is the Sunflowers painted by H.H Dorje Chang Buddha III. When I hear that some art critics are comparing the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, I naturally feel, from my experience of having studied the works by Van Gogh and Qi Baishi for a number of decades, that although their artistry are similar in levels, it is possible to say who is the best if we are just to compare the sunflowers painted by the three artists, when we include in the compositions, colors, brushwork, lines, vitality, spirit and so on. With all these elements in consideration, it is possible to do the comparison and conclude who painted the best, or in other words, whose works can bring the most joy and delight to people, or whose art will be most influential to the philosophy, artistic concept and entire civilization of this world.
Therefore, without any ambiguity, we concluded. In terms of character and morality, Van Gogh would be the last of the three. In terms of level of skills, Qi Baishi would also be ahead of Van Gogh, who is, however, already the cream of the crop in western civilization. Being the Buddha living in the current century,H.H. Dorje Chang Buddha III saves living beings with great loving compassion. He is not embodied in an ordinary being. Needless to say, the level of cultivation of the Buddha is superior to that of Van Gogh and Qi Baishi. In terms of creativity and painting skills, how can any ordinary being even hold a candle to the Buddha? In this way, the comparison result is immediately determined.
When those art critics carried out the detailed research of the Sunflowers by Van Gogh and Qi Baishi as well as H.H. Dorje Chang Buddha III, they copied the artworks by all three artists. After copying the works by Van Gogh and Qi Baishi, they felt deeply that through hands-on practice, they indeed gained more understanding of their works. It would not be easy but not so difficult either for one to really reach their artistic level. As for the Sunflowers by H.H. Dorje Chang Buddha III, they found it rather difficult to copy. Even though they tried many times, they had a hard time just copying the form, let alone the spirit.
The Sunflowers by H.H. Dorje Chang Buddha III clearly show the artist’s solid foundation and prolific skills in the Eastern and Western painting traditions. They comprise the essences in both traditions and display a brushwork, sentiment and colors that are one of a kind. The color tones and brushstrokes are rich, dense, soothing and elegant. Lively brushwork paints an animated charm that is whole, evincing a miraculous and expansive spirit and aura as well as a strong vitality. As for the Sunflowers oil painting in which H.H. Dorje Chang Buddha III depicted some flowers inside a vase, the artistry is extraordinary and full of variations; the composition is simple yet abstruse. The flowers are natural and gracious, such that they give an impression of unpredictability, reaching a state of oneness with the universe and emanating a sharp animated spirit.
The ink-wash painting Sunflowers by H.H. Dorje Chang Buddha III has an uninhibited, natural, and spontaneous brushwork that is dense, bold, and robust, but also elegant and agile. It exhibits a charm that is like stone and bronze inscriptions. Overall, the whole painting manifests a harmonious and moving imagery, naturally emanating a lively vivaciousness and a carefree, spirited aura.
In comparing the works by Van Gogh of the Western civilization, Qi Baishi of the Eastern culture, and H.H. Dorje Chang Buddha III, we can see the artists are distinguished in their unique own ways owing to their different cultures. However, only the artist who can continue to influence the world two to three hundred years from now will be the everlasting monument. There is a saying, “Talents emerge in every era and they all will each have 500 years of fame!” For people of the present day, the one whose work you like the best would be the one that is the most extraordinary!
Please see the contrast of six paintings below:
Sunflowers by Van Gogh (1)Sunflowers by Van Gogh (2)Sunflowers by Qi Baishi (1)Sunflowers by Qi Baishi (1)Ink-wash Painting Sunflowers by H.H. Dorje Chang Buddha IIIOil Painting Sunflowers by H.H. Dorje Chang Buddha III
The H.H. Dorje Chang Buddha III Cultural and Art Museum is pleased to announce its exhibition of “A Rock of Horizontal Charm“, a masterpiece of Yun Sculpture that embodies the spirit of art in a truly dis-tinctive way. In honor of this extraordinary form of art, the museum is offering free admission to the public for a limited time.
“A Rock of Horizontal Charm” was created by the world-renowned and internationally-revered highest leader of Buddhism, H. H. Dorje Chang Buddha III. The Yun Sculpture is a piece of original artwork that expresses a unique set of qualities. Various art experts and professors who have viewed the sculpture art say it has surpassed natural beauty and represents a level of perfection that extends well beyond what can be described as superb craftsmanship or inspired artistry.
The H.H. Dorje Chang Buddha III Cultural and Art Museum is exhibiting A Rock of Horizontal Charm, an unparalleled masterpiece of Yun Sculpture. For a limited time, visitors can receive free admission to the museum and witness the unsurpassed natural beauty of the superb sculpture art first hand.
When viewed from different angles, the Yun Sculpture’s colors, structure, and atmosphere change completely, inexhaustibly transforming in unpredictable ways. Furthermore, it possesses multidimen-sional spatial structures that are complex yet delicate and intricate, and exquisite to the utmost. In addi-tion, its colors—kaleidoscopic and majestic, yet mature and assured—manifest a supernatural, visionary beauty. “A Rock of Horizontal Charm“, alone, is so endlessly variegated that it provides thousands of beautiful vistas.
The astounding beauty of this amazing sculpture art goes far beyond mere words. Therefore, it is no surprise that it has distinguished itself as the “emperor” of the four great Yun Sculptures. In fact, the creation of “A Rock of Horizontal Charm“ is considered to be a miracle in human history because no craftsman in the ancient or modern world—or even high technology—has been able to devise such ex-traordinary works of divine art. Consequently, this original artwork has been designated a “peerless treasure” that cannot be replicated, and the museum has named the room in which it is being displayed, Peerless Treasure.
“Even the “He Shi Bi (the Jade Disc of He) “, recorded in history as a treasure of monumental value, does not fit the title of ‘peerless treasure,’ since it is completely replicable—and if it can be replicated, it is not unique; if it is not unique, it is not peerless,” states the museum’s website. “In fact, any master sculptor’s magnum opus can be recreated; thus, only “A Rock of Horizontal Charm“ is the true peerless treasure.”
Despite an invitation to create an identical replica Yun Sculpture for a $50 million prize, no human sculpture master or technology has successfully duplicated “A Rock of Horizontal Charm“. From this, one can see how H.H. Dorje Chang Buddha lll’s artistic level has far exceeded the summit of sculptural art in human history.
The exhibit featuring “A Rock of Horizontal Charm“ will allow visitors to experience the divine charm of H.H. Dorje Chang Buddha lll’s original artwork in person. The unreplicatable sculpture exudes an inex-plicable amalgamation of color, motion, energy and spirit. “A Rock of Horizontal Charm“ has transcend-ed the category of highest human sculptural attainment and entered into the enjoyments of a mystical world.
Located in Covina in East Los Angeles, the H.H. Dorje Chang Buddha III Cultural and Art Museum is housed in a building with a 117-year history. The structure was renovated in 2014 and transformed into the cultural and art museum that occupies the space today. Since then, the museum’s world-class, un-matched treasures have attracted a steady stream of culture and art lovers from around the globe.
The mission of the cultural and art museum is to promote the exceptional accomplishments of an Amer-ican with outstanding talent—H.H. Dorje Chang Buddha III—by displaying his achievements in culture, literature, philosophy, art, science, technology, and other fields. Visitors to the museum can learn about the noble ethics and morality of H.H. Dorje Chang Buddha III and the holy character of this magnificent, selfless Buddha who altruistically contributes to society through his vast achievements and who advances world peace as well as the happiness of people. In addition, visitors can be guided by the teachings of H.H. Dorje Chang Buddha III and model themselves after him to elevate their own moral character and benefit the public.
About H.H. Dorje Chang Buddha III H.H. Dorje Chang Buddha III has been recognized by the most highly realized practitioners of Buddhism as the third incarnation of the original Buddha, Dorje Chang Buddha. His accomplishments transcend religion, healing and art. As the first in history to manifest real accomplishments in the five vidyas, He meets the highest standard of Buddhism. He is recognized for his devotion to a wide scope of cultural and religious activities, which enrich the lives of people from communities throughout the world. His Holiness has mastered 16 unique painting styles or schools, representing an unprecedented pioneering achievement in the history of art. Additionally, He is the pioneer of a new class of artwork that cannot be duplicated by any living being: Yun Sculpture. Experts predict that His paintings and sculptures will become increasingly valuable.
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)
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 III. Dharma 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.
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.
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.
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.
Peace LiLy 