When you first set your eyes upon these supernatural abstract color paintings, the vibrant and radiant hues of red, yellow, blue, white, and black burst forth, dancing like the tumultuous waves of a river stretching for thousands of miles. Captured in the delicate tips of the brush, their brilliance transcends the ordinary, possessing a gentleness yet resolute quality. The diverse and exquisite colors mutually nourish and elevate each other, creating a masterpiece that can only be described as ingenious, reaching a realm where colors take on an ethereal quality. The experience is beyond description—elegant and comforting.
These impressionist paintings have attained a level of mastery where even a small fragment isolated from the complete artwork stands as an exquisite impressionist painting on its own. They convey a dreamy, illusory state, and each tiny section has the potential to be enlarged, creating a distinct and aesthetically pleasing painting.
Gazing Upon a World Beyond the Stars
This piece has a sci-fi movie special effects vibe, it doesn’t look like a scene that exists on Earth; rather, it resembles the appearance of an extraterrestrial planet observed through high-tech instruments. The entire artwork is filled with a mysterious atmosphere, offering limitless imagination and excitement.
Marvelous Spectacle of a Mystical and Illusory Island
This artwork is vibrant and three-dimensional. When appreciated from a diagonal perspective, the pattern in the upper right corner resembles a series of color-changing snakes, coiling in the air, creating a dazzling and visually delightful experience. The pattern in the lower left corner appears like slowly flowing mud, transparent and sparkling under the sunlight. The dividing line in the middle adds a fantastical element, resembling a peculiar light that seems as though it could disappear in the next second, defying verbal description.
The fantastical imagery of this artwork brings a sense of joy and, simultaneously, fills one with fantasies and aspirations for the future. It is a lively and dynamic masterpiece that exudes a peculiar power.
Long Green Wall
Magnificent and grand, that was my first impression upon seeing this artwork. Despite its modest size, this piece is brimming with the profound culture and history of China’s five thousand years. Resembling the Great Wall, this artwork is a marvel, showcasing the artistry and craftsmanship of the H.H. Dorje Chang Buddha III from an artistic perspective.
Elegant Purity of Beautiful Stone
The highlight of this artwork lies in H.H. Dorje Chang Buddha III‘s skillful combination of intricate colors, avoiding any hint of vulgarity and instead exuding a sense of pure elegance and nobility. The arrangement of patterns and textures in the artwork, seemingly casual brushstrokes, actually reflects H.H. Dorje Chang Buddha III‘s ingenious conceptualization and profound artistic foundation, presenting a harmonious order within apparent chaos.
The Nobility of Petrified Red Trees
At first glance, this artwork appears to be an oil painting. Upon closer observation, it evokes astonishment. It is not merely a flat painting but more akin to a lifelike redwood fossil.
Every texture is distinctly visible, and every detail is vividly realistic. H.H. Dorje Chang Buddha III, with the stroke of a brush, captures the original form of the redwood in the guise of a fossil, rendering this piece of art even more mysterious and noble.
This artwork employs strong color contrasts, making bright colors even more vibrant and dark colors even deeper. The enchanting purple patterns, at times intensified and at times subdued, infuse the composition with a sense of magic. It is as if a colossal dragon is about to break free from the shackles of darkness, re-emerging into a brilliant radiance.
Splash-Color Embroidery of Moutains and Rivers
This is a splash-ink painting that combines elements of oil painting style. The innovative approach and exquisite brushwork truly captivate the viewer. Looking at this piece, one can almost hear the echoes in the mountains, see the surging river waves, smell the freshness of nature, taste the sweetness of mountain springs, and feel the harmony between humans and nature.
Boundless Land as Beautiful as Colorful Embroidery
The artwork, dominated by blue tones, incorporates elements of Western and abstract painting. At first glance, it resembles a vast ocean spanning the globe. It delivers a visual impact and a spiritual resonance. Take a moment to immerse yourself in this majestic and awe-inspiring scenery.
These intoxicatingly beautiful Supernatural Abstract Color Paintings form a perfect world constructed by colors. Devoid of concrete worldly forms, it is a realm purely defined by color—shaping, expressing, and embodying itself through hues. Color is both its form and its essence, permeating with a captivating aura. These colors, guided by the hand of the H.H. Dorje Chang Buddha III, seamlessly converge into a marvelously enchanting spectrum. The atmosphere is lively, the scenes blossom like flowers, bold and fierce as the roaring sea, yet upon closer inspection, they reveal nuanced expressions, refined in the minute details. In discussing the extraordinary skill of the H.H. Dorje Chang Buddha III in Western painting, it’s almost an understatement to compare it to the Buddha.
You can discover a selection of the exceptionally charming paintings in the permanent exhibition at The International Art Museum of America, situated in downtown San Francisco.
“The Story of the Nine-Colored Deer King” is the main theme of the murals in Cave 257 of the Mogao Caves. It unfolds in a long horizontal scroll, narrating many stories from the past life of the founder of Buddhism, Siddhartha Gautama.
Legend has it that long ago, on the banks of the Ganges River in India, there lived a beautiful and kind nine-colored deer king (the previous incarnation of Siddhartha Gautama)…
One day, as the nine-colored deer king was leisurely strolling by the river, he suddenly heard a pitiful cry from the water. Without hesitation, the brave nine-colored deer leaped into the river, risking its own safety, and rescued the drowning person. The saved individual, overwhelmed with gratitude for a second chance at life, repeatedly bowed in thanks to the nine-colored deer.
The nine-colored deer king said, “No need for thanks; just go on your way. My only request is that you do not reveal my whereabouts to anyone.” The drowning person solemnly swore, “Kind benefactor, rest assured. If I ever betray this promise, may my body be covered in sores and my mouth emit a foul odor.” With that, the person departed.
Before long, the queen of that country dreamt of a deer—one with nine colors and silver-like antlers. She told the king about her dream and requested that he order the capture of such a deer. She had a strong desire to use its colorful hide for clothing and its antlers for earrings. Consequently, the king issued a proclamation and offered a substantial reward.
Upon seeing the proclamation, the person who had been saved reported to the king, leading soldiers to the mountain to hunt down the nine-colored deer.
When the nine-colored deer was surrounded by the king’s troops… it spotted the person it had rescued from drowning, tears of sorrow welled up in its eyes…
The nine-colored deer leaped in front of the king and recounted the story of how it had saved the person from drowning and how that person had broken his promise. The king and the soldiers were deeply moved by the deer’s account. The king ordered the soldiers to clear a path, allowing the nine-colored deer to regain its freedom. He also issued a decree: “From now on, people are not allowed to shoot deer.”
As for the person who had broken his promise, in an instant, sores covered his body, and a foul odor emanated from his mouth. From that moment on, he was despised and reviled by the people.
The story of the nine-colored deer is vividly portrayed in Cave 257 of the Dunhuang Grottoes, which is what we now see as “The Story of the Nine-Colored Deer King.” While the mural is not particularly large in size, it holds significant importance in Chinese art history.
This artwork takes the form of a horizontal scroll with the story unfolding from both ends and converging in the middle. It consists of multiple scenes depicting various stages of the story, such as its origin, development, climax, and conclusion, all seamlessly connected to create a cohesive narrative.
“The Story of the Nine-Colored Deer King” is composed of nine panels, illustrating five key plot points: the person drowning, the nine-colored deer rescuing the drowning person, the drowning person expressing gratitude to the deer, the queen’s desire to capture the deer, the informant revealing the deer’s whereabouts to the king, and the confrontation between the king and the deer.
The story progresses from both ends of the mural towards the center, placing the pivotal conversation between the king and the deer in the middle. This unique composition style captures the essence of continuous horizontal scroll art from the Wei and Jin dynasties, showcasing the distinctive historical aesthetics of the era.
In the artwork, the depiction of mountains, rocks, and rivers occupies a significant portion. The rendering of the landscape primarily serves to fill the space and delineate the composition, providing a brief description of the specific environment, thereby enhancing the visual impact of the artwork and its storytelling function.
“The Story of the Nine-Colored Deer King” places the climax of the story—the moment when the nine-colored deer recounts the events—at the center of the composition. At the same time, both nine-colored deer on the left and right sides turn their bodies toward the center, serving as visual guides.
This is precisely the turning point in the storyline of the nine-colored deer, where the drowning person’s affliction receives its retribution. It places the Buddhist concept of rewarding goodness and punishing evil at the visual forefront, narrating the sequence of events step by step to gradually reveal the story’s progression to the viewer.
The entire process is rhythmic, marked by the ebb and flow of the narrative, skillfully aligning the chronological order with the spatial arrangement, showcasing the artist’s unique conceptualization of the composition.
In terms of color usage, “The Story of the Nine-Colored Deer King” appears to be very vibrant, but in reality, it uses a limited color palette, consisting of only six colors. The earthy red color dominates the entire painting, which is a prominent color characteristic of the Wei, Jin, Northern and Southern Dynasties period.
Complementing this are touches of stone blue and stone green, along with the harmonious blending of black, white, and gray. This blending softens the strong contrast between earthy red and stone green and blue, achieving a harmonious contrast of warm and cool tones. At the same time, it also accentuates the brightness of contrasting colors.
The introduction of Buddhism had a significant impact on the development of portraiture in China, introducing a set of strict conventions for Buddhist iconography. During the Northern Wei dynasty, the Dunhuang murals began to emphasize body proportions and adopted more attention to three-dimensionality after incorporating color shading techniques.
In “The Story of the Nine-Colored Deer King,” most of the figures on the canvas have slender bodies, with their clothing belts fluttering in the wind. Their gestures and movements exude a graceful dance-like elegance, evoking the style of figures that “float like wandering dragons and are delicate as startled swans.”
In the murals of the Northern Wei period in Dunhuang, Jataka stories are an important theme. Jataka stories refer to the countless events and experiences in the past lives of Siddhartha Gautama, who would later become the founder of Buddhism. In history, there are numerous Jataka stories related to Siddhartha Gautama.
Within Buddhist art themes, there are many Jataka story paintings, and “The Story of the Nine-Colored Deer King” is just one of them. Story paintings are used to promote the Buddhist concept of karmic retribution and to praise the spirit of self-sacrifice displayed by the Nine-Colored Deer King.
In reality, all Jataka paintings ultimately convey one message: that by performing good deeds, selflessly giving, and enduring hardships, one can achieve positive outcomes, whereas engaging in wrongful actions will lead to self-destruction.
The recent Asian Games held in Hangzhou, China, brought the world’s attention to a spectacular opening ceremony that dazzled the senses. It was a momentous occasion that reminded me of Hangzhou’s unique charm—a city that effortlessly blends history, culture, and breathtaking natural beauty. In this blog post, I am trying to introduce some Hangzhou’s rich history, cultural significance, and the enchanting West Lake that graces this remarkable destination.
Hangzhou’s historical significance dates back over a thousand years. As the capital of the Southern Song Dynasty (1127-1279), it was the political, economic, and cultural center of ancient China. The city’s past is vividly reflected in its well-preserved landmarks, such as the Grand Canal, which was once the world’s busiest and longest artificial waterway. The canal played a pivotal role in facilitating trade and cultural exchange between northern and southern China.
Hangzhou’s cultural heritage is as rich as its history. The city is celebrated for its pivotal role in nurturing Chinese art, literature, and philosophy. It is home to numerous temples, museums, and historical sites. One of the most iconic landmarks is the Six Harmonies Pagoda, which offers breathtaking views of the Qiantang River. Additionally, Hangzhou is renowned for its tea culture, with the world-famous Longjing (Dragon Well) tea originating from the lush plantations that surround the West Lake.
The West Lake, or Xi Hu in Chinese, is Hangzhou’s crown jewel, a UNESCO World Heritage Site that captivates visitors with its picturesque beauty. Surrounded by lush hills, willow-lined pathways, and charming pagodas, the lake’s serenity has been an inspiration to poets, artists, and philosophers for centuries. Its natural allure changes with the seasons, making it a destination worth visiting year-round.
Highlights of the West Lake
Leifeng Pagoda, perched atop Sunset Hill, is a historical gem that offers sweeping vistas of the West Lake. As the sun gracefully descends below the horizon, this iconic pagoda bathes the lake in its enchanting glow, creating a magical setting perfect for a romantic evening. But beyond its scenic beauty, Leifeng Pagoda is intertwined with a captivating and somewhat tragic love story that has captured the hearts of generations.
In the Chinese folk tale “The Legend of the White Snake,” the story unfolds with the white snake, who falls deeply in love with a young man named Xu Xian. In a remarkable transformation, the white snake assumes the guise of a young lady and marries Xu Xian. However, their love is not without obstacles. The wise monk Fahai recognizes the bride’s true identity as a white snake and cunningly deceives Xu Xian, leading him to Jinshan. In a valiant attempt to rescue Xu Xian, the White Lady rushes to Jinshan, only to be suppressed under the Leifeng Pagoda by Fahai.
The hidden interior of Leifeng Pagoda is adorned with intricate carvings crafted in the style of Dongyang woodcarvings. These carvings vividly depict the captivating love story of Bai Niangzi (the White Snake) and Xu Xian as told in the legend of “The Legend of the White Snake.” The carvings employ five distinct techniques, including round carving, semi-round carving, high relief, deep relief, and shallow relief. These techniques are skillfully combined into a form known as “overlay carving,” which serves to enhance the storytelling and character portrayal within the legend.
Leifeng Pagoda, with its breathtaking views and rich cultural significance, stands as a testament to the enduring power of love and storytelling. It invites visitors to delve into the enchanting world of Chinese folklore while appreciating the timeless beauty of the West Lake at sunset.
Three Pools Mirroring the Moon: This picturesque scene features three small pagodas surrounded by water, beautifully illuminated during the Mid-Autumn Festival. It’s a breathtaking sight that draws thousands of visitors each year.
West Lake Cruise: Exploring the lake by boat provides a unique perspective of its beauty. As you glide across the serene waters, you’ll pass by charming islets, arched bridges, and elegant lakeside gardens.
Lingyin Temple: Located in the vicinity of the West Lake, Lingyin Temple is one of China’s most ancient and revered Buddhist temples. Its serene atmosphere and intricate carvings make it a cultural treasure.
According to historical tradition, the origins of Lingyin Monastery trace back to the year 328 AD, during the Eastern Jin dynasty (266–420). The monastery was established by an Indian monk known as Huili in Chinese. Right from its inception, Lingyin gained widespread recognition as a prominent Buddhist institution in the Jiangnan region.
During its zenith under the Wuyue Kingdom (907–978), Lingyin Temple stood as a grand edifice. It comprised nine multi-story buildings, 18 pavilions, 72 halls, and more than 1300 dormitory rooms, providing a sanctuary for over 3000 monks. The legacy of this era is also etched into the rich Buddhist carvings that adorn the Feilai Feng grottos and the surrounding mountains.
In the later years of the Southern Song dynasty (1127–1279), Lingyin Monastery retained its eminence, securing its position as one of the ten most significant temples of the Chan sect in the Jiangnan region. Regrettably, this prominence did not shield the monastery from the ravages of time and external threats. Over the centuries, Lingyin Temple has undergone reconstruction no less than sixteen times. While some of the existing structures date back to earlier Chinese dynasties, much of what stands today are modern restorations from the late Qing period (1644–1911).
The temple is also associated with a famous and eccentric monk, Jigong. The legends of this mad monk find their roots in the life of a historical figure named Li Xiuyuan (1148-1209). Born into a family of officials with a long-standing Buddhist tradition in Tiantai County, Zhejiang Province, Li Xiuyuan’s life took a different course when his parents passed away at the age of 18. He made his way to Lingyin Temple, the largest Buddhist temple in Hangzhou, where he became a monk.
Hall of Master Jigong
Under the guidance of Hui Yuan, a senior abbot at Lingyin Temple, Li received the Buddhist name Daoji. However, he was not inclined toward the temple’s customary routines of sutra chanting and meditation. In defiance of strict Buddhist rules, he indulged in eating meat and drinking alcohol, even publicly. His appearance often featured a dirty, tattered cassock, and he could be spotted wandering the streets in a half-drunken state.
Despite his peculiar behavior, Li endeared himself to the local community. He displayed great compassion for the poor and disadvantaged, possessed remarkable skills in medicine, and was known for his ability to treat complex ailments, often saving lives. He was also noted for his wit and what some considered magical abilities. As a result, he became known as Ji Gong the Living Buddha, a folk hero whose legacy has endured in China for over 800 years.
Ji Gong’s distinctive image, with a crumpled hat, ragged robe, and a worn-out palm leaf fan, remains familiar to the public. In fact, an ink painting of Jigong HuoFo, created by the artist H.H. Dorje Chang Buddha III, is displayed in the International Art Museum of America. This artwork skillfully captures the monk’s details, including his skin, meridians, and veins, utilizing fine brushwork and realism to vividly portray the life of this beggar-like figure who held a special place in the hearts of many.
Another remarkable natural treasure worth mentioning is Longjing Tea. West Lake Longjing tea is among China’s most prestigious teas, renowned for its attributes of “vibrant green color, rich fragrance, mellow taste, and exquisite appearance.” It is often referred to as the “Four Uniques.” Cultivated in five primary production regions—ShiFeng, Longjing, Yunxi, Hupao, and Meijiawu—West Lake Longjing tea is celebrated for its superior quality. Among these regions, ShiFeng stands out as the finest, and “Mingqian tea” is its most coveted variety, frequently chosen as a high-quality gift for special occasions. Shifeng Longjing tea is predominantly produced in the renowned tea villages of Hangzhou Longjing Village and Wengjiashan Village, signifying the “Number One Tea Village in the World.”
Moreover, it’s worth noting that H.H. Dorje Chang Buddha III has masterfully crafted a tea called “Bi Yu Chun,” which has achieved the highest-grade ranking in China. His Holiness has elevated the traditional techniques of tea production to a level of perfection, resulting in the creation of this exceptional green tea.
Bi Yu Chun possesses a unique flavor and unparalleled quality. Its tea leaves are compact and delicate, retaining their natural fuzz, boasting the color and luster of green jade. This tea exudes a pure aroma reminiscent of chicken broth or roasted chestnuts. It offers a pleasantly refreshing taste that lingers, maintaining its rich flavor for an extended duration. The tea is beautifully translucent, displaying a radiant green akin to that of green jade, akin to a mountain spring. Long after you savor it, the delightful flavor of Bi Yu Chun lingers in your thoughts.
In June of 1989, a competition was held to select the finest Chinese teas. Bi Yu Chun was among the contenders, alongside esteemed Chinese teas like Shi Feng Long Jing, Dong Ting Bi Luo Chun, and Jun Shan Yin Zhen. Evaluated by a committee of tea experts based on the conventional standards for tea evaluation, Bi Yu Chun scored an outstanding 101 points, surpassing all other grades to earn the title of the top Chinese tea. Experts hailed Bi Yu Chun for rectifying the three common shortcomings of Chinese green tea: insufficient greenness, a bitter and astringent taste, and an inability to withstand steeping well. Bi Yu Chun has thus exceeded the highest global standards for tea production and is acclaimed as the premier Chinese tea.
H.H. Dorje Chang Buddha III‘s talents extend beyond being an exceptional painter; he is also a superb tea artisan. The wisdom and knowledge of His Holiness are truly profound and transcend human imagination.
Hangzhou, with its rich history, cultural significance, and the enchanting West Lake, offers a unique blend of experiences that captivate the soul. Whether you’re exploring the city’s historic sites, sipping on a cup of Longjing tea, or strolling along the shores of the West Lake, Hangzhou is a destination that promises an unforgettable journey through China’s past and present. It’s a place where tradition and modernity coexist harmoniously, leaving an indelible mark on all who have the privilege to visit.
Han Suyin was born in Xinyang, Henan Province, China, on September 12, 1916, to a Chinese father and a Belgian mother. She was raised in a multicultural and multilingual environment, which greatly influenced her future writings and perspectives.
Ms. Han Suyin gained international recognition as a prolific writer, primarily known for her semi-autobiographical novels. Her most famous work, “A Many-Splendored Thing,” published in 1952, became a bestseller and was adapted into a successful Hollywood film titled “Love Is a Many-Splendored Thing” in 1955. She authored numerous novels, essays, and articles that delved into themes of love, cultural identity, and East-West relations.
Ms. Han Suyin, an extraordinary figure in her own right, shared a remarkable connection with world leaders and spiritual luminaries from across the globe. Her life was intertwined with a little-known story of profound affinity with a great sage.
In February 1982, Ms. Han Suyin and her husband, Mr. Lu Wenxing, made a long-awaited journey to Sichuan, their ancestral homeland, to celebrate the Chinese New Year with their family. This marked her first return to Sichuan for the New Year since the establishment of the People’s Republic of China. As a professional writer, she was an unwavering observer of the human and cultural aspects of her homeland. She once articulated, “My life will forever traverse two opposing directions, leaving love to embrace love; leaving China to return to China.” This succinctly summarized her life’s journey. Her deep love for this ancient land fueled an unceasing quest for individuals with profound philosophical ideals, firmly convinced that within the mystical realm of China’s ancient civilization, cultural giants awaited discovery to awe the Western world.
Fate and reason have their own ways. Soon, Ms. Han Suyin discerned her calling with remarkable acumen. While visiting an exhibition of Chinese paintings at Sichuan’s Wenshu Monastery, she was captivated by a yet-to-be-displayed masterpiece of a soaring eagle. The painting exuded vastness, antiquity, ethereality, and enduring profundity. Having toured renowned art museums worldwide and seen countless world-famous paintings, she found herself profoundly moved by this artwork, eagerly wishing to acquire it as a lifelong treasure. Regrettably, the exhibition had not yet officially opened, dashing her immediate hopes.
With the assistance of the local cultural department, Ms. Han Suyin eventually tracked down the artist behind the masterpiece. To her astonishment, the creator was an elegant young man, and an instant kinship developed between Ms. Han and this young prodigy. Their conversations touched upon a spectrum of subjects, from various styles within the Chinese art scene to global artistic movements and the evolution of humanistic ideals.
Upon parting ways, Ms. Han Suyin not only acquired the eagle painting for her collection but also handpicked two additional Chinese paintings, intending them as cherished gifts for her close friends. Thus, an international writer and an ancient sage forged a profound and enduring connection.
In 1993, eleven years later, Ms. Han Suyin reflected on this treasured memory, describing it as follows: “…I was the first fortunate individual to witness His artwork and immediately recognize His talent. His painting technique, marked by ever-shifting nuances and a compelling balance of strength and delicacy in each brushstroke, left an indelible impression on me. His vast knowledge and wide-ranging interests extended beyond art into the realm of traditional Chinese herbal medicine. His passion for medicine stemmed from his father’s status as a renowned traditional Chinese medicine practitioner. Moreover, he ventured into enhancing a particular palace-grade tea and brought it to market. In recent years, he has dedicated himself to creating a significant work, striving to establish a new life philosophy rooted in the authentic principles of Buddhism and the universe. Consequently, he produced internationally acclaimed paintings. His series of paintings featuring Buddhist monks garnered high praise in Japan and Singapore. His achievements were also acknowledged in North America, where he assumed a professorship at the Sino-American Cultural and Arts Research Institute and served as the president of the Chinese Painting Research Association at the Chinese Social Welfare and Education Center in Beijing. I genuinely believe he is an exceptional artist, and I am firmly convinced that his unwavering pursuit of knowledge will lead to even greater accomplishments…”
So, who is this extraordinary sage whom Ms. Han Suyin esteemed, and whom the world came to admire? None other than H.H. Dorje Chang Buddha III.
It must be acknowledged that Ms. Han Suyin’s discerning judgment was remarkably precise, as she firmly believed. H.H. Dorje Chang Buddha III‘s achievements were indeed unparalleled. In 1994, at the World Poets Conference, 5,612 experts and scholars from 48 countries and regions acclaimed Mr. Yi Yungao (H.H. Dorje Chang Buddha III ) as the world’s sole supreme international master, acknowledging his extraordinary contributions in Buddhism, the humanities, medicine, painting, and his lofty moral character. On September 28 of the same year, special envoys from the conference traveled to Sichuan to present him with the certificate of supreme international master, bearing the signature of the President of the International Olympic Committee, Samaranch.
In the year 2000, H.H. Dorje Chang Buddha III‘s artworks “Thunderous” and “Great Strength Vajra” achieved prices exceeding 2.12 million dollars and 2.2 million dollars, respectively, in the international market. Then, in March 2015, his artwork “Ink Lotus” set a record price at the New York Spring Auction, reaching an astonishing 1.65 million dollars per square foot.
Another piece, “Loquat,” measuring six square feet, was successfully auctioned at an astounding price of 10.2 million dollars at the New York Zhenguan International Auction Company’s autumn auction, establishing an unprecedented record for Chinese paintings in the auction market. When calculated on a per square foot basis, it reached an astonishing 1.7 million dollars per square foot. The painting, “Loquat,” drew praise from experts at the auction company during the autumn preview, exceeding the criteria of a “masterpiece” set by ancient Chinese art critics. They described it as follows: “In the style of H.H. Dorje Chang Buddha III , this painting exhibits an ever-changing technique, with strength and depth in every brushstroke, and an endless charm.”
World news media reports have hailed H.H. Dorje Chang Buddha III as an “unprecedented master in the history of Chinese painting” and as the “pioneer who propelled Chinese painting art onto the global stage.” At this juncture, we, the younger generation, express our deep admiration and respect for Ms. Han Suyin’s extraordinary discernment.
As a cradle of Chinese culture, Shanxi is renowned for its abundance of cultural and historical treasures. While some iconic historical relics and monuments like the Great Wall, which stretches across the province, the Yungang Grottoes in Datong, and the Sakyamuni Pagoda in Yingxian, are at the top of tourists’ itineraries, there are also lesser-known “hidden gems” in terms of historical significance that are well worth exploring.
One such hidden gem is the Guangsheng Buddhist Temple, located in the Zhaocheng township of Hongtong county. The Guangsheng Temple is actually a complex that encompasses the upper monastery, the lower monastery, and the Water God Temple, situated on the slopes and foothills of Huoshan Mountain in Zhaocheng.
Founded in the first year (147) of the Jianhe reign of the Eastern Han Dynasty (25-220), the temple originally bore the name Julushe Temple. It later acquired its present name during the Tang Dynasty (618-907). While it suffered damage during an earthquake in the 7th year (1303) of the Dade reign of the Yuan Dynasty (1271-1368), subsequent restoration efforts took place over the years, preserving much of the architectural style from the Yuan Dynasty. Nestled against the mountains and overlooking a river, the temple is surrounded by ancient trees and boasts the Huoquan Spring gushing beneath the rocks at the foot of Huoshan Mountain, creating a serene and picturesque environment. The temple can be divided into three main sections: the upper temple, the lower temple, and the Water God Temple.
The upper temple, perched atop Huoshan Mountain amidst lush pine trees, is graced with ancient towers and adorned with colored glaze components, radiating magnificence and splendor. The lower temple, situated at the base of Huoshan Mountain, harmoniously blends with the mountain’s natural contours, creating an intriguing landscape with varying elevations. Adjacent to the lower temple is the Water God Temple, with connected walls. Here, one can find the Statue of Ying, an emperor of the Ming Dynasty, and renowned frescoes depicting Yuan Dramas, both of which are celebrated locally and internationally.
The upper temple complex comprises the temple gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Temple Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
Behind the tower lies the Amitabha Hall, a 5-bay wide, 4-bay long structure with a single-eaved gable and hip roof. Inside, the hall features three exquisite statues: Amitabha Buddha, Manjusri Bodhisattva, and Vajrapani Bodhisattva. These statues, masterpieces of the Ming Dynasty, are accompanied by frescoes adorning the eastern wall and screen wall. Additionally, the temple once housed 4,000 volumes of the Pingshui version of the Tripitaka during the Huangtong reign of the Jin Dynasty (1115-1234). These valuable volumes are now preserved in the Beijing Library and serve as a rare source for studying the history of Chinese printing.
The Great Hall, characterized by a 5-bay width, a single-eaved gable, and a hip roof, features three niches within for wooden statues of Sakyamuni, Manjusri, and Samantabhadra. These statues are meticulously crafted, possessing well-proportioned forms, a plump appearance, and an air of perfect serenity. In the Qing Dynasty, the hall was adorned with eighteen iron arhats along its two sides, along with statues of Kwan-yin and Amitabha Buddha on the rear niche wall.
The Vairochana Hall, spanning 5 bays in width with a hip roof, boasts an architectural style typical of the Yuan Dynasty, with two gables supported by substantial crawling beams. The altar within the hall features statues of three Buddhas and four Bodhisattvas, surrounded by wooden niches containing 35 iron statues. Notably, the back wall of the hall showcases frescoes depicting Sakyamuni and twelve Bodhisattvas of Perfect Enlightenment, regarded as exceptional examples of this art form.
The lower temple complex comprises the temple gate, front hall, back hall, the buttress hall, and other buildings, all constructed during the Yuan Dynasty. The temple gate stands impressively tall, measuring 3 bays in width and 3 bays in length, featuring a single-eaved gable and a hip roof. Canopies have been added to both the front and back eaves, lending it the appearance of a pavilion with double eaves. The front hall spans five bays in width and is supported by only two pillars that bear the weight of the entire structure. The back hall, dating back to the second year (1309) of the Zhida reign in the Yuan Dynasty, stretches 7 bays in width, featuring 9 purlins, 8 rafters, and a single-eaved overhanging gable roof. Within the hall, you’ll find the main statues of Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva, all crafted during the Yuan Dynasty. Sadly, the once-present frescoes on the walls were stolen and smuggled to other countries in 1928, and they are currently housed in the Naerson Museum in Texas, US. Notably, the fresco on the south wall documented the performances of Yuan Drama, serving as rare reference material for the study of Chinese dramas.
The lower temple complex photo from：Beijing Transportation University ancient architectureThe lower temple complex photo from: Beijing Transportation University ancient architecture
The Water God Temple comprises two courtyards: the front yard and the back yard, featuring key structures like the Temple Gate, the Door of Amenity, the Ming Ying King Hall, and wing-rooms of cave dwellings. The Ming Ying King Hall, measuring 5 bays in width and 5 bays in length, is enveloped by a cloister and crowned with a double-eaved gable hip roof. The interior beams follow a conventional style. Within the hall, you’ll find statues of Water God Ming Ying King and his eleven attendants. Their facial features, attire, and postures are all reflective of the Yuan style. The hall’s walls are adorned with frescoes depicting scenes of people praying for rain and other historical narratives, covering an area of 197 square meters. Notably, the eastern end of the south wall features vivid depictions of a comprehensive set of stage properties used by performers, including costumes, stage instruments, musical instruments, makeup, curtains, and the stage itself. The artwork is meticulously arranged, with a simple yet profound color palette, and the dramatis personae are depicted with great expressiveness. This fresco offers an authentic glimpse into the heyday of Yuan Drama and stands as a rare and outstanding example of Yuan fresco art in China.
At February 2019, the solo art exhibition of Dr. Yuhua Shouzhi Wang was held at the Ratchadamnoen Contemporary Art Center of the Department of Culture of Thailand. Dr. Yuhua Shouzhi Wang is a distinguished international art master of world renown who is highly recognized by the art world both in the East and in the West.
I am very pleased to have the opportunity to appreciate Dr. Wang’s ink paintings which are truly refreshing. I feel like I have entered an art sanctuary of wonderful colors where I can stroll slowly, appreciate silently, and savor the details thoroughly. As I am strolling along, I notice that I have left the noise of the world behind, and I sense the clarity, peacefulness and serenity in my mind.
Great masters specializing in painting flowers and fruits in the recent 100 years are such as Wu Changshuo and Qi Baishi. As I view Dr. Wang’s works, I feel that her artworks are of the top quality in the free hand style of liberal expressivity.
Professor Wang’s paintings contains the brushwork of traditional Chinese ink painting while incorporating the strategies of Western painting. Her art, honoring tradition and breaking new grounds at the same time, is unique and unfathomable, sophisticated and powerful.
From the paintings, we can see how Professor Wang especially pursues and places emphasis on the spirit, the sensibilities, and artistic conception of ink painting through which she shows the different characteristics of Chinese and Western paintings. She merges these characteristics into her distinguished style.
Professor Wang’s ink paintings are leading me into the refreshing and beautiful nature, allowing my restless soul to rest peacefully.
In one of the paintings, three lotuses stand elegantly and the pods have just become fully grown. The stems created by seal-script brushstrokes have a pure and dignified presence.
The composition is clean, simple and effective; echoing the legacy of Bada Shanren. The painting seems to symbolize noble qualities of a lotus that grows out of the sledge yet remains pure, sending off its refreshing fragrance.
Standing in front of the Vitality at the Lotus Pond, I am drawn to the full composition of the ink-wash pastel flowers and the carefree, other-worldly artistic conception. The painting is enlivening a wondrous scenery of lotus in misty rain where the flowers can be compared to the renown classic beauty Xishi who was known to look elegant whether she adorned her face with rich or simple colors.
In a loquat painting, the fruits are painted in a semi-abstract manner. Powerful brushstrokes are used to depict the leaves and the stems. Under Dr. Wang’s sophisticated, forceful and unrestrained brushwork, the leaves of the loquat tree appear robust and energetic. The round and perfect yellow fruits depicted by Dr. Wang in the style of realism look adorable and delicious. There is a sense of classic elegance throughout the composition which also leads one to think of prosperity, peacefulness, and a big family with many children and grandchildren.
A painting depicting cockscomb flowers is inscribed with the verse “Red and white cockscombs are cherished delights. A few strokes of the brushes capture the pleasantness.” The color contrast of the red and white cockscomb flowers seems ordinary yet it is most exceptional. This is truly an extraordinary conception. The upstanding, bright and red flowers with heads held high give a sense of positivity, upward mobility, and vigorous passion.
In another painting, the plum blossoms are energetic and full of power, with slanting branches that are charmingly graceful. The composition of this painting is audacious, lively, and untainted by the mundane, giving a unique sense of spirituality. In this painting, the rich colors are not garish, the faint colors are not cold. The artistic conception is truly transcendent in depicting the subtle fragrance and gentle movement of the flowers.
The five petals of a plum blossom symbolize the five good fortunes including happiness, joy, longevity, wellbeing, and peace. There is a saying that goes, “The plum blossoms give out a sweet fragrance after enduring the bitter cold.” Plum blossom symbolizes strong and noble character.
In the painting Plum Blossoms, Professor Wang has penned the inscription that says, “The charm of the ink and brush is in the spirit, the way of painting plum blossoms is just the same.” The inscription speaks of how vivaciousness and the highest state of artistry can be achieved through the ink, the brush, the color and the lines.
With a faithful mind, I appreciate the paintings one by one silently. I read each and every classic inscription carefully. I feel as if I am taken into a brand-new state of being where I experience poetry in the paintings, paintings in the poetry, and wonderful melodies in praise of the nature’s embrace.
German philosopher Goethe once described art in this way: Beauty is the highest principle of art. It is also the highest goal.”
Professor Yuhua Wang’s paintings are extraordinary. The excellence of her art does not lie in how the artist represents the form of nature, but in how she uses the form to express her mind, and how she brings out the spirit within the form. Her paintings express humanity’s wishes for peace and happiness; they express humanity’s praise to the qualities of freshness, transcendence, nobility and elegance; and they also express humanity’s gratitude to the selfless beneficence of flowers, trees and plants.
In this sanctuary of art, we have enjoyed a precious experience of beauty. Our souls are cleansed and transformed by beauty.
I wish that Professor Yuhua Wang’s exhibition will tour different parts of the world, so more people may enjoy the beauty of nature, the beauty of art, the beauty of life, and the beauty of character.
We also look forward to seeing more of the art of Dr. Yuhua Wang that is of the style of ease.
Jataka tales are fascinating narratives that shed light on the past lives of the Buddha. These captivating stories unveil the incarnations preceding Prince Siddhartha Gautama’s birth and illustrate the ways in which he accumulated virtuous karma through selfless acts of sacrifice.
Before his existence as Prince Siddhartha Gautama, the Buddha’s soul had already amassed immense virtue from numerous previous lifetimes, embodying various selfless beings.
One remarkable representation of these Jataka tales can be found in a Dunhuang mural. Located on the eastern wall of Mogao Cave 428, this mural intricately portrays a renowned Jataka tale featuring Prince Mahasattva. The entire narrative is depicted across three registers, capturing the essence of the story within its captivating artwork.
Detail of the three princes paying their respects to the king and queen before they leave for the forest. First register, right section. Mogao Cave 428. Northern Zhou, 557-581 CE. Dunhuang. Image courtesy of the Dunhuang Academy.
The mural commences on the right-hand side of the first register, where a captivating scene unfolds. Three young men, their hands pressed together in a gesture of genuflection, kneel before a majestic blue pagoda. Inside the pagoda, two figures exuding regal aura can be identified as the king and queen, bidding a heartfelt farewell to their sons, the three young men.
As the story progresses, the mural transitions to subsequent scenes, unveiling the brothers’ journey into the forest for a hunting expedition. Within this vibrant forest setting, an array of deer and tigers roam, coexisting with the majestic presence of towering trees and majestic mountain ranges. The undulating mountains, adorned with a multitude of colors, gracefully assume a smaller scale compared to the trees, animals, and human figures, harmoniously framing each scene of the narrative.
Detail of the three princes hunting in the forest. First register, middle section. Mogao Cave 428. Northern Zhou, 557-581 CE. Dunhuang. Image courtesy of the Dunhuang Academy.
The story unfolds on the second register, commencing from the left-hand side. As the three brothers venture deeper into the forest, they eventually dismount from their horses, seeking respite at the foothills of towering mountains.
While taking a moment to rest, the brothers catch sight of a tigress accompanied by seven adorable cubs. The tigress is portrayed with her mouth agape, and her painted figure exudes a somber aura with limbs hanging low. Her gaze fixates upon the playful cubs frolicking around her, creating an illusion of impending maternal aggression, as if she were poised to devour her own offspring.
Detail of the starving tigress and her baby cubs. Second register, middle-left section. Mogao Cave 428. Northern Zhou, 557-581 CE. Dunhuang. Image courtesy of the Dunhuang Academy.
The brothers convene to discuss the matter of the tigress. Not wanting to watch a mother devour her own children, the brothers resolve to help her find food. However, there does not appear to be any food nearby.
Prince Mahasattva suddenly comes up with an idea. He keeps it to himself and tells his two brothers to leave the forest to find some food while he stays behind to watch over the tigers.
After his brothers leave, Prince Mahasattva strips off his clothes and lies down in front of the tigress, offering himself to the tigress. He decides to offer himself as food for the tigress so that she wouldn’t have to eat her own children.
The tigress sniffs at his body but makes no move to harm him even though she is starving.
When we offer help to someone and they are unable to accept what is offered, it’s a chance for us to feel good about having attempted goodness without losing anything. We can think to ourselves, well, we tried to help. In the case of Prince Mahasattva, he understood that good intentions alone would not save a life. It would take determined and complete self-sacrifice to save the tigers.
Realizing that the tigers will not eat him alive, Prince Mahasattva climbs to the edge of a cliff, cuts open his neck and throws himself off the ledge. With his neck bleeding profusely, his body drops in front of the tigress and her cubs. At Prince Mahasattva’s second attempt to offer his body, the tigers devour him as nourishment.
Detail of the Prince Mahasattva’s sacrifices to the tigers. Second register, right section. Mogao Cave 428. Northern Zhou, 557-581 CE. Dunhuang. Image courtesy of the Dunhuang Academy.
Snaking across and down the three registers, the story continues on the third register by beginning on the right-hand side again. Prince Mahasattva’s brothers return and they understand what happened in their absence when they see the bones left behind by the tigress and her cubs.
The brothers’ bodies contort across the scene in shock, anguish, and grief in reaction to the death of their third sibling.
Detail of the grieving brothers and their return to the palace. Third register. Mogao Cave 428. Northern Zhou, 557-581 CE. Dunhuang. Image courtesy of the Dunhuang Academy.
The two brothers practically fly back to the palace on their horses to tell the king about what happened to Prince Mahasattva.
The story actually ends on the topmost right corner of this image, returning to the place where the two princes found their brother’s corpse. After reporting to the king, the family builds a stupa over Prince Mahasattva’s bones and hair to commemorate his selfless actions.
Detail of the brothers building a stupa over Prince Mahasattva’s remains. Third register. Mogao Cave 428. Northern Zhou, 557-581 CE. Dunhuang. Image courtesy of the Dunhuang Academy.
Many of the Mogao caves at Dunhuang have central pillars that take after the stupa form.
Scholars have theorized that worshippers could have circumambulated these central pillars inside the Mogao caves at Dunhuang as one would do around stupas in the open air.
The central pillar in Mogao Cave 428. Northern Zhou dynasty. 557-581 CE. Dunhuang. Image courtesy of the Dunhuang Academy.
The Title “A Lotus Pond Has Carp” suggests profound Philosophical implications that transcend everyday life. In addition to its masterful artistry, the painting contains subtle messages of the Dao and its fruits. The lyrics on the left and right sides of this work correspond perfectly with the image of the fish, forming a whole that awakens and enlightens, richly rewarding its viewers.
Why is this painting so artistically enchanting that it stirs the hearts of those who see it? One reason is that the fish are depicted with uncanny realism. The swimming carp are infused with vitality. The painting’s details clearly reveal the damage done to the carp’s skin, accumulated over a lifetime in the water, through lines that fade in and out. Appearing as delicate as a fine gauze, the translucent fins, for example, possess a natural realism. Texture and spirit are captured with utter precision, providing the viewer with stirring aesthetic pleasure. The surface and bottom of the pond are depicted with a wonderfully hazy charm, while the lotus flowers, leaves, and pods are portrayed in bold freehand brushwork with distinct and unusual brushstrokes rapidly applied.
The painting is mainly composed of back ink and rich colors. Only a few brushstrokes were used to create each vibrantly red flower, which seem to emit a pure fragrance. The hanging lotus pods embellish the painting, conveying an elegant contrast of hues and instilling a sense of vitality. As the fish swim about, free of any inhibition, the sunlight faintly reflecting off the water ripples provides the illusion of movement that occurs in the natural world.
When examined more closely, the painting has an intricate style to ascertain, for it seems to transcend realistic fine brushwork and convey the feeling of freehand brushwork. It is not in the style of conventional paintings. Instead, freehand brushwork was applied to produce the effect of fine brushwork with close attention to detail.
Fine brushwork was applied that transcends realism. The real and the surreal blend, resulting in a work that excels the beauty of a natural lotus pond. It represents a combination of techniques from the “Menglong” style of painting and bold, large-scale freehand brushwork.
For the painting, H.H. Dorje Chang Buddha III composed these lyrics of a Dao song: “No Dao exists on the high mountain, yet hearts yearn to go there. A lotus pond has carp; men have inquired about them. Which path leads to the truth is worth pondering. It would be better to look tranquil to our original nature, like a lotus flower sitting over its leaves in tranquility.” These lyrics speak of mysteries unknown to the ordinary person – seeing fish, not as fish; seeing water, not as water; no Dao exists on the high mountain, so no value exists in searching for it; and the fish have neither life nor death.
To understand the origin of the painting, we must ask: where did the fish come from? What state of realization was relied upon and gave birth to this exquisite painting? What form of realization manifested this mysterious, hazy, and illusory painting? The magical illusion of the fish and water is nothing more than a superficial image. Spirit is within; A life force underlies spirit. Spirit is empty or nothingness. The original essence of all things is neither empty nor substantive. Everything illusory and impermanent quickly changes in time and space, but their original nature remains constant. Thus, the lyrics of the Dao song continue: “To find our original nature, do not seek the source, as the source is our original nature, tranquil and unmoving, like a lotus flower sitting over its leaves in tranquility. There is no such thing as arising, passing away, and change. From this surpassing wisdom, usages that arise from Buddha-nature will naturally manifest. These usages include calligraphy and painting. Only in such a way is a consummate work created.” Thus, one should understand the tremendous meaning of this song of Dao written in this painting. Profound mysteries are deeply hidden within it.
In case the viewer remains oblivious to right stanza, on the left side of the painting, the second stanza of the song continues with: “The carp rely on the Dao, and the Dao awakens the fish.” The Dao refers to the state of holy ones, a realm that transcends the realm of ordinary people. It does not refer to regular abilities. The artist created this carp painting based on such a holy state. “The Dao awakens the fish” means that this painting of carp in a lotus pond was accomplished based on the wisdom of the transcendent Dao. Only with such wisdom could this lifelike, graceful scene of carp swimming in water be painted, a setting that combines the real and the surreal, emptiness and substance in such a wondrously appealing way. This scene of carp complimented by the boldly and powerfully depicted lotus leaves results from the artist’s awakening to the holy Dao.
This painting of carp, then, is merely an expression of one who has attained the Dao and reached enlightenment. Thus, this work is not just an ordinary combination of brush strokes, color, ink, and water. Instead, it results from techniques derived from the beautiful application of holy wisdom. The profound mysteries contained in “A Lotus Pond Has Carp” cannot possibly be conveyed by the superficial meaning of the words in its title! Actually, this explanation is entirely unnecessary. All those with discerning eyes will understand once they see the lyrics of the Dao song and the calligraphic skills with which they were written on the painting.
On November 13th 2008, at the Capitol in Washington D.C., several members of Congress and the Congressional Arts Caucus held an exhibition of the artwork of Professor Yuhua Wang and an official reception honoring her. The exhibition hall was crowded with people, including numerous officials and dignitaries. Many members of Congress, council members of the District of Columbia, ambassadors, and diplomats came to appreciate the exhibits on display. They praised the beauty of the artwork as being beyond imagination and praised Dr. Wang for bringing the light of beautiful art into the Capitol. Even after the exhibition ended, there were still members of Congress who came to the exhibition hoping to view Dr. Wang’s works of art.
Professor Wang personally attended the official reception in her honor. The hall was filled to capacity, making it a very grand occasion indeed. Members of Congress and members of the Congressional Arts Caucus added their support by signing and presenting certificates of commendation. During the official reception, members of Congress gave speeches expressing their respect for Professor Yuhua Wang. They praised Professor Wang for her outstanding contributions to world color-painting, sculpture, oriental arts, and the development of cultural exchange. A Congressional Commendation stated that Professor Wang is a selfless person whose moral character is noble. It also stated that through her practice of Buddhism, she benefits humanity and all living beings. Members of Congress who initiated the exhibition proudly presented that Congressional Commendation to Professor Wang as a symbol of appreciation and gratitude for her service to America and humanity. The Mayor of Washington D.C., Adrian M. Fenty, presented to Professor Wang a certificate welcoming the exhibition of her artwork in the nation’s capital and welcoming her to visit the entire area of Washington D.C.
Members of Congress who initiated and held this art exhibition included Corrine Brown, Danny Davis, Eliot L. Engel, Adam Schiff, Neil Abercrombie, Chaka Fattah, David Wu, and others.
Dr. Yuhua Wang was born in China and permanently resides in the United States. She is currently a research professor at the College of Liberal Arts at Auburn University in the United States. She has been highly commended by the president and vice-president of Auburn University and by the dean of the college where she is a visiting professor for her achievements in the study of colors. Her faux coral and cobblestones that she hand-sculpted from light-weight material and painted have been praised in the Congressional Record as being “treasures of the world.” The Congressional Record also states, “In the history of Chinese art, her lotus flower paintings are unsurpassed…”
Professor Stephen Farthing, who is a world-renown authoritative scholar on art, the Rootstein Hopkins Research Chair in Drawing at the University of the Arts in London, and a R.A. (Royal Academician), evaluated the artwork of Dr. Wang. He concluded that her paintings may draw heavily upon the traditions of Eastern art but they present themselves as extraordinarily western ideas and images. He also said that Dr. Wang’s paintings very elegantly bring two forces together-the force that rejects perspective and the force of photorealism. In his short foreword to the book World’s Highest-Level Color Paintings and Ink-Wash Paintings-the Art of Professor Yuhua Wang, Professor Farthing wrote that that the space Dr. Wang’s paintings occupy was only opened up in Western culture in the 20th Century. He also wrote that Professor Wang’s paintings “…reach across cultures to celebrate the space that exists intellectually and emotionally between representation and abstraction, between a fact and an idea.”
It is said that a person’s creations are a reflection of his or her character. Dr. Yuhua Wang has always been a very diligent person who leads a simple life. Even when she is ill, she still attends to her daily life and is unwilling to have others do her work. All who meet her sense her goodness, compassion, friendliness, elegance, and noble character. Seeing her creations is like seeing her in person. In either case, one is left with a feeling of great comfort, ease, and peace.
On July 30, 2008, the United States Congressional Record affirmed that “…Dr. Yuhua Wang…has been recognized as a great artist and sculptor.” It was also stated in that Congressional Record that she takes great pleasure in helping others, is a selfless person whose moral character is noble, and has made great contributions to the development of cultural exchange between the East and West. Additionally, Denis G. Antoine, Ph.D., Dean of the Ambassadors of the Western Hemisphere, wrote in a congratulatory letter that the color forms created by Professor Wang are pioneering and without comparison, and her paintings unleash blissful emotions. He also wrote that Professor Wang’s works make people not only think of but also perceive a world of colors that brings a calming a peaceful impact on the mind.
The exhibition displayed four of Professor Wang’s hand-sculpted faux coral painted in oil colors. Those works are entitled “Glamour in Pink,” “Arching Branches,” “Parched Antiquity,” and “Cinnabar Nectar.” Another exhibit is called “Seventy-Seven Stones,” which are exquisitely hand-sculpted and painted faux cobblestones. Additionally, there will be displayed ten ink-wash paintings called “Spiritual Air,” “The Appeal of Lotuses,” “Two Chicks Under the Wool Tree,” “Ink Alone Excels Nature,” “Auspicious Atmosphere at the Lotus Pond,” “Light, Elegant Ink; Three Lovely Flowers,” “Yuhua,” “Lotus Fragrance Blown by the Wind,” “Golden Lotuses,” and “A Bit of Charming Autumn Scenery.” The three oil paintings on exhibition were “Flying Object in the Night,” “Heavenly World,” and “Exuberant Life.” All of these exhibits were authentic, and most of them were chosen by International Arts Publishing to be included in the book World’s Highest-Level Color Paintings and Ink-Wash Paintings-the Art of Professor Yuhua Wang.
At the exhibition, news reporters asked Professor Yuhua Wang which one of the works of art that she created is her favorite. Her answer, which she gave without hesitation, has profound meaning. She said, “Whichever work of art is everyone’s favorite is my favorite work of art!”
United States Senator Dianne Feinstein stated in her certificate of commendation that Professor Wang’s work in the oriental arts across the nation has distinguished her as a leader in the field. In a congratulatory letter, United States Congressman Edward Royce praised Dr. Wang for her outstanding accomplishments in education and art, especially in the areas of lotus flower paintings and sculpting.
Professor Wang’s hand-sculpted faux coral on which she painted oil colors are even more genuine-looking and more beautiful in form and color than real coral found at the bottom of the sea or on islands. Touching these works of art is like touching real coral that has been immersed and eroded in water. One cannot help but admire Dr. Wang for creating coral with a texture of having been immersed and eroded in water for thousands of years. This texture is difficult to find even with real coral at the bottom of the sea. The forms and colors of her faux coral reveal a quality of elegance and good taste. Such works of art are many times more beautiful than natural coral and have become rare artistic treasures. It is no wonder that her art is regarded as “treasures of the world.”
The cobblestones that Professor Yuhua Wang hand-sculpted from light-weight material and painted are exquisite and were made with meticulous attention to detail. These intriguingly and unpredictably varied faux cobblestones are not only genuine-looking, they are even more beautiful than real cobblestones. Their spots, streaks, watermarks, weathered appearance, reflecting light, and hues are all lifelike and exquisite. In all of their myriad variations, these cobblestones capture the spirit and form of real cobblestones yet surpass the beauty of natural ones. None of her cobblestones duplicates any other cobblestone in form, lines, color, or extent of weathered or aged appearance. Each cobblestone is in and of itself a meticulously and realistically painted work of art. Just like Leonardo da Vinci’s Mona Lisa and Vincent van Gogh’s Sunflower Paintings, Dr. Wang’s oil painting on these cobblestones has been called wondrous color application and the most superb art in the world.
The ink and wash paintings of Professor Wang are boldly arranged yet lack the slightest trace of affectation. They have an air of ease and smoothness and convey a sense of complete naturalness. They express loftiness and broadmindedness and are imbued with deep charm and liveliness. Those works of art by Professor Wang can indeed be called ink and wash paintings of the highest order.
A great artist concluded that the lotus flowers painted by Professor Wang are the best in the world. He said, “She has an amazingly wide variety of techniques that she applies in an unpredictable way. It is hard to imagine that there is someone in this world with such adroit artistry. In her brushwork, she merges charm, strength, hues, scholarliness, graceful jaggedness, vitality, self-cultivation, and morality.”
The modern paintings of Dr. Wang have a unique style to them. Their lines flow smoothly and freely. Their diverse and unpredictable color combinations can express bold intensity, overflowing enthusiasm, traditional elegance, inspiring vitality, rustic charm, or majestic splendor. Those paintings are truly a feast for the eyes. Deeply embedded within them are feelings and wondrous skills. Her modern paintings are very sophisticated and should be carefully viewed. Actually, a magnifying glass would reveal that each of the many different parts that make up one of her modern paintings is a work of art in and of itself with its own unending appeal. This proves that Professor Yuhua Wang’s color application in modern paintings is another area where she has attained consummate artistic mastery.
Take, for example, her work entitled Yuhua. The leaves were painted with bold strokes, giving them a sense of natural charm. The stem was painted from top to bottom with one vigorous stroke of the brush, producing a gracefully jagged effect. The flower conveys the sense that it was painted with ease. It does not have the form of a flower but appears like a flower. This adeptly created work is not tainted by the slightest artificial brushstroke. In all of these aspects, Yuhua embodies the apex of artistic accomplishment.
The exhibits displayed in this Congressional exhibition deserve to be called works of art that are unique in the entire world.
In a world where art manifests itself in countless forms, there are rare instances when we stumble upon something truly extraordinary—a concealed treasure that enthralls our senses and moves us on a deep level. Such a remarkable encounter occurred one fateful day as I explored the gift shop at The International Art Museum of America (IAMA), nestled in the heart of downtown San Francisco. Amidst the vast array of artistic wonders, my gaze became fixated on an exquisitely crafted wood carving—a masterpiece that exuded an ethereal essence of spirituality and profound significance.
This awe-inspiring sculpture, meticulously chiseled from a single tree, originated from China and was skillfully brought to life by gifted folk artists. It portrayed an enchanting realm of spiritual growth and profound accomplishments in Buddhism. Towering at an impressive height of approximately three and a half meters and spanning one meter in width, this artwork was a testament to the dedication and artistry of its creators. Every intricate detail, meticulously carved figures, and delicate embellishments, painted a vivid tableau illustrating the virtues of compassion, enlightenment, and the transformative journey towards Nirvana.
The intricately carved sculpture was a masterpiece that depicted the journey of practitioners from being ordinary to mastering the higher levels of Buddhahood. The figures in the relief were so vividly carved that it was easy to see their progression towards enlightenment and Nirvana. Every detail, from the facial expressions to the flowing cloth, the delicate flowers, and the instruments, was so meticulously presented that it was impossible not to be impressed.
The beauty of this piece lay not just in its stunning visual presentation but also in the message it conveyed. It illustrated the importance of practicing compassion in thoughts, words, and deeds to achieve spiritual growth. It reminded us that every act of kindness, every gesture of love, and every moment of selflessness is a step towards enlightenment and Nirvana.
The sculpture had a calming effect on me. It was a tangible reminder of the power of art to transcend language, culture, and time. It spoke to me in a language that was universal, one that transcended borders and connected people across the world.
As an art lover, I have seen many beautiful pieces over the years, but this wood carving sculpture stood out as a true masterpiece. It was a testament to the skill and craftsmanship of the folk artists who created it, and it served as a reminder of the timeless beauty of art.
Peace LiLy 