觀自在菩薩。行深般若波羅密多時。照見五蘊皆空。度一切苦厄。舍利子。色不異空。空不異色。色即是空。空即是色，受想行識。亦復如是。舍利子。是諸法空相。不生不滅。不垢不淨。不增不減。是故空中無色。無受想行識。無眼耳鼻舌身意。無色身香味觸法。無眼界。乃至無意識界。無無明。亦無無明盡。乃至無老死。亦無老死盡。無苦集滅道。無智亦無得。以無所得故。菩提薩埵。依般若波羅密多故。心無罣礙。無罣礙故。無有恐怖。遠離顛倒夢想。究竟涅槃。三世諸佛。 依般若波羅密多故。得阿耨多羅三藐三菩提。故知般若波羅密多是大神咒。是大明咒。是無上咒。是無等等咒。能除一切苦。真實不虛。故說般若波羅密多咒。 即說咒曰。揭諦揭諦。波羅揭諦。波羅僧揭諦。菩提薩婆訶。
頂禮 南無 第三世多杰羌佛
我的法名是華詠，有幸參加了《 觀世音菩薩大悲加持法會 》。
忽然，華瑞師姐用廣東話向大家大聲說出觀音菩薩讓她說的話：“你們這群人今天有緣來到這裡，因為你們前世做了不好的事，你們要懺悔！… …”當時我邊唱邊在心中回答：是啊，是啊… …這時非常難過，歌聲帶著哭聲。不久，眼前只見一片漆黑，中間是一個紅色的圓圈。我想這可能是我的業障現前了，我就馬上祈求佛菩薩加持：把我的業障消除，精進學佛，建立佛化家庭，先生和女兒都和我一起學佛！心裡講完這些話後，我唱得更大聲更起勁了，雙手開始從前面向兩邊打開，很自然地晃動起來，有不同的動作，擰來擰去，又好像是打拍子，但雙腳還是動都不動。
我覺得法會時間很短，很快就結束了，但我確實得到了極大殊勝的佛力加持，不過身體仍然是感到重重的，法會結束，很多師兄師姐都到法臺前講述各自的受用體會，我也上前，跪地合掌，表述發自內心對南無 第三世多杰羌佛 佛陀師父、 觀世音菩薩 、諸佛菩薩的無限感恩，報告了自己的殊勝感受！
無比誠心頂禮感恩 南無 第三世多杰羌佛 ！
無比誠心頂禮感恩 南無大慈大悲 觀世音菩薩 ！
One day in March of 2003, my mother became ill with something like a stroke. She couldn’t move the right side of her body nor could she talk. At the emergency room, the diagnosis was that she was in the last stages of an inoperable brain cancer with a tumor the size of a fist. Unfortunately chemotherapy was not an option. She had about a zero chance of being cured with radiation treatments. We were told to take her home for hospice care for her final days. We were all very panicky and very sad with the anticipation of having to watch our mother wait for her death.
At that time, I kept praying that my mother could have the opportunity to see the Buddha Master, H.H. Wan Ko Yeshe Norbu Holiest Tathagata. The Buddha Master was merciful, and the arrangements were made for the Buddha Master to see my mother immediately.
I remember that day very clearly. At the altar, my mother was anxious and crying because she had lost her ability to speak, but the Buddha Master said, “It’s alright, it’s alright. I understand it all.” The Buddha Master accepted my mother as a disciple and also transmitted dharma to her right then and there. That day, my mother couldn’t talk nor do the mudra because her right hand was paralyzed. I remember that the merciful Buddha Master came down from the platform, held her good left hand, and personally put the Cultivation Seed Syllables on the palm of her left hand. That particular scene is deeply imprinted in my mind. That’s the empowerment a Buddha gives to a suffering living being. I was deeply moved and even more grateful to my Buddha Master, although the Buddha Master does not allow his disciples to call him Buddha. Nevertheless, His Holiness is a true ancient Buddha who has descended into this world.
With all that happened at the altar that day, my mother used her eyes to communicate with the Buddha Master. My father and 4th eldest sister were also there, but they didn’t seek refuge with the Buddha Master at that time. After we went back home, my mother looked at the palm of her left hand everyday and studied it very hard. She would look at the palm of her hand even at night when the light was not on. (During the more than six months from the time my mother fell ill until the time of her rebirth in a Buddha Land, she did not take one painkiller. She lived three months longer than the doctor had predicted.)
Early in the morning, three days before her 70th birthday, my mother’s condition turned worse. She became unconscious. Her whole body was twitching. The paralyzed right side was stiff and un-bendable. She had rapid breathing and an increased heart rate with her blood pressure dropping. Both the doctor and the nurse notified us to prepare for the end and dress her properly for the funeral. It was unbearable to see my eighty-year-old father so sad. The whole family was nervous and confused.
The first thing in my mind was to beg the Buddha Master to be merciful and send mother to a good place. The Buddha Master made time in a very busy schedule to receive my father and me. It was already eleven o’clock at night. My father begged the Buddha Master to allow for mother to have her 70th birthday before she left us, and also for both of her daughters to have time to come back from the east coast to see their mother for the last time. The Buddha Master said very decidedly, “No problem! Let her have her 70th birthday before she leaves! I think Guan-Yin Bodhisattva will let her stay for a few more days before receiving her to the Western Paradise of Ultimate Bliss! I am ashamed to say that I don’t have that kind of dharma power to keep her. Only the Buddha can help her.”
Right away the Buddha Master empowered a Mantra Wheel and Dharma Instructions, instructing us to have my mother wear the Mantra Wheel on her head to shake her spiritual mind. The Dharma Instruction would be for her to wear at the time of her passing on to the Pure Land, using the power of the Seed Syllables to enter the Western Paradise of Ultimate Bliss.
After we went back, my mother’s pupils were already dilated, and her body temperature was low. She passed away. We followed the instructions we received from the Buddha Master and put the Mantra Wheel on my mother’s head, feeling very scared. My mother had already left. Was it too late for her to wear the Mantra Wheel now? Unexpectedly, a miracle happened. Within only two short hours, mother regained consciousness. Her pupils, body temperature, and breathing all became normal. She answered some of our questions by nodding, shaking, and moving her head and by blinking her eyes. Her consciousness was completely clear and normal. Not only did my mother wait until both of my sisters came back from the east coast to celebrate her 70th birthday, but days after that, mother would sit in a wheelchair, using her unparalyzed left hand to offer incense to the Buddha.
Many monastics were there to witness the process of mother’s revival. My aunt, who had been there nursing my mother, was deeply shocked and realized how great and powerful the true Buddha-dharma is. Furthermore, it changed my father, who has been a Christian for the past fifty years. He became a disciple of the Buddha Master.
Only after my mother was lingering in her sick bed and had started to accumulate phlegm in her throat, and my father could feel that my mother was suffering from the phlegm collecting in her throat, did he kneel down in front of the picture of the Buddha Master, silently begging the Buddha Master to ask Guan-Yin Bodhisattva to come and receive mother in the Western Paradise of Ultimate Bliss to enjoy the blessings! As expected, at 6:50 early next morning, my mother left peacefully with her mouth open like a sleeping baby. A message was relayed that morning from the Buddha Master’s attendant Kuan that the Buddha Master would use the most profound and wonderful Pure Land spirit-raising Dharma to raise my mother’s spirit from suffering and would respectfully ask Guan-Yin Bodhisattva or her attendants to receive mother to the Western Paradise of Ultimate Bliss within seven days. I was all very grateful for the Buddha Master’s empowerment to send my mother to the Western Paradise. Not only were her face and lips rosy, her limbs were also soft so that the task of dressing her properly for the funeral was easy.
However, the most amazing thing was when I knelt in front of my mother’s body that day and said, “Mom, if you have seen Guan-Yin Bodhisattva or the attendants sent by her with the message that they are coming to receive you, please close your mouth and smile so we don’t have to worry.” I kowtowed three times to thank my mother for all the years she spent raising me, knelt in front of her bed, and silently recited Guan-Yin Bodhisattva’s sacred name. I lost track of time. My mother had been like a sleeping baby with her mouth opened, but now her mouth was closed and she was smiling. Wow! My heavens! I was shocked. I thought my eyes were deceiving me, that I’d made a mistake. I hurried and asked my family to come and see. Everyone saw the same thing I did—that she will be received by Guan-Yin Bodhisattva or her attendants in the Western Paradise of Ultimate Bliss.
At that time, there were birds singing very beautiful tunes outside the window, just as described in the sutras. Normally, there is no bird around or near the house. That day, the recorder suddenly played Guan-Yin Bodhisattva’s sacred name automatically. All of these remarkable auspicious events brought tears of excitement to two of my aunts who were taking care of mother at that time and who were also cultivating themselves as Buddhists. They said, “We have been doing our cultivation all these years, but now we have seen what is called the true Buddha-dharma.” Because of mother’s ascent and her rebirth in that Buddha Land, they kept asking us to take them to the Buddha Master to seek refuge.
Imagine what level of realization a holy reincarnated being has in order to be able to communicate with Buddhas and Bodhisattvas and ask Buddhas and Bodhisattvas to call back my mother from death, allow her to stay many days, and come and arrange to have her received as desired. That can only be done by a Buddha! The fact that my mother passed away, came back to life, and ascended to the Western Paradise of Ultimate Bliss after her 70th birthday is only a very small and ordinary case among all of the Buddha Master’s many disciples. There are too many other examples to mention concerning all the other disciples who attained accomplishment, became liberated and ascended to the Pure Land.
Many disciples have only seen the Buddha Master once and received transmission of the Buddha-dharma, such as fellow disciple Yu-Shan Hou. He practiced the dharma that the Buddha Master transmitted to him and was able to visit the Western Paradise of Ultimate Bliss. He came back to tell everybody that he would pass on to the Western Paradise of Ultimate Bliss seven days later. As he predicted, he passed on to the Western Paradise on a lotus seven days later.
H.H.Dorje Chang Buddha III－A TREASURY OF TRUE BUDDHA-DHARMA
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.
#義雲高 #義雲高大師 #第三世多杰羌佛 #仰諤益西諾布大法王 #仰谔益西诺布大法王 #正法聯盟 #义云高大师 #义云高