IAMA Art Museum in San Francisco
A Lotus Pond Has Carp
Artist: H.H. Dorje Chang Buddha III
The Title “A Lotus Pond Has Carp” suggests profound Philosophical implications that transcend everyday life. In addition to its masterful artistry, the painting contains subtle messages of the Dao and its fruits. The lyrics on the left and right sides of this work correspond perfectly with the image of the fish, forming a whole that awakens and enlightens, richly rewarding its viewers.
Why is this painting so artistically enchanting that it stirs the hearts of those who see it? One reason is that the fish are depicted with uncanny realism. The swimming carp are infused with vitality. The painting’s details clearly reveal the damage done to the carp’s skin, accumulated over a lifetime in the water, through lines that fade in and out. Appearing as delicate as a fine gauze, the translucent fins, for example, possess a natural realism. Texture and spirit are captured with utter precision, providing the viewer with stirring aesthetic pleasure. The surface and bottom of the pond are depicted with a wonderfully hazy charm, while the lotus flowers, leaves, and pods are portrayed in bold freehand brushwork with distinct and unusual brushstrokes rapidly applied.
The painting is mainly composed of back ink and rich colors. Only a few brushstrokes were used to create each vibrantly red flower, which seem to emit a pure fragrance. The hanging lotus pods embellish the painting, conveying an elegant contrast of hues and instilling a sense of vitality. As the fish swim about, free of any inhibition, the sunlight faintly reflecting off the water ripples provides the illusion of movement that occurs in the natural world.
When examined more closely, the painting has an intricate style to ascertain, for it seems to transcend realistic fine brushwork and convey the feeling of freehand brushwork. It is not in the style of conventional paintings. Instead, freehand brushwork was applied to produce the effect of fine brushwork with close attention to detail. Fine brushwork was applied that transcends realism. The real and the surreal blend, resulting in a work that excels the beauty of a natural lotus pond. It represents a combination of techniques from the “Menglong” style of painting and bold, large-scale freehand brushwork.
Although both are fish paintings, this work and the marvelous Dragon-Carp Playing in a Lotus Pond, a painting with carp and lotus pond by the same artist, possess entirely different wondrous appeal, reflected in their lotus leaves, flowers, and pods. For example, the lotus leaves in “Dragon-Carp Playing in a Lotus Pond” possess an elusive, abstract charm, while those in this painting are portrayed in a bold, direct manner. To say this painting’s explicit portrayal merely lies in its powerful, bold strokes, however, would not suffice. More accurately, one should describe it as possessing a solid and penetrating spirit with an unrestrained charm. This painting deserves the following words used to describe Chinese paintings of the highest level: “The whole scroll may appear messy as if it was smeared by the golden paws of a flying dragon; yet, what appears chaotic is not in disorder, for there is a soaring charm that is inexhaustibly beautiful.”
The other painting, “Dragon-Carp Playing in a Lotus Pond,” lies at the other end of the artistic spectrum. Each of the two art pieces represents the best of their respective styles. The lotus leaves and flowers in “Dragon-Carp Playing in a Lotus Pond” were depicted in watery ink and looked soft, moist, fragrant, and natural. That painting’s wondrously charming, vibrant, and exquisite leaves and flowers seem to be in a constant state of change. Together, they carry the viewer into a world of wafting fragrance.
Both paintings contain lotus leaves, flowers, and pods. However, one possesses a firm tone, as if muddy dragons rolled wildly across the scroll, as well as an aggressive, sharp style. Conversely, the other embodies the loftiness of a divine dance amidst the clouds and the purity and elegance of jade. However, the perspective of this comparison is merely one of artistic appreciation.
Upon encountering the title of this painting, “A Lotus Pond Has Carp,” those with superior understanding will immediately recognize that it points to the wonderful essence and profound meaning deeply embedded in the painting. The mention of carp is not simply to indicate that the lotus pond contains carp but rather to indicate that the artwork includes the Dao. The painting’s extraordinary artistry, which is utterly devoid of any trace of the mundane, mysteriously reveals the true face of holy wisdom. The Dao hidden in this painting is not what ordinary people can understand.
For the painting, H.H. Dorje Chang Buddha III composed these lyrics of a Dao song: “No Dao exists on the high mountain, yet hearts yearn to go there. A lotus pond has carp; men have inquired about them. Which path leads to the truth is worth pondering. It would be better to look tranquil to our original nature, like a lotus flower sitting over its leaves in tranquility.” These lyrics speak of mysteries unknown to the ordinary person – seeing fish, not as fish; seeing water, not as water; no Dao exists on the high mountain, so no value exists in searching for it; and the fish have neither life nor death.
To understand the origin of the painting, we must ask: where did the fish come from? What state of realization was relied upon and gave birth to this exquisite painting? What form of realization manifested this mysterious, hazy, and illusory painting? The magical illusion of the fish and water is nothing more than a superficial image. Spirit is within; A life force underlies spirit. Sprit is empty or nothingness. The original essence of all things is neither empty nor substantive. Everything illusory and impermanent quickly changes in time and space, but their original nature remains constant. Thus, the lyrics of the Dao song continue: “To find our original nature, do not seek the source, as the source is our original nature, tranquil and unmoving, like a lotus flower sitting over its leaves in tranquility. There is no such thing as arising, passing away, and change. From this surpassing wisdom, usages that arise from Buddha-nature will naturally manifest. These usages include calligraphy and painting. Only in such a way is a consummate work created.” Thus, one should understand the tremendous meaning of this song of Dao written in this painting. Profound mysteries are deeply hidden within it.
In case the viewer remains oblivious to this first stanza, the second stanza of the song continues with: “The carp rely on the Dao, and the Dao awakens the fish.” The Dao refers to the state of holy ones, a realm that transcends the realm of ordinary people. It does not refer to regular abilities. The artist created this carp painting based on such a holy state. “The Dao awakens the fish” means that this painting of carp in a lotus pond was accomplished based on the wisdom of the transcendent Dao. Only with such wisdom could this lifelike, graceful scene of carp swimming in water be painted, a setting that combines the real and the surreal, emptiness and substance in such a wondrously appealing way. This scene of carp complimented by the boldly and powerfully depicted lotus leaves results from the artist’s awakening to the holy Dao.
This painting of carp, then, is merely an expression of one who has attained the Dao and reached enlightenment. Thus, this work is not just an ordinary combination of brush strokes, color, ink, and water. Instead, it results from techniques derived from the beautiful application of holy wisdom. The profound mysteries contained in “A Lotus Pond Has Carp” cannot possibly be conveyed by the superficial meaning of the words in its title! Actually, this explanation is entirely unnecessary. All those with discerning eyes will understand once they see the lyrics of the Dao song and the calligraphic skills with which they were written on the painting. This painting of carp that contains an accompanying Dao song is the work of H.H. Dorje Chang Buddha III, the creation of a Buddha.
