There is another aspect to these art frames that is incredible. We have only mentioned here blackish green, verdant, and lustrous white. However, the color green alone could be further divided into many different types based upon its various hues. There is aged green, light green, blackish green, glossy dark green, pastel green, verdant, fresh green, deep green, translucent green, etc. There actually are countless gradations of green in these art frames, all of which are natural looking. All of these various shades of green interconnect and interact so naturally there is not the slightest sign they were created by man. Therefore, it is difficult to fathom how the creator of these frames could harmonize these colors so masterfully, fittingly, flawlessly, and beautifully.
The second aspect worth describing is the streaks and lines on these faux green jade frames. The streaks and lines may be deep or shallow, large or small, high or low. They seem to be naturally formed as they wind their way through the ever-changing harmonious colors. These streaks and lines may be bold, vigorous, and unconstrained; soft, smooth, and graceful, like hanging willows; rippling, like water when hit by a pebble; jagged, like the contour of broken stones; indistinct, like shadows of mysterious and beautiful heavenly beings cast over water; or irregular, like rocks randomly hurled on sand. There are no set rules regarding these streaks and lines. They were created with natural, spontaneous, and heavenly stokes of the brush. Who can guess in which direction they will turn next? They are astoundingly beautiful. This is especially true with respect to several aged streaks that seem to be remnants formed during the ice age. These disjointed dark brown streaks express the passage of time and the touches of wind and frost over the years. When appreciating such superlative craftsmanship, one can only utter profuse praise and wonder what Buddha-dharma realization was applied by H.H. Dorje Chang Buddha III to coalesce thousands of years of time into one splendid frame.
The third aspect of these frames one should notice is their texture. This is another astounding part of these faux green jade frames. Whether viewed from a distance or close up, and when touched by the hand, you will feel that the texture is that of real green jade. It is truly difficult to imagine that these frames were sculpted with the hand of man. They have a clear luster that is not a superficial or dazzling type of brightness. Rather, it is a soft, warm, and steady type of luster. Although it is not a resplendent and dazzling luster, it nonetheless is invigorating and uplifting. The luster of these frames emanates from their interior. It is a type of light that radiates from the deepest level of the frames to their outer surface, manifesting the remarkably natural texture of real jade. It seems that if you dropped these faux green jade frames on the ground, the loud clang of hard jade would follow. Through the surface of the frames, one can also see green cotton-shaped formations that seem to be floating inside the frames at various depths. This is a special characteristic of green jade. Each of these endlessly interconnected formations has its own shape and seems to change in an amazing way. They form the inner world of green jade, making the green hues of these frames appear translucent at times and richly dense at other times. The result is a mysterious, elegant, and graceful appearance.
The fourth aspect of these frames worthy of appreciation is their integrity or completeness. The flow of the colors and streaks form a whole. That is, these frames are not composites of small pieces of jade. Each frame is an integral whole, as if it was cut out of a gigantic piece of green jade. When you carefully view the entire art frame from top to bottom and from left to right, you will discover the unrivaled carving skills of H.H. Dorje Chang Buddha III! The streaks and spots on the surface follow the various sections, grooves, and recesses all the way to the back of the frame. It is as if that particular piece of jade existed solely for the purpose of becoming an art frame. The colors and lines on each corner and each section are equally beautiful and flowing. Even natural precious stones have not reached this level of wholeness and perfection.
Actually, the amazing features of the faux green jade art frames described above are not limited to such art frames. All of the Yun Sculpture art frames created by H.H. Dorje Chang Buddha III are like this. As a result of His Holinesss wondrous application of colors and superlative carving, His frames most definitely have the texture of the natural minerals or plants that they portray. However, they embody a consummate perfection that certainly surpasses the creations of nature itself. This is true for frames sculpted by H.H. Dore Chang Buddha III in the style of faux withered vines, faux tree roots, faux white jade, faux old wood, faux spotted jade, faux ganoderma lucidum, faux red coral, etc.
Each and every detail of the frames created by H.H. Dorje Chang Buddda III expresses an extremely natural quality in both form and spirit. Yet, His Holinesss frames are devoid of the dark spots or broken parts that natural objects have after being exposed to wind, frost, rain, and snow. His Holiness has developed to a perfect degree the depiction of the fleeting beauty that natural treasures display during their growth process. Without any exaggeration, it can be said that if heavenly beings saw His Holinesss Yun Sculpture art frames, they would feel embarrassed that they themselves cannot create such beautiful frames.
It must be emphasized that frames with such genuine and perfect texture and color represent a pinnacle that others have heretofore been unable to reach in the history of human art. Simply put, mankind has been longing to reach but has been unable to reach the extremely high degree of genuineness and perfection that is embodied in the Yun Sculpture frames of H.H. Wan Ko Yeshe Norbu Holiest Tathagata. Thus, it is very difficult for us to distinguish art frames sculpted by H.H. Dorje Chang Buddha III from other forms of art by simply applying common artistic concepts of the past. When standing in front of these wondrous and rare works of art, we gaze upon and marvel at their beauty. In the words of the deceased Mr. John B. Tsu, who was chairman of the White House Advisory Commission on Asian Americans and Pacific Islanders, This is truly the divine workmanship of a Buddha.
** H.H. Dorje Chang Buddha III is previously known as Master Wan Ko Yee