All entries filed under this archive
Embodied Mark Making: The Big Brush Experience – HIGHLIGHT
Barbara Bash Two hundred people sit on chairs lining the sides of a large room. In the center of the space lengths of white paper stretch down the floor, buckets of ink with large bamboo handled brushes are placed near the cushioned seats, a round rock rests ... continuePosted May 20, 2019 by archives-staff
Without Beginning or End, Part 3 – HIGHLIGHT
A multi-part series on the trans-temporal art of Yeachin Tsai by Robert R. Shane The Heart Sutra, 2016, sumi ink on Chinese rice paper, 18×30 in V. The Time of Compassion This profound interconnection of all things is expressed in the Buddhist notion of dependent origination (pratīyasamutpāda). This thesis that ... continuePosted July 30, 2017 by CGH
Without Beginning or End, Part 2 – HIGHLIGHT
A multi-part series on the trans-temporal art of Yeachin Tsai by Robert R. Shane III. Kinesis Hooked, 2017, acrylic on paper, 26×14 in Tsai’s lines—whether circular or straight—move. While literally static on the paper, they contain within them the energy of the artist’s gesture as they endlessly redraw themselves before ... continuePosted July 28, 2017 by CGH
Without Beginning or End, Part 1 – HIGHLIGHT
A multi-part series on the trans-temporal work of Shambhalian and artist Yeachin Tsai by Robert R. Shane The Contentment of Mr. Orange, 2015, acrylic on paper mounted on canvas, 14×14 in “The circle…is the synthesis of the greatest oppositions. …it points most clearly to the fourth dimension.” (1) —Vassily Kandinsky I. ... continuePosted July 26, 2017 by CGH
Compassionate Brush – HIGHLIGHT
A student’s tone drawing of a lotusContemplative Art Project with the Vancouver School Board article, photos and video by Brian Callahan On October 21st, His Holiness XIV Dalai Lama visited a Vancouver high school to dialogue with students on the importance of educating the heart as well as ... continuePosted November 23, 2014 by
Regard all Dharmas as Dreams – HIGHLIGHT
COLUMN: Good Practice by Gordon Shotwell, Toronto, ON As long as I can remember my family had a set of lojong cards on our mantelpiece. I remember reading “Don’t transfer the ox’s load to the cow” and “Regard all dharmas as dreams” as I walked by without the ... continuePosted April 9, 2014 by
Into Empty Space – HIGHLIGHT
Joy: mixed media on rice paper, mounted on canvas. 15 by 12 inches.Art that Reflects Feelings and Perceptions by Yeachin Tsai, Troy, NY Growing up in Taiwan, I was deeply influenced by traditional Chinese brush painting and calligraphy. I began to experiment with materials that partly characterize modern ... continuePosted January 17, 2014 by
paper bags and cardboard – HIGHLIGHT
by Anne Anderson Saitzyk, Los Angeles Every other year, Shambhala Art teachers and graduates come together for a retreat to contemplate the Dharma Art teachings of Chogyam Trungpa Rinpoche, share inspirations and explore personal and collaborative projects that relate to these teachings. The Shambhala Art program is ... continuePosted March 11, 2013 by
Chang Sheng: “Unending Victory” – HIGHLIGHT
Regarding the gold-on-blue Chinese calligraphy in the entrance hall of the Kalapa Court, Halifax: Meaning and Origin of the calligraphy article compiled by Acharya Bill McKeever This calligraphy, Chang Sheng, “Unending Victory,” was executed by one of China’s foremost calligraphers, Dr. Cen of Beijing, specifically for Sakyong Mipham Rinpoche. This ... continuePosted May 21, 2012 by
Calligraphy: Dream-like Phenomena
“All Conditional phenomena, Just like dream and illusion, Like bubbles, and shadows, also like dews and thunder; We should see it just like that.” Chinese calligraphy extracted from “Diamond Sutra”. 一切有為法，如夢幻泡影， 如露亦如電，應作如是觀。 抄錄自《金剛經》 Mixed media with metallic gold color on rice paper, mounted on hemp canvas; ready to hang. The size is 24 by 34 ... continuePosted May 5, 2011 by Yeachin Tsai