學習H.H. 第三世多杰羌佛 正法
此視頻鏈接：
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：
正宗聖法．聖法正宗： http://holydharma.pixnet.net/blog
2018年11月29日 星期四
2018年11月27日 星期二
回覆杜松行者對聯之三
學習H.H. 第三世多杰羌佛 正法
杜松行者輕安：
我真有些擔心由我們造成他人誤會而斷滅善根，但經思考後，還得隨境所遷。我發自肺腑的坦誠告訴你，在你不了解情況的前提下，我只能說你提得好，我們是犯了瑜伽十四根本戒之第一戒，但如果你清楚情況，那就不一定是提得好了。
首先謝謝你的幫助，但你要明白，我們是在學佛修行，自然要按照佛陀的教導去修正自己的言行，我們是遵照 第三世多杰羌佛 的法示去做的。當鄔金聽列的官方網站那一篇為抬高自己而弄虛的噱頭文章出現時，幾天的時間，我們就從鄔金聽列開示的兩本書中挑出了兩百多條違背經教的原則問題逐一作了詳盡批點，準備公諸世人明鑑。當 第三世多杰羌佛 看到後說：“你們是修行人，不是爭強鬥狠鑽營是非的，鄔金聽列還年輕，他還在學習上進中，難免會有法義理解偏差的地方，上別人的當做錯事是正常的，你們要原諒他，不可以搞是非，更不可以傷害任何人，你們要看到他的善良，他的努力，他的長處，如果挖出問題就舉棒打，他哪裡有信心增益呢？他勸人為善的那一面你們也應該看到。慈悲利益眾生，這是你們唯一要做的。”
我可以明確地說，是 第三世多杰羌佛 加持保護了他，正如鄔金聽列的本尊法金剛上師所說的那樣：“ 多杰羌佛 在加持噶瑪巴，化現成 第三世多杰羌佛了。”事實上， 第三世多杰羌佛 隨時都在為鄔金聽列作加持，祈願他真正成為噶瑪巴的利生心行，同樣的， 第三世多杰羌佛 隨時都在為其他的仁波且、法師和一切眾生加持祈福，祈願大家福慧圓滿早證菩提， 多杰羌佛 除了慈悲利益大眾，從不考慮自己的榮辱興衰。 第三世多杰羌佛 的道德行持是無以復加的，如果不是這樣，“世界和平獎”、“馬丁路德金國際服務和領袖獎”的得主就不會是佛陀了。
幾年前台灣有個人寫書大力誹謗 第三世多杰羌佛 ，當時就有人要去打他，乃至要把他拿下， 第三世多杰羌佛 得知後即刻制止，嚴厲地說：“不可以罵人，不可以打人，不可以傷害XXX，你們實在想打他，那就打我。修行人只能慈悲利人，否則就不是佛教徒，嗔恨心是與修行背道而馳的。”其實這個台灣人只有錯誤百出的空洞理論，沒有智慧，更沒有神通，他是由於不了解 第三世多杰羌佛 才誹謗的，比如他罵 第三世多杰羌佛 是密宗，而且是修雙修法的，這就大錯特錯了。首先佛陀的教義就是整個的佛教，並不歸於哪一宗，而且 第三世多杰羌佛 最反對的就是密宗的雙修法，從 第三世多杰羌佛 開示的兩千多盤法音帶中，可以清楚了解到這一事實。
第三世多杰羌佛 在《解脫大手印》的“特別注意”這一章的第一點中說：
“有人誤認為境覺二行法是無上瑜伽密續部之雙修法，藏密金剛部法，我今正告錯見之人，境行是清淨無垢，至高覺性聖境實相現前，覺行是圓滿究竟的大覺，是佛教中唯一能在一個時辰之內，將弟子自我強導攝入於境界中圓滿成就的無上頂聖大法，比如現量大圓滿，比如非時之死迴生法，比如金剛換體禪，比如攤屍拙火定，比如泥丸道果弟子當下即修即證，即可拿出實際功夫，這是任何宗派的法都做不到只需一個時辰即證的，與誤認者所謂的密宗男女雙修毫不相干，而且密宗男女雙修之法流傳於世，圖文成書發放亂性，幾成邪惡風氣，已經讓很多的人理解誤導借用其名義，以行邪惡淫蕩污髒之實，反之在現實中大家看到所謂雙修者，一個也找不到有實證功夫，只會口說大話，不但頂開不了，拙火定也升不起溫，五明愚鈍，只有空假名辭而無實體成就，乃至連一般的證量都沒有，造下的是無窮罪業累累。
解脫大手印不是密宗的法，而是佛教真正深入實行大悲利眾，至高無上能讓弟子達到處處實相見境，脫離空言戲論，遠超九乘之巔，越過十地圓通，直取聖量佛覺的頂聖如來正法大法、快捷成就的無上佛教佛法。”
第三世多杰羌佛 被很多不了解的人玷辱誹謗，但他從來不詛咒對方，嗔恨對方，還時常叮嚀我們不可以做任何傷害這些誹謗者的事，失掉忍辱就失掉了菩提，在算計誹謗前視而不見，聽而不執，無動於心，視眾生為父母，即是修行。我們是佛陀的弟子，必須聽佛陀的話。
杜松行者，想必這不是犯瑜伽十四根本戒吧。說白了是佛陀不准我們有報復心、嗔恨心，要三時審查自己的行持，落足於慈悲利益一切眾生，時時修慚愧行。這也正是我沒有把下聯全部回給你的原因之一，因為玩笑開得太過火，怕你不理解，認為在罵你，給你添煩惱。但是這麼長時間，看到很多人在對你的楹聯，不要說對好楹聯，連你明確要對下聯的人說出你的上聯用藥有多少味，都沒看到有人回答，也許讓你很失望，其實我們也很失望，所以今天我們只好將未發出的最後部分改動一下，讓你容易接受，就此發出了。原來準備好的我還是不會在此公開，等你我見面時再說，那時你就會知道內含玄機的微妙，什麽叫藥份之差。
另外，我個人認為，你的佛教知識很豐富，學問也高，但請允許我說句不客氣的話，總覺得你還有那麼一點笨氣，難道你是外道嗎？如果不是，為什麽會說出我們是佛陀身邊的弟子這種話呢？你不是佛陀身邊的弟子，又是哪一位尊駕身邊的弟子呢？佛陀降世的時代何其難得，為什麽不拜 第三世多杰羌佛 求法修行呢？為什麽不修學如來正法，做佛陀的弟子，而要去充什麽江湖浪人，當個走街逞強，助貧為樂的俠士呢？雖也有善行功德，但畢竟不是一個時辰即證得聖量的成就大法啊！
下面是改動後回給你的下半聯。
杜松行者的上聯：
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
我對你：
莫遲待，三月八日而今我已乘出，識得暗藏機如意通見地，你太糟糕多了點脈，斗膽俗子充尊。下對出禮來聯。我的施劑另有藥，可能認錯通天方，要論我三寶俱全，正好我古具八德，修士兩人，要慈善，只問證量高深！
翟芒、祿東贊修士兩人
此文章鏈接：
2018年11月23日 星期五
對《梵高、齊白石 PK 第三世多杰羌佛 ， 看誰的作品厲害》一文的評論
學習H.H. 第三世多杰羌佛 正法
在此，我向林緝光先生道歉之外，隨作些許膚淺的看法。
林先生鑑定評判《梵高、齐白石PK 第三世多杰羌佛 ，看谁的作品厉害》文論我看了，我是在1999年英國溫布頓藝術學院繪畫系碩士畢業，也學習從事鑑定中西畫多年。梵高的藝境獨立整個西方畫壇，成為霸主，無人能及，是我崇拜的偶像。而在畫評上，我還沒有見到過對畫藝評論判定得這麼專業的，林先生的評論精闢，觀點獨到中肯，實為近年罕見扎實的藝術文評，本人頗為佩服。由於另外看到一些關於林先生的報導時，一知半解的我，被別有用心之人誤導，竟然對林先生本人作出了一些誤會的看法，我在此向緝光大師致歉。
確實，林先生身為專業鑑定評判家，對梵高、齊白石PK第三世 多杰羌佛 的作品，立論不凡，資料詳實，論據、論點、論理，所論述之觀點，真實的反映了梵高、齊白石、 第三世多杰羌佛 藝術上的超凡成就及其畫品德格。 羌佛 的作品，無論是水墨畫還是西方之油畫，長存於藝術歷史的長河中，有如八大山人、陳子莊的畫境，雖風格各異，卻到了前無古人之境界。盡管是歷史上的巨匠，作為PK的梵高和齊白石，畫藝已達高峰，但在與 羌佛 PK時，大家都能一眼看出， 羌佛 的畫作神形兼備，筆觸功力十足，內涵極深，用筆活透自然，技法脫俗，筆筆見功，堪為世界畫壇之瑰寶。梵高與齊白石，是各有所長所短。白石大師在傳統的東方哲學思想融匯於筆墨上，中鋒內含書卷氣，畫展老到童心，但短處是法變單純。而梵高大師是天資悟性，寫實功底較強，長處是施法頗廣，且達到畫我雙忘、天人合一、脫掉凡俗之氣，而成西方畫壇魁首。但是把梵高、齊白石的向日葵與 第三世多杰羌佛 的向日葵放在一起PK，實在是不恰當的！有幾句話我一直說不出口，再三思忖後，從道德誠實而言，應該講幾句心裡話，這是以我個人的觀點評說。 羌佛 的向日葵與梵高、齊白石的手筆一比，稍懂一點畫藝的人都能看出，兩位大師的向日葵，從筆觸、韻稚上，明顯帶有呆匠之氣，還有那麼一點拘謹，含儲有標本的氣息。
有一位西方友人說：林先生在文章中的觀點是東方人的觀點，西方人不一定認同。一聽這句話就是一個不懂藝術的人說的外行話，藝術根本沒有東方人和西方人的觀點，藝術是直觀的世界語言，好就是好，不好就是不好，好的東西是活透的、有生命力的，不好的東西是呆板的、死匠的，藝術之間相互對比鑑賞，不需要外加論評，就能看出好壞。好的東西，行家都難以臨摹下來 ，因為技法、神韻含藏於藝術之中，難以捉摸；不好的東西，有繪畫基礎的人都能輕輕臨摹，仿製相同，因為技法、藝境、神韻平淡普通。我相信東西方只要懂藝術的人，都是用眼睛和心靈感受到藝術的好壞差別，而不是像那位西方友人貶低有的西方人似乎看不懂藝術，而是取捨文字的說法來判斷藝術的好壞。其實，西方人的見地觀點是不低於東方人的境界，這是人類的共性審美觀，不是危言聳聽觀，除非某一個人一點藝術細胞都沒有，那還跟他說什麼呢？什麼都不用說了！
我聽說在加州柯文納， 第三世多杰羌佛 文化藝術館，有一張 羌佛 畫的《龍鯉鬧蓮池》，被法庭作證的評估專家評估價值為5900萬美元，若能有人複製成功，可領取600萬美金的獎。我不是想要領這筆懸獎，而是為了藝術的探討。我去藝術館實際臨摹過這張畫，果然非同凡響，最終體驗到了 羌佛 的技法之高妙，我無法成功。梵高、齊白石的畫我也臨摹過，有親身經歷的體驗，兩位前輩的藝境，與 羌佛 的藝境根本不在一個層面上，沒有可比因素。
我再次感謝林先生的論評中的精闢分析，令我有幸能夠多了解學習到更多藝術的見地。
關官豪
二零一八年十一月二十二日
資料來源：
此文章鏈接：
2018年11月22日 星期四
Vincent van Gogh, Qi Baishi,and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?
學習H.H. 第三世多杰羌佛 正法
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:
Jiguang Lin
October 26, 2018
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/
正宗聖法．聖法正宗：http://holydharma.pixnet.net/blog
訂閱：
文章 (Atom)