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(Video) The 2011 Hong Kong Conference of Buddhism Attended by Masters of Dharma-Listening Sessions from all over the World

(Video) The 2011 Hong Kong Conference of Buddhism Attended by Masters of Dharma-Listening Sessions from all over the World

H.H. Dorje Chang Buddha III

(Video) The 2011 Hong Kong Conference of Buddhism Attended by Masters of Dharma-Listening Sessions from all over the World

(Video) The 2011 Hong Kong Conference of Buddhism Attended by Masters of Dharma-Listening Sessions from all over the World

文章連結: https://a832722.blog/2018/12/23/(video)-the-2011-hong-kong-conference-of-buddhism-attended-by-masters-of-dharma-listening-sessions-from-all-over-the-world/

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A True Story: 100,000 Prostrations by a One-Armed Person who Learns and Practices the True Dharma of the Tathagata from H.H. Dorje Chang Buddha III.

A True Story: 100,000 Prostrations by a One-Armed Person who Learns and Practices the True Dharma of the Tathagata from H.H. Dorje Chang Buddha III.

H.H. Dorje Chang Buddha III

H.H. Dorje Chang Buddha III


A True Story: 100,000 Prostrations by a One-Armed Person who Learns and Practices the True Dharma of the Tathagata from H.H. Dorje Chang Buddha III.

I was a factory worker in the past. In 1993, a co-worker had to go home to help plant his family’s wheat crop. His leave request was not approved by the shift leader. So, I went to cover him.

When looking at his work in the past, I thought I should be able to do it. In reality, it was not that simple. I was not skillful in operating the machine. The machine pulled my right hand in. When I dragged the arm out, I had no flesh in my hand and arm, only a long, bare bone left. 

The doctor at the hospital took a look and told me that I must have amputation. The upper arm bone was fractured; however, he could reconnect it back. 

When I slowly woke up from the surgery, I saw that my entire right arm…, my right arm was like, so short , only 5, 6 cm long.

Actually, the doctor had told me very clearly before the surgery that the amputation would only be limited to my hand. This is just not fair at all. I was furious. How could he be a doctor? What medical ethics did he have?

I cried my heart out at that time.  I got very upset. I did not even want to go out of my room. I got a room from the company. I didn’t go out at all and felt that it would be embarrassed to go out and see people. Why do I get such bad luck? 

H.H. Dorje Chang Buddha III

I was depressed all day long and also could not get along with my wife. I would smash bowls or chopsticks whenever things didn’t go my way. That happened a lot. When I popped open a bottle of white wine, I would have a big, long gulp.  In one morning, I could almost finish a bottle with only a few drops left.  I buried myself in the alcohol at home.  Once I am drunk, I lose my temper. I almost had a mental breakdown and lost confidence in my life. 

It started out from doing a favor, to help out my co-worker. How did it make me to become a handicapped person?  How could such a thing happen to me? Even the hospital mistreated me in that way. The whole society did not treat me fairly. I also didn’t see justice from the Heavenly God…….

One day, my daughter told me: “Father, I will take you to a Buddhist center. Go learn Buddhism. Buddhism will be good for you, and for our family. Chant “Namo H.H. Dorje Chang Buddha III!”

H.H. Dorje Chang Buddha III

“What did you tell me to chant?” I said, “I have only heard about Amitabha Buddha. Why didn’t I know about H.H. Dorje Chang Buddha III?”

Starting from that day, I would head to the Buddhist center and then listened to the Dharma discourses every day.

I started to learn Buddhism at the Buddhist center.  I listened to the discourse on the Law of Cause and Effect. I listened to many pre-recorded dharma discourses, such as The Dharma to Cut Off the Twenty Worldly Emotions, etc.

Eventually I understood that everything is a result of the Law of Cause and Effect.

I listened to The Dharma to Cut Off the Twenty Worldly Emotionsa few more times. I also listened more times to the discourse on the Law of Cause and Effect. 

I gradually realized that the loss of my right arm was not without a cause. Whether in my past lifetimes or in this lifetime, I have harmed so many living beings. This bit of suffering is what I deserve. When I took the lives of other living beings in the past, I caused them sufferings.

Through the learning, I slowly understood the truth about the Law of Cause and Effect. The hatred in my mind also gradually vanished.

Every day I did prostrations and listened to the dharma at the Buddhist center.  I then made a resolve.

H.H. Dorje Chang Buddha III

Since I have learned and understood the truth of the Law of Cause and Effect, I will now repent to all the living beings I have killed or harmed. I will repent to them. With the utmost respect, in front of the Buddhas and Bodhisattvas, I will repent with my most pious heart. 

I will do 100,000 prostrations for repentance. In less than four months, I completed 100,000 prostrations. H.H. Dorje Chang Buddha III told us, only cultivation can transform the Law of Cause and Effect. 

H.H. Dorje Chang Buddha III

The retribution I am receiving right now is caused by what I have done in many lifetimes and eons ago. From now on, I will follow and learn from H.H. Dorje Chang Buddha III and cultivate myself.

As long as I plant good causes. I will definitely get good fruition in the future. I am determined to follow and learn from the Buddha and cultivate myself until I attain accomplishment.

A True Story: 100,000 Prostrations by a One-Armed Person who Learns and Practices the True Dharma of the Tathagata from H.H. Dorje Chang Buddha III.

文章連結: https://a832722.blog/2018/12/11/a-true-story:-100,000-prostrations-by-a-one-armed-person-who-learns-and-practices-the-true-dharma-of-the-tathagata-from-h-h-dorje-chang-buddha-iii/

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第三世多杰羌佛 #HH第三世多杰羌佛 #第三世多杰羌佛藝術 多杰羌佛#一念之間 #成就解脫之路 #隨緣自在 #三世多杰羌佛 #義雲高 #義雲高大師正法聯盟善明正法佛學會解脫直昇機正宗聖法

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Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

H.H. Dorje Chang Buddha III

H.H. Dorje Chang Buddha III

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

Please see below the answer of whose work is the best among

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III

      I have spent more than 60 years of my professional life in the field of painting. During the many decades of practice and experiences, I have come to know many famous painters. That is especially the case since I became the Head Consultant for authenticating paintings and calligraphy at the National Museum of China in Beijing. As an appraiser and authentication officer of paintings and calligraphy, the bulk of my work is to verify the authenticity of Eastern and Western paintings. I have reviewed tens of thousands of famous paintings, especially the rare and precious works of the maestro Vincent van Gogh of the Netherlands, and those of the champion of Eastern paintings, Qi Baishi of China.

      Both Van Gogh and Qi Baishi were great world-renowned masters in art. One represented the apex of Western art and the other was a master of an extreme class in the field of Eastern paintings. Both artists had drawn from the essence of the classical traditions of their respective cultures. They created new styles of art and new ways of seeing the universe. They broke new grounds and became pioneers of new eras, each becoming a creative guru of his time, developing a distinct style of his own and leading new trends that inspired later generations. Their works reflect the different essences of the Eastern and Western traditions. To what extent can their works influence the artistic civilization of the world? What kind of artistry did they achieve that made them upright monuments in art history and admired by so many people?

      Some art critics compared the works of Van Gogh and Qi Baishi to see which of them reached a higher level of accomplishment. They concluded that both have their own merit, both are undefeated champions in the art and both reached the pinnacle of artistry. Recently, some art critics also brought up the oil painting Sunflowers and the ink-wash painting Sunflowers, both created by H.H. Dorje Chang Buddha III, and gave them rave reviews. They went on to compare the works by Vincent van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, trying to establish which of the three artists is the champion of the champions. The result of comparing the works by Van Gogh, Qi Baishi and H.H Dorje Chang Buddha III is tremendously inspiring.

      Ever since the Renaissance, Western artists had placed emphases on rational analysis and the realist portrayal of forms. They used light, texture and details to present the realistic, three-dimensional perspective. A few centuries later, Van Gogh rejected the monotony of such use of light and shadow and the realistic portrayal of figures.  He pioneered the movement of impressionism that suited him well by applying a mix of colorful, brilliant, splendid and vigorous brushstrokes. He became a great master of his time and his name was forever etched onto the monument of Western civilization and art.

      Whenever people think of Van Gogh, they think of his unique character, the sparkles in his eyes that emit lightning, his vigor and his incessant pursuit of inspiration in art without any regard to external hardships. Van Gogh was an artist by birth. He was of exceptional confidence and was somewhat neurotic. Having such traits, he pursued the art that he loved without any reservation or hesitation. He loved his works and regarded everything else with disdain. He preferred to be a loner in the world and did not care to make acquaintance of other painters of his time. His works are full of luminous colors, the brushstrokes are like rising winds and racing clouds in the sky. In his art, he depicted pasture, figures, flowers and other subject matters with brisk colors. Every brushstroke was transformed from his inner emotions. Such emotions were fully and colorfully captured in his Self-Portrait as well as in the transcendental Sunflowers that he painted. These works contain an animated spirit that is deeply moving.

      From Van Gogh’s artistic spirit and intent, we can detect that he was profoundly knowledgeable about Chinese ink-wash paintings. Precisely because of this, while depicting forms and applying colors, he employed the skills of using the center tip of the brush and parallel brushstrokes. His Still Life with Bible was created with parallel brushstrokes. In his Self-Portrait, he portrayed his face filled with lines and plaques that are extraordinary. It is not hard for us to discover that he drew inspirations from the substance and essence of Chinese painting in those brushstrokes. That is why Van Gogh is such a distinguished, unparalleled artist of his time and his works are superior to those by the other Western oil painters such as Cezanne, Gauguin or Picasso of the same era.

      Van Gogh’s artistic style was closely linked not only to Chinese civilization in the East, but also to the classical Renaissance art, Pointillism, German Expressionism, and Impressionism in the West. Toward the end of his life, he came into oneness with the universe and immersed himself in a carefree state of mind to “follow wherever nature might lead.” As such, he was no longer aware of his own existence. In his mind, there was only the art and the universe. “Following where the nature may lead” is the essence of the ideology of the Chinese philosopher Laozi. Van Gogh cut off his ear with a knife. He lost himself completely in painting. That was his unspoken resentment and rejection of the unfair treatment imposed on him by the society.

      Qi Baishi was profoundly knowledgeable about impressionist, fauvist, and realist paintings. By adopting the essence of Western painting and incorporating the traditional spirit of Eastern art, he developed his unique style and became the master of Chinese painting of the twentieth century. His brushstrokes were solid and poised, evincing a sense of power that went all the way through the paper. Using sheep-hair brushes, he elicited calligraphic skills to create his paintings. Qi Baishi’s lines are bold and robust, embodying a forceful spirit that can move mountains. At the same time, these lines are flexible, sturdy and round, with similar qualities to the lines of wire-drawing. His compositions emerged naturally from the spontaneous movement of the brushes. Such compositions are accompanied by vigorous calligraphy resembling the strength, power and fluidity of stone inscriptions.

      The artistic concept of spontaneously “following where nature may lead” is precisely derived from Laozi’s philosophy and the artistic civilization of the Chinese ethnicity. Qi Baishi favored the use of white space in his paintings. The white space in black-and-white Chinese ink-wash paintings is considered a solid color. Ink can be differentiated in nine shades (or five shades according to ancient Chinese text.) That is to say, the white of the paper per se and the black of the ink are all considered as colors. There is a sense of meticulous precision in the artworks by Qi Baishi. He depicted insects such as grasshoppers, mantises and butterflies in meticulous and vividly colorful ways. In some of his artworks, the artist was able to express his ideas by putting down just a few brushstrokes without any conscious intent, while arriving at a state of oblivion of his own existence.  Anything depicted by his brushes was vivid and vibrant, with the subject matter coming alive on the paper. There is an aura that moves our heart and soul. All in all, Qi Baishi’s paintings were executed with a confident brushwork that naturally achieved a kind of childlike charm.

      Recently, some people compared the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III to see whose works are more superior and outstanding, or will have a broader and more far-reaching influence on later generations. I have viewed quite a lot of the artworks by Van Gogh, Qi Baishi and H.H. Dorje Chang Buddha III. I started the study and appreciation of the paintings by Qi Baishi under the enlightening guidance of my teacher when I was 9, and when I was 14, I began to study and appreciate the works by Van Gogh. It has since been several decades!

      At the same time, since I have admired the art of H.H. Dorje Chang Buddha III for a long time, to satisfy my desire and wishes I flew from New York to San Francisco to visit the International Art Museum of America, and to Los Angeles to visit the H.H. Dorje Chang Buddha III Cultural and Art Museum in order to see their collections. I was profoundly impressed by the architecture of both museums which is grand and dignified. Both museums have a collection of the authentic works by H.H. Dorje Chang Buddha III. There are various artworks that are created with different kinds of material. Some are bold and forthright, some are charmingly meticulous and astounding. The oeuvre is not made up of just one single style.

       Yet, the only artwork that was not available for viewing is the Sunflowers painted by H.H Dorje Chang Buddha III. When I hear that some art critics are comparing the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, I naturally feel, from my experience of having studied the works by Van Gogh and Qi Baishi for a number of decades, that although their artistry are similar in levels, it is possible to say who is the best if we are just to compare the sunflowers painted by the three artists, when we include in the compositions, colors, brushwork, lines, vitality, spirit and so on. With all these elements in consideration, it is possible to do the comparison and conclude who painted the best, or in other words, whose works can bring the most joy and delight to people, or whose art will be most influential to the philosophy, artistic concept and entire civilization of this world.

      Therefore, without any ambiguity, we concluded. In terms of character and morality, Van Gogh would be the last of the three. In terms of level of skills, Qi Baishi would also be ahead of Van Gogh, who is, however, already the cream of the crop in western civilization. Being the Buddha living in the current century, H.H. Dorje Chang Buddha III saves living beings with great loving compassion. He is not embodied in an ordinary being. Needless to say, the level of cultivation of the Buddha is superior to that of Van Gogh and Qi Baishi. In terms of creativity and painting skills, how can any ordinary being even hold a candle to the Buddha? In this way, the comparison result is immediately determined.  

      When those art critics carried out the detailed research of the Sunflowers by Van Gogh and Qi Baishi as well as H.H. Dorje Chang Buddha III, they copied the artworks by all three artists. After copying the works by Van Gogh and Qi Baishi, they felt deeply that through hands-on practice, they indeed gained more understanding of their works. It would not be easy but not so difficult either for one to really reach their artistic level. As for the Sunflowers by H.H. Dorje Chang Buddha III, they found it rather difficult to copy.  Even though they tried many times, they had a hard time just copying the form, let alone the spirit. 

      The Sunflowers by H.H. Dorje Chang Buddha III clearly show the artist’s solid foundation and prolific skills in the Eastern and Western painting traditions. They comprise the essences in both traditions and display a brushwork, sentiment and colors that are one of a kind. The color tones and brushstrokes are rich, dense, soothing and elegant. Lively brushwork paints an animated charm that is whole, evincing a miraculous and expansive spirit and aura as well as a strong vitality. As for the Sunflowers oil painting in which H.H. Dorje Chang Buddha III depicted some flowers inside a vase, the artistry is extraordinary and full of variations; the composition is simple yet abstruse. The flowers are natural and gracious, such that they give an impression of unpredictability, reaching a state of oneness with the universe and emanating a sharp animated spirit.   

      The ink-wash painting Sunflowers by H.H. Dorje Chang Buddha III has an uninhibited, natural, and spontaneous brushwork that is dense, bold, and robust, but also elegant and agile. It exhibits a charm that is like stone and bronze inscriptions. Overall, the whole painting manifests a harmonious and moving imagery, naturally emanating a lively vivaciousness and a carefree, spirited aura.

       In comparing the works by Van Gogh of the Western civilization, Qi Baishi of the Eastern culture, and H.H. Dorje Chang Buddha III, we can see the artists are distinguished in their unique own ways owing to their different cultures. However, only the artist who can continue to influence the world two to three hundred years from now will be the everlasting monument.  There is a saying, “Talents emerge in every era and they all will each have 500 years of fame!”  For people of the present day, the one whose work you like the best would be the one that is the most extraordinary!

Please see the contrast of six paintings below:

H.H. Dorje Chang Buddha III
Sunflowers by Van Gogh (1)




H.H. Dorje Chang Buddha III
Sunflowers by Van Gogh (2)
H.H. Dorje Chang Buddha III
Sunflowers by Qi Baishi (1)
H.H. Dorje Chang Buddha III
Sunflowers by Qi Baishi (2)
H.H. Dorje Chang Buddha III
Ink-wash Painting Sunflowers by H.H. Dorje Chang Buddha III
H.H. Dorje Chang Buddha III
Oil Painting Sunflowers by H.H. Dorje Chang Buddha III

Jiguang Lin

October 26, 2018

时间: 11/11/2018

文章來源:

http://linjiguang.blogspot.com/2018/11/van-gogh-qi-baishi-and-dorje-chang.html

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

LINK: https://a832722.blog/2018/11/22/vincent-van-gogh-qi-baishi-and-h-h-dorje-chang-buddha-iii-compared-whose-artwork-is-the-best/

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發表於 第三世多杰羌佛 藝術第三世多杰羌佛 五明展顯繪畫

H.H.第三世多杰羌佛 國際藝術大師 中國畫《小熊貓》

H.H.第三世多杰羌佛 國際藝術大師 中國畫《小熊貓》

學習H.H.第三世多杰羌佛正法

學習H.H.第三世多杰羌佛正法

H.H.第三世多杰羌佛 國際藝術大師 中國畫《小熊貓》

中國畫壇,人才濟濟,臥虎藏龍,給優秀的中華文化描繪出無數壯麗輝煌的畫卷,但歷代的名家大師們,他們的技法、風格和題材大都趨於單一,長於山水畫者,少精於花鳥,又疏於人物,如是等等,而多杰羌佛第三世雲高益西諾布頂聖如來的中國畫藝術,論題材,無論是山水、花鳥、走獸、魚蟲、人物……論技法,不管是工筆、寫意、潑墨……無所不通,無所不精,無一不是有真實的傳統功夫而創新的神意,這一點,早為評論家和收藏家們所肯定。西元2000年,三世多杰羌佛的繪畫原作「威震」和「大力王尊者」分別在國際拍賣市場上創下了美金二百一十二萬五千三百二十七元和美金二百二十萬七千九百一十二元的高價,當時不僅成為世界上所有在世畫家中作品價格最高的,也創下了中國畫在拍賣市場上最高價的記錄,各新聞媒體紛紛報導,稱讚三世多杰羌佛是真正的中國畫壇史無前例的巨匠。而在2007年,三世多杰羌佛的國畫荷花《兩花一斗一如性》,畫上只題有『雲高』二字簽名,蓋有指紋印、書畫印,以每平方英尺30萬美元成交。另一張梅花圖也只題款為『雲高』二字,蓋有一指紋印,售出價為每平方英尺21萬美元。而一張題有三世多杰羌佛雲高益西諾布並蓋有指紋印和法王印的《牧牛圖》,堪為稀世珍品,儘管買方出價到每平方英尺54萬美元,但仍低於國際佛教僧尼總會開出的每平方英尺九十萬美元的價格,因而未能出售。

三世多杰羌佛的繪畫藝術,從中國傳統繪畫中吸取了豐富的真髓,他不僅只求宋、元、明、清的文人化傳統,還信手拿捏宋代以前那種雄奇壯觀,大氣清韻的法度,但又決非以某家某派之舊徑而學筆,師古筆墨,並師造化,融匯新意,自成一體,以獨創特有的藝術成就自成一家,獨領風騷。仔細研究三世多杰羌佛的繪畫藝術,不難發現傳統墨緣和品類,變法創新之神髓,比起前輩畫家的作品,是有過之而無不及的,三世多杰羌佛所創作的中國畫的類別非常多,因此我們根據類別,以最少量的篇幅選作對比鑑賞。

H.H.第三世多杰羌佛 中國畫《小熊貓》
H.H.第三世多杰羌佛 中國畫《小熊貓》

 

H.H.第三世多杰羌佛 國際藝術大師 中國畫《小熊貓》

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#第三世多杰羌佛 #HH第三世多杰羌佛 #第三世多杰羌佛藝術 #多杰羌佛 #一念之間 #成就解脫之路 #隨緣自在 #三世多杰羌佛 #義雲高 #義雲高大師正法聯盟善明正法佛學會解脫直昇機正宗聖法

 

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回覆杜松行者對聯之一

回覆杜松行者對聯之一

學習H.H.第三世多杰羌佛正法

學習H.H.第三世多杰羌佛正法

回覆杜松行者對聯之一

 

杜松行者法鑑:

 

你出的對聯我已經從頭到尾完整對好了,但今天只發佈其中一部分,餘下的過些天再發,因為這是一件有意思的事,我們都能從中咀嚼出深長的味道,反思「智慧」「五明」表相背後所內含的佛法真意,為了如此,步子就得放慢。你的文章講的是真心話,我會如實地去認知它,尤其現在末法時期,講真話的人太少了,往往是貽害眾生,不是為利眾生。你雖然為難我,但我聽著舒服。其實,除了 第三世多杰羌佛 ,真是沒有見過哪位聖者的五明真正齊全而達到高峰。我的下聯對你而言只是個玩笑,它不是針對你,而是針對那些不是真修行,明明是凡夫而冒稱聖者的人,請你理 解。當然,我也不是聖者,無非是個修行人。

 

杜松行者的上聯是:

藥性我定不可多少,我要你提筆把藥名圈點。我身為雲母要與檳榔蓮房,結為兩相姻好,故拿出百兩金,來果導  狼毒  當歸惡實,且看這把飛刀劍,使用輕粉色化妝為老少年,要香附不嫁臭菖蒲,謹防無名子  夜合  雪蓮,小心木通闖禍,使君貪色被鬼珠,今出上聯難為也,你窮詞無對,我要你俯首低頭尊稱雪山靈芝  火炭母,二十一味是藥師佛土治病中草藥,假聖人無妙智,如何應聯文,不要臉騙子人,才剽用我數字二十一,則無恥下流,看上文莫錯藥數,量你何以對哉。若能對上中藥數,杜松舉杯自願喝苦酒,余甘拜膝下為徒當門子……

 

我下聯對:

醫方你出豈能高低,汝求我揮毫在數上劃線。你心是蜈蚣休想紅娘將軍,合用幾味毒藥,善偽裝一見喜,去麻仁  附片  野艾鉤吻,再用那條丟了棒,露出柴胡性晃蕩著馬尿泡,勸栗當莫嫖女貞子,提醒淡豆豉 篳茇 細莘,以免芡實遭災,紅粉迷途失人參,現展下文輕易之,我文句有聯,你向我合掌跪地叩拜蘇羅馬寶 了哥王,三個七字乃度母壇城解脫通天方,真行者擁聖慧,然爾合對章,有臉面道德君,當不屑你自用三乘七,乃巨品上乘,瞧下對精確醫方,讓我加出數也。如解聯下方劑清,佛手撫琴天然出神曲,你自跪地上叫父威靈仙……(暫且至此,待日定當發表全部下聯)(對聯中彩色字體為中藥名)

下面是對我的下聯的基本文理情節所作的粗略解釋:

這上聯是你用中藥名組閣成的聯對,這個方法規則是你出的,你定了多少味藥你不讓我們多一味少一味,所以我回答你,既然是你出的對聯,我會遵循你的規則,不會有高低變化,換言之不會多一味也不會少一味,是你求我要提筆揮毫在你的藥名上劃線。你的心是惡毒的如同蜈蚣,你別想用毒藥紅娘去配一位將軍,你採取的手段就像把幾味毒藥加在一起一樣,你善於偽裝,讓別人一見你就喜歡,以便你麻痺人、胡亂騙人,達到你的野心貪愛,鉤吻良家婦女,再用你那條丟了棒,暴露出你狡猾的豺狼狐狸性,晃蕩著你臭不可聞的馬尿泡,我今天勸你立刻就在當下注意不要去欺嫖貞潔女子,提醒你這個淡而無力的鬥士,不要失掉細心,以免不慎重而有失,遭受災禍,被紅粉女色迷住丟失了前途,貪戀酒色失掉老命人身,我現在給你展示的下文對你的上聯是輕而易舉的,不是“窮詞無對”,而是我的文句有上好的工整聯文,你應該向我合掌跪在地上三叩九拜我這蘇羅馬寶了不得的大哥之王,你說你“二十一味是藥師佛土治病中草藥”,我用“度母壇城”對你的藥師佛土,你不準用你的數字二十一,我三個七加起來就是綠度母壇城的二十一度母,能讓你解脫成就通到佛土天國的妙方,真正的大修行者是擁有聖慧的,而不止是普通的聰明,自然能和對你的上聯,我是有臉面的道德之君,不屑於用你的數字二十一,而自用我的三乘七,所以我是巨品的上乘,你看到我的下聯後,就會發現我對你是瞭如指掌的,就像給你治病一樣,所以叫做“精確醫方”,你“量我何以對哉”,那麼就讓我加出這個數來。你出“若能對上中藥數”,我對“如解聯下方劑清”,你說“杜松自願舉杯喝苦酒”,我作為佛教徒,處處以佛陀為尊,因此我學佛之人的手在撫琴時天然會彈出超人的神曲,所以你該喝苦酒了,我不用你“甘拜膝下當門子”,只要你跪在地上叫聲爹——我這威力無窮的靈感上仙就行了……

 

 

佛陀的弟子——修行人

 

 

回覆杜松行者對聯之一

 

第三世多杰羌佛辦公室:http://www.hhdcb3office.org

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善明正法佛學會: https://chihming1111.blogspot.com/

善明正法佛學會臉書: https://www.facebook.com/CHIHMING1111/

成就解脫之路:https://learnthebuddha.blogspot.tw/

成就解脫之路臉書: https://www.facebook.com/chihming999/

一念之間:https://a832722.blog

成就解脫之路:http://chihming9999.pixnet.net/blog

隨緣自在:https://comfortable9.wordpress.com

第三世多杰羌佛 #HH第三世多杰羌佛 #第三世多杰羌佛藝術 多杰羌佛 #一念之間 #成就解脫之路 #隨緣自在 #三世多杰羌佛 #義雲高 #義雲高大師正法聯盟善明正法佛學會解脫直升機正宗聖法

發表於 心得分享

《多杰羌佛第三世》寶書的因緣,助我步入如來正法修學之路

《多杰羌佛第三世》寶書的因緣,助我步入如來正法修學之路

學習H.H.第三世多杰羌佛正法

學習H.H.第三世多杰羌佛正法

《多杰羌佛第三世》寶書的因緣,助我步入如來正法修學之路

編者按:每個人的因緣、根基不一樣,業力不一樣,學佛的緣起也千門別類。作者的學佛修行路,是從一本佛書開始。

有一天,我去朋友家做客,恰好之前認識的師姐也在場。聊天中,我們又談到了學佛。師姐請出多杰羌佛第三世寶書,封面是莊嚴無比的南無第三世多杰羌佛佛像,大家都恭敬合掌禮敬。師姐給我們介紹了南無第三世多杰羌佛的五明成就,佛史以來無聖可及。此時我心中激動不已,這正是我學佛以來心中期盼已久的如來正法啊!兩行淚珠情不自禁地流下來,好像久別離家的孩子終於回歸母親的懷抱。多年來,人生旅途迷茫無助的委屈,及至此刻釋懷,還有種種錯綜複雜的情緒難以言表。

從這本寶書中,我得知南無第三世多杰羌佛就是始祖報身佛多杰羌佛的真身降世;第二世多杰羌佛在釋迦牟尼佛弘法時代,降世為維摩詰聖尊,現居士相來幫助釋迦牟尼佛教化五百比丘和八千菩薩,《維摩詰所說經》里有詳細的記載。經典公案中偉大佛法的聖量展顯,真是妙不可言!我心中贊嘆不已,就問師姐可否恭請一本多杰羌佛第三世。師姐說佛書就是用來利益大家的,當即滿了我的願。

恭請到佛書的那一刻,我就不停持念南無第三世多杰羌佛的佛號,一路念到回家還繼續念,直至睡前才停止。從那時起,我每到週末就去佛堂參加共修,與師兄師姐們一起聞受南無第三世多杰羌佛說法法音,開始了我的修行之路。

在這之前,我雖然已是皈依三寶的佛弟子,但僅停留在表面上,沒有從佛教、佛法和佛學三門深入修學,對修行的基本道理含混不清。由於不明法理,只是在內心恭敬佛菩薩,去廟里拜拜佛,燒燒香,在家念念經,但是並不明白修行的宗旨所在,更做不到在日常生活中融入佛法修持了。當然類似這種現象,在末法時期的修行人中很普遍。

怎樣修行才是一個如法的修行人呢?如何通過修行學佛達到悲智雙運,福慧圓滿直至超凡入聖?這些問題都是發心真修行、要成就解脫的人必須要面對的。

通過聞受南無第三世多杰羌佛親說法音,我才明白:佛教的修行,是要依照佛陀的完美覺位作為我們所修之相應楷模,以我們的身口意三業學佛陀的一切。修行的目的就是要出離輪回,解脫諸苦而成聖,直至成佛。

佛諦中因果不昧。我們若修善行,種善因結善果,即能助益菩提道;若我們造了惡業,種惡因結苦果,則會障礙解脫聖道。正如南無第三世多杰羌佛什麼叫修行中說法:「修行,就是修善惡二所緣業之增益與離避,也就是增益善緣,種善因,結善果,離避惡所緣,離惡因避惡果。」

在諸惡莫作、眾善奉行,建立善業功德的基礎上,我們更要樹立正知正見,發菩提心,行菩薩道,建立實相的菩提功德;要依什麼叫修行八基正見的次第進修,並深入菩提心七支雙運實施,要真修圓滿行持,而又歸於當體即空,待因緣成熟學到無上佛法,了脫生死易如反掌。

佛法在世間,不離世間覺!祈願得蒙三寶加持,讓我在菩提大道上不斷前行;今生如法修行證得成就解脫,自覺覺他,利樂有情!

 

文/西拉卓瑪

 

注:內容來源於——「佛教新視野 」

 

《多杰羌佛第三世》寶書的因緣,助我步入如來正法修學之路

 

第三世多杰羌佛辦公室:http://www.hhdcb3office.org

第三世多杰羌佛辦公室臉書:https://m.facebook.com/hhdcb3office/

善明正法佛學會: https://chihming1111.blogspot.com/

善明正法佛學會臉書: https://www.facebook.com/CHIHMING1111/

成就解脫之路:https://learnthebuddha.blogspot.tw/

成就解脫之路臉書: https://www.facebook.com/chihming999/

一念之間:https://a832722.blog

成就解脫之路:http://chihming9999.pixnet.net/blog

隨緣自在:https://comfortable9.wordpress.com

第三世多杰羌佛 #HH第三世多杰羌佛 #第三世多杰羌佛藝術 多杰羌佛 #一念之間 #成就解脫之路 #隨緣自在 #三世多杰羌佛 #義雲高 #義雲高大師正法聯盟善明正法佛學會解脫直昇機正宗聖法

發表於 新聞報導

王笃川居士 宁舍生命不变心

王笃川居士 宁舍生命不变心

學習H.H.第三世多杰羌佛正法

學習H.H.第三世多杰羌佛正法

關於“第三世多杰羌佛”佛號的說明

二零零八年四月三日,由全球佛教出版社和世界法音出版社出版的《多杰羌佛第三世》記實一書在美國國會圖書館舉行了莊嚴隆重的首發儀式,美國國會圖書館並正式收藏此書,自此人們才知道原來一直廣受大家尊敬的義雲高大師、仰諤益西諾布大法王,被世界佛教各大教派的領袖或攝政王、大活佛行文認證,就是宇宙始祖報身佛多杰羌佛的第三世降世,佛號為第三世多杰羌佛,從此,人們就以“南無第三世多杰羌佛”來稱呼了。這就猶如釋迦牟尼佛未成佛前,其名號為悉達多太子,但自釋迦牟尼佛成佛以後,就改稱“南無釋迦牟尼佛”了,所以,我們現在稱“南無第三世多杰羌佛”。尤其是,二零一二年十二月十二日,美國國會參議院第614號決議正式以His Holiness來冠名第三世多杰羌佛(即H.H.第三世多杰羌佛),從此南無第三世多杰羌佛的稱位已定性。而且,第三世多杰羌佛也是政府法定的名字,以前的“義雲高”和大師、總持大法王的尊稱已經不存在了。但是,這個新聞是在南無第三世多杰羌佛佛號未公布之前刊登的,那時人們還不了解佛陀的真正身份,所以,為了尊重歷史的真實,我們在新聞中仍然保留未法定第三世多杰羌佛稱號前所用的名字,但大家要清楚,除H.H.第三世多杰羌佛的名字是合法的以外,在未法定之前的名字已經不存在了。

王笃川居士 宁舍生命不变心

民众日报

中华民国九十四年十月十五日 星期六

【记者陈仁忠报导】位于四川新都的中国著名古剎宝光寺於 九月二十九日为云高(H.H.第三世多杰羌佛)大法王上师的弟子王笃川居士举行毗荼大典,火化后拾得225颗坚固子。

王笃川居士夫妇都是大学教授,他们在退休以后,得以拜云高(H.H.第三世多杰羌佛)大师为师学习佛法,虔诚精进。在云高大师离开成都以后,王教授夫妇主动要求留守坛场。

在这期间,有一些好心人劝他们回家,也有一些人来恐吓利诱,他们丝毫不为所动。王教授说:随便某些人怎么诬蔑诽谤,我只相信事实。虽然我跟随大师只有几年的时间,但是,我所见到的大师是一个善良正直、光明磊落、慈悲大众的至高圣德。大师从来都是把大众的利益放在第一位,宁愿自己受苦受累,也要让众生安宁幸福。大师的开示更是精辟无瑕,将高深的道理寓於浅显的说教当中,所教导我们的全部都是如何实修德行,哪里有一点他们所污蔑的那样?我是一个教授、佛教徒,不打妄语,我更不能违背我的良心。我只会忠诚我的上师,而绝不会做一个欺师灭祖的禽兽!因此,几年来,无论刮风下雨,无论谣言诽谤,无论恐怖威吓,他们始终没有离开坛场一步,直到因为城市建设,房子被推土机推平了,他们才含泪告別了这个地方。

几个月前,王教授呈现病相。即使在病中,王教授更加精进修习云高(H.H.第三世多杰羌佛)大师传给他的佛法。九月二十六日下午,王教授毫无半点痛苦,右侧臥面对佛陀相,安详离世。二十七日上午在宝光寺火化,住持寂心法师为教授王大居士装龛时,王教授的手脚关节仍是柔软的,经寂心法师考证后,他说:已经成就了,一定会烧出坚固子。

二十九日下午四点半开始转咒,这之前一会儿,天空即洒下甘露,一直到点火后好一阵子。在整个毗荼期间,出现许多圣境,有人看到金色的佛像在微笑,有人看到王教授的腹部现出一尊金身罗汉,还披着僧人的衣服,有的看到佛光,有的则看到日月同辉,还有不学佛的人也看到文字排列的咒语……当时在场的人还突然听到从远方传来的云高大师唱六字大明咒的声音,与念佛声融为一体。共拾得225颗坚固子。

學習H.H.第三世多杰羌佛正法

 

王笃川居士 宁舍生命不变心

 

第三世多杰羌佛辦公室:http://www.hhdcb3office.org

第三世多杰羌佛辦公室臉書:https://m.facebook.com/hhdcb3office/

善明正法佛學會: https://chihming1111.blogspot.com/

善明正法佛學會臉書: https://www.facebook.com/CHIHMING1111/

成就解脫之路:https://learnthebuddha.blogspot.tw/

成就解脫之路臉書: https://www.facebook.com/chihming999/

一念之間:https://a832722.blog

成就解脫之路:http://chihming9999.pixnet.net/blog

隨緣自在:https://comfortable9.wordpress.com

第三世多杰羌佛 #HH第三世多杰羌佛 #第三世多杰羌佛藝術 多杰羌佛#一念之間 #成就解脫之路 #隨緣自在 #三世多杰羌佛 #義雲高 #義雲高大師正法聯盟善明正法佛學會解脫直昇機正宗聖法

發表於 轉發文章

梵高、齐白石 PK 第三世多杰羌佛, 看谁的作品厉害

梵高、齐白石 PK 第三世多杰羌佛, 看谁的作品厉害

學習H.H.第三世多杰羌佛正法

梵高、齐白石 PK 第三世多杰羌佛, 看谁的作品厉害

梵高、齐白石 PK 第三世多杰羌佛, 看谁的作品厉害

 

请看下面梵高、齐白石 PK 第三世多杰羌佛谁厉害的结果

我在画坛度过了六十多个春秋的生涯历程中,有了这几十年的体验和实践,结识了不少名家高手,尤其是担任北京国家博物馆书画鉴定中心的总顾问,和书画评审鉴定专家以来,主要的工作是鉴定和评审东西方的画作,而所鉴定过的名画至少也有几万件了,特别是荷兰的大师梵高和东方一霸的齐白石的存世珍品。

梵高、齐白石都是世界著名的艺术大师,一个是代表西方的顶尖高手,另一个是东方画坛的特级大师;都是从各自的古典文化传统中吸取精髓,而创作新的风格和宇宙观,成为新时代和新潮流承先启后的艺术创派宗师。从他俩的作品中可以反映东、西方传统文化不同的特质。而对于梵高和齐白石的作品,能影响整个世界的艺术文明到什么程度?是怎样的境界能导致他们成为世界美术史上,挺立的丰碑而令人高山仰止呢?

绘画评论家们把梵高、齐白石两人的作品拿来互相比较孰高孰下,而结果两位各有千秋,并且都是艺术上登峰造极不败的战将。但最近又有艺术评论家们又搬出了第三世多杰羌佛的“油画向日葵”和“国画向日葵”,做出了非比寻常的一番不同评价,而将梵高、齐白石再拿来与第三世多杰羌佛的创作比较,孰高孰低谁更厉害而成为高手中之高手。梵高、齐白石和第三世多杰羌佛的作品比较结果,给了人们极大的启示。

西方艺术从文艺复兴以来强调理性分析,追求形似的传真写照。利用光线、质感和细节呈现出一个写实的立体透视空间,而数百年后到了梵高的年代,对于形似以及光线的明暗人物黑扳的反感,而开创了适合他自已的,色彩明亮、瑰丽雄劲、交错的笔触的印象主义,成一代之宗师而铭刻于西方艺术文明的丰碑里。当人们一想起梵高,就会想起他独特的个性和目光如电的眼神,满身是劲,时刻都为追求艺术的灵感而栉风沐雨。他是个天生的艺术家,而且还有点神经质,自信心非常强烈;就因为他有此特性,对他自已喜爱的艺术一往直前,而无后顾之忧,他热爱自已的作品而傲视一切,他宁可遗世独立而不屑与同时代的画家们为伍。他的作品色彩明快,笔触如风起云涌般翻腾于天空中,他所画的田园、人物、花卉、等等生动活泼,每笔都是由内心的情感转化而来,开在他丰富多彩的自画像中,和超尘脱俗的“向日葵”𥚃,灵气迫人而动人心魄。

从梵高的绘画创作精神和立意中,能寻觅到他对中国水墨画有深刻的研究和认识。正因为如此,他在用笔、造形、设色方面,施展出中锋和排笔的手法。他笔下的《圣经》以几笔排成,又如他所绘的自画像,脸上的线条和色彩,已到达超凡脱俗的境界。而这些笔触我们不难发现,他吸取中国画的养份与精髓;故梵高的作品也远胜于其他西方油画家,如塞尚、高更等同时代的画家们,脱颖而出成为绝代高手。这是与东方的中华文明与西方文艺复兴时期的古典艺术,如点彩派、德国表现主义和印象派等有着紧密相连的关系。他到最后,画到人我一体、天人合一境界时,已到了无拘束的“任自然”境界。因此他不知道还有自我的存在,而只有艺术观和宇宙观,而“任自然” 是中华文化老子哲学的精髓。他拿刀子把自己的耳朵割下来,于忘我于画的境界中,对当年社会的不公平与怨恨作出无言的反抗。

齐白石其实对印象派、野兽派、写实主义等西方绘画都有深厚的研究,取西方之精髓,融汇东方艺术的传统精神,自创一派而成为二十世纪国画大师。他落笔沉稳而力透纸背,他用羊毫笔而以书法入画,其线条刚健有力而带有婀娜多姿和力拔山兮气盖世的豪情,像铁线描般钢圆而有弹性。他的笔所到处随心所欲而自然天成,并配以如碑刻般强壮雄健流畅的书法。这种随心所欲的“任自然”的艺术思想,正是中华民族老子哲学和艺术文明的泉源;而又和梵高借鉴老子的哲学思维是一致的。齐白石在绘画中喜欢留白,而留白在黑白的中国水墨画中也定为是一种素彩,所谓墨分九色(中国古书墨分五色),这就说明了白色的纸和黑色的墨都是色彩。齐白石的作品有精密细致的一面,所画的昆虫如蚱蜢、螳螂、蝴蝶等,非常精致和色彩灿烂,而有些作品却是寥寥数笔,意到心不到的忘我境界。无论笔下所画的一切,生动活泼而跃然纸上,而灵气动人经络。 总之,他落笔胸有成竹,童心意趣浑然天成。

最近有人拿梵高和齐白石两人的作品“向日葵”与第三世多杰羌佛创作的“向日葵” 比较,看谁绘的更厉害与超群,或对后世的影响更广和深远。而我对梵高、齐白石、第三世多杰羌佛的绘画作品过目较多,正如我九岁在老师的启蒙下开始研究和鉴赏齐白石的画作,十四岁开始欣赏梵高的作品与研究,都己经数十年矣!同时,我对第三世多杰羌佛的创作神往己久。为了却我的欲望和心愿,还直接乘飞机从纽约到三藩市参观“美国国际艺术馆”和到洛杉矶欣赏“第三世多杰羌佛文化艺术馆”的珍藏。这两间艺术馆雄伟庄严的建筑,给人留下深刻的印象,而艺术馆内珍藏的第三世多杰羌佛的真迹藏品,有不同材质的各种创作,有豪放的、也有细致妩媚而令人震惊的,不一而足;而唯一没有给参观者欣赏的是第三世多杰羌佛笔下的“向日葵”。当我听说有评论家拿梵高、齐白石的“向日葵” 与第三世多杰羌佛的“向日葵”比较时,我自然地觉得,就以我数十年对梵高和齐白石所作的研究和经验,觉得他们三人的艺术境界是旗鼓相当的,而关于比较他们三人的“向日葵” 作品,高低之分还是有的。这包括构图、色彩、用笔、线条、神韵、灵气等等,都是可以比较谁画得更好,或者换句话说,谁的作品让观者更喜欢和给人们更大的喜悦,又或对整个世界文明和艺术观与哲学的影响更大呢?因此,我们会毫不含糊地已经得出了一个结论,三人中论情性与修养,梵高会是三人之末;论功力,齐白石也在梵高之前,而梵高在西方文化中己是顶尖的强者。第三世多杰羌佛是现世纪的佛陀,大慈大悲渡众生而又非凡夫俗子之身。以佛陀的修为,不用说都在梵高和齐白石二人之上;以绘画的创造和功力,佛陀又岂是凡夫俗子们所能及的?就这样,胜负立判。

当那些评论家们把梵高和齐白石与第三世多杰羌佛的“向日葵” 进行了一番细心的研究,同时他们进行了临摹三人的“向日葵”作品,在临摹梵高和齐白石的作品后,确实深深感觉在实践中更能认识,如真正要达到他们的境界,虽不太容易而并不难。而对于第三世多杰羌佛的“向日葵”作品,临摹起来比较吃力,虽反复试了多次,不但神韵,就连外形都难摹仿。羌佛的“向日葵” 很明显地有扎实的中西画基础和传统功力,而精华粹汇,自成一派的笔触、情调与色彩。色调与笔痕浑朴厚重,温润与华美,其笔触与神韵生动活泼而融为一体,而有出神入化的磅礡豪迈与灵气,和强大的生命力。对于多杰羌佛的油画插在花瓶中的“向日葵”,画艺高绝而异变多端,构图简单玄妙,花朵大方自然,到了让人无法捉摸而达到天人合一的境地,灵气迫人。关于他的水墨“向日葵”,笔法豪放自然,挥洒自如,笔力沉雄稳健而飘逸如金石般韵味;从上到下,整幅画呈现和谐而有动感的境像,而自然地表现活鲜的生命力、潇洒与灵气的精神。

西方文明的梵高,东方文化的齐白石和第三世多杰羌佛三人的比较,因为文化的差异而各有千秋。而二三百年后,能够影响整个世界的,才是永恒的丰碑。“江山代有人才出,各领风骚五百年!” 而对现世的人们来说,你心中喜欢谁?谁就是最厉害的!

请看下面六幅画的对比:

 

梵高作品《向日葵》之一
梵高作品《向日葵》之一

梵高作品《向日葵》之二
梵高作品《向日葵》之二

齐白石作品《向日葵》之一
齐白石作品《向日葵》之一

齐白石作品《向日葵》之二
齐白石作品《向日葵》之二

第三世多杰羌佛水墨作品《向日葵》
第三世多杰羌佛水墨作品《向日葵》

第三世多杰羌佛油画作品《向日葵》
第三世多杰羌佛油画作品《向日葵》

 

林缉光 2018 年10月26日

资料来源:http://linjiguang.blogspot.com/2018/11/pk_33.html

 

梵高、齐白石 PK 第三世多杰羌佛, 看谁的作品厉害

 

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發表於 轉發文章

修行,是要能真正利益眾生

修行,是要能真正利益眾生

學習H.H.第三世多杰羌佛正法

學習H.H.第三世多杰羌佛正法

修行,是要能真正利益眾生

二零一一年一月二十四日,收到一封署名“杜松”的佛教徒的文章,承蒙指教,獲益良多,在此先行致謝。

說到五明,這是宇宙的自然現象,佛陀以其大覺照見是眾生智慧發展高低的表顯成果,並特別制定以體顯智慧的發展辨別,同時,五明也是所有佛弟子是否聰明發展深入智慧進程、是否掌握了如來正法、得到禪定智慧開膚的一個標誌,但是,在當今末法時代,除了偉大的 第三世多杰羌佛 以外,我們從來沒有看到過有哪一位展顯了真正的五明,無論是在西藏、印度或漢地,找不出來一個人,都是講的空話五明,因為這五明是要一條一條擺出來比的,凡空的就不成立。就是縱觀整個佛史,真正展顯五明的大祖師們也是少之又少,所以,杜松行者以五明的標準來為難現在世界上的這些法王、仁波且們,未免太不合時代,本來就沒有一個人具有,我相信你杜松行者也不具備五明,現在你非要喊拿出來,這不是強人所難嗎?就是拿出來了,也正如你所說的,比不上專業水平,那還叫做五明嗎?我這樣說,並不是為自己找的一個藉口,而是我們認為,作為一個佛弟子,最重要的是要遵照佛陀的教導,嚴持佛陀制定的戒律,踏踏實實地修行,忠實地把佛陀的教導傳播給眾生,真正地利益眾生,到那時,成了真正的大菩薩,才會有真妙智。我很慚愧,不是大菩薩,當今的法王、尊者也只是大菩薩的稱號而已,因為這畢竟是末法時期,哪有那麼多大聖德?比如,我就是一小修行者,雖然別人稱為尊者,那不過是給戴上一頂慚愧的桂冠而已。

作為 第三世多杰羌佛 辦公室的工作人員,我們深感慚愧,沒有更好地學好佛陀的教導,未能更多地利益眾生,但是,隨時隨地,我們都誠實地面對佛陀,誠實地面對眾生,明信因果,以 第三世多杰羌佛 的心行願力為宗旨:眾生的一切造業罪過由我承擔,我種的一切善業功德全給你們!至於杜松行者所出上聯,我將在這個月底給出一個下聯的答复,開個玩笑,也許難聽,請勿無明,但那畢竟是救人良藥,正所謂良藥苦口利於病嘛,還望見諒。

 

佛陀的弟子

2011年1月26日

 

附:杜松行者的原文

五明不是用混的,拿出你的“明”来對長聯

看到新浪網上有博文在說台灣的嘎堵活佛父子開頂成了真聖的事。我了解一點內幕,當時在場的人說,嘎堵的兒子林昱宏兩眼發直望定藍天,很快就見神妙飄飛,他開頂成道那一刻,很多人在現場。後來在台灣用科學對他驗證,果然不是凡骨了。

這兩父子開頂成仙,一點不假,但話說回來,我們大家現在都知道了,聖者的級別差距太大,從天國神仙之聖到佛土三身之聖,這中間的差距用十萬八千里來形容都不夠。

我這幾天聽到的說法和看到的網文,似乎他們開頂就不得了了,就大覺妙觀察智、大圓鏡智了,還差得遠吧,還不是金剛換體禪呢,要我說句實在話,那無非是地仙,最多是羅仙罷了,鐵拐李、張果老而已,怎麼就吹成不得了的大聖者呢?

何況帶著聖者頭銜的人未必就是真的聖者,如果沒有經過佛法的核實驗證,或許是開刀取掉骨頭,不一定就是真的開了頂。沒有確定是否真開頂,那就要看他們的智慧,智慧鑒別一切,那是最確切的。

現在的社會,借傳承吹噓,都成了口頭禪。如果只靠傳承吹噓就行,籮筐都裝不下,眾生就徹底沒救了。比如十七世噶瑪巴,他的繪畫、文學,吹噓是工巧明、聲明,這實在太讓人沒法接受,那是對佛教「五明」的玷辱,以他那麼平庸的水準,連凡人中的專業人士都抵不過,佛教「明」的標準就那麼低嗎?就凡人都不如嗎?蠢人才相信。我斷定他是凡人骨頭沒有開頂的。

我們要弄清楚,除了脫胎換骨,聖者的本質就體現在智慧的作用上,意思就是聖者與凡人的差別重在智慧的差別。聖者的智慧超過凡人,這是絕對無疑的,所以才有五明的詳實表現在人間,那才是聖者嘛。想一個道理,如果聖人做得到的凡人做不到,很正常。但凡人做得到的聖人做不到,這就笑話了,這聖人的智慧結構就這麼低啊?聖在哪裡?比如十七世噶瑪巴、直美信雄等人的書法,男的比不過于右任,女的敵不了馬青原,兩相一比,誰的智慧高?總不能說凡人的智慧還凌駕到聖人之上了吧?特別是那個直美信雄,全沒智慧的凡人骨頭就不說了,單看那一身畸形肉,梨子形上半身,秤砣腦袋雞腳腿,如果這樣子都是佛教聖德的話,大家都學成這個樣子,那真是倒了八輩子的楣!還開口一個蓮花生,閉口一個大圓滿,假蓮花生大師傳承外衣之大不韙,蓮花生大師何等智慧何等莊嚴,有你這奇形怪狀的笨蛋不肖子孫嗎?

再說明白點,要號稱聖者,就不能止於俗世聰穎,而要有聖人的智慧,這種聖人智慧就表現在五明上。五明都不具備怎麼可能是聖人呢?就算五明不完整,至少要具備兩三明吧?連基礎的聲明醫方明都沒有證到還堂而皇之稱聖者,不是假的是什麼?

嘎堵活佛從 第三世多杰羌佛 的牙縫裡面掏了一點工巧明不假,試問醫方明如何?聲明又如何呢?懂醫嗎?懂藥嗎?文學水準幾斤幾兩呢?從文學上最能看出智慧的高低深淺,否則都需要打一個問號。今天想煩勞嘎堵活佛父子兩位開頂聖者對個對聯,以聖人智慧學問服眾,總不能連馬青原都不如吧?

我不得不說,對有些尊者仁波切法王,我確實不看好,恐怕也不止我一個,很多人都心有疑論,口有傳言。像名聲不小的恆性嘉措仁波切,喜饒傑布仁波切,香格瓊哇仁波切,個個口稱第三世 多杰羌佛 的弟子,你們的五明如何?不覺得丟臉嗎?不覺得在給佛菩薩潑污水嗎?恆性嘉措明明是噶瑪巴的弟子、喜饒傑布是夏珠秋陽的弟子、香格瓊哇是摩訶活佛的弟子,怎麼就稱第三世 多杰羌佛 的弟子?還不覺得可恥?尤其是那個紐約法拉聖的諾拉堅讚,驢屁活佛,教義極差,一貫胡來,簡直跟江湖騙子一樣,還號稱是佛陀的弟子,可笑到極點,難道你的師父祿東贊就是佛陀嗎?他是金剛換體禪開頂沒錯,但離成佛還差得太遠!

還有,十七世噶瑪巴以五明自居,到處升座開示,只可惜,實際上並沒有聖者的智慧,拿得出來能擺在檯面的東西,說實在的,也就是三四流水準而已,可又非要自居尊勝如來,第七世噶瑪巴大寶法王的水平比你高太多太多都還沒稱過如來,你罪孽,罪孽!善哉,善哉!阿彌陀佛!特別是你講的那些開示著述,章章都有與釋迦牟尼佛陀的教義相違背的地方,到處可見自相矛盾,答非所問,義理昏庸,如果這樣的水準都稱為如來的話,佛教還有什麼學頭呢?你是在辱謗佛菩薩,太可悲了!還出現了極其荒唐的雙胞胎鬧劇,兩個大寶法王,你們到底相信誰真誰假?這雙胞胎事件本身就說明噶瑪噶居一潭混水,一言以蔽之,真的為什麼不把假的降伏?聖者連一個騙子都無法制服嗎?什麼五明佛學院,五明在哪裡?哪一個是真聖者?一個都找不出來。不要說五明,連專業水準都夠不上,而專業水準還是凡人幹的事情,這不值得思考嗎?再看看雙胞法王哪一個有聲明?有醫方明?有智慧?現在鬧得天翻地覆的尊者、仁波切、法王等等,哪一個是真,哪一個是假?我看多數都在愚弄眾生吧!單就說書法,連個專業電影演員、業餘書法家那個中國的張鐵林都不如,至於費心我的書法,那是你們這輩子也達不到的水準,你們沒有智慧就不要瞎掰,凡人就老實當凡人,再怎麼吹噓冒充那也是凡人。

今天我斥責你們了,如果不服,我可以把你們這些人的書籍著述胡說八道的荒唐言語、自相矛盾的地方公佈在網上,讓大家來評鑒,保你體會到鹽有多鹹,水有多深!

懶得多說,推開窗戶說亮話,看看智慧,看看是蛇是龍。我現在出一個上聯,你們來對下聯。這是我拿給你們的一面小鏡子,照一照你們的真實模樣,就在這醫方、聲明一體的對聯上,看你們現出真假原形。如果是真聖,我服你們,用筆讚嘆你們;如果是假,那你們自己反省思過吧。

聽我一句勸,人生難得,你們為什麼要這樣呢?要做一個實在的修行人,不要冒充尊勝如來,也不要冒充菩薩尊者,修行人就是修行人,面子算個什麼東西?它又不能讓你多長一公分。

千萬別對你們的弟子說你沒有閒工夫對對子、不要理會這件事、不是修行的事等等,你不說還好一點,說了反而欲蓋彌彰,大家口頭不說,但心裡都清楚你其實沒有聲明醫方明,兩眼一抹黑,根本對不出來,原形已現,智慧沒有,凡人一個。

你們不是經常坐在法台上滔滔不絕裝腔作勢嗎?賣狗皮膏藥的那股勁到哪裡去了?我現在請你們表現一點實在的智慧給信徒們開開眼界,信徒們供養你們,恭敬你們是聖者,你們就這麼對待他們嗎?讓他們蒙在鼓裡嗎?這就現出凡人的真面目了嗎?你對不起吧?無可奈何了吧?你文學不通,無聲明,醫學不通,無醫方明。

你們到底有什麼?我不打妄語,說幾句對因果負責的話,我相信你們一定擁有如下四樣:第一,你們總的還是慈悲勸人為善的,我讚嘆,經教方面你們有百分之五六十是沾邊的,但餘下的三四十確實違逆經教;第二,你們是具有騙子「明」的,我不恭維;第三,你們是依靠傳承作護身,而沒有善根顯道行,我看是假聖人;第四,你們教人的東西開不了智慧,因為你們自己都沒有開,我勸你們認真修學。

台灣的嘎堵父子來吧,十七世噶瑪巴來吧,恆性嘉措來吧,喜饒傑布來吧,香格瓊哇來吧,五明佛學院來吧! 第三世多杰羌佛 辦公室的祿東贊、翟芒,常常是氣勢凌人,高高在上,你們把 第三世多杰羌佛 的東西舉著搖旗,一副自居五明俱全的樣子,那是你們的五明嗎?你們來吧,我看你們面對這上聯,都是一樣的窩囊無能,這面鏡子照出你們沒有「明」,無「明」可存,無「明」得證,剩下的還是無明。

拉珍聖德,我看過你很多文章,認為多有正見,有益於眾生,功德文筆,遺後效倣,確為建樹之筆。杜松今作此上聯,也望聖德能予指教如何?

 

聲明醫方長聯

上聯是:

藥性我定不可多少,我要你提筆把藥名圈點。我身為雲母要與檳榔入蓮房,結為兩相姻好,故拿出百兩金,來果導狼毒當歸改惡實,且看這把飛刀劍,使用輕粉色化妝為老少年,要香附不嫁臭菖蒲,謹防無名子夜合雪蓮,小心木通闖禍,使君貪色被鬼珠,今出上聯難為也,你窮詞無對,我要你俯首低頭尊稱雪山靈芝火炭母,二十一味是藥師佛土治病中草藥,假聖人無妙智,如何應聯文,不要臉騙子人,才剽用我數字二十一,則無恥下流,看上文莫錯藥數,量你何以對哉。若能對上中藥數,杜松舉杯自願喝苦酒,余甘拜膝下為徒當門子,不要忙,二十四史從前你未曾讀,看見明擺著可惜不識數,汝好可憐少幾根筋,還敢凡夫稱聖。上聯完請出對。吾之用藥共幾味,是否識得中草藥,不說你五明未具,恰似你今無兩明,凡夫一個,可惡毒,何談神通廣大?

 

杜松

 

修行,是要能真正利益眾生

 

第三世多杰羌佛辦公室:http://www.hhdcb3office.org

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善明正法佛學會臉書: https://www.facebook.com/CHIHMING1111/

成就解脫之路:https://learnthebuddha.blogspot.tw/

成就解脫之路臉書: https://www.facebook.com/chihming999/

一念之間:https://a832722.blog

成就解脫之路:http://chihming9999.pixnet.net/blog

隨緣自在:https://comfortable9.wordpress.com

#第三世多杰羌佛 #HH第三世多杰羌佛 #第三世多杰羌佛藝術 #多杰羌佛 #一念之間 #成就解脫之路 #隨緣自在 #三世多杰羌佛 #義雲高 #義雲高大師正法聯盟善明正法佛學會解脫直昇機正宗聖法

發表於 第三世多杰羌佛 藝術第三世多杰羌佛 五明展顯繪畫

義雲高(H.H.第三世多杰羌佛)特級國際大師 藝術畫作 《我來也》

義雲高(H.H.第三世多杰羌佛)特級國際大師 藝術畫作 《我來也》

學習H.H.第三世多杰羌佛正法

學習H.H.第三世多杰羌佛正法

關於“第三世多杰羌佛”佛號的說明

二零零八年四月三日,由全球佛教出版社和世界法音出版社出版的《多杰羌佛第三世》記實一書在美國國會圖書館舉行了莊嚴隆重的首發儀式,美國國會圖書館並正式收藏此書,自此人們才知道原來一直廣受大家尊敬的義雲高大師、仰諤益西諾布大法王,被世界佛教各大教派的領袖或攝政王、大活佛行文認證,就是宇宙始祖報身佛多杰羌佛的第三世降世,佛號為第三世多杰羌佛,從此,人們就以“南無第三世多杰羌佛”來稱呼了。這就猶如釋迦牟尼佛未成佛前,其名號為悉達多太子,但自釋迦牟尼佛成佛以後,就改稱“南無釋迦牟尼佛”了,所以,我們現在稱“南無第三世多杰羌佛”。尤其是,二零一二年十二月十二日,美國國會參議院第614號決議正式以His Holiness來冠名第三世多杰羌佛(即H.H.第三世多杰羌佛),從此南無第三世多杰羌佛的稱位已定性。而且,第三世多杰羌佛也是政府法定的名字,以前的“義雲高”和大師、總持大法王的尊稱已經不存在了。但是,這個新聞是在南無第三世多杰羌佛佛號未公布之前刊登的,那時人們還不了解佛陀的真正身份,所以,為了尊重歷史的真實,我們在新聞中仍然保留未法定第三世多杰羌佛稱號前所用的名字,但大家要清楚,除H.H.第三世多杰羌佛的名字是合法的以外,在未法定之前的名字已經不存在了。

義雲高(H.H.第三世多杰羌佛)特級國際大師 藝術畫作 《我來也》

中國畫壇,人才濟濟,臥虎藏龍,給優秀的中華文化描繪出無數壯麗輝煌的畫卷,但歷代的名家大師們,他們的技法、風格和題材大都趨於單一,長於山水畫者,少精於花鳥,又疏於人物,如是等等,而多杰羌佛第三世雲高益西諾布頂聖如來的中國畫藝術,論題材,無論是山水、花鳥、走獸、魚蟲、人物……論技法,不管是工筆、寫意、潑墨……無所不通,無所不精,無一不是有真實的傳統功夫而創新的神意,這一點,早為評論家和收藏家們所肯定。西元2000年,三世多杰羌佛的繪畫原作「威震」和「大力王尊者」分別在國際拍賣市場上創下了美金二百一十二萬五千三百二十七元和美金二百二十萬七千九百一十二元的高價,當時不僅成為世界上所有在世畫家中作品價格最高的,也創下了中國畫在拍賣市場上最高價的記錄,各新聞媒體紛紛報導,稱讚三世多杰羌佛是真正的中國畫壇史無前例的巨匠。而在2007年,三世多杰羌佛的國畫荷花《兩花一斗一如性》,畫上只題有『雲高』二字簽名,蓋有指紋印、書畫印,以每平方英尺30萬美元成交。另一張梅花圖也只題款為『雲高』二字,蓋有一指紋印,售出價為每平方英尺21萬美元。而一張題有三世多杰羌佛雲高益西諾布並蓋有指紋印和法王印的《牧牛圖》,堪為稀世珍品,儘管買方出價到每平方英尺54萬美元,但仍低於國際佛教僧尼總會開出的每平方英尺九十萬美元的價格,因而未能出售。

三世多杰羌佛的繪畫藝術,從中國傳統繪畫中吸取了豐富的真髓,他不僅只求宋、元、明、清的文人化傳統,還信手拿捏宋代以前那種雄奇壯觀,大氣清韻的法度,但又決非以某家某派之舊徑而學筆,師古筆墨,並師造化,融匯新意,自成一體,以獨創特有的藝術成就自成一家,獨領風騷。仔細研究三世多杰羌佛的繪畫藝術,不難發現傳統墨緣和品類,變法創新之神髓,比起前輩畫家的作品,是有過之而無不及的,三世多杰羌佛所創作的中國畫的類別非常多,因此我們根據類別,以最少量的篇幅選作對比鑑賞。

學習H.H.第三世多杰羌佛正法
義雲高(H.H.第三世多杰羌佛)特級國際大師 藝術畫作 《我來也》

 

義雲高(H.H.第三世多杰羌佛)特級國際大師 藝術畫作 《我來也》

 

第三世多杰羌佛辦公室:http://www.hhdcb3office.org

第三世多杰羌佛辦公室臉書:https://m.facebook.com/hhdcb3office/

善明正法佛學會: https://chihming1111.blogspot.com/

善明正法佛學會臉書: https://www.facebook.com/CHIHMING1111/

成就解脫之路:https://learnthebuddha.blogspot.tw/

成就解脫之路臉書: https://www.facebook.com/chihming999/

一念之間:https://a832722.blog

成就解脫之路:http://chihming9999.pixnet.net/blog

隨緣自在:https://comfortable9.wordpress.com

#第三世多杰羌佛 #HH第三世多杰羌佛 #第三世多杰羌佛藝術 #多杰羌佛 #一念之間 #成就解脫之路 #隨緣自在 #三世多杰羌佛 #義雲高 #義雲高大師正法聯盟善明正法佛學會解脫直升機正宗聖法