發表於 第三世多杰羌佛藝術第三世多杰羌佛五明展顯書法

H.H.第三世多杰羌佛 五明展顯 第六大類-書 法

H.H.第三世多杰羌佛 五明展顯 第六大類-書 法

學習H.H.第三世多杰羌佛正法

H.H.第三世多杰羌佛 五明展顯

簡 介

古往今來,任何藝術或學科及其發明,都反映不了一個人的德品和學識,但書法卻不然。而一個人在某一門藝術和學科或發明上的成績所營造的光環,往往會遮蓋他在學識和人格上的缺失,但是,唯書道除外。書法,就像是一面立體透射鏡,學問的深淺、德品的高低、心智的健弱,都在一筆一畫的運走中展露,無以遁形。且不說書法,就只是普通寫字的好壞,對於一般人,也能看出他的文化水準如何。展觀史論,從古至今找不到哪一個不具學識的人可以在書道上有所建樹的。學識淵博不一定精具書道,但大書家必是學問書風雙胞共存。尤凡歷代書道大家,無一不是出於淵深學識之文學巨匠。如古有王羲之、懷素、何紹基、張懷瓘、岳飛,近有于右任等,個個都是學富五車的大文學家,道德文章之楷模。

學識為書之棟樑,書之基石;德為書之格調,書之神韻,故書法必具雙胞學體。多杰羌佛第三世雲高益西諾布頂聖如來的書法,脫俗無華,格高境妙。時而龍蛇走筆,轉鋒又童心天趣,平中見奇,飄逸自如,渾厚華滋。行墨連綿,氣韻暢達,字勢或雄渾矯健如龍躍天門,虎臥鳳闕;或清新和雅如浮雲飄冉,鶴翔松間;或樸拙率真,孩心無執。脫盡輕鮮煙火之氣,收斂內含,俗染浮雜已然蕩盡!正是『天質自然,韻達性海,故柔中見剛,華而清奇。』

三世多杰羌佛的書法能達到如此登峰造極的境界,全然來源於他博大的學識,精深的才華,當然臨帖的功夫對於佛陀來說一揮體成,而紮實雄厚,方能自成大家。比如三世多杰羌佛在初涉書門之時,即有傳統草書的堅實功夫和博大學識的修養,我們見到書法的第一張,即是初學草書的功底,而以他自吟之七絕詩『華宮日月麗陽天,喜乘西風六月閒,故朋來從叭聲望,始知暑氣已冬殘』何等詩句脫盡煙火之氣,高風清奇,不染塵俗。三世多杰羌佛深居古寺,卻以超凡的證量,發抒情懷,闡顯寺廟雖一室之間卻為孤隱清高,超凡脫俗,但卻樂盡無窮豪華天籟,故吟曰:『華宮日月麗陽天』統率日月之天地,而會之人間福盛,一句 『喜乘西風六月閒』點出了在夏日炎炎卻迎納清浴,乘駕佛陀西風之涼風沐體,心境無遷,閒於寂靜,放展宇宙,輕安極樂,人我兩忘,故友來臨亦聞叭聲所得,已與世超然,清淨無為,三世多杰羌佛不記時日,應無所住,而世外人卻茫然牽掛,登車奔馬 告訴三世多杰羌佛,已經不是夏天了,冬天都快完了,古佛心有會意卻莞爾一笑。由此境界,我們可見三世多杰羌佛之書法如何脫盡人間煙火之氣,是真正的佛陀之書啊!

三世多杰羌佛的書法,匯聚五明之全面證德證境,方見墨情神至,又近年之草書以瘦金龍蛇無礙而寫,更見神韻風馳,『翡 翠玉』乃出仙風佛骨,徹底跳出三界外,豈然笑傲五行中,實乃非書之書,情懷宇宙。如『朗嘎羅布』之書,已脫前人筆墨而超前者,脫俗無華,功力深厚,似砸釵碎玉,且見鋼打鐵鑄之風之『無我乃大成』,堅硬雄樸,鋒利破皮之勁道,然而又內蘊俊秀,娟美溫愜,確堪躍古騰今之書風格韻。『小不點』,孩兒天趣,老叟童心,毫不拘束佈局擺章,非書而書,消盡煙火之氣,內藏儒雅風魂。拜讀三世多杰羌佛筆下的『聖』字,則又是柔剛相並,內力藏秀,外放雅韻。而『佛』字時,可謂名副其實,真正達到了古人論書功力之頂峰『傲雪松枝萬古痕,筆力能抗千斤鼎』。

然而事實上,於實踐中,三世多杰羌佛的書法正是『基深內養,始行萬里,感諸境入性,吸萬物靈媚於合筆內情之間』而得此超凡之化境,含藏宇宙萬物於佛手一掌之間。因而三世多杰羌佛筆下字字珠璣,遒潤曼妙,無所不具,統諸家之長於一人之筆,懷萬谷峻風而獨笑毫端,豈可言喻!要龍飛鳳舞,具之;要砸釵金石,已見;要柔中見剛,然也;要老叟童心,即是;要格韻清奇,內含。一言以蔽之,真正是爐火純青,返樸歸真,佛之書矣!

Introduction

From ancient times to the present, no product of an art or field of study has been able to reflect a person’s moral character and knowledge—except for calligraphy. The aura created by a person’s achievements or creations in a certain form of art or field of study often covers up his shortcomings in knowledge and character. However, calligraphy is an exception to this rule. Calligraphy is like a three-dimensional projecting mirror. The depth of one’s knowledge, the level of one’s moral character, and the strength of one’s mind are revealed through each stroke of the brush. There is no way to conceal such things. When looking at the quality of a person’s ordinary writing of Chinese characters, most people can discern the level of that person’s education. This is all the more true with respect to looking at a person’s calligraphy.

One cannot find in any history book an unknowledgeable person who has made a contribution to calligraphy. Those with profound and extensive knowledge are not necessarily proficient in calligraphy. However, a great calligrapher must have both knowledge and good brushwork. Without exception, all of the famous calligraphers throughout the generations were great masters of literature who had profound knowledge. Examples of this include ancient calligraphers such as Xizhi Wang, Su Huai, Shaoji He, Huaiguan Zhang, and Fei Yue. A modern example is Youren Yu. Each one of them was an extremely learned literary giant and paragon of virtue.

Knowledge is the pillar and cornerstone of calligraphy. Moral character can be seen in the style and charm of calligraphy. Thus, calligraphy requires both knowledge and moral character.

The calligraphy of H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu Holiest Tathagata is not bound by worldly conventions and is devoid of unnecessary flamboyance. It is highly refined and based upon ingenious artistic conception. His Holiness’s strokes are sometimes written in a swift curling style. However, in an instant, His Holiness can express the innocent and natural charm of a child. There is wonder in even common strokes. His calligraphy is naturally graceful, exhibiting depth and brilliance. The calligraphy of His Holiness contains an invisible force that makes the characters seem much grander than they appear on a superficial level. His strokes look harmoniously smooth and unbroken. The Chinese characters may appear strong and vigorous, like a soaring dragon or mighty tiger. They may appear clear and gently elegant, like slowly floating clouds, cranes flying among pine trees, or dancing swans. They may appear simple and unadorned, like the free heart of a child. They are gracefully understated and completely devoid of any mundane quality. The calligraphy of H.H. Dorje Chang Buddha III is natural in quality and resonates with the true nature of the universe. A deep power underlies His Holiness’s strokes.

The ability of H.H. Dorje Chang Buddha III to reach such great heights in calligraphy is completely due to His Holiness’s vast knowledge and profound talents. Of course, His Holiness is extremely adept at learning from the styles of others since this is a simple matter for a Buddha. For example, even in the initial stage of learning calligraphy, H.H. Dorje Chang Buddha III had solid skills in the traditional cursive style of writing and also had extensive learning. We can see from the first calligraphic work in this book the adroitness His Holiness had when He was first learning this cursive script.

There is also a qi jue poem written by H.H. Dorje Chang Buddha III. A qi jue poem is a four-line poem with seven characters to a line and a strict tonal pattern and rhyme scheme. The phonetic reading of the poem is as follows: “hua gong ri yue li yang tian, xi cheng xi feng liu yue xian, gu peng lai cong ba sheng wang, shi zhi shu qi yi dong can.” One can see that this work has surpassed all traces of the mundane and has transcended all earthly impurities. Its style is lofty and pure.

When that poem was written, H.H. Dorje Chang Buddha III was living in the seclusion of an ancient temple. His Holiness used his extraordinary realization to express his thoughts and feelings. The first line expresses that although His Holiness lived alone and secluded in the room of a temple, He governed the universe and bestowed blessings upon living beings. Thus, the first line reads, “hua gong ri yue li yang tian.”

The next line, “xi cheng xi feng liu yue xian,” conveys the scene that during the idle month of June H.H. Dorje Chang Buddha III bathed in the Buddhastate of coolness while under the scorching sun. His Holiness was free of all worldly cares and attachments, and his body merged with the universe. When friends came, His Holiness heard the horns of their cars, but He had already transcended the world, residing in quietude and non-action. H.H. Dorje Chang Buddha III kept no notion of the date, and His Holiness’s mind did not abide in anything whatsoever. The people of the world were ignorantly attached to the changing seasons and came in their cars and horses to inform H.H. Dorje Chang Buddha III that summer had long passed and the winter was about to end. The ancient Buddha acknowledged this and smiled.

One can see from this how the calligraphy of H.H. Dorje Chang Buddha III has completely transcended the mundane. It is the calligraphy of a true Buddha. His Holiness’s calligraphic skills have reached such a pinnacle due to His complete realization in the Five Vidyas.

In recent years, there are works of H.H. Dorje Chang Buddha III that have been written in the cursive mode of calligraphy, showing a flowing and unobstructed style, and expressing even more than before the charm of this writing technique. For example, the work Fei Cui Jade expresses the spirit of an immortal or Buddha, thoroughly transcending the three worlds of reincarnation, standing proudly above the five elements of the universe. It is truly calligraphy beyond the category of calligraphy, expressing a feeling that incorporates the whole universe.

His Holiness’s calligraphy of the Chinese characters lang ga luo bu (Treasure of Heaven) excels the writing of calligraphers throughout history. It transcends all traces of worldliness. It expresses deep strength, like that which can break jade. The style of another calligraphic work called wu wo nai da cheng (No-Self Is Great Accomplishment), conveys the firmness and simplicity of steel and the vigor of a sharp knife. However, these same characters also contain delicate beauty. That calligraphic style truly surpasses styles of the past and present.

Another calligraphic style of H.H. Dorje Chang Buddha III is revealed in the writing of the Chinese characters xiao bu dian (Tiny). Such calligraphy shows the childlike innocence of a very old man, and its arrangement expresses the utmost ease and lack of rigid constraints. It is high-class calligraphy that does not even seem to be calligraphy. It is so elegant and refined that it completely transcends the mundane.

Beholding the character sheng (holy) written by His Holiness, one can see that it simultaneously embodies both the softness of ribbons and the innerfirmness of steel. Its inner beauty flows to the surface. Another example is the character fo, which means Buddha. The writing of that character demonstrates that His Holiness has truly attained the summit of calligraphic skills that the ancients extolled in the old saying, “the old pine branch cannot be weighed down by heavy snow; the might of a brush will lift a thousand-pound bronze cauldron.”

In fact, the calligraphy of H.H. Dorje Chang Buddha III has a deep foundation and an internal richness. It embodies the manifold sensations that one could possibly experience in one lifetime. The essence of all things in the universe converges at the tip of His Holiness’s brush. With such a transcendent state of realization, the myriad things of the universe are in the palm of this Buddha. The calligraphy of H.H. Dorje Chang Buddha III is like a treasury. It can be vigorous, smooth, or naturally beautiful. His Holiness incorporates the best techniques of all of the schools of calligraphy. No words can really describe this! If you want to see lively and energetic flourishes of the brush, you can. If you want to see characters with adamantine firmness, you can. If you want to see strength within softness, you can. If you want to see the childlike innocence of a very old man, you can. If you want to see charm, purity, and wonder, you can. In other words, His Holiness’s calligraphic skills have reached the highest degree of proficiency and naturalness that only a Buddha could reach!

 

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

H.H.第三世多杰羌佛 五明展顯

出處: 

多杰羌佛第三世-正法寶典

H.H.Dorje Chang Buddha III-A TREASURY OF TRUE BUDDHA-DHARMA

第三世多杰羌佛

H.H.第三世多杰羌佛 五明展顯 第六大類-書 法

 

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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韻雕書法

義雲高大師(南無第三世多杰羌佛)藝術非人間所見 正宗佛教智慧的展現 工巧明的圓滿成就

義雲高大師(南無第三世多杰羌佛)藝術非人間所見   

正宗佛教智慧的展現  工巧明的圓滿成就

學習H.H.第三世多杰羌佛正法

義雲高大師(南無第三世多杰羌佛)藝術非人間所見    正宗佛教智慧的展現   工巧明的圓滿成就

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佈之前刊登的,那時人們還不瞭解佛陀的真正身份,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 大師十月下旬應邀請前往國會辦公大樓展出韻雕作品。在國會金廳展藝術品這在國會是首見,國會山莊飯廳旁倒有辦展覽的先例,但在議事廳展出倒真是頭一回,國會辦公大樓銳本( Ray Burn)大樓的金廳在韻雕展出前兩天國會議員還在討論如何防制恐怖份子等議題,韻雕的創作者地位特出,韻雕成就傑出,不言而喻。
義雲高 大師是來自中國的國際級藝術巨擘,他曾獲得美國總統金質勳章,美國國會獎章,這在美國歷史上已是少有的殊榮,其他各種州長、州議會、大學、縣長、市長、市議會、各式各樣的團體頒給義雲高大師的獎章獎狀,不勝枚舉。
這次在美國會議事廳展出的韻雕是人類首見的雕刻藝術形式,展覽兩天,前往參觀的國會議員和國會工作人員上千人,寫下觀後感的人,至少有五百人,留言中人人驚嘆,竟有如此神秘、美麗、崇法自然而更超越自然的的藝術品終於出現在這個世界上,看過的人都有同樣的觀感:這種神祕超自然的韻雕是不可能被複製的。
觀者中有白人、黑人、黃種人、拉丁人,不分種族他們都對韻雕表達了驚嘆與欣賞。韻雕藝術是超越種族、國界及時空環境的。
這種「超越自然」、「美不勝收」、「獨一無二」、「神妙幻化」、「無法被複製」代表甚麼概念呢?
一位觀賞者,看完展覽後不可置信地說,創作這個作品的人,必是受到上帝的啟發,否則以凡人的想像,是不可能想出這個世界不存在的如此美景,更何況要通過他的心境創作出來給世人看!或許創作者就是聖人本身,才能把另一個世界才有的美景搬到這個世界來了。
一位西方人士更乾脆斷定,若非禪宗大師或更高成就的大聖人是不可能作出這樣的作品的。天主教中以偉大的上帝為「超自然」,基督教中以基督的偉大是超自然,佛教中「超自然」的如來佛是最高的,這些都是公認的,但是誰真正得到了超自然的技法達到無法複製的成就呢?歷史上有許多佛教的祖師都沒有作到這一點,祇是文字記載或口述五明俱足,最多是唐卡與酥油花及西方的色彩運用,僅代表佛教的五明展現,可那畢竟是可複製的東西,這又怎麼說明聖者的五明圓滿高度? 義雲高大師卻做到了這種在 佛教 中如來正法所表現在世間的五明中的工巧明的圓滿成就。這韻雕的出現,不正說明了 義雲高 大師是如來正法的體現嗎?若不是這樣,難道是愚痴凡夫的體現?如果是這樣,為什麼就沒有一個人複製的了韻雕「一柱擎天」?乃至所謂正宗的佛教人士也束手無策,難道束手無策是屬於有智慧?是正宗的工巧明?這徹底說明大師是正宗佛教的智慧開敷,才表達了登峰造極的五明工巧。
我們再想一想,兩三呎長的石洞中,怎麼可能形成霧氣繚繞的仙境呢?就算用壓氣機把霧氣壓進去,我看不到五分鐘霧氣也就沒有了,而大師刀刻的霧氣用鼓風機吹,用水管沖洗,對霧氣絲毫沒有損傷。難道這不是真正佛法的展現嗎?如果不是這樣,也應該是天主或基督的威力。
歷史上有一公案,談到鐵拐李和呂洞賓成為師徒緣起的故事,一天鐵拐李在河邊洗沙鍋,這沙鍋在鐵拐李的手中好像橡皮,還是衣服一樣,可以正面翻到背面洗,然後又從背面翻到正面來洗,路過的人個個稱奇,但都是看看就走開,祇有呂洞賓,不祇看到洗沙鍋像洗衣服的特技,他看到了有能力這麼做的人必是個仙人,因而堅決要求拜師,果然拜師求道後他也成為仙人。沙鍋換成韻雕,韻雕的出現不正是一種示現象徵嗎?難怪 義雲高 大師堅決不賣,說韻雕是屬於全人類的,他無權出售。這不正說明大師創始韻雕是來自 正宗佛教 智慧的展現,也祇有 佛教 智慧才有如此高度的工巧明!  (圖文:蘇靜蓉)

天天日報  11/7/2003    B6

美國國會辦公大樓史無前例展出人類首現神秘藝術

義雲高大師藝術非人間所見 參眾議員無不揮毫讚嘆

美國國會史無前例地在國會辦公大樓舉辦藝術展,國際藝術大師 義雲高 以人類有史以來獨創的韻雕藝術,榮獲邀請, 獨家在政治的殿堂議事廳展出超越大自然的藝術瑰寶,以參衆議員和國會工作人員爲主體的參觀人潮,絡繹不絕,參觀者人人讚嘆,韻雕所表現出獨一無二、不可思議的美感與智慧,是 義雲高 大師爲世界帶來的最好的禮物。

韻雕展是在10月28至29日兩天在美國國會辦公大樓(Rayburn Building)的議事廳金廳舉行,此次展出的作品是『朗嘎羅布』、『黃黃』、『神秘石霧』三件韻雕作品及十數張韻雕畫。『朗嘎羅布』氣韻流暢,色彩異變莫測,神幻天趣,超越大自然之靈犀,實爲人間首現奇物,古怪新奇秀, 麗媚至極而美不勝收;『黃黃』則珠光誘人勝於美玉,其色堂皇貴雅,潔淨華滋, 層次變異難測,幻景天成。更神奇的是 『神秘石霧』,竟然一邊是祥霧彌漫,一邊卻一點霧氣也沒有,兩個一樣的鵝卵石, 從洞口看進去,雖然結構一樣,色彩相同,但一個大霧濛濛,一個淸楚見景,兩相對照,不能不驚嘆氣體是如何被雕刻出來的,更顯義大師出神入化之五明工夫,爲世界人類所作的巨大貢獻。

國會議員參觀踴躍齊讚嘆

第一天展覽即有三百多人前來參觀,在參觀者參觀後口耳相傳,第二天會場人潮爆滿,展廳無法安排,參觀者必須列隊等候,展出作品使人震驚。國會參衆議員前往參觀者對 義雲高 大師的韻雕均高度讚嘆,他們表示能有這麼登峰造極的藝術作品在國會出現確是人類的幸福。

國會議員喬.威爾森參觀後表示,他從未見過如此美麗的作品,以『黃黃』這件作品而言,單一的色彩竟能顯出如此尊貴的韻味及色彩層次的變化,所有的雕刻竟看不出刀痕,『神秘石霧』所產生的霧氣及洞中天地的多層變化,的確是唯一首見,充滿神秘感的藝術作品,他很榮幸能看到這麽傑出的作品。

國會喬瑟琳.強生,對韻雕以藝術的形式表達出超越人類另外一個世界的美, 至爲感動,她認爲這麼美而不可思議的藝術創作,應該讓世界上所有大型博物館珍藏。她說,這種作品絕對是藝術家受到某種聖靈的啓發才能把這種不是這個世界有的美景透過藝術創作带給世人欣賞。她接著又說,作者應該就是聖人本身,否則怎有如此不可思議的能力作出這樣不可思議的超世絕俗的作品?

韻雕之美 神秘不可思議

許多參觀者看過作品,當他們知道四個團體懸賞一千兩百萬美元徵求複製韻雕作品時,他們無不斬釘截鐵地反應,韻雕這種獨特的藝術,是不可能被複製得出來的。觀賞者超越種族背景對「韻雕」 均是讚嘆不絕,說這是來自外世界,給人類帶來的禮物,他們寫下的觀感都是感謝 雲高大師 爲他們帶來如此美好的藝術享受,對韻雕作品他們都是以「驚異」、「獨 特」、「唯一僅見」、「神奇」、「不可思議」、 「太美了」、「太神秘了」、「超越自然」、「人間找不到的美物」等字眼來形容。

神秘石霧卵石內薄霧氤氳

一位自稱對佛教的認識,「西方人懂的他都懂」的白人紳士偕同他的藝術家夫人來到會場,看完韻雕作品後吿訴在場的工作人員說,「韻雕作品的作者絕不是普通人,一定是禪宗大師或大聖人所作的。否則像神秘石霧作品小小的洞口手如何伸入雕刻出鵝卵石內層巒疊嶂處處如羊脂白玉的奇景,又如何於網狀的白玉間罩上氤氳薄霧!」當他拿起手電筒往洞中照射,更令他震驚,氤氳薄霧竟然就此散去,白玉之美躍然而出,手電筒一關,薄霧立即覆上,氤氳繚繞一復如故 。他震驚的說「這韻雕作品一定不是義雲高大師作的,應該是如來佛或上帝透過 義雲高 大師,把這韻雕的美,帶到人間,啓發世人聖法的存在,並帶給人們最高的藝術享受。 創作韻雕是 義雲高 大師領受如來佛賦與他的天命而作的。」

朗嘎羅布黃黃氣韻流暢

一位在會場服務兩天的工作人員吿訴記者,在展覽即將結束前赫然發現,「朗嘎羅布」不僅近看遠看皆不同,不同時間欣賞,位於燈箱中與外界隔離,如此色彩富麗堂皇、層次變化萬千的雕刻,竟像有生命般地,出現色彩變換流轉,氣韻如流水宣然流暢於層層變異超越自然美景的疊巒裡,這下才明白「韻雕」之所以命名爲韻雕,就是取其氣韻有動態流暢之意。

另一位名爲仙蒂的白人對韻雕極爲鍾情,連續兩天到會場長時間專注地看著「黃黃」這作品, 她吿訴記者,這個單一黃色的作品,在明亮度不同的燈光照射下,產生各種不同色澤亮度深淺高貴典雅的黃色,她發現這黃色也會流轉變換。

世外人法無定法藝術無價

當記者問到創作韻雕需要運用甚麼工具?雲高大師說,任何工具都可用。記者問展出的韻雕作品想要表達何種境界?雲高大師回答說:每個人的境界不同, 看到的境界就不同。記者問燒製韻雕,所需的溫度有多高? 大師說:甚麼溫度都可以。記者再問,韻雕所用的材料是甚麼?大師說:任何材料都可以。

雲高大師的境界的確不是一般人能理解的,實在是世外人法無定法。

當有人出價五百萬美金及一千兩百萬美金欲購買韻雕作品, 義雲高 大師淡淡地說,再高的價錢,他也不會同意賣,因爲創作 韻雕是要給世人帶來最美的藝術享受, 是無價的,屬於世人的財產,他沒有資格將韻雕出售。

大師成就國際組織確認

今年七月由美國、加拿大等34個國家組成的美洲國家組織爲了表彰 雲高大師 爲人類作出的巨大藝術貢獻,特地在華府 舉辦了大師的韻雕藝術展覽。展出的作品是「堂皇塊石兮」、「神秘石中霧」、「高士圖」三件作品。這次在美國國會舉辦的大師韻雕展,是再一次對大師的藝術成就和對人類文明貢獻的確認。

義雲高 大師以超越人類藝術史的韻雕在美國國會成功展出,不僅開創美國國會藝術活動的新篇,更是國際藝術家以藝術無種族、國界、政治藩籬的特性,進入主流社會,展露藝術家爲世界人類所作的巨大貢獻。

▲一柱擎天