Remarks on Painting - Classic Text | Alexandria
Remarks on Painting (画語録, Huayulu), authored by the renowned Chinese painter and theorist Shih-tao (石涛, 1642-1707), stands as one of the most influential treatises on Chinese painting theory and aesthetics from the early Qing dynasty. Also known as "The Sayings on Painting" or "Discussions on Painting," this seminal text represents a revolutionary departure from traditional Chinese painting theory, embodying both philosophical depth and practical wisdom accumulated through Shih-tao's lifetime of artistic practice.
Written during the tumultuous transition from Ming to Qing rule, the text emerged from a period of profound social and cultural transformation in Chinese history. Shih-tao, born Zhu Ruoji as a descendant of the Ming imperial family, adopted a Buddhist monastic life following the dynasty's collapse. This biographical context deeply influenced his artistic philosophy, which synthesized Buddhist thought with traditional Chinese aesthetics. The earliest known manuscript dates to approximately 1700, though the ideas contained within had been developing throughout Shih-tao's career as an artist and teacher.
The treatise's eighteen chapters present a radical reconceptualization of Chinese painting theory, introducing the revolutionary concept of the "One-Stroke" (一画) method, which emphasizes the fundamental unity of all brush strokes and, by extension, all existence. Shih-tao's writing challenges conventional approaches to painting by advocating for individual expression and innovation while maintaining respect for traditional techniques. His ideas particularly resonated with later generations of artists and theorists, including modern painters who found in his work a philosophical foundation for artistic independence and creativity.
Shih-tao's legacy continues to influence contemporary art theory and practice, with his emphasis on individual expression and the unity of art and nature finding new relevance in current discussions about artistic authenticity and environmental awareness. The text remains particularly pertinent to ongoing debates about the relationship between tradition and innovation in art. Modern scholars continue to uncover layers of meaning in Shih-tao's deceptively simple prose, revealing how his insights transcend cultural and temporal boundaries to speak to universal aspects of artistic creation. What makes Remarks on Painting especially compelling is its dual nature as both a practical manual for painters and a profound philosophical treatise on the nature of creativity itself.