頂聖如来 H.H.第三世多杰羌佛的聖量

死而復生至極樂

2003年3月中的某一天，母親疑似急性中風，突然右半身不能動彈，不能言語，送急診室，未料檢查出來結果是腦癌末期，腫瘤有拳頭般大小，醫生說不能開刀，不能化療，化療治癒機會幾乎零，醫院勸說家屬將母親領回家做人生最後日子的安寧看護，當時全家聽了陷入一片恐慌的悲哀，那是一種母親等死的恐懼。

當時我不斷地祈求母親能得見至尊的佛陀上師──雲高益西諾布頂聖如來一面，佛陀上師非常慈悲，不但答應了，還馬上安排接見。

那天在壇場的情況我記得非常清楚，母親一進入壇場，由於不能說話，急得哭出來，只聽佛陀上師說：「不說了！不說了！我都明白了！」那天佛陀上師當場收母親為弟子，還傳了法，由於母親右半身癱瘓，又說不出話，還無法結手印，我記得佛陀上師慈悲地從法台上走下來，親自握著母親未癱瘓的左手，將修法種子字套在母親的左手心上，那一幕深印在我八識田裡，那是一位佛陀對一個受苦的眾生發大悲心的加持，我真的深受感動，更感恩我的佛陀上師，儘管他老人家不准弟子喊他老人家為佛陀，但是他老人家是真正的古佛降世。那天在壇場的種種情景，母親用眼神跟佛陀上師溝通，當時在場的還有父親與四姐，那時他們都還未皈依，回去之後，母親每天望著左手掌心精進用功，連漆黑未開燈的夜晚都盯著手心不放。(母親從發病到往升的這六個多月中，沒服過一顆止痛藥，生命也超過醫師預期的三個月)

就在將要過母親農曆七十歲生日前三天清早，母親狀況突然轉壞，陷入昏迷，全身不斷抽動，癱瘓的右半邊完全僵直不能彎曲，呼吸非常急速，心跳加快，血壓下降，醫生護士通知我們該準備後事了，且壽衣要先給她穿上。八十歲的父親難過悲傷的樣子，實在叫人不忍心，全家人慌成一團，我第一個念頭只有懇請佛陀上師慈悲，能超渡母親去一個好地方。那天佛陀上師在百忙之中抽空接見了父親和我，見到了的時候都已經深夜十一點了，父親懇求佛陀上師，希望能讓母親過完七十大壽再離開我們，並且讓兩個在東部的女兒能趕回來見母親最後一面，只聽到佛陀上師非常斬釘截鐵地說：「沒問題！讓她過完七十歲生日再走！我想觀世音菩薩會看在這位老年人的面子上，讓她多留幾天再接她去西方極樂世界！可惜我很慚愧，沒有道力留她，只有求菩薩幫助了。」隨即加持了一道咒輪與一道法令，並吩咐咒輪回去戴在母親頭頂，以震攝她的靈知心識，另一道法令要在母親往升時戴上，藉上面種子字的力量去到西方極樂世界。

回去之後，母親早已瞳孔放大，體溫下降，死亡了，我們趕緊照著佛陀上師的指示，將咒輪給母親戴上，心裡非常害怕，母親早已走了，現在再戴這個咒輪會不會太遲了？沒想到，奇蹟出現了，短短不到兩個小時，母親清醒過來，瞳孔、體溫、呼吸都恢復正常，我們問母親一些問題，她還能用點頭、搖頭、眼睛轉動、眨眼等來回應，意識完全清楚正常，不但等到遠在東部的兩個姐姐回來歡渡七十歲生日，往後的日子裡，母親還坐著輪椅用未癱的左手給佛菩薩上香，在座的許多出家僧眾也都看到母親這死而復生的過程，讓在旁照顧母親的看護阿姨都深受震撼體認到真實佛法之威力是如此偉大，更改變了五十年來信奉基督教的父親，皈依佛門，成為佛陀上師的弟子。

一直到母親久臥病床喉嚨開始積痰，父親實在心疼母親抽痰時母親會受苦，他便跪到家裏佛堂佛陀上師法相前，默默懇求著佛陀上師，請觀世音菩薩還是將母親早點接去西方極樂世界享福吧！果然，第二天清晨六點五十分，母親張著嘴有如沉睡中的嬰兒般安詳離開，當天早上便接到佛陀上師侍者Kuan師兄的轉達，佛陀上師將會用甚深精妙的淨土超渡法來超渡母親，並恭請觀世音菩薩或觀世音菩薩的侍者在七天內接走余林彩春居士去西方極樂世界。弟子無限感恩佛陀上師加持超渡母親，母親的遺體不但臉色紅潤，嘴唇也紅潤，手腳柔軟可配合更衣穿褲等等瑞相都不在話下，更殊勝的是，當天我跪在母親的遺體前說：「媽！如果您看到觀世音菩薩或她老人家派遣侍者通知到您，要來接您，就請您將嘴巴合攏，微笑讓我們放心。」說完了我就叩了三個頭以答謝母親多年的養育之恩，跪在床前默念著觀世音菩薩聖號，也不知過多久，母親原來張嘴如睡著的嬰兒，此時嘴竟合起來了並帶著微笑，哎呀！天啊！我當時真的是驚呆了，我以為是我眼睛看花、看錯，趕忙找家人來瞧，每個人跟我看到都是一樣，她將會跟著觀世音菩薩或她老人家的侍者去西方極樂世界。那時窗外還有小鳥唱歌非常好聽，就像佛經上所述般，平時家裡附近是沒什麼鳥的。當天突然錄音機自動無人操控播放起觀世音菩薩聖號。這種種殊勝瑞相，讓家裡另兩位也學佛的看護阿姨激動地掉淚，她們說：「學佛多年，現在才看到什麼叫做真正的佛法」，就由於母親往升，她們再三懇求我們帶她們到佛陀上師那裡去皈依。

想想是什麼樣證境的再來聖者，能與佛菩薩溝通，能請佛菩薩將我母親余林彩春居士死了又喊回來，多留幾日便多留幾日，想接走就安排接走！那一定是佛陀才能辦得到的事，今天我母親余林彩春居士死而復生，過完七十歲生日才往升西方極樂世界，只不過是在佛陀上師眾多弟子中，稀鬆平常的一個小case，其他的師兄弟，坐化往升，自己修法圓滿生死自由往升淨土，多的不勝枚舉，許多師兄弟只見佛陀上師一面，傳法受用，如侯欲善師兄，自己修到可以去西方極樂世界周遊一趟再回來，告訴大家七天再去，後果然七日坐蓮往升。

佛弟子余瑞琪

第三世多杰羌佛的聖量

Reborn in the Western Paradise of Ultimate Bliss

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.

Buddhist disciple

Ruei-Chi Yu

出處： 247-249頁

多杰羌佛第三世－正法寶典

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

頂聖如来 H.H.第三世多杰羌佛的聖量-死而復生至極樂

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第三世多杰羌佛五明展顯，英文文章

SIXTEEN STYLES OF PAINTING AND PURCHASE OF PAINTINGS

發表於2018-04-12 由一念之間撰寫

H.H. 第三世多杰羌佛

SIXTEEN STYLES OF PAINTING AND PURCHASE OF PAINTINGS

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.

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此文章連結如下：
https://holydharma.net/2018/04/08/sixteen-styles-of-painting-and-purchase-of-paintings/

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