IAMA Art Museum in San Francisco
Artist: H.H. Dorje Chang Buddha III
A FEW PLUM BRANCHES OVER THE PORTICO (SECTION)
This is a painting in the “Pomo Xiantiao Xiezhen” style. The center brush-tip technique and the side brush-edge technique were both applied in this painting in addition to large-scale freehand brushwork using the splash-ink technique. The mountain scenery was painted with black ink and heavy hues of green. This artwork not only preserves traditional painting skills but also manifests the realistic effect of modern Western oil paintings. In Chinese paintings, it is very difficult to apply the perspective technique, with its three-dimensional look, to paintings in which the center brush-tip technique is used to express scholarly charm. However, this painting combines four different elements: the three-dimensional perspective technique together with the scattered perspective technique, the splash-ink technique with lines, freehand brushwork, and realism. Attributes from both Chinese and Western paintings form a single stylish charm.
中國畫壇，人才濟濟，臥虎藏龍，給優秀的中華文化描繪出無數壯麗輝煌的畫卷，但歷代的名家大師們，他們的技法、風格和題材大都趨於單一，長於山水畫者，少精於花鳥，又疏於人物，如是等等，而H.H.第三世多杰羌佛的中國畫藝術，論題材，無論是山水、花鳥、走獸、魚蟲、人物……論技法，不管是工筆、寫意、潑墨……無所不通，無所不精，無一不是有真實的傳統功夫而創新的神意，這一點，早為評論家和收藏家們所肯定。
H.H.第三世多杰羌佛的繪畫藝術，從中國傳統繪畫中吸取了豐富的真髓，他不僅只求宋、元、明、清的文人化傳統，還信手拿捏宋代以前那種雄奇壯觀，大氣清韻的法度，但又決非以某家某派之舊徑而學筆，師古筆墨，並師造化，融匯新意，自成一體，以獨創特有的藝術成就自成一家，獨領風騷。仔細研究H.H.第三世多杰羌佛的繪畫藝術，不難發現傳統墨緣和品類，變法創新之神髓，比起前輩畫家的作品，是有過之而無不及的。
https://iamasf.org/exb-hhdcb3/
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