Tag: Art

The Selling Price of His Painting “Majesty” Has Shocked the World

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What Type of Expert Is He? The Selling Price of His Painting “Majesty” Has Shocked the World

The Explanation of the Buddha’s Title – “H.H. Dorje Chang Buddha III”

On April 3, 2008, a solemn and dignified first-publishing ceremony of a fact-recording book entitled H.H. Dorje Chang Buddha III, which published jointly by the World Buddhism Publishing LLC and the World Dharma Voice, Inc., was held at the Library of the Congress of the United States. The book was also formally accepted into the collection of the Library of the Congress of the United States. Only since that time, did people in the world know that Master Wan Ko Yee, who had been broadly respected by the great masses and who had also been known as Great Dharma King Yangwo Yeshe Norbu, had been recognized by the world’s leaders, regent dharma kings, and great rinpoches of Buddhism through official documents as the third incarnation of Dorje Chang Buddha, who is the primordial Sambhogakaya Buddha of the universe. The Buddha’s name is H.H. Dorje Chang Buddha III. Since then, people began to address His Holiness the Buddha by “Namo[1] Dorje Chang Buddha III.” This is similar to the situation that Sakyamuni Buddha’s name was Prince Siddhartha Gotama before attaining Buddhahood. However, after Sakyamuni Buddha had attained Buddhahood, His title changed to “Namo Sakyamuni Buddha.” That is why we now address His Holiness the Buddha as “H.H. Dorje Chang Buddha III.”

In particular, on December 12, 2012, the Senate Resolution No. 614 of the United States Congress officially used “His Holiness” in the name addressing Dorje Chang Buddha III (That is to say, “H.H. Dorje Chang Buddha III.”) Since then, the title and status of H.H. Dorje Chang Buddha III has been definitive by nature. And, as a matter of fact, “Dorje Chang Buddha III” is a name used legally in governmental and official legislative documents. Therefore, the previously used respected name and titles such as “Wan Ko Yee,” Great Master, and Great Dharma King no longer exist.

However, the news below was published before the Buddha’s title of H.H. Dorje Chang Buddha III was publicly announced. At that time, people did not know about the true status of His Holiness the Buddha. Therefore, to respect the true history, we still kept the names used before the title of H.H. Dorje Chang Buddha III was legitimately determined in republishing this news. However, all must clearly know that the only legitimate name of His Holiness the Buddha is H.H. Dorje Chang Buddha III and all other names used before the legitimate determination no longer exist.

Los Angeles Asian Journal May 31, 2000

What Type of Expert Is He? The Selling Price of His Painting “Majesty” Has Shocked the World

Some people say that Master Wan Ko Yee (H.H. Dorje Chang Buddha III) is an expert in Buddhism. Some say that he is a great painter or a great singer. There are those who say that he is a great medical expert or a great ethicist. There are also those who say that he is a scientist. On May 28th, Unique Art Collections International Co., Ltd. auctioned Master Wan Ko Yee’s painting entitled “Majesty.” An art collector purchased this painting by way of competitive bid for a price of NT$64,950,000 (this equals U.S.$2,125,327.) People all over the world were shocked to hear of this purchase price.

Some people think that the paintings of Master Wan Ko Yee (H.H. Dorje Chang Buddha III) are Buddhist paintings and for this reason command such an extraordinarily high price. This viewpoint, which has been expressed to the media by certain people who do not understand art, is totally erroneous. In fact, Mr. Wan Ko Yee is a great artist whose paintings cannot be matched by anyone in this day and age. Eleven of his paintings were exhibited by China in an international art exhibition which took place in Philadelphia in 1978. The mainland Chinese government even built a huge art museum, the first of its kind in thehistory of China, in order to display more than two hundred of his paintings.

Master Wan Ko Yee (H.H. Dorje Chang Buddha III) is not only a famous and great artist, he is also a leader in the world of art. When he was twenty years old, he was the head of the Chinese Painting Research Division of the China Education, Science and Culture Organization. This is a high level organization within art circles in China and its leaders include people such as Chou Ying-Nan, Wu Zhang-Shu, Qian Jun-Tao, Xie Zhi-Liao, Liang Shu-Ming, Wan Lai-Ming and Cang Ke-Jia.

In the entire history of Chinese painting, no other painter was able to master the amount of artistic skills, the variety of different styles and the diversity of subject matter which Master Wan Ko Yee has mastered. Other painters could only exhibit two or three different artistic skills at the most. For example, Zhang, Da-Qian exhibited three different artistic skills: line painting, traditional painting and splash ink painting. However, Master Wan Ko Yee has completely mastered a few dozen different artistic skills. Master Wan Ko Yee can paint landscapes, people and other objects, animals, flowers, birds, fish and insects by using the meticulous brushwork style or by using the freehand brushword style. Whichever style he uses, his paintings are always elegant, grand, and full of life. One can get a glimpse of his artistic skills by looking through the huge book which contains a collection of his paintings.

In 1995, the Sichuan Daily News and the Chengdu Evening News each printed an advertisement on behalf of an auction house. This auction house wanted to buy the Master’s paintings for a price of R.M.B. 1,700 yuan per square inch. Master Wan Ko Yee’s skills have reached the highest level in the world when it comes to ink and wash paintings. Thus, in 1991, the World Poets and Culture Congress conferred upon him the title of “The world’s only Distinguished International Master.” This is the highest position possible and is on the same level of honor as a head of state.

Of course, the Master is also an ethicist. His books included Selected Philosophical Saying of Master Wan Ko Yee (H.H. Dorje Chang Buddha III) . He is a singer. There are fourteen tapes and CD’s containing his songs. The famous singer Zhang Huw-You is his student. He is a scientist. He developed two green teas called “Ba Wang Chun” and “Bi Yu Chun.” These are the best quality teas in the world. He is a medical expert who has cured countless people of a variety of different diseases. There were times when in one day, more than three hundred people had appointments to see the Master for treatment. The Master invented many new treatments for diseases, such as an extremely effective different experts? Why is it that this one person Master Wan Ko Yee (H.H. Dorje Chang Buddha III) , has combined skills of several different experts? The main reason is that he is a Great Dharma King Master of Buddhism. He has truly mastered the Five Knowledges spoken if in Buddhism. All of his skills mentioned above cover only part of the Five Knowledges which he has mastered. Instead of trying to describe what type of the expert he is, it would be better simply to say that he surpasses the word “expert.” He is a precious treasure who is a benefit to humanity. He is a Dharma King Master who is a rare gem in this world.

Link: https://ibsahq.org/news-data-en?id=186

#DorjeChangBuddhaIII #DorjeChangBuddha #Buddha l

Eastern Charm Awakens: Where Fine Art & Fashion Intersect in San Francisco

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If you are looking for an inspiring cultural experience in San Francisco this summer, make sure to visit the International Art Museum of America. Their newest exhibition, Eastern Charm Awakens: Where Art Meets Silk, offers a breathtaking look at creativity, tradition, and the powerful bond between mother and daughter.

Exhibition Dates: July 18 – August 2, 2026

Location: International Art Museum of America, San Francisco

A Unique Mother-Daughter Collaboration

At the heart of Eastern Charm Awakens is a rare and extraordinary creative dialogue between Yuan Yuan (Rebecca) Xu and her daughter, Angela Tse.

Despite being only 10 years old, Angela is an exceptional talent whose detailed Chinese brush paintings capture depth, beauty, and traditional technique far beyond her years. Inspired by her daughter’s artwork, Xu Yuan Yuan—a multitalented, interdisciplinary fashion designer—has translated Angela’s painted brushstrokes directly into intricate, wearable fashion.

Walking through the gallery, visitors are treated to a dynamic side-by-side experience:

  • Traditional Chinese Aesthetics: Angela’s fine brushwork grounds the exhibit in rich cultural heritage.
  • Contemporary Fashion: Yuan Yuan’s garments take elements, motifs, and colors from those paintings, turning two-dimensional art into fluid movement, luxurious textures, and living forms.

This seamless blend transforms static artwork into a tactile, lived experience—showing how ancient artistic traditions can continually inspire modern design.

Whether you are a lover of fine arts, fashion design, or simply looking to experience a touching story of intergenerational talent, Eastern Charm Awakens is not to be missed.

Be sure to stop by before August 2, 2026, to immerse yourself in this magical synthesis of silk, ink, and vision!

The International Art Museum of America has been named Best Museum and Best Art Gallery in SFGATE’s Best of Bay Area 2026, as well as a finalist for Best Event Space/Venue. The museum itself is well worth a visit anytime.

Link:https://peacelilysite.com/2026/07/31/eastern-charm-awakens-where-fine-art-fashion-intersect-in-san-francisco/

Professor of the New York Academy of Art Held a Master Class for Graduate Students to Copy Artworks at the International Art Museum of America in San Francisco

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Artworks of His Holiness Dorje Chang Buddha III and Professor Yuhua Shouzhi Wang enable the next generation to comprehend the essence of art from different cultures

SAN FRANCISCO – On November 2,2019 the Provost of the New York Academy of Art, Peter Drake, led 15 Master’s students to the International Art Museum of America (IAMA) in San Francisco and conducted a class on site. When the group was copying original works of world class artists such as those of His Holiness Dorje Chang Buddha III and Professor Yuhua Shouzhi Wang, they praised the art profusely.

Matthew Kuan, the President of the International Art Museum of America in San Francisco, welcomed the visiting group. Loretta Huang, Director of Museum Operations, and staff introduced artworks in each gallery to the visitors. The President of World Journal San Francisco Ken Lo came to meet members of the group including Peter Drake. Lo also acclaimed the Museum’s collection and exhibition program.


Provost of the New York Art Academy Peter Drake gave instructions to Master’s students about how to copy the artworks

Drake had visited the International Art Museum of America before and was amazed by the artworks exhibited there. In this trip, he personally led 15 students to study the artworks by copying them. He said that this was the first time these students had ever been to the IAMA in San Francisco.

Amy Hughes is a Master’s student from the U.K. and has been living and studying in New York for five years. She specializes in the study of oil painting. She said that this visit had enabled her to truly comprehend the essence of art from different cultures. She is especially impressed by the expansiveness and profundity of Han Chinese culture.

Dongqin Fang is a 2019 Master’s degree graduate and a teaching assistant at the New York Academy of Art specializing in oil painting and sculpture. He expressed being truly shocked by the large number of original paintings by top Chinese artists at the International Art Museum of America in San Francisco, and that he has gained a lot from being there. He said this is also the first time he ever looked at Yun sculptures created by H.H. Dorje Chang Buddha III at a close distance. To him, those sculptures exude a mystique that feels like “heavenly bliss.”


The Provost of the New York Art Academy PeterDrake lead Master’s students to copy the art exhibits; the group is deeply impressed by the exquisite artworks in the International Art Museum of America.They took a group photo in front of the painting Misty Appeal of a Dilapidated Pond.

Out of approximately 250 artworks exhibited in the International Art Museum of America, more than 100 of them are on loan from H.H. Dorje Chang Buddha III whose works have repeatedly achieved the highest prices at art auctions, beyond those ever reached by any living artists.

The art pieces that caught everyone’s attention are the rare world treasures of Yun sculptures exhibited in the Treasure Room, including A Pillar Holding Up Heaven, and another work esteemed to be “miraculously divine artistry of Buddha” within which mist was carved to become an actual part of the artwork. Yun sculpture is uniquely originated by H.H. Dorje Chang Buddha III. It embodies a multi-dimensional sense of space; its beauty transcends natural scenery, and its colors are more exquisite than those of natural rock formations. Inside the stone cave of the Yun sculpture, one can see richly magnificent colors as if they were intrinsically part of the art, with no trace of rendering. From the carving knife comes the melting cave with enigmatic and miraculous scenery. Auspicious clouds and natural mist float inside the melting cave of the artwork and do not dissipate, exuding the sense of an otherworldly paradise.

H.H. Dorje Chang Buddha III originated 16 unique and unprecedented painting styles. Exquisite works of art created by His Holiness the Buddha capture the quintessence of art and culture. They encompass Chinese ink painting, Western oil painting, sculpture, calligraphy, stone and bronze inscription, poetry, verse, song, ode, colorfully painted tile and other media. In His Holiness’s paintings, subject matters include landscape, flower, bird, animal, fish, insect, and human figures. The range of profound techniques include traditional Chinese painting methods such as meticulous style, freestyle, and ink wash; as well as Western painting styles such as figurative, abstract, impressionist, and line drawing.

Recently, when paintings of Professor Yuhua Shouzhi Wang were exhibited at the Louvre Museum in Paris, they stunned the European art world. Professor Wang’s art has attained the highest state of artistry and accomplishment. Experts in the field of art all held her paintings in high esteem. One of Professor Yuhua Shouzhi Wang’s small paintings Pomegranates in a Basket realized a top auction price of US$1.27 million in the Spring auction at the Gianguan Auction House in New York on March 13 of this year. It clearly shows that the art of Professor Yuhua Shouzhi Wang is recognized by art collectors and people of foresight alike.

Loretta Huang, Director of Museum Operations at the International Art Museum of America in San Francisco said that levels of artistic creation in painting can be categorized in four classes. First is the Class of Proficiency where one’s sketching skill achieves resemblance of form. Second is the Class of Wonderment in which the paintings are wondrously beautiful. Third is the Class of Divinity where both form and spirit are fully enlivened. Fourth is the Class of Ease where the artist possesses extraordinary skill and is able to paint anything at will to accomplish a magnificent masterpiece. The art of the Honorary Lifetime President of the Museum, Professor Yuhua Shouzhi Wang, is of the Class of Ease, a Class that few Chinese artists have ever achieved. The artistry of Professor Yuhua Shouzhi Wang is esteemed to be of the same standing as Western painters such as Cezanne and Gauguin.

Loretta Huang said that in addition to exhibiting the art of H.H. Dorje Chang Buddha III and Professor Yuhua Shouzhi Wang, the International Art Museum of America also showcases works by renowned artists including Wu Changshuo, Qi Baishi, Huang Binhong, Pan Tianshou, Fu Baoshi, Xu Beihong, Li Keran, Zhang Daqian, Yun Shouping, and others; as well as authentic calligraphic art by the Emperor Yongzheng. What differentiates IAMA from many other museums is the eminence of the artworks it exhibits.

Three musicians by Fu Baoshi

The International Art Museum of America in San Francisco holds three criteria for artworks to be admitted for exhibition: First, the works of the artist must be collected by at least two world famous art museums. Second, the auction price of the artist’s works must exceed US$200,000 per square foot. Third, the artist must have substantial influence or status in the world, such as being director of a museum or provost of an art academy.

Rare Opportunity to Copy Original Artwork, Everyone Puts their Heart and Soul to Study

The Provost of the New York Academy of Art, Peter Drake, led 15 graduate students in a 3-hour Master Class at the International Art Museum of America in San Francisco to study the artworks by copying them on site.

The collection of the International Art Museum of America includes many original artworks. Students and members of the faculty from the New York Academy of Art especially cherished the opportunity to study on site. After everyone toured the Museum, each selected a different ink painting and sketched it in great detail to explore the wondrousness embedded in the brushwork.

The Han Chinese culture goes back to an ancient origin and will continues to flourish for a long time. Chinese painting and calligraphy make up a major part of such culture. There is a big difference between appreciating and copying art. Appreciating is skimming the surface; only through copying can one engage in an in-depth study of the works.

Qindong Fang, a student of Chinese ethnicity, said it awed him that some of his fellow American students could actually copy Chinese calligraphy, and Museum staff members of different ethnicities could even read what they copied. Through copying, he said, his fellow students could gain better knowledge of the culture of Chinese painting and calligraphy, and explore in-depth the 16 unique painting styles originated by H.H. Dorje Chang Buddha III; and this has been a wonderful learning experience.

Source: https://asianjournal.com/entertainment/events/professor-of-the-new-york-academy-of-art-held-a-master-class-for-graduate-students-to-copy-artworks-at-the-international-art-museum-of-america-in-san-francisco/

Link:https://peacelilysite.com/2026/07/22/professor-of-the-new-york-academy-of-art-held-a-master-class-for-graduate-students-to-copy-artworks-at-the-international-art-museum-of-america-in-san-francisco/

🎨 Ink-Washed Celestial Melody: Admiring H.H. Dorje Chang Buddha III’s Landscape Masterpiece Ancient Cypresses Intoning by the Spring

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In the vast river of Chinese art history, literati landscape paintings (Wenrenhua 文人画) have traditionally served as a sanctuary for the soul—using brush and ink to transcend the mundane world and attain the highest realm of spiritual freedom. In the pantheon of contemporary Eastern art, “Ancient Cypresses Intoning by the Spring”—a Chinese landscape masterpiece by H.H. Dorje Chang Buddha III (Yi Yun Gao义云高)—stands as an immortal monument of the Literati Style (Wenfeng文风派). It not only showcases a profound scholarly aura and masterful brush-and-ink technique, but also ushers viewers into an eternal, boundless cosmic life-space.

The entire composition relies solely on shades of wash and ink to dot and stain the wondrous peaks, ancient cypresses, and secluded cottages. Through the masterful use of white space (liubai留白), the grand spectacle of thundering waterfalls and surging mountain springs is vividly brought to life. The sounds of roaring wind, rushing springs, and whispering pines are all transformed upon the paper into dynamic visual lines and lively ink tones, filling the entire conceptual space with invisible celestial melodies. This touch of pure ink is precisely the ultimate spiritual realm—honest, elegant, natural, yet profoundly deep—that Chinese literati across generations have spent their entire lives pursuing.

The artistic conception of Ancient Cypresses Intoning by the Spring is remarkably deep, ethereal, and serene. The imagery carries a desolate yet vast quality, evoking an ideal world of mythical mountains and jade islands completely untouched by worldly noise or secular dust.

Most profound of all is how the sense of time dissolves before this artwork:

  • No Human Traces: The painting features no worldly figures; it presents only the primordial essence of nature.
  • No Trace of the Artist: The brushwork is incredibly mature yet leaves no deliberate mark, as if the painting was not rendered by human hands but manifested spontaneously by heaven and earth.
  • No Trace of the Viewer: As you gaze into the painting, the ego dissolves, and the self merges entirely into the landscape.

Here, the duality of subject and object vanishes. All phenomena exist in pure, seamless unity, entirely natural and spontaneous. With a single brush, the artist delineates the physical form of the earth, yet weaves it seamlessly with the void of the universe—structuring a vibrant, ever-generating cosmic space.

📜 A Paradigm Beyond Reality: “Imagery Beyond the Universe, Life Beyond the Seasons”

The great Qing Dynasty master painter Yun Nantian once evaluated the highest realm of art with these words:

“Gazing deeply into this realm, every blade of grass, every tree, every hill, and every ravine feels uniquely carved from a pure spirit, belonging to no mortal world. Its imagery exists beyond the universe, and its life unfolds outside the four seasons.”

This means that a truly sublime artistic realm is born entirely from the pristine spirit of the artist—a sacred landscape unfindable in the mundane world. Its essence transcends physical boundaries, and its cycle of growth and decay outlasts the changing of spring, summer, autumn, and winter.

Ancient Cypresses Intoning by the Spring by H.H. Dorje Chang Buddha III is the perfect paradigm of this transcendent landscape art. Refusing to be bound by mere literal resemblance, it draws directly from the primordial source of the universe, using flawless contemporary brushwork to reawaken the core spiritual essence of traditional Chinese literati painting.

Ancient Cypresses Intoning by the Spring is far more than a master-level art treasure; it is a spiritual home where the soul can find perfect rest. In our bustling, modern society, when we gaze upon this masterpiece—listening to the low hum of the ancient cypresses and watching the crystal springs rush forth—the anxieties of life dissolve instantly. This is the power of true art, and this is the soul-stirring beauty that H.H. Dorje Chang Buddha III has bestowed upon the world.

Link：https://peacelilysite.com/2026/06/19/%f0%9f%8e%a8-ink-washed-celestial-melody-admiring-h-h-dorje-chang-buddha-iiis-landscape-masterpiece-ancient-cypresses-intoning-by-the-spring/

Finding Serenity in Art: A Journey into H.H. Dorje Chang Buddha III’s Masterpiece, “Flowers in the Garden”

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《園中花幾枝》

The moment your eyes rest upon “Flowers in the Garden”—a Chinese painting masterpiece by His Holiness Dorje Chang Buddha III—a sense of transcendent peace and quiet joy quietly washes over you.

The painting opens with a frame full of vital rhythm and poetic grace:

In a quiet garden, flower buds tremble on the verge of blooming, while a few solitary plum blossoms quietly unfold along the branches.

Look closely, and you can almost pierce through the canvas to inhale the faint, delicate fragrance drifting out from the silence. There is no noisy clamor of a garden in full, chaotic bloom. Instead, there are only a few scattered blossoms softly opening on the branch—yet in a single snapshot of time, they touch the tenderest part of the human heart, stirring a unique and profound sense of delight.

The Mastery of Elegance: Simple Strokes, Infinite Meaning

What truly mystifies viewers about “Flowers in the Garden” is its incredibly minimalist yet profoundly rich visual language. This artwork elevates the traditional ink-and-brush techniques of Chinese painting to their absolute zenith:

  • Lines that Vibrate with the Soul: The sparse, calculated lines in the painting are relaxed yet full of hidden strength, moist yet aged with character. They are not merely the structural forms of branches; they feel like the physical vibration of the creator’s soul, whispering endless stories across time. These rhythmic, undulating lines serve both as a deeply expressive emotional language and the powerful skeletal framework that supports the entire composition.
  • The Ethereal Space of Ink and Void: As our gaze passes through these sweeping lines to contemplate the negative space they divide, an otherworldly sense of emptiness embraces us. It is a beauty akin to “looking at flowers through a fog, or gazing at the moon reflected in water”—illusory, misty, and wonderfully detached from the mundane world.

Within this luminous, spiritually charged space, the creator embeds a crisp, rhythmically swift calligraphic inscription. The calligraphy and the painting reflect and elevate one another, suddenly bringing forth an indescribable artistic beauty.

This artistic ambiance—which flawlessly uses the solid to guide the void, remaining completely natural and untainted by the world—possesses an almost miraculous power of attraction. Effortlessly, it cleanses the viewer’s inner restlessness, transporting us into a completely transcendent, breathtakingly beautiful spiritual realm.

Words have an end, but artistic conception is infinite. “Flowers in the Garden” is far more than a traditional Chinese painting for passive appreciation; it is a tangible manifestation of H.H. Dorje Chang Buddha III’s world-astonishing artistic genius brought to the human realm.

Link:https://peacelilysite.com/2026/06/05/finding-serenity-in-art-a-journey-into-h-h-dorje-chang-buddha-iiis-masterpiece-flowers-in-the-garden/

Escaping the Bustling World: Finding Solace in the Brushstrokes of “Su Shi Nao Chun”

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How long has it been since you truly quieted your mind to listen to a bird’s song or feel the subtle arrival of spring?

When we slow down and face a masterpiece of freehand flower-and-bird ink painting—Su Shi Nao Chun (The Scholar’s Spring) by H.H. Dorje Chang Buddha III—we find a soothing remedy for the weary soul. With just a few expressive brushstrokes, this painting captures the boundless vitality of early spring. It is not merely a visual feast of fine art; it is a profound spiritual cleansing.

Traditional Chinese ink painting is deeply rooted in the philosophy of “using objects to express one’s will, and borrowing landscapes to convey emotion.” Through the vivid depiction of nature, the artist projects their inner spiritual world and genuine feelings, achieving a sublime state where scene and emotion blend, and the self merges with nature.

The Awakening of Spring: Dialogue in the Willow Branches

Stepping into the world of the painting, what immediately catches your eye and captures your breath is the lively group of birds awakening from their slumber. Facing the spring that has quietly arrived, they chirp and frolic on the branches with joyful abandon.

If you look closely, a bird at the bottom and another at the top right gaze at each other. Their eyes and postures suggest an intimate conversation, as if they are dueting a cheerful folk song, tirelessly spreading the beautiful news of spring’s return.

The artist’s depiction of these birds features exceptionally distinct and precise body language. The fresh, vivid artistic imagery springs to life, showcasing a masterful command of ink and a brilliant compositional mind.

Mastery of Ink: Finding Hope at the Edge of a Cliff

Traditional Chinese painting dictates that “the brush establishes the form and texture, while the ink distinguishes the substantial from the ethereal.” The artistic conception of a piece is born entirely from the movement of brush and ink. The brilliance of Su Shi Nao Chun lies first and foremost in its brushwork.

The lines in this piece are remarkably crisp, rising and falling with an organic, rhythmic tension. Through the controlled weight of pressing and lifting the brush, combined with sudden pauses and sharp turns, the ink gains a raw, powerful, and profound texture.

With simple, concise, and perfectly echoed strokes, the artist wonderfully captures the living dynamism of the willow branches. The entire canvas instantly becomes alive—this aliveness reveals a pure innocence, and it is only through such innocence that true spirituality shines. Once that spirituality emerges, the painting overflows with wit and charm, effortlessly ushering the viewer into a realm of subtle wonder.

This state of effortless, natural creation stems from the artist’s extraordinarily deep spiritual and artistic cultivation. As a master of art, H.H. Dorje Chang Buddha III has dedicated Himself to various forms of painting—including landscapes, figures, flowers, and birds—since youth. His art observes the universe and all living things through the light of Prajna (transcendental wisdom). Moving from the magnificent to the microscopic, the concepts under his brush evolve from the complex to the simple, leaving the ink pure and the brushwork liberated.

His brush often ventures into positions of extreme peril, where the composition seems pushed to a cliff’s edge. Yet, with a sudden, subtle turn of the brush, a whole new horizon opens up—just like the classic Chinese idiom: “Where hills bend and streams wind, the pathway seems blocked; yet past the dark willows and festive flowers, a new village appears.” A fresh, delightful, and breathtaking realm suddenly unfolds.

Flower-and-bird ink painting is not only a vital component of traditional Chinese art holding a significant place in the global artistic landscape, but it is also a symbol of the spiritual character and cultural soul of the Chinese nation.

The philosopher Jonathan Edwards once wrote:

“Spiritual holiness… brings an inexpressible purity, brightness, peacefulness and ravishment to the soul. In other words, that it made the soul like a field or garden of God.”

True works of art possess this exact power—to cultivate the soul and inspire people to look inward at their own spiritual world.

Link:https://peacelilysite.com/2026/05/27/escaping-the-bustling-world-finding-solace-in-the-brushstrokes-of-su-shi-nao-chun/

#ChineseArt #InkPainting #ArtAppreciation #Mindfulness #EasternAesthetics #SpiritualHealing #FineArt

A Plum Blossom Painting Filled with Inner Strength and Serenity

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The first time I looked at this plum blossom painting by Dorje Chang Buddha III, I immediately felt a powerful and uplifting energy flowing from it. It was not simply a beautiful painting that pleased the eyes. Rather, it carried a quiet spiritual strength that deeply touched the heart.

My first thought was that only an artist with profound inner calmness, wisdom, and spiritual realization could create such a work.

In traditional Chinese culture, plum blossoms symbolize nobility, purity, perseverance, and courage. Blossoming in the cold of winter, they have long represented the ability to remain graceful and strong amid hardship. Yet this painting expresses those qualities in a particularly extraordinary way.

The entire composition feels free from anything worldly or artificial. There is no trace of stiffness, heaviness, or forced technique. Every brushstroke appears natural, effortless, and alive. The painting possesses a wondrous elegance that cannot be achieved merely through technical skill or years of practice alone. It feels more like the crystallization of wisdom, cultivation, and inner realization.

What especially fascinates me is the unique arrangement of the plum tree itself. The roots twist and coil together, naturally forming what resembles a large bonsai pot. The varying shades of ink create rich layers, flowing movement, and a dreamlike sense of surrealism throughout the painting. The entire scene feels both realistic and ethereal at the same time, blending natural beauty with poetic imagination.

The artist employs the distinctive Chinese painting technique of “flying white” and broken brushstrokes, allowing the branches to pulse with vitality and the force of life. The bold, heavy brushwork gives the sturdy roots the powerful presence of coiled dragons gathering strength before soaring into motion. The entire composition radiates an uplifting sense of righteous energy, while also revealing the artist’s vast, bold, and magnanimous inner world.

What is even more remarkable is that the brushwork appears so simple and effortless, yet every stroke is skillful and full of spirit. Nothing feels excessive, and nothing is unnecessary. It is precisely this simplicity that gives the painting its extraordinary sense of calmness, freedom, and spiritual strength.

After completing the painting, H.H. Dorje Chang Buddha III composed the following poem:

“Plum flowers of surpassing loveliness blossom in a pot, though never are they planted.
Wave the brush to plant the tree, and the roots of that old tree form their own shallow pot.”

The poem perfectly reflects the painting’s natural spontaneity and artistic wonder. The plum blossoms seem not artificially arranged, but born effortlessly from nature itself.

Perhaps this is what makes the painting so moving. Beyond its artistic beauty, it conveys a state of mind — calm yet powerful, simple yet profound, gentle yet filled with inner strength.

In today’s restless and hurried world, such artwork quietly reminds us of something precious: true beauty comes not only from technique, but from the purity, peace, and depth within the artist’s heart.

Link:https://peacelilysite.com/2026/05/14/a-plum-blossom-painting-filled-with-inner-strength-and-serenity/

Seeing a World Within Emptiness — An Appreciation of a Lively and Serene Ink Painting

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Myna Birds Drunk Among the Willows by H.H. Dorje Chang Buddha III

Some paintings do not rely on complexity to move us. With only a few deliberate strokes, they unfold a world full of life. This fresh and tranquil ink painting is one such work. Quiet and unassuming, it reveals a profound artistic tension and depth within simplicity and stillness.

The composition is anchored by three strong yet supple ink lines. Their texture is rich and full, their force penetrating the paper. They resemble trees, yet are not trees—more like structural forms that divide the flat surface into a grid of interwoven spaces. Within these spaces, branches stretch and intersect, while willow-like lines sway gently, creating a rhythmic sense of motion.

What is most remarkable, however, lies in what is not painted.

The empty spaces are far from void; they are charged with meaning. In these areas of intentional absence, the viewer’s imagination is invited to wander. As the saying goes, “where nothing is painted, there lies the true realm of the painting.” The composition, in its entirety, feels almost like a montage—a sequence of visual moments carefully arranged. From this minimal structure emerges a surprisingly rich and intriguing visual experience.

Bringing the scene to life are several mynah birds, rendered in bold, expressive ink. These small creatures become the focal point of the painting.

They are divided into three groups, each occupying different sections of the grid. In a small triangular space near the top, three birds gather closely together. The density of life within such a confined area creates an immediate visual tension. In contrast, a large quadrilateral space in the lower middle is occupied by just a single bird, as if it has claimed the entire openness for itself—perhaps even becoming the quiet center of the composition.

Then there is a particularly playful detail: a bird in the upper right seems to occupy the intersection of four spaces at once. Though not placed at the center, it establishes its own presence, as if declaring that even at the edge, one can still become a focal point.

These birds preen their feathers, tilt their heads, hum softly, and seem to communicate with one another. Bathed in a sense of freshness, they revel in the gentle beauty of spring, fully immersed in a life of ease and freedom. The entire painting begins to resemble a small, self-contained paradise.

This delightful and imaginative work is created by H.H. Dorje Chang Buddha III. Art, at its highest level, is not merely a display of technique—it is a reflection of the inner world. A truly great work reveals the artist’s state of mind and spiritual depth.

In this painting, what we witness is not only mastery of brush and ink, but also a sense of calm, freedom, and purity—a state of being that transcends complexity and returns to essence.

The diverse artistic creations of H.H. Dorje Chang Buddha III stand as enduring treasures of human civilization. And this seemingly simple piece gently reminds us:

In a world of endless complexity, true beauty often resides in simplicity—
and true freedom may be found in the space between what is left unpainted.

LinK:https://peacelilysite.com/2026/05/04/seeing-a-world-within-emptiness-an-appreciation-of-a-lively-and-serene-ink-painting/

Awakening Life in the Deep: An Appreciation of Deep Sea Purple Moss

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Among many spiritually expressive works of art, Deep Sea Purple Moss stands out for its simplicity and depth, offering viewers a striking, almost visceral impact. This Western-style painting by H.H. Dorje Chang Buddha III may appear abstract at first glance, yet it carries profound reflections on life and inner awakening.

The entire composition is built from just three colors—black, white, and purple—yet it reveals remarkable layers and tension. The black areas resemble a boundless deep sea, mysterious and unfathomable, as if there is no visible end. This depth evokes a sense of stillness infused with latent power. This “black” not only represents the unknown world but also symbolizes the unpredictable circumstances and challenges we encounter in life.

In contrast, the white surges forward like rolling waves, powerful and unstoppable. It breaks the silence of the black, injecting movement and dramatic force into the scene. These waves seem to echo life’s turbulence—the sudden changes, hardships, and trials that compel us to confront reality head-on.

Most captivating is the vibrant touch of purple. Like sea moss growing in the depths, it persists between waves and currents, embodying a resilient and vigorous life force. Here, purple is more than a visual accent; it becomes a symbol—of endurance, of hope, and of life’s ability to thrive even in adversity.

As we contemplate this painting, we begin to see that it is not merely a depiction of the sea, but a reflection of life itself. The black deep sea represents the environment we live in; the white waves, the challenges we must face; and the purple “moss” represents who we are.

In an ever-changing world, we cannot choose every circumstance, but we can choose how we respond. Just like the purple life form in the painting that continues to grow amid stormy waters, we too must learn to adapt, to temper ourselves through trials, and to seek upward strength even in difficult situations.

With its minimalist form, this work conveys a profound truth: true growth is not gained in calm waters, but forged in the midst of surging waves.

Perhaps, the next time we face the “great waves” in our own lives, we may remember this purple moss in the deep sea—growing upward, even in the darkest depths.

Link:https://peacelilysite.com/2026/04/30/awakening-life-in-the-deep-an-appreciation-of-deep-sea-purple-moss/

A Quiet Afternoon with Art: Discovering Inspiration at the Triton Museum of Art

linda changLeave a comment

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.

Link:https://peacelilysite.com/2026/03/14/a-quiet-afternoon-with-art-discovering-inspiration-at-the-triton-museum-of-art/