H.H. Dorje Chang Buddha III’s Accomplishments in Technological Art
Introduction
H.H. Dorje Chang Buddha III Wan Ko Yehse Norbu uses science and technology to design a new form of three-dimensional art. These three-dimensional images are made from machines and instruments, scientific data, light sources, temperature modulations, speed, and three-dimensional technology. When viewing the three-dimensional artistic images of H.H. Dorje Chang Buddha III, one can look very deeply into the flat surface and see things that appear very far away. There are also times when the images appear to be protruding out of the confines of the frame, like real three-dimensional hand-molded sculptures.
A second example of technological art is glass paintings by H.H. Dorje Chang Buddha III. These transparent images look like something found in a heavenly palace. They are even more spellbinding under the skillful use of lighting.
A third example of technological art is photographs by H.H. Dorje Chang Buddha III, which include scenery, people, animals, etc. These beautiful, artistic pictures taken with a camera make use of lighting, natural colors, and the skillful arrangement of objects.
H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu Holiest Tathagata combined His works in the above-described three different fields into the single category of technological art. Because of limited space, we have selected only a few representative three-dimensional images and glass paintings of H.H. Dorje Chang Buddha III. Upon our request, H.H. Dorje Chang Buddha III traveled for about a half day taking in an impromptu manner the photographs contained in this category.
(This text was translated from the Chinese text that follows.)
H.H. Dorje Chang Buddha III’s Accomplishment in Ancient-Looking Withered Vines
H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu Holiest Tathagata created high-quality withered vines through a form of carving called “Yun Sculpture.” All of those Yun Sculpture vines must have certain distinguishing attributes in four categories: visual quality, style, shape, and texture. Of these four categories, texture is the most important and indispensable.
The four distinguishing attributes in the area of visual quality are old, withered, dry, and beautiful. As for old, the vines must appear to be old vines from the ancient past. As for withered, the vines must look dehydrated, withered, and wrinkly. As for dry, the winding vines must seem desiccated. As for beautiful, they must have a graceful look to them.
The four distinguishing attributes in the area of style are scholarly, otherworldly, highly elegant, and comforting. As for scholarly, the style of sculpting must be imbued with a feeling of literary or poetic genius. As for otherworldly, the vines must appear to transcend the handwork of human artisans such that they look not of this world. As for highly elegant, the vines must look highly refined, aesthetically pleasing, and far above the ordinary. As for comforting, the vines must convey a feeling of auspiciousness, grace the place in which they are present, and give those who view them a feeling of harmony and well-being.
The four distinguishing attributes in the area of shape are as follows: natural-looking, genuine-looking, weathered over time, and intertwining. Regarding the first attribute, the vines must match the winding look of real vines. Regarding the second attribute, the vines must look exactly like real ancient vines. The viewer should have the impression that the carved vines are no different from real vines that grew in nature. Indeed, the viewer should conclude that the sculpted vines look even more ancient than their natural counterparts. Regarding the third attribute, the vines must convey a natural sense that they have been exposed to wind, frost, rain, dew, and sunshine over a very long time and have aged over that long time period. Regarding the fourth attribute, thick and thin vines must intertwine to look like one natural, connected body that has grown together month after month.
The four distinguishing and extremely subtle attributes in the area of texture are as follows: the vines must have the texture and appearance of having withered in different time periods; the skin of the vines must have the texture of real vines with tiny pores; the lines and wrinkles on the vines must follow the natural course of the vines; and the shades of colors of the vines must be just like those of real ancient vines. The meticulousness shown in the area of texture is the best way to tell whether or not a work of art is a genuine carving of withered vines created by H.H. Dorje Chang Buddha III through His Holiness’s Yun Sculpture form of art. These four attributes, which cannot be matched by any other artist, are essential in determining whether or not the withered vines are masterpieces sculpted by H.H. Dorje Chang Buddha III himself. These four attributes are most important and indispensable in distinguishing the works of H.H. Dorje Chang Buddha III from other works.
The first attribute is that the vines must have the texture and appearance of having withered in different time periods. Since interwoven withered vines come into being and grow in different time periods, they dry, age, and shrivel to different degrees. Their texture and color also vary. Thus, His Holiness’s Yun Sculpture vines give the impression of being historical relics of different time periods.
The second attribute is that the skin of the vines must have the texture of real vines with tiny pores. This means that when one touches the texture of the carved vines, their stems and skin will feel exactly like those of real vines. One can see that the carved vines have minute pores, such as old pores of various colors, pores that follow the course of the stem, inverted pores, miscellaneous pores, and concave and convex pores. Furthermore, one can see that there are spots of color, shades of color, flows of color, differences in color, and harmony of color relating to the pores. Even under the scrutiny of a magnifying glass, the sculpted pores appear tiny and no different from those of real vines. Indeed, the vines are much more beautiful than real vines.
The third attribute is that the lines and wrinkles on the vines must follow the natural growth of the vines. Having existed through a very long period of time, ancient vines will manifest wrinkles. The key factors in carving the highest quality wrinkles relate to the course or direction in which the wrinkles run, their size, their degree of thickness, their depth, their length, and their degree of visibility. They must not have the slightest appearance of disorder or randomness. Rather, the lines and wrinkles must totally follow the natural growth patterns of the vines. They must follow the track of the winding vines. As the vines change directions, the lines must follow the twists and turns. They must look natural and no different from real lines on ancient vines.
The fourth attribute is that the shades of colors of the vines must be just like those of real ancient vines. The color or hue of the carved vines must convey a feeling of antiquity and a wondrous quality of age. The sculpted vines must seem old, parched, and shriveled, but in a very fascinating and attractive way. They must not show any trace of having been sculpted by man. All of the freshness and brightness of living vines must be gone. They must appear as relics that are thousands of years old.
There are two Chinese sentences that aptly summarize the artistic skills of H.H. Dorje Chang Buddha III in carving withered vines: “There is nothing more beautiful than faux jade, ganoderma lucidum frames, and cactus frames. There is no higher art than creating ancient withered vines that even go beyond the appearance of real vines.”
Only those works of art that possess all of the above–described distinguishing characteristics can be called genuine Yun Sculpture withered vines created by H.H. Dorje Chang Buddha III. When these frames of withered vines accompany other Yun Sculpture works of art, the result is “double supreme beauty.” This combination is also solid evidence to determine the authenticity of Yun sculptures created by H.H. Dorje Chang Buddha III. When His Holiness’s withered vines are part of Yun Sculpture art frames, such as “Ancient Jade”and “Emerald,” these art frames become even more phenomenal and take on the ancient air of precious and splendid cultural relics. Truly, such works are national treasures that have no equal in the entire world. They are wonderful masterpieces to hang on your wall.
More importantly, we should understand that these sculptures of ancient-looking withered vines are actually a manifestation of His Holiness’s mastery of the inner-realization vidya. Persons of holy virtue who are able to leave their footprints on stones are unable to create such ancient-looking withered vines. The source of these works of art is the enlightenment of a Buddha that H.H. Dorje Chang Buddha III possesses. That is why they are precious withered vines that cannot be found anywhere else in the world.
(This text was translated from the Chinese text that follows.)
H.H. Dorje Chang Buddha III’s Vocal Accomplishments
Vocal Mastery
Because H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu Holiest Tathagata is a true ancient Buddha, His Holiness’s accomplishments are limitless and countless. If categorized into worldly branches of learning, H.H. Dorje Chang Buddha III is a scientist, writer, philosopher, healer, artist, and great master of many other fields. His Holiness is also a vocalist whose songs are unique masterpieces. Whether singing in a robust, resonant, stirring, and thunderous manner, or in a quietly elegant, floating, light, sweet, and captivating manner, His Holiness’s vocal performances are marvelous and heavenly. His Holiness’s songs and lyrics contain true Buddha-dharma. They teach goodness, impart wisdom, and benefit people. Moreover, H.H. Dorje Chang Buddha III composes the melody, writes the lyrics, and sings these songs all by Himself. There are many audiotapes and CD’s of these songs. Even expert vocalists have sought the guidance of H.H. Dorje Chang Buddha III on singing. An example of this is a disciple of H.H. Dorje Chang Buddha III by the name of Jacky Cheung, who is known as a tremendous singer.
(This text was translated from the Chinese text that follows.)
Superstar Jackie Cheung sincerely beseeches H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu, who is his Master, to distribute around the world the recordings of vocal performances by H.H. Dorje Chang Buddha III in order to provide people with happiness and blessings. 天王巨星張學友懇請他的上師三世多杰羌佛雲高益西諾布將歌帶發行布益於世，以給人們帶來吉祥昌盛，歡樂幸福。
Why the Best Rhythm in Life Is Neither Fast Nor Slow
When Zhang Yigong was young, he was an impatient man.
At the age of thirty, he became fascinated with the erhu. However, despite his enthusiasm, he struggled to master it. Determined to learn, he spent three months’ worth of wages on an old rosewood erhu and sought instruction from Master Liu, the most renowned erhu teacher in town.
On the very first lesson, Master Liu asked him to tune the strings.
Without hesitation, Zhang tightened the strings as much as he could. He thought to himself, “The tighter the strings, the greater the tension, and the brighter the sound. Surely that’s obvious.”
Master Liu said nothing and simply asked him to play A Beautiful Evening.
At the first stroke of the bow, the sound was as shrill as a rooster’s crow. At the second, the string snapped. The broken string lashed back across the back of his hand, leaving a bloody welt.
“Too tight,” Master Liu said as he handed him a new string.
The next lesson, Zhang remembered his mistake. Afraid of snapping another string, he loosened it excessively, so much so that his fingers nearly touched the neck of the instrument when he pressed down.
This time, the string did not break, but the sound was muffled, as though it were trapped beneath a blanket. All of the erhu’s charm had disappeared. Despite his efforts, the music remained weak and lifeless.
Master Liu smiled and took the instrument from him. As he adjusted the tuning pegs, he listened carefully tightening a little, drawing the bow once, tightening a little more, and drawing the bow again. Neither too tight nor too loose.
Finally, he handed the erhu back.
“Try again.”
Zhang drew the bow across the strings. This time, the sound was neither sharp nor dull. It was clear yet mellow, like an autumn breeze passing through a bamboo grove.
He was stunned.
“People have their temperaments, and strings have theirs,” Master Liu said. “If they’re too tight, they cannot bear you. If they’re too loose, you cannot command them. You must work with their nature and find that point that is just right.”
Later, Zhang approached his practice in the same way.
While learning Horse Racing, he was obsessed with speed, wishing he could produce a dozen notes in a single second. The result was a chaotic jumble of sounds. Master Liu told him to slow down, but he overcorrected, moving so slowly that he resembled an old ox ambling along.
After months of practice and reflection, he finally came to understand: the fast passages should be played with crisp precision, while the slow passages should unfold with ease and composure. Between speed and slowness, the flow of the music must never be broken.
The day he finally mastered Horse Racing, Zhang closed his eyes and felt as though he was no longer playing the erhu but riding a horse across an open grassland. Neither too fast nor too slow, every step fell perfectly in rhythm, and his heart seemed to resonate with the melody itself.
Many years later, Zhang Yigong became a teacher himself.
One day, a student asked him, “What is the secret to playing the erhu well?”
He pointed to the tuning pegs and replied:
“The key is tuning the strings properly. Too tight, and they break. Too loose, and they make no sound. Everything in life is the same. If you’re too hasty, things fall apart. If you’re too slow, opportunities are lost. Only when things are just right can they be accomplished.”
The wisdom expressed here echoes a teaching by Namo H.H. Dorje Chang Buddha III in Philosophical Sayings About Worldly Matters:
“Undue haste causes delay, and procrastination causes loss. With this point of view, one shall choose the Middle Way as a principle. When a violin is tuned too low, its strings produce disharmony, but when it’s tuned too high, the strings are likely to snap.”
Once we understand this principle, we realize that life is much like the strings of an instrument. Stretch them too tightly, and they will snap. Leave them too loose, and they will remain silent. Only by avoiding extremes—neither hurried nor sluggish, neither excessive nor deficient—can we produce our own harmonious melody.
Remember:
Speed is not the skill. Slowness is not the skill. The true skill lies in being just right.
May all who have the opportunity to read this article take these words to heart. In the days ahead, may we approach our work without haste, without impatience, without procrastination, and without laziness. May we each discover our own Middle Way.
And always remember:
The best rhythm in life is neither the fastest nor the slowest—it is simply the one that is just right.
