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信手拈霧石中存,韻雕石柱應聲縮,凡夫巧匠無能複,藍台巍巍佇娑婆。
 
 
◎本站遵奉依行H.H.第三世多杰羌佛與釋迦牟尼佛所說的教法為無上根本指南,並遵照第三世多杰羌佛辦公室的文告努力實行運作。
◎除三星日月輪大聖德能作開示所說法義錯誤較少,四星日月輪以上的巨聖德能作正確開示之外,本站所發布的法王、尊者、仁波且、法師、居士等的文章均不作為法義依據,最多只能作為知見行持參考之用,凡不符合H.H.第三世多杰羌佛說法的內容,皆屬邪說邊見錯誤之理,一概不可依從學習。
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◎佛菩薩藝術成就展現是無盡的,本站所刊載之相關文章資訊無非是諸佛菩薩五明所展之一隅,願藉寥寥數篇之文,引眾賞析妙美的殿堂,並讚嘆諸佛菩薩之般若所顯,超凡人間、藝冠娑婆。

H.H.第三世多杰羌佛中國畫作品:筆上之功

H.H.第三世多杰羌佛中國畫作品:筆上之功

Skillful Brushwork
筆上之功

 

Artist: H.H. Dorje Chang Buddha III
H.H.
第三世多杰羌佛

Style: Fanpu
返璞派

 

摘自:International Art Museum of America

 

作品描述:
This painting was created in 1982 during the time a film was being shot in Sanhe, Sichuan. It is an on-the-spot painting of a real-life scene. Ink was used sparingly as if it were as precious as gold, yet the artist’s skills are demonstrated. At that time, the News Film Studio of China was shooting a documentary exclusively about the artist Wan Ko Yee.

The cameramen and others present saw a wild duck alight upon a withered tree trunk. Wan Ko Yee immediately lifted His brush and promptly finished the entire painting. By the time the wild duck raised its wings and flew away, this painting had already been completed. Moreover, the artistic prowess this artwork embodies is extraordinary. It not only perpetuates the elegance, purity, and high-quality of traditional paintings, it also expresses a new style. People who saw Wan Ko Yee create this painting were greatly surprised. They highly praised Him for having artistic skills and conceptions resembling but surpassing those of Bada Shanren (a famous Ming Dynasty painter). They also highly praised Him for His scholarly style that even excels the scholarly style reflected in ancient stone seals. At the time, the artist Wan Ko Yee was still in His early youth and was praised in the newspapers as a young hero. However, people did not know then that Wan Ko Yee is H.H. Dorje Chang Buddha III, as we now know.

This painting is in the “Fanpu” style.

這幅畫是在1982年的四川省三河市的拍攝現場創作的。這是現場實景繪畫的。羌佛用了珍貴有限的墨水,詮釋了這幅作品,展現了祂非凡的繪畫技巧。當時中國新聞電影製片廠正在專門拍攝關於藝術家義雲高大師的紀錄片。
在場的攝影師和其他人,看見一只野鴨停落在乾枯的樹幹上。義雲高大師立即抬起筆,并及時完成了這幅畫。當鴨子抬起翅膀飛走的同時,作品已經完成。這幅作品體現了羌佛非凡的藝術才能。作品不僅延續了傳統繪畫的優雅、純潔、高質,還融入了新的風格。看到義雲高大師創作這幅畫的人,都感到十分驚奇。人們稱讚祂的繪畫技巧勝過類似風格的一位明代畫家 - 八大山人。人們也高度贊揚了祂的學術風格甚至勝過古石印章的風格。當時年輕的義雲高大師,被當作英雄刊登在報紙上。然而,人們不知道當時的那位義雲高大師就是現在的H.H.第三世多杰羌佛。
這幅畫的風格被稱為“返璞派”。

 

The “Fanpu” style
These paintings express the 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.

返璞派——即是返璞歸真之意境,以最成熟的功夫放手解心,毫不著意,寥寥信手,自然隨筆。

 

轉載自:藝術寰宇https://www.facebook.com/%E8%97%9D%E8%A1%93%E5%AF%B0%E5%AE%87-301641313371153/?fref=nf

 

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