Opening Doors to Art: IAMA Continues Partnership with Museums for All in 2024

Opening Doors to Art: IAMA Continues Partnership with Museums for All in 2024

In the spirit of honoring the work of Dr. Martin Luther King Jr and other civil rights activists this past weekend, the International Art Museum of America is happy to announce our continued collaboration with Museums for All in 2024. Since joining the program in July 2023, this initiative has brought many visitors to IAMA, ensuring that art and culture are truly accessible to everyone, regardless of financial means. Our mission at IAMA is to provide an inclusive space for visitors to experience cultural art in San Francisco, and the Museums For All program helps us further our mission by reaching traditionally underserved communities.

What is “Museums For All”?

Museums for All is a national, branded access program dedicated to making museums accessible to individuals of all backgrounds. Any museum type of institution is welcome to participate in the program. Museums for All is an initiative of the Institute of Museum and Library Services (IMLS), a federal agency based in Washington, DC. It is administered by the Association of Children’s Museums and IMLS. By providing free or discounted admission (up to a maximum of $3.00), Museums for All helps expand access to museums and raise public awareness about how museums in the U.S. are reaching their entire communities. By addressing financial and logistical barriers to visitation, Museums for All also aspires to be an effective strategy for mitigating the social and academic barriers individuals face when they are not exposed to high-quality museum experiences. To learn more about this initiative, please visit the Museums for All website.

Breaking Down Barriers: Museums for All recognizes the importance of equal access to cultural experiences, especially for low-income families. Instead of confining reduced admission to a specific day of the week or month, participating museums, including IAMA, are implementing a “year-round open door policy.” This groundbreaking approach ensures that reduced admission rates are available during all normal operating hours, maximizing flexibility for visitors.

Affordable Art Appreciation: With a year-round open door policy, IAMA provides free admission to all, including individuals and families who present a SNAP or EBT card at our front desk. Museums for All at IAMA is empowering underserved communities to embrace the beauty of art while encouraging lifelong museum habits. This initiative not only provides affordable access but also removes the limitations often associated with designated days, empowering the community to engage with art on their time and terms.

Museum access for all, especially for those in underserved communities, is vital for fostering cultural inclusivity and equal educational opportunities. By providing increased access to art and cultural institutions, individuals from diverse backgrounds can develop deeper a connection to art, creativity, and the beauty of human expression.

Day of Play, September 2023

Our most successful event since joining Museums For All in July 2023 was the Day of Play event in September 2023. Worldwide Day of Play is part of Nickelodeon’s Our World global initiative in collaboration with the Association of Children’s Museums (ACM) to inspire kids and provide them with tools to activate their individual and collective agency. As part of a network of than 300 ACM member children’s museums, that reach millions of families in North America, and the more than 1,000 museums participating in Museums for All, IAMA was a vital collaborator in the Our World: Worldwide Day of Play. Bringing in over 35 visitors, people of all ages were able to experience the power of play and fun learning for free through arts and crafts, storytelling, and more. 

On the morning of our Day of Play, IAMA offered children’s yoga with San Francisco yoga instructor Jennifer Sohn, to get children up and moving! Later, in the early afternoon, children and families gathered around for a storytelling session and mini-art lesson with the IAMA Event Coordinator. Listeners learned about the value of making a mark on the world after hearing Peter H. Reynolds’ books: “The Line” and “The Dot.” Afterward, they did just that using any art supplies to create a piece of art based on a single line or dot! At the end of the day, children were invited on a special guided tour – a tour with a scavenger hunt twist. The IAMA also offered arts-and-crafts tables with coloring pages, Chinese paper lantern making, watercolor or acrylic painting, and rock painting activities throughout the day. 

Day of Play was a great day for all involved, and with the community’s support and participation, IAMA not only hopes to repeat the event annually, but to also host more art events and programs like this one in the coming year!

As we embark on this exciting journey with Museums for All in 2024, the International Art Museum of America invites you to be a part of a community that values art, accessibility, and inclusivity. We look forward to breaking down barriers, opening doors, and fostering a love for art that transcends financial constraints. Come join us in celebrating the power of art to inspire, educate, and unite us all. Keep an eye on our Events Calendar for Museums for All sponsored events throughout this year. Together, let’s make art truly accessible for everyone!

Illuminating by Firefly Youth Network

Illuminating by Firefly Youth Network

January 6, 2024, International Art Forum of IAMA presented “Illuminating”

The International Art Museum of America (IAMA), located in downtown San Francisco’s Central Market area, held a day-long art, music, and fundraising event “Illuminating” on January 6. The event, conducted together with the Firefly Youth Network, was the first gathering of the museum’s International Art Forum for 2024. The day’s event included youth art exhibitions and performances of tea ceremony, calligraphy and music, and attracted a large crowd from local and international audiences. The President of the Museum, Mr. KC Hsieh, accompanied by several new members of the Museum’s board, including Professor Gregory Noble and Ms. YW Peng, and honored guests including Mr. Matt Dorsey, the City Supervisor of San Francisco’s District 6, jointly celebrated the event, marking a bright new beginning to year 2024!

The International Art Museum of America, praised as a “Hidden Jewel” of San Francisco by the late Mayor Ed Li, was established in 2010, with a mission to make art appreciation and education accessible to all. The museum covers over 25,000 sq. ft of permanent art galleries and temporary exhibition halls. Its collections include over 300 precious permanent art pieces by world-renowned artists from 12 countries, including Algeria, Belgium, China, England, France, Germany, Norway, and the United States, and spanning from the 16th Century to the present day. The museum has been an active member of the Central Market community, providing art programs for schools and local communities, as well as serving as a global forum for appreciating art and culture. The 16 styles of art works exhibited by one artist, H. H. Dorje Chang Buddha III, are unprecedentedly striking in their wide variety of techniques, media, and subject matter. In the gallery of Professor Yuhua Shouzhi Wang, the lifetime Chairperson of IAMA, who had a Solo Exhibition in the Palace Museum of the Louvre, Paris, in 2019, visitors are able to gain a comprehensive view of her highly praised artwork.  

This first International Art Forum “Illuminating” was brought forth by a youth artists group from Canada called Firefly Youth Network (FYN), whose mission is to apply their artistic talents to ignite positive changes in the community. The President, Gabriel Wang, was brought to the museum 10 years ago when he was only a young boy and was deeply moved by its humane mission. Today, as a16 year-old musician, he said, “I am very proud to bring my teammates in the Firefly Youth Network to come and perform at IAMA. This is very meaningful to me personally, to be able to contribute to fundraising to sustain this mission that I deeply share, to spread art to all.” The talents of the young artists and performers were fully exhibited in paintings from oil, brush, and ink, and from computer generated to abstract to cartoons. Musical performances included opera, instrumental performances, rap, comedy, and more. Illuminating the museum with their individual talents like glittering fireflies, together they heralded a bright future for the community! The day’s event successfully raised $29,000 for the museum’s continuing efforts to promote art and education.

The Firefly Youth Network’s dedication to using art to fulfill social responsibilities highlights the significance of the young generation’s contribution to society. With its International Art Forum program, International Art Museum of American is paving the way for the advancement of art by nourishing the talents of future generations.

For the KTSF report on the event, please click the following link:

My First Visit to IAMA

My First Visit to IAMA

By Michaela Kastelman

April 11, 2023

I recently had the pleasure of visiting the International Art Museum of America (IAMA) in downtown San Francisco for the first time. I have to say, I was awestruck by the incredible artwork on display and the captivating experience that the museum offers. Not only was I inspired by the museum’s diverse and immense collection of artworks, but I was also amazed by the fact that the museum is completely free and open to the public. This makes it an excellent place to bring friends and family, or to visit on your own for a one-of-a-kind experience.

The museum’s mission is to promote harmony and understanding between different cultures through the medium of art. Walking through the galleries, I could see this mission come to life. The museum has an impressive collection of art from all over the world, including Asia, Europe, and America. Each piece of art was carefully selected to showcase the diversity and beauty of different cultures.

One of the things I loved most about the International Art Museum of America is that it feels like a hidden treasure. Tucked between office buildings on Market Street, it can be easy to miss if you’re not looking for it. But once you step inside, you’re transported to a world of art and culture that’s truly magical.

The museum is also immersive in a way that’s different from any other museum I’ve visited. As you walk through the 10,000 square feet of galleries, you’re surrounded by the art, with each piece and gallery room telling a unique story. I found myself getting lost in the beauty of each painting, sculpture, and artifact, completely forgetting about the world outside. The collection is a perfect fusion of art from all over the world, with 75% of the art being Chinese and 25% historical European art. You can truly see where the East meets the West, and the two schools of thought blend together in harmony at IAMA.

In addition to the museum’s permanent collection, IAMA features two rotating galleries: the Lightspace and Sip Art galleries. These rotating galleries showcase the work of emerging artists from around the world, and the works in the rotating galleries change every month. With such a diverse and ever-changing selection of art, there’s always something new to see and discover at IAMA, so multiple visits are encouraged!

It’s truly inspiring to see such a wonderful collection of art being made accessible to all. In a world where access to art can often be limited by cost, this museum offers an unparalleled opportunity for people from all walks and corners of life to experience the beauty and richness of art from around the world. By allowing anyone and everyone to visit without any financial barriers, the museum creates an inclusive environment that encourages artistic education, appreciation, and unity.Overall, I would highly recommend visiting the International Art Museum of America to anyone who loves art, culture, and diversity. The museum offers an exceptional opportunity to learn about different cultures and to appreciate the beauty of art from around the world. If you’re visiting San Francisco from out of town, or a local resident looking for an exciting adventure, be sure to check out this hidden gem and immerse yourself in the beauty of the International Art Museum of America, where the East meets the West in harmony.

IAMA co-hosted an exclusive charity show “Fashion Fantasia” (Click to read the article)

IAMA co-hosted an exclusive charity show “Fashion Fantasia” (Click to read the article)

On March 27, 2022, the International Art Museum of America (IAMA) co-hosted a world-class fashion show, “Fashion Fantasia.” This show was produced by well-known fashion designer Monique Zhang and Work That Catwalk Productions, along with the Pomeroy Rehabilitation Center, and catered by Osha Thai Restaurant and Asian Brothers Brewing Company. Monique Zhang was acting chairperson of this event, co-chaired by Kitty Saichau of Osha Thai Restaurant and California State Treasurer Fiona Ma. 

 “Fashion Fantasia” was an annual charity event benefiting the Pomeroy Rehabilitation Center, and people with disabilities. In, IAMA’s Garden entrance transformed into a world-class stage for Monique Zhang and other renowned fashion designers, who specialized in surface design and sustainable fashion. Designers included Carol Chen, Chona Pike, Bex Exell of London, Omar Antonio, Shang & Mang Thao, James Thomas Head, and Hulos Prive. 

 “Fashion is visual, inspiration and admiration, and it provides a key to the lifestyle puzzle, potentially to harmonize the gaps of indifference and promote beauty, understanding, and equality,” said Ms. Monique Zhang, event chair and executive producer and visionary of Work That Catwalk Productions.

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The event drew an entire crowd of over 140 attendees enraptured by the fantastic show. IAMA’s beautiful and classic architecture provided the perfect backdrop for this lovely event. Guests enjoyed gourmet appetizers, provided by the popular Osha Thai Restaurant of San Francisco. Asian Brothers Brewing Company showcased beverages from Thailand, Laos, Cambodia, and Vietnam. 

The success of Fashion Fantasia could not have been possible without the outstanding professionals and volunteers, including Music Producer Joshua Bernstein, and Photographer Brian McGilloway, who gave us some fantastic photography pieces. 

IAMA has always strived to promote mutual understanding and fusion of world cultures through the lens of art. By partnering with these outstanding organizations and creatives on Fashion Fantasia, the museum helped create a one-of-a-kind cultural experience for all to enjoy.   

Event Producer and Benefiting Organization

Monique Zhang is executive producer of Work That Catwalk Productions. Ms. Zhang has produced over 50 fashion shows over 3 decades. Ms. Zhang’s “Work That Catwalk” charity event in 2015, taught musical runway to groups who attend Pomeroy Recreation & Rehabilitation Center.

Pomeroy Recreation & Rehabilitation Center/PRRC 501c3) in 1952, a unique educational and recreational center, located 207 Skyline Blvd. San Francisco, CA is on five acres of land and facility with a heated swimming pool to serve people with disabilities.

Credits: Photography: Brian Mcgilloway Photography

About Dr. Yuhua Shouzhi Wang

About Dr. Yuhua Shouzhi Wang

Dr. Yuhua Shouzhi Wang is the Lifetime Honorary Chairwoman of the International Art Museum of America. The museum has a dedicated gallery exhibiting her artworks. Her paintings encompass a broad range of styles and subject matters, including landscapes, animals, flowers, birds, and so forth, all of which have reached the summit of world-class artistic excellence. Based on her lotus and water lily paintings, artists have acclaimed that Professor Yuhua Shouzhi Wang is the foremost lotus painter of all times. No artist in the past would have been able to surpass her accomplishment, and her works will continue to inspire generations to come. Among all notable lotus painters, her skills are extremely profound, substantial, and masterful, and she is among the most distinguished artists in history. Her artistic achievement has reached perfection at the summit of the “ten ultimate artistries.”

Professor Wang’s works have been exhibited and widely acclaimed in the United States, China, Asia, and Europe. In 2008, the United States Congress held an exhibition of the professor’s works, calling her art a “treasure of the world.” The U.S. Congressional Record chronicled the recognition that “her lotus flower paintings are unsurpassed and are extremely valuable.” Professor Yuhua Shouzhi Wang has also been critically acclaimed by news media that “she fuses vivacity, power, color, scholarly essence, quintessence of stone and bronze inscriptions, spirituality, erudition, and morality into oneness in her art. She is the foremost artist in the world.” Back in 2013, out of the works of all painters, the World Federation of UNESCO Clubs, Centers and Associations (WFUCA) awarded the title “WFUCA2013” to the artworks of Professor Yuhua Shouzhi Wang.

The Kingdom of Thailand’s Department of Culture especially organized a solo exhibition of the art of Professor Yuhua Shouzhi Wang at their Ratchadamnoen Contemporary Art Center in Bangkok. The Department of Culture also notified all university and middle school teachers and students to visit the exhibition and study the artworks. In 2019, When Professor Wang’s solo exhibition was held at the Shanghai Exhibition Center that used to be the Sino-Soviet Friendship Building, a record-breaking number of people visited the show. The Museum Director Wu Shufang stated that the museum had never experienced such an overwhelming number of visitors since its official opening, and for this exhibition, they had to post notices to limit admission.

In 2019, when her works were exhibited at the Louvre Museum in Paris, guests – including artists, collectors, and art critics – were thrilled and overwhelmed with joy, praise, and admiration. They felt that the French people had never had such an experience before. The experts acclaimed that Prof. Yuhua Shouzhi Wang is a virtuoso of equal standing as Van Gogh, Cezanne, Gaugain, and Monet They said, “Professor Wang’s paintings are so magnificent that they amaze us. We have never thought that the level of artistry of Eastern ink painting can surpass that of a few centuries of Western traditions. Professor Wang is the only one who has achieved that.”

Professor Yuhua Shouzhi Wang’s artworks were exhibited at the Louvre Museum in Paris in 2019.

Renowned art critic Aude de Kerros has commented: “I have curated and critiqued so many art exhibitions, yet I have never seen an exhibition like this where all the guests are so touched and amazed by the art, and all of them expressed praise. I truly cannot describe their surprise and joy. The art experts do not even want to leave after seeing such exquisite artworks. You can see that so many people are staying this late and they are not leaving.” Professor Peter Drake, Provost of the New York Academy of Art, presented a certificate to recognize Prof. Yuhua Shouzhi Wang‘s extraordinary contributions to representational and abstract art, stating “Dr. Wang’s exceptional accomplishment has been to straddle the often-oppositional worlds of representation and abstraction. Her works are both finely crafted and deeply experiential, instilling the viewer with a sense of art that both comes from nature and is nature itself.” The Provost also personally led graduate students to the International Art Museum of America to see Professor Wang’s artworks in the Museum’s collection. He also gave lectures on site. Faculty members and students were all thrilled to see the original paintings in the museum, and they studied the artworks by copying them.

On December 20, 2020, the UNESCO convention was held on the occasion of the 2020 United Nations International Day for Human Solidarity, and the United Nations Secretary-General His Excellency António Guterres attended in person and delivered a speech. During the convention, the Chairman of the U.S. National Commission for UNESCO Clubs, Centers and Associations Guy Djoken proclaimed Professor Yuhua Shouzhi Wang’s title and level of artistic achievement, which was based on a determination of the artistry accomplished by the Professor in her paintings. The issuance of the “International First-Class Artist” title to Professor Yuhua Shouzhi Wang on December 20 was a determinative recognition that Professor Wang has attained the highest level of achievement among international first-class artists. This is the ultimate world class title for artistic accomplishment, and Professor Wang is the only Asian artist who has ever received such a title.

U.S. Senator Chris Van Hollen congratulated Professor Yuhua Shouzhi Wang for being honored with the title recognizing her as a world-class international artist on December 20. On December 29, Chairman Guy Djoken went to the International Art Museum of America in San Francisco to personally present the title certificate to Professor Yuhua Shouzhi Wang.

Professor Wang is a person of humility and noble morality. She is modest, unassuming, beneficent, and genial. The characteristics of an artist’s paintings essentially reflect the character of the painter.

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III Compared. Whose Artwork is the Best?

Author: Lin Jiguang 

Please see below the answer of whose work is the best among Vincent van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III

I have spent more than 60 years of my professional life in the field of painting. During the many decades of practice and experience, I have come to know many famous painters. That is especially the case since I became the Head Consultant for authenticating paintings and calligraphy at the National Museum of China in Beijing. As an appraiser and authentication officer of paintings and calligraphy, the bulk of my work is to verify the authenticity of Eastern and Western paintings. I have reviewed tens of thousands of famous paintings, especially the rare and precious works of the maestro Vincent van Gogh of the Netherlands, and those of the champion of Eastern paintings, Qi Baishi of China.

Both Van Gogh and Qi Baishi were great world-renowned masters in art. One represented the apex of Western art and the other was a master of an extreme class in the field of Eastern paintings. Both artists had drawn from the essence of the classical traditions of their respective cultures. They created new styles of art and new ways of seeing the universe. They broke new grounds and became pioneers of new eras, each becoming a creative guru of his time, developing a distinct style of his own, and leading new trends that inspired later generations. Their works reflect the different essences of Eastern and Western traditions. To what extent can their works influence the artistic civilization of the world? What kind of artistry did they achieve that made them upright monuments in art history and admired by so many people?

Some art critics compared the works of Van Gogh and Qi Baishi to see which of them reached a higher level of accomplishment. They concluded that both have their own merit, both are undefeated champions in the art and both reached the pinnacle of artistry. Recently, some art critics also brought up the oil painting Sunflowers and the ink-wash painting Sunflowers, both created by H.H. Dorje Chang Buddha III, and gave them rave reviews. They went on to compare the works by Vincent van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, trying to establish which of the three artists is the champion of the champions. The result of comparing the works by Van Gogh, Qi Baishi, and H.H Dorje Chang Buddha III is tremendously inspiring.

Ever since the Renaissance, Western artists had placed emphasis on rational analysis and the realist portrayal of forms. They used light, texture, and details to present the realistic, three-dimensional perspective. A few centuries later, Van Gogh rejected the monotony of such use of light and shadow and the realistic portrayal of figures.  He pioneered the movement of impressionism that suited him well by applying a mix of colorful, brilliant, splendid, and vigorous brushstrokes. He became a great master of his time and his name was forever etched onto the monument of Western civilization and art.

Whenever people think of Van Gogh, they think of his unique character, the sparkles in his eyes that emit lightning, his vigor, and his incessant pursuit of inspiration in the art without any regard to external hardships. Van Gogh was an artist by birth. He was of exceptional confidence and was somewhat neurotic. Having such traits, he pursued the art that he loved without any reservation or hesitation. He loved his works and regarded everything else with disdain. He preferred to be a loner in the world and did not care to make the acquaintance of other painters of his time. His works are full of luminous colors, the brushstrokes are like rising winds and racing clouds in the sky. In his art, he depicted pasture, figures, flowers, and other subject matters with brisk colors. Every brushstroke was transformed from his inner emotions. Such emotions were fully and colorfully captured in his Self-Portrait as well as in the transcendental Sunflowers that he painted. These works contain an animated spirit that is deeply moving.

From Van Gogh’s artistic spirit and intent, we can detect that he was profoundly knowledgeable about Chinese ink-wash paintings. Precisely because of this, while depicting forms and applying colors, he employed the skills of using the center tip of the brush and parallel brushstrokes. His Still Life with Bible was created with parallel brushstrokes. In his Self-Portrait, he portrayed his face filled with lines and plaques that are extraordinary. It is not hard for us to discover that he drew inspiration from the substance and essence of Chinese painting in those brushstrokes. That is why Van Gogh is such a distinguished, unparalleled artist of his time and his works are superior to those by the other Western oil painters such as Cezanne, Gauguin, or Picasso of the same era.

Van Gogh’s artistic style was closely linked not only to Chinese civilization in the East, but also to classical Renaissance art, Pointillism, German Expressionism, and Impressionism in the West. Toward the end of his life, he came into oneness with the universe and immersed himself in a carefree state of mind to “follow wherever nature might lead.” As such, he was no longer aware of his own existence. In his mind, there was only art and the universe. “Following where the nature may lead” is the essence of the ideology of the Chinese philosopher Laozi. Van Gogh cut off his ear with a knife. He lost himself completely in painting. That was his unspoken resentment and rejection of the unfair treatment imposed on him by society.

Qi Baishi was profoundly knowledgeable about impressionist, fauvist, and realist paintings. By adopting the essence of Western painting and incorporating the traditional spirit of Eastern art, he developed his unique style and became the master of Chinese painting of the twentieth century. His brushstrokes were solid and poised, evincing a sense of power that went all the way through the paper. Using sheep-hair brushes, he elicited calligraphic skills to create his paintings. Qi Baishi’s lines are bold and robust, embodying a forceful spirit that can move mountains. At the same time, these lines are flexible, sturdy, and round, with similar qualities to the lines of wire-drawing. His compositions emerged naturally from the spontaneous movement of the brushes. Such compositions are accompanied by vigorous calligraphy resembling the strength, power, and fluidity of stone inscriptions.

The artistic concept of spontaneously “following where nature may lead” is precisely derived from Laozi’s philosophy and the artistic civilization of the Chinese ethnicity. Qi Baishi favored the use of white space in his paintings. The white space in black-and-white Chinese ink-wash paintings is considered a solid color. Ink can be differentiated into nine shades (or five shades according to ancient Chinese text.) That is to say, the white of the paper per se and the black of the ink are all considered as colors. There is a sense of meticulous precision in the artworks by Qi Baishi. He depicted insects such as grasshoppers, mantises, and butterflies in meticulous and vividly colorful ways. In some of his artworks, the artist was able to express his ideas by putting down just a few brushstrokes without any conscious intent, while arriving at a state of oblivion of his own existence.  Anything depicted by his brushes was vivid and vibrant, with the subject matter coming alive on the paper. There is an aura that moves our hearts and souls. All in all, Qi Baishi’s paintings were executed with a confident brushwork that naturally achieved a kind of childlike charm.

Recently, some people compared the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III to see whose works are more superior and outstanding or will have a broader and more far-reaching influence on later generations. I have viewed quite a lot of the artworks by Van Gogh, Qi Baishi, and H.H. Dorje Chang Buddha III. I started the study and appreciation of the paintings by Qi Baishi under the enlightening guidance of my teacher when I was 9, and when I was 14, I began to study and appreciate the works by Van Gogh. It has since been several decades!

At the same time, since I have admired the art of H.H. Dorje Chang Buddha III for a long time, to satisfy my desire and wishes I flew from New York to San Francisco to visit the International Art Museum of America, and to Los Angeles to visit the H.H. Dorje Chang Buddha III Cultural and Art Museum in order to see their collections. I was profoundly impressed by the architecture of both museums which is grand and dignified. Both museums have a collection of the authentic works by H.H. Dorje Chang Buddha III. There are various artworks that are created with different kinds of material. Some are bold and forthright, some are charmingly meticulous and astounding. The oeuvre is not made up of just one single style.

Yet, the only artwork that was not available for viewing is the Sunflowers painted by H.H Dorje Chang Buddha III. When I hear that some art critics are comparing the works by Van Gogh and Qi Baishi with the works by H.H. Dorje Chang Buddha III, I naturally feel, from my experience of having studied the works by Van Gogh and Qi Baishi for a number of decades, that although their artistry are similar in levels, it is possible to say who is the best if we are just to compare the sunflowers painted by the three artists, when we include in the compositions, colors, brushwork, lines, vitality, spirit and so on. With all these elements in consideration, it is possible to do the comparison and conclude who painted the best, or in other words, whose works can bring the most joy and delight to people, or whose art will be most influential to the philosophy, artistic concept and entire civilization of this world.

Therefore, without any ambiguity, we concluded. In terms of character and morality, Van Gogh would be the last of the three. In terms of the level of skills, Qi Baishi would also be ahead of Van Gogh, who is, however, already the cream of the crop in western civilization. Being the Buddha living in the current century, H.H. Dorje Chang Buddha III saves living beings with great loving compassion. He is not embodied in an ordinary being. Needless to say, the level of cultivation of the Buddha is superior to that of Van Gogh and Qi Baishi. In terms of creativity and painting skills, how can any ordinary person even hold a candle to the Buddha? In this way, the comparison result is immediately determined.

When those art critics carried out the detailed research of the Sunflowers by Van Gogh and Qi Baishi as well as H.H. Dorje Chang Buddha III, they copied the artworks by all three artists. After copying the works by Van Gogh and Qi Baishi, they felt deeply that through hands-on practice, they indeed gained more understanding of their works. It would not be easy but not so difficult either for one to really reach their artistic level. As for the Sunflowers by H.H. Dorje Chang Buddha III, they found it rather difficult to copy.  Even though they tried many times, they had a hard time just copying the form, let alone the spirit.

The Sunflowers by H.H. Dorje Chang Buddha III clearly show the artist’s solid foundation and prolific skills in the Eastern and Western painting traditions. They comprise the essences in both traditions and display brushwork, sentiment, and colors that are one of a kind. The color tones and brushstrokes are rich, dense, soothing, and elegant. Lively brushwork paints an animated charm that is whole, evincing a miraculous and expansive spirit and aura as well as a strong vitality. As for the Sunflowers oil painting in which H.H. Dorje Chang Buddha III depicted some flowers inside a vase, the artistry is extraordinary and full of variations; the composition is simple yet abstruse. The flowers are natural and gracious, such that they give an impression of unpredictability, reaching a state of oneness with the universe and emanating a sharp animated spirit.

The ink-wash painting Sunflowers by H.H. Dorje Chang Buddha III has an uninhibited, natural, and spontaneous brushwork that is dense, bold, and robust, but also elegant and agile. It exhibits a charm that is like stone and bronze inscriptions. Overall, the whole painting manifests a harmonious and moving imagery, naturally emanating a lively vivaciousness and a carefree, spirited aura.

In comparing the works by Van Gogh of the Western civilization, Qi Baishi of the Eastern culture, and H.H. Dorje Chang Buddha III, we can see the artists are distinguished in their unique own ways owing to their different cultures. However, only the artist who can continue to influence the world two to three hundred years from now will be the everlasting monument.  There is a saying, “Talents emerge in every era and they all will each have 500 years of fame!”  For people of the present day, the one whose work you like the best would be the one that is the most extraordinary!

Please see the contrast of six paintings below:

Sunflowers by van Gogh (1)

Sunflowers by van Gogh (2)

Sunflowers by Qi Baishi (1)

Sunflowers by Qi Baishi (2)

Ink-wash Painting Sunflowers by
H.H. Dorje Chang Buddha III

Oil Painting Sunflowers by
H.H. Dorje Chang Buddha III

Lin Jiguang

October 26, 2018

Sixteen Styles of Painting and Purchase of Paintings

Sixteen Styles of Painting and
Purchase of Paintings


After viewing the exhibits on display at the International Art Museum of America, many people mentioned that paintings created by H.H. Dorje Chang Buddha III, which are among those exhibits, are divided into sixteen different painting styles. They want to have a more detailed understanding of those sixteen painting styles. Therefore, we provide below a brief introduction to those different styles. The achievements of H.H. Dorje Chang Buddha III 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. Concerning only one of those thirty large categories—painting achievements—H.H. Dorje Chang Buddha III has founded sixteen different painting styles. 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 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; and
  16. The “Thickly Piled Patches of Color” style.

H.H. Dorje Chang Buddha III has a solemn attitude toward the art of calligraphy and painting. Although He has painted more than 10,000 paintings, He has burned up almost all of them. As long as H.H. Dorje Chang Buddha III is dissatisfied with a picture He painted, He will surely burn it up. There have been numerous occasions when He openly burned up His paintings, including those already nicely mounted. Such is the unusual conduct of one with a sense of responsibility toward art. Through investigation, it has been determined that there are now only 197 authentic paintings by H.H. Dorje Chang Buddha III that exist in the world. Nevertheless, the International Art Museum of America is also unsurpassed in the world as a whole in the variety and number of authentic paintings by H.H. Dorje Chang Buddha III that it has collected and displayed. However, 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 painting styles. Additionally, as the inherently highest leader of Buddhism in the history of Buddhism, H.H. Dorje Chang Buddha III is busy benefiting living beings and performing Buddhist matters and thus has no time to paint. Furthermore, H.H. Dorje Chang Buddha III has refused to accept a request from the International Art Museum of America to purchase His works of art from Him.

Therefore, our museum has decided to purchase paintings by H.H. Dorje Chang BuddhaIII from art collectors. However, as the value of works by H.H. Dorje Chang Buddha III has risen, numerous counterfeit paintings have appeared. Many fake paintings are stamped with seals that H.H. Dorje Chang Buddha III previously used, but they were stolen from H.H. Dorje Chang Buddha III in 2001. Consequently, it is challenging to differentiate counterfeit paintings from authentic ones. 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. Our museum will purchase any authentic painting by H.H. Dorje Chang Buddha III stamped with His three-dimensional fingerprint seal (either on the front or back of the artwork) 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 grade of the work. Our museum will purchase any oil painting by H.H. Dorje Chang Buddha III 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, suppose it is a sunflower or waterlily 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, whether or not it has a fingerprint seal. In that case, its purchase price will be more than US$1,000,000 per square foot.

Although our museum is currently displaying three paintings lent to it temporarily created by H.H. Done Chang Buddha III 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 painting they have collected should first mail a photograph of the artwork to the International Art Museum of America. They should enlarge the three-dimensional fingerprint seal on the artwork to at least two square inches. After we have made an initial evaluation of the photograph, we will give the notice to examine the picture itself. No review or recommendation from an artist whose works are exhibited at the International Art Museum of America will be accepted in that examination. 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:

  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 actual 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 real 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 subject’s image, resulting in a seeming likeness but actual non-likeness of the subject. Brushstrokes and color application produce an intense fanciful look to these paintings, a lovely, hazy look in which the real and the surreal mingle.
  6. The “Xiangtong” style: These paintings have a rustic and childlike charm. 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 brushstrokes are applied, there is no sense of disorder; 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 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.
  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 brushstrokes of the large-scale freehand style are masterfully combined with the fine, delicate brushstrokes 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 subject’s contours.
  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.
Preeminent Artist Chen Zizhuang’s Conclusive Judgment on Class of Divinity and Class of Ease

Preeminent Artist Chen Zizhuang’s Conclusive Judgment on Class of Divinity and Class of Ease

For art lovers to clearly understand the high-level artistry of noble style and magnificent conception, the Art Publishing of America has researched historical archives relating to different artists, as well as various insights and art criticism available online. We are including the critical writings on art by Chen Zizhuang, the preeminent painter in history, for your reference. As a viewer, one must first understand the different levels of style in order to truly appreciate the inner essence, the ease of marvelous charm, and the vividness of life in the art of painting. Only then can one truly comprehend the extrinsic and intrinsic beauty.

Dr. Yuhua Shouzhi Wang is a supreme virtuoso in painting. In order for readers to truly recognize the artistry of Dr. Yuhua Shouzhi Wang, we have included Chen Zizhuang’s Conclusive Judgment on Class of Divinity and Class of Ease in this catalog. When Dr. Yuhua Shouzi Wang knew about our decision to include Master Chen Zizhuang’s theory and judgment, she did not agree to it. Dr. Wang said, “Art is manifold. Art serves to offer enjoyment to people. There are noble style and ordinary art to suit different art lovers. Few people are able to understand the art of noble style. Different styles of art are like different kinds of flowers in a floral garden. Each kind of flower has its own characteristics. Each person has their own likes and preferences. Master Chen Zizhuang can be considered the Van Gogh of the East. He has attained the state of no-self and no methods. His alignment with nature is the backbone of his conception, enabling him to free himself from the restrictions of ink and brush. His art is truly wonderful and can be reckoned as the pinnacle of the Class of Ease in the history of art. At the same time, I have to say that each painter has their own strengths. For example, Zhang Daqian was highly skilled in rendering springing lines when he copied the Dunhuang Murals. In his old age, his ink wash landscape paintings were of special qualities. The horses that Xu Beihong painted were of historical significance as his style was distinctive and preceded by no one. Bada Sharen, Wu Changshuo, Qi Baishi, and Huang Binhong were unquestionably great masters of painting. Other painters were also showing their respective strengths and offering different levels of enjoyment to different people. Their strengths are what I have to learn.”

Following is the Conclusive Judgement on Class of Divinity and Class of Ease by Master Chen Zizhuang.

What is the Class of Divinity? This refers to artworks that consist of infinite variation and highly concise composition; people can feel the extreme likeness of the objects yet the paintings do not contain much detail of the form. Some scholars say that the Class of Ease is superior to the Class of Divinity. Ease is the result of the artist breaking loose from the inner mind, as well as from the methods and formal elements of art. The painting of this class is absolutely free of any restraints.

What is the Class of Ease? It is simplicity, childlikeness, and truthfulness to one’s feelings. No deliberate effort is made in the creation of a painting. The artist has attained the state of no-self and no methods.

Wu Daozi is of the Class of Divinity. Shi Tao, Wu Changshuo, and Huang Binhong are of the Class of Divinity. They did not attain the Class of Ease. This is because their art still carries selfness. When Qi Baishi was about ninety years old, his works were between the Class of Divinity and the Class of Ease.

The buffaloes that Qi Baishi painted do not look like buffaloes. The image does not look like a buffalo, but the buffalo is implied. It even makes people feel that the buffalo is slowly moving forward. He did not depict water, but the composition gives a sense that the water in the field is very deep. This is called “attaining the conception and abandoning the form.”

A painting of the Class of Ease is one that has escaped the “net of methodologies.” The artist has been through all the hardships and understands all the difficulties. This is obviously different from the state of no knowledge.

Painting requires two kinds of ability. One is the ability to paint. Another is the ability to express. To paint is to illustrate and describe. To express is to present the state of ease in one’s mind. Expression is essential to the art of painting. However, looking through paintings created by artists from the past to the present, most people only paint but they are not able to express.

The first chapter in learning how to paint is about capturing the form. Once the form is correctly captured, then it has to be abstracted and given an artistic touch. That is the development from likeness to unlikeness, from nature to art.

The first step in painting is to develop likeness. The second step is to abandon likeness to achieve unlikeness. First, one must capture the likeness of the form and subsequently lose that likeness. If you are unable to achieve the first step to resemble the likeness, yet you claim that what you paint is between likeness and unlikeness, then you are simply deceiving yourself and deceiving others.

Rustic simplicity is the most sought-after quality in painting and calligraphy. A good painting does not show any sense of elegance or stylishness. You can understand this by looking at the paintings of Bada Shanren. The paintings of Wu Changshuo and Qi Baishi still show a sense of elegance and do not achieve complete rusticity. The art of Huang Binhong does not show any sense of elegance. In terms of class, Huang is superior.

The noblest of art cannot be learned through forms or expressions, because art emanates from the character and morality of the artist.

It is not easy to reach the state of “painting mindlessly” where someone can spontaneously create wondrous works of art even though they seem to be doodling mindlessly. Historically, only Fang Fanghu, Sun Long, Shitao, and Bada Shanren were able to do so. Xu Wei and Chen Chun were hobbyists, they could create some casual works, but when it came to serious art, they had no such abilities. Wen Zhengming, Shen Zhou, Qiu Ying, Tang Yin, or the Four Wangs did not even know the rudiments of “painting mindlessly.”

When Qi Baishi was in his seventies, his art gradually became mature. It was also when Huang Binhong and Wu Changshuo were in their seventies that their art became mature. Chen Shizeng passed away when his art was approaching maturity. The Three Rens (Ren Xun, Ren Xiong, and Ren Bonian) did not reach maturity in their art. Historically, Bada Shanren was one who matured at a young age. Shitao was halfway to maturity when he died.

The Emperor Huizong of the Song Dynasty did not make one good painting. His flower and bird paintings were only of the quality of specimen drawings. During that time, it was chronicled that the Emperor’s paintings were “unsurpassable by anyone in the world.” It is obvious that either the literati of the time were unable to tell good from bad, or they chose to flatter the powerful and dared not speak the truth.

The painting method of Huang Gongwang in depicting landscape was limited to one type of mountain. He was just like a street singer who keeps singing the same song. The Four Masters of the Yuan Dynasty mainly adhered to traditional ways without much of their own original creation.

The art of Tang Yin was simply a sentimental nuisance. His works only presented superficial richness of beauty but were devoid of ideation.

During the Ming Dynasty, Wen Zhengming, Shen Zhou, Qiu Ying, and Tang Yin relied on following the methods of Song artists to create paintings. They did not have much originality.

Xu Wei was rich in imagination, but he did not have much real-life exposure. His paintings can only be considered works of an amateur. He did not have fundamental painting skills.

Among the Four Monks of the Ming Dynasty, Shitao and Bada Shanren expanded the scope of landscape paintings. Shi Xi and Hong Ren were narrow in their scopes.

Trivial details can still be seen from Shitao’s paintings, yet Bada Shanren had transcended the mundane. The art of the Eight Eccentrics of Yangzhou was sluggish. They cannot be considered masters.

In the last few hundred years, there were only three persons who can be considered eminent masters in the field of art. They were Wu Changshuo, Huang Binhong, and Qi Baishi.

Zhang Daqian did not develop his own style from daily life. He formed his style by imitating the works of earlier artists. This is very different from creating art from observing the world. That is why in terms of thinking, he has no original ideas. In terms of philosophy, he has no system. In terms of painting, he has no theory.

Zhang Daqian could paint a perfectly round halo on top of a Buddha in one stroke. He openly demonstrates that all the time. People are amazed and full of praise, calling him the living Wu Daozi. Reporters love taking pictures of him. However, that is only his craftsmanship, not art.

Zhang Daqian is very intelligent. Unfortunately, he has not applied effort in developing his creativity and he is wasting away his time.

Xu Beihong was overly skillful in painting horses. He always painted the same horse. That was all he could paint. Objects have their usual appearance, but, art must not become a stereotype. There must be variation. Art is divine when there is infinite variation. From a deep tradition comes a long legacy. Xu’s paintings did not spring from any traditions; it was inevitable that his art was limited.

The plum blossoms Kuan Shanyueh painted look like snapshots taken through a window. As an artist, he is merely acting as a camera. It is not possible to create a painting without artistic conception.

In painting pandas and camels, Wu Zuoren is still at the stage of imitating the likeness of nature. His works cannot be considered to be of any artistry.

Learning to paint comes in two stages. The first is the stage of craftsmanship. The second is the stage of art. Zhang Daqian has only attained the stage of craftsmanship.