H.H. Dorje Chang Buddha III
When IAMA was first founded, His Holiness Dorje Chang Buddha III loaned the museum about 100 of his artworks. His Holiness Dorje Chang Buddha III has been recognized with numerous awards over the years, such as the Presidential Gold Award, the Dr. Martin Luther King Legacy Award for International Service and Leadership, Fellowship by the Royal Academy of Arts in 2004, and the World Peace Prize at the US Capitol in 2011.
On February 10th, 2004, at the office of British Council in Washington D.C., the Royal Academy of Arts awarded Fellowship to H.H. Dorje Chang Buddha III. His Holiness was the first to be conferred the title of Fellow by that Academy in more than two hundred years.
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The artworks of H.H. Dorje Chang Buddha III on display at International Art Museum of America (IAMA) include oil paintings, ink paintings, calligraphy, and sculptures. IAMA’s Treasure Room contains four Yun sculptures by H.H. Dorje Chang Buddha III. His Holiness coined the term Yun Sculpture to reflect the natural harmony and charm that these sculptures embody. On July 28th, 2003, in Washington D.C., the Congress of the United States and the Organization of American States held a Yun Sculpture Exhibition in the Rayburn building at the Capitol. Those sculptures were praised by attending Congresspersons and dignitaries as being a great contribution to mankind, miraculously surpassing the beauty of natural creations, reflecting the highest and most refined level of art possible, and treasures from heaven.
His Holiness Dorje Chang Buddha III also has developed sixteen unique and innovative styles of painting, which are described as below.
CHAOSHI （超實派）
Such paintings are even more lifelike, appealing, detailed, and beautiful than the actual subjects they portray.
CHOUXIANG YUNWEI （抽象韻味派）
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.
WENFENG （文風派）
Brushwork skills suggestive of scholarliness and poetic charm embody these paintings.
FANGFA （放發派）
This delightful painting style is lively yet natural, producing a dynamic and fascinating effect from scattered ink.
MENLONG （朦朧派）
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.
YOUSI （游絲派）
Mostly applied in figure painting, this technique uses gossamer-like fine lines to form the contours of the subject.
FANJUAN （繁卷派）
Numerous strokes of the brush reveal an air of scholarliness. Although a myriad of brush strokes is applied, there is no sense of disorder; rather, artistic talent based on profound and extensive knowledge is expressed.
POMO XIANTIAO XIEZHEN （潑墨微韻派）
The splash-ink technique is merged with the center brush-tip technique to create realistic paintings of landscapes.
WEIYIN （微印派）
Theses 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.
FANPU （返璞派）
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.
MAOXIE （妙寫派）
Subtle, fine brushwork and freehand brushwork blend into one. White lines are formed through the delicate, refined, marvelous application of ink rather than the use of white paint. The artist produces the effect of a realistic painting with meticulous attention to detail even though the freehand style is applied.
POMO WEIYUN （潑墨微韻派）
Although bold and vigorous hues of watery ink are used, a rich charm is evinced that is both subtle and wonderful.
KUANGXI （獷细派）
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.
XIANGTONG （鄕童派）
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.
BANQI （版氣派）
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.
THICKLY PILED PATCHES OF COLOR （厚堆色塊派）
Thickly applied oil colors are piled up, giving the painting a three-dimensional look with elegant, vigorous charm. The overall effect is produced through brushwork and a sense of surrealism.
頂禮 H.H. 第三世多杰羌佛-- 正教 