After viewing the exhibits on display at the International Art Museum of America, many people mention that paintings created by H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛), which are among those exhibits, are divided into sixteen different styles of painting. They want to have a more detailed understanding of those sixteen styles of painting. Therefore, we provide below a brief introduction to those different styles.
The achievements of H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) are myriad. Let us put aside for now twenty-nine of the thirty large categories of achievements contained in the book H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛). With respect to only one of those thirty large categories-painting achievements- H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) has founded sixteen different styles of painting. This is in addition to being able to paint paintings of all other currently existing schools, such as the realist, abstractionist, and impressionist schools. The sixteen distinctive styles of painting that H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) has independently created are as follows: 1.The “Chaoshi” style; 2.The “Chouxiang Yunwei” style; 3.The “Wenfeng” style; 4.The “Fangfa” style; 5.The “Menglong” style; 6.The “Xiangtong” style; 7.The “Fanjuan style; 8.The “Pomo Xiantiao Xiezhen” style; 9. The “Weiyin” style; 10. The “Fanpu” style; 11.The “Miaoxie” style; 12.The “Pomo Weiyun” style; 13.The “Kuangxi” style; 14.The “Yousi” style; 15.The “Banqi” style; 16.The “Thickly Piled Patches of Color” style.
H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) has an extremely serious attitude toward the art of calligraphy and painting. Although He has painted more than 10,000 paintings, He has nonetheless burned up almost all of them. As long as H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) is dissatisfied with a painting He painted, He will surely burn it up. There have been numerous occasions when He openly burned up His paintings, including those that were already nicely mounted. Such is the unusual conduct of one with a sense of responsibility toward art. It has been determined through investigation that there are now only 197 authentic paintings by H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) that exist in the world.
Nevertheless, the International Art Museum of America is also unsurpassed in the entire world in the variety and number of authentic paintings by H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) that it has collected and displayed. However, at the present time, our museum still has not collected paintings of the sixteenth style of painting called “Thickly Piled Patches of Color.” Our museum is also somewhat deficient in a small portion of the other fifteen styles of painting. Additionally, as the inherently highest leader of Buddhism in the history of Buddhism, H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) is busy benefiting living beings and performing Buddhist matters, and thus has no time to paint. Furthermore, H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) has clearly refused to ever accept a request from the International Art Museum of America to purchase from Him any of His works of art.
Therefore, our museum has decided to purchase paintings by H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) from art collectors in society. However, as the value of paintings by H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) has risen, numerous counterfeit paintings have appeared in society. Many of these counterfeit paintings are stamped with seals that H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) previously used. Such seals were stolen from H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛)) in 2001. Consequently, it is difficult to differentiate counterfeit paintings from authentic paintings. That is why the International Art Museum of America has established strict inspection procedures for its purchase of any painting by H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛)
Our museum will purchase any authentic painting by H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) that is stamped with His three-dimensional fingerprint seal (either on the front or back of the painting) and is a type of painting our museum is deficient in or does not have. The purchase price for such a painting will be US$300,000 to US$900,000 per square foot, depending on the level or grade of the painting. Our museum will purchase any oil painting by H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) that belongs to the “Thickly Piled Patches of Color” style of painting that He founded. Whether such a painting is one of scenery or one of flowers and plants, its purchase price will be US$1,000,000 per square foot. However, if it is a sunflower or water lily painting in the “Thickly Piled Patches of Color” style, as long as it is proven to be an authentic painting signed by H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛), whether or not it has a fingerprint seal, its purchase price will be more than US$1,000,000 per square foot. Although our museum is currently displaying on a temporary basis three paintings lent to it that were created by H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛) and that belong to “The Thickly Piled Patches of Color School,” our museum is still seeking to purchase paintings in this style.
Those willing to sell any such paintings that they themselves have collected should first mail to the International Art Museum of America a photograph of the painting. The three-dimensional fingerprint seal on the painting should be enlarged to at least two square inches. After an initial evaluation of the photograph is made, notice will be given to examine the painting itself. In that examination, no evaluation or recommendation from an artist whose works are exhibited at the International Art Museum of America will be accepted. Only experts hired by the museum will examine and determine the authenticity and price of all such paintings.
The following is a brief introduction to the sixteen styles of painting created by H.H. Dorje Chang Buddha III (H.H. 第三世多杰羌佛)：
1. The “Chaoshi” style：
Such paintings are even more lifelike, appealing detailed, and beautiful than the actual subjects they portray.
2. The “Chouxiang Yunwei” style：
The true appearance of the subject portrayed is changed in these captivating ink-wash paintings, resulting in an unconventional image that both looks like yet does not look like the actual subject.
3. The “Wenfeng” style：
Brushwork skills suggestive of scholarliness and poetic charm embody these paintings.
4. The “Fangfa” style：
This delightful painting style is lively yet natural, producing a dynamic and fascinating effect from scattered ink.
5. The “Menglong” style：
Realism and non-realism are combined to capture the image of the subject portrayed, resulting in a seeming likeness but actual non-likeness of the subject. Brush strokes and color application produce a strong fanciful look to these paintings, a lovely, hazy look in which the real and the surreal mingle.
6. The “Xiangtong” style：
There is a rustic and childlike charm to these paintings. With the mindset of an innocent child, the artist casually wields his brush without being led by pre-conceived notions, applying a seasoned adeptness that conveys an impression of simplicity and purity.
7. The “Fanjuan style：
Numerous strokes of the brush reveal an air of scholarliness. Although a myriad of brush strokes are applied, there is no sense of disorder; rather, rather, artistic talent based on profound and extensive knowledge is expressed.
8. The “Pomo Xiantiao Xiezhen” style：
The splash-ink technique is merged with the center brush-tip technique to create realistic paintings of landscapes.
9. The “Weiyin” style：
These impressionist paintings have reached such a high level that if any small portion of the full painting were isolated, it would be an exquisite impressionist painting in and of itself. These paintings express a dreamy, illusory state, and any small part of them can be enlarged to form its own beautiful, aesthetically enjoyable painting.
10. The “Fanpu” style：
These paintings express that artistic conception of returning to original purity and simplicity. With unfettered hand and mind, the artist applies his most mature skills free of the slightest attachment and with minimal, natural strokes of the brush.
11. The “Miaoxie” style：
Subtle, fine brushwork and freehand brushwork blend into one. White lines are formed through the delicate, refined, marvelous application of ink rather than through the use of white paint. The artist produces the effect of a realistic painting with meticulous attention to detail even though He applies the freehand style.
12. The “Pomo Weiyun” style：
Although bold and vigorous hues of watery ink are used, a rich charm is evinced that is both subtle and wonderful.
13. The “Kuangxi” style：
Such paintings fuse rough and precise artistry. The roughest, most rigid, most vigorous brush strokes of the large-scale freehand style are masterfully combined with the fine, delicate brush strokes of the realistic style, resulting in elegance amid roughness.
14. The “Yousi” style：
Mostly applied in figure painting, this technique uses gossamer-like fine lines to form the contours of the subject.
15. The “Banqi” style：
Such paintings appear to be in the style of those imprinted from engraved plates, but they also manifest the flair of the brush. Deep within them is an inexhaustibly enchanting quality that is both natural and lively. They are ink-wash paintings, not paintings imprinted from engraved plates.
16. The “Thickly Piled Patches of Color” style：
Thickly applied oil colors are piled up, giving the painting a three-dimensional look with elegant, vigorous charm. The overall effect is produced through rough brushwork and a sense of surrealism.
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