uhm_phd_7210163_r
I also checked several Chinese books - modern ones from 1990' (especially 杨成寅's 石涛画学本义 1995) and Chinese explanations available on internet. Even Chinese artists and art critics have found the Shitao's writings difficult or deep or ambiguous in meaning and therefore sometimes showed quite different explanations to the same subject and word.
The following is my understanding of the ＜Shitao's treatise on the philosophy of painting＞.
I used the texts of of the above ＜Shitao's Hua-p'u (Treatise on the Philosophy of Painting)＞ by COLEMAN, Earle Jerome (All rights reserved 1971) - uhm_phd_7210163_r
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The difficulties of understanding are due to
1) Shitao used some not-commonly-used words to express his thoughts on painting. He used these uncommon words because he needed these words as his thoughts was new to the readers at that time or even now. Usually unique ideas and new concepts which have never existed before they need some new words. And these words are keys to the understanding.
Examples
蒙养 - Concealment in nondifferentiation
"Concealment in nondifferentiation" is a very elaborate translation. What is "nondifferentiation"? This is the question to which answer we must dig out. Literally "nondifferentiation" means "non" "differentiation".
生活 - Spirit of life
"Spirit of life" is rather a superficial translation. he Chinese ＜生活＞is literally ＜Life (and) Spirit＞. In Chinese 生 means living (also life) and 活 means living (against being dead) as well. So 生活 can be translated into "living and living". Shitao used the word 生活 as being contrast (not opposite) to 蒙养 - Concealment in nondifferentiation in rhetoric. So 生活 means "Manifestation" in contrast to "Concealment". Then "Manifestation" of what ? The answer would be "Manifestation of Concealment in nondifferentiation". Then we have been back to the question "What is nondifferentiation?" again. This is a big question when you consider artistic creation. "生活 may be "Spirit of life", "Spirit of nature - mountains, water, trees, etc". I want to add simply "beauty" or "Spirit of beauty". In other words 生活 means "Manifestation" of Inner Beauty （内在美） and Hidden Beauty. （Please refer to my post - Inner Beauty （内在美） and Hidden Beauty. ）Shitao did not use the word "beauty" （美，美丽）. Why Shitao did not use the word "beauty" ? This is because 生活 （Manifestation of Spirit of life and/or nature) is more important than "beauty" in Chinese landscape paintings. Comparing with 蒙养 - Concealment in nondifferentiation or in my case Inner Beauty （内在美） and Hidden Beauty, Manifestation process is difficult to analyze and to express in words. Shitao tried this but even Shitao's talent did not make him fully successful because of its difficult nature.
资任 - to render
资任 (found first in the last Chapter 18 and the key two words for this last chapter) - Shitao used ＜资＞＜任＞ separately mostly. But the both words ＜资＞＜任＞can read as ＜to render＞in English. The verb ＜to render＞has a versatile meanings in English and fits with these Chinese words, especially ＜任＞ while ＜资＞literally means a kind of "sources".
2) He may have written this gook(let) for painters as well as those who would appreciate or buy his paintings. So some background knowledge about paintings, especially Chinese Landscape Paintings or 山水画 is required for deeper understanding.
3) Some background knowledge of ancient Chinese philosophies, especially Taoism or 道(教) and Yì or 易(经) and is also required to see the things hidden in or behind the story he tells.
Though Shitao's Hua-p'u comprises of 18 Chapters and each is short I selected the opening Chapter 1, Chapters 5, 6, 7 and the last Chapter 18 in this post as the first and the last chapters are the very keys and Chapters 5, 6, 7 show the practical methods.
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Chapter 1 - Oneness of Brush Strokes
In Chapter 1 - Oneness of Brush Strokes Shitao started this treatise by saying
"
In remote, ancient days there were no principles. The primordial p'o (or state of uncarved block) had not been dispersed. As soon as the principal p'o was dispersed principal emerged.
"
The primordial p'o can be referred to "chaos", which is the state of things being not dispersed and not differentiated.
"Chaos" can be "chaotic status" but also can be regarded as "oneness" or "unity" in a way. This seems very contradictory but could be one possible concept which Shitao tried to convey to the readers. We can find this kind of contradictory arguments in Zen as well.
＜Oneness of Brush Strokes＞is not a literal translation of the original Chinese ＜一画＞. The translator does not say ＜One Brush Stroke＞, which is is a literal translation and totally wrong. ＜Oneness＞is somewhat philosophical. Taoism talks about Zero or None （無）or Emptiness, Absence, Void （虚）as very meaningful ideas and concepts to interpret the world. For Taoists One （一）is All.
Shiato declares:
"
. . . . . . . However, man in the world does not realize this. I was the first to discover the principle of oneness of strokes.
"
The following Shitao's statement cannot be understood without this contradictory concept.
腕不虚则画非是， 画非是则腕不灵。
(literally, if the arm is not empty the painting is not good; if the the painting is not good the arm has no spirit.)
I think that this part may have used a commonly used Chinese rhetoric. The Chinese part can be arranged
腕不虚不灵, 则画非是.
(literally, if the arm does not have emptiness and spirit the painting is not good.)
This part is missing in 画谱 or Hua-p'u but exists in 画语录 or Hua-Yu-Lu. So the meaning of translation sounds nonsense or misleading. The translator knew this so he quoted this part separately as from 画语录 or Hua-Yu-Lu and added some meaningful explanation. Please read the original text.
One form is selected or created from all possible forms. One method is selected or created from all possible methods. These selection or creation processes are the key concept of Shitao's Hua-p'u and the methods of making good paintings. These processes go on in human mind so cannot be seen.
Before making these processes going forward (manifestation of creation) one important thing required to do is to find and see the hidden beauty and spirit of an object when you paint. The hidden beauty and spirit cannot be seen by eyes but can be seen by mind through eyes. Please refer to my post - Inner Beauty and Hidden Beauty.
Chapter 5 - Unity of brush strokes and ink wash
The original Chinese title of Chapter 5 is simply ＜Brush and (black) Ink＞The importance of the use of a brush and ink has been talked about million times before and after Shitao. Shitao also talked about the use of a brush and ink in Chapter 5. ＜Unity of brush strokes and ink wash＞has a lot more meanings than ＜Brush and Ink＞, especially the word ＜unity＞, which is closely connected with the word ＜One＞or ＜一＞. Shitao explains the relationship between Brush and Ink but did not expressly mentioned ＜Unity of brush and ink＞. He elaborated the relationship between Brush and Ink in his own way. This is the point.
Another possible Chinese commonly used rhetoric.
墨之濺笔也灵，笔之运墨以神。
墨非蒙养不灵，笔非生活不神。
The splash of the ink onto the brush is to be done with spirit. The revolving of the brush moves the ink with spirit.
Ink wash cannot be spiritual unless one has achieved the state of Concealment in nondifferentiation.
If the brush stroke is not endowed vitality, then the brush is without spirit.
The first line of the Chinese is insufficient as a statement and difficult to understand or can be understood differently. It can be paraphrased as
墨之濺 笔也灵,
笔之运 墨以神。
And then can be arranged as
墨之濺, 笔之运 笔墨灵神。
(Literally, the splash of the ink and the revolving of the brush make the brush and ink spiritual.)
This is more clear as an explanation for ＜ Unity of brush strokes and ink wash＞.
＜灵＞and ＜神＞or ＜灵神＞can be translated into spirit, vitality, life, vividness. ＜神＞(literally means god) rarely means a god of God in China.
The second line also can be arranged as
墨笔 非蒙养 非生活 不灵不神。
(Literally, the ink and the brush, unless having the concealment in nondifferentiation and spirit of life cannot bring spirit, vitality, life, vividness.
能受蒙养之灵而不解生活之神， 是有墨无笔也。
能受生活之神而不变蒙养之灵， 是有笔无墨也。
If the brush contains the spirit of concealment in nondifferentiation, yet cannot release the spirit of life, then this is ink wash without brush strokes.
If one's brush can contain the spirit of life, but cannot transform this into concealment in nondifferentiation, then this is having brush strokes without ink wash.
This part is longer and looks more obviously rhetoric. This part can be arranged as
能受蒙养之灵（和）能受生活之神， 是有墨有笔也。
（如果）不变蒙养之灵（和）不解生活之神， 是无墨无笔也。
The translator seems to have seen this rhetoric and asked the readers to read this part in this re-arranged way as the English title of this chapter ＜Unity of brush strokes and ink wash＞suggests. Please read the original text. This kind of Chinese rhetoric (which is very often used) can be applied to some other parts as well instead of following the sentences in the straight way.
Chapter 6 - Motions of the wrist
Chinese painters use Chinese style brushes. They did not use pencils or pens or Western style brushes. The 'wrist" may be misleading. The original Chinese word is 腕, which means "arm". If you place your wrist (which is holding a brush) on the table you may use your wrist very much and the movement of the brush largely controlled by the movement of the wrist. But Chinese painter's wrist usually in not placed on a table except when painting a very small object or writing small letters. Also the word "movement", rather than "motion", is more appropriate. Motion sounds like more mechanical and automatic. I do sketches mostly outdoor and standing, no table on which my wrist is placed. My wrist holding a pen (I use a ball-point pen) is mostly fixed while my arm is moving. However as my mind and eyes are seeing an object and the paper and the tip of the pen I rarely see how my arm moves while sketching.
Further more as most Chinese painting books show - how to hold a brush by using one thumb and two fingers, one thumb and three fingers, one thumb and four fingers. Especially when using one thumb and four fingers it is much more easy to move an arm than to move the wrist so the stroke will become bolder than fine-tuned.
In Chapter 6 Shiato declares:
Ever since the ancients, never before has painting the scenery of mountains and seas depended upon empty theories and the prejudice of one's own references. I think Ta-Ti-Tzu's (another name of Shitao) individuality is too high, establishing a method beyond the world !
Different uses of the arm (wrist) create different effects. But Shitao describes these techniques as processes of creation of paintings and also relates these with 蒙养 - Concealment in nondifferentiation and 生活 - Spirit of life. The latter two (Concealment in nondifferentiationare and Spirit of life) are hidden sources and forces respectively and more important than the techniques for paintings.
If the wrist is flexible and alert, then the painting can freely change in brush strokes, as if cutting and uncovering, then forms are not foolishly concealed.
Original: 腕若虚灵则画能折变， 笔如載掲则形不痴蒙。
＜画＞is literally painting but more precisely ＜lines and forms (made by brush strokes)＞here.
＜as if cutting and uncovering＞means ＜as if cutting by a knife and opening a cover or a lid quickly＞.
＜forms are not foolishly concealed＞ means ＜forms are clear and distinctive＞.
Here＜虚灵＞is translated as ＜flexible and alert＞. ＜虚＞is translated as ＜flexible＞in the other places. ＜灵＞is not necessarily ＜alert＞and may be misleading. In modern Chinese ＜灵活＞ means alert, agile, quick to response properly, actively flexible, etc. ＜活＞of ＜灵活＞is the same word as ＜活＞of ＜生活＞ - Spirit of life. The Chinese ＜生活＞is literally ＜Life (and) Spirit＞
If your wrist is gifted in substantiality, then your brush work will be solid and transparent (will penetrate the paper).
Original: 腕受实则沉着透彻，
When the wrist is gifted in flexibility it flies and dances to unlimited heights.
Original：腕受虚则飞舞悠扬
＜虚＞(None, Emptiness, Absence, Void) is translated as "flexibility", which is not a mistake and a sensible translation.
＜悠扬＞ is not ＜to unlimited heights＞but literally ＜harmoniously and continuously＞.
If the wrist follows the correct position (upright) then the line is solid, concentrated in the brush tip.
Original: 腕运正直则行笔中锋
If the wrist is slanted, then incline for the fullest expression (as plum branches)
Original: 腕受仄则欹斜尽致
The upright and slanted position of the brush are mojour techniques.
If your wrist is quick, hold it and let it go in order to achieve power.
Original: 腕受疾则操纵得势
＜操纵＞is to control rather than <let it go>. ＜势＞may be <power> and may be ＜powerful movement＞as well as ＜direction＞.
If the wrist moves slowly, then ascending and descending have beauty.
Original: 腕受迟在拱揖有情
＜拱揖＞originally means (to bow in a Chinese way). It may mean ＜to embrace ＞or ＜to surround＞. ＜有情＞ can be ＜beauty＞ or ＜(soft and warm) feeling＞. In modern Chinese it means ＜to have love for＞.
The quick and slow movement of the are mojour techniques.
If the wrist is free, then it is harmoniously natural.
Original: 腕受化则浑合自然
＜化＞is translated as ＜free＞ but more literally ＜change＞or ＜transformation＞. See the next phrase. ＜浑合自然＞can be translated as ＜to be integrated into the nature＞.
If the wrist moves slowly, then ascending and descending have beauty.
Original: 腕受迟在拱揖有情
＜拱揖＞originally means (to bow in a Chinese way). It may mean ＜to embrace ＞or ＜to surround＞. ＜有情＞ can be ＜beauty＞ or ＜(soft and warm) feeling＞. In modern Chinese it means ＜to have love for＞.
The quick and slow movement of the are mojour techniques.
If the wrist is free, then it is harmoniously natural.
Original: 腕受化则浑合自然
＜化＞is translated as ＜free＞ but more literally ＜change＞or ＜transformation＞. See the next phrase. ＜浑合自然＞can be translated as ＜to be integrated into the nature＞.
If the wrist transforms, then the diversity is extremely unusual.
Original: 腕受变则陆离谲怪
＜变＞means literally ＜change＞. ＜化＞and ＜变＞do not much differ in meaning. ＜变化＞is a common modern Chinese word for ＜change＞. ＜陆离谲怪＞means ＜unusual, unrealistic surrealistic, transcendent＞ and has a good connotation here. Not common.
(surrealistic, transcendent: beyond or above the range of normal or physical human experience.)
If the wrist is wonderful, then there are spirit labor and and god axe.
Original: 腕受奇则神工鬼斧
＜wonderful＞should read literally ＜wonder + full＞here, not just＜very good＞.
＜wonder + full＞means ＜a full of unusual things (techniques)＞. ＜spirit labor and and god axe＞is literal translation for ＜神工鬼斧＞, which means work (lines, painting) as if made by spirit and god.
If the wrist has spirit, the streams and mountain peaks present their soul.
Original: 腕受神则川岳荐灵。
Chapter 7 - Harmonious atmosphere
This chapter、following the previous Chapter 5 ＜Unity of brush strokes and ink wash＞, starts by saying
"
When the brush strokes and ink wash are unified, this is called yin yun, this is harmonious atmosphere. Yin and Yun are not divided, they are harmonized (nondifferentiated).
"
We can find here ＜harmonized = nondifferentiated＞. So ＜nondifferentiated＞means not just "non" "differentiated" but has more profound and deep meaning(s).
Chapter 7 has some Zen like riddle statements.
"
Even if the brush stroke is not a brush stroke (does not appear particularly desirable), ink is not ink (fails to impress) and the painting is not a painting (does not qualify as exemplary), my own reality is in painting,
"
The original Chinese does not have the phrases in the parentheses ( ) so it becomes simply
"
Even if the brush stroke is not a brush stroke, ink is not ink and the painting is not a painting , my own reality is in painting.
"
The last statement "my own reality is in painting" is not a mistake and very an elaborate translation again. But original Chinese 自有我在 shows more painter's individualism strongly.
纵使笔不笔，墨不墨，画不画，自有我在。
This individualism is further emphasized by the following statement.
"
（my own reality is in painting,） for one moves the ink, the ink does not move him. He holds the brush, the brush does not hold him.
"
Chapter 18 - Creativity and Fulfillment of nature
Chapter 18 is very difficult to read and understand. As I mentioned earlier the key words of Chapter 18 are ＜资＞＜任＞and these two words 资任 are never used until Chapter 18. The both words ＜资＞＜任＞can read as ＜to render＞. ＜任＞ happens to be pronounced ＜rèn ＞.
The verb ＜to render＞has versatile and meaningful meanings in English especially for esthetics (study of beauty of artistic works). Please see the diagram below.
蒙养 生活
(Concealment in ＜－－＞ Painter ＜－－＞ Spirit of life
nondifferentiation) (Manifestation of Concealment
in nondifferentiation)
We think about what a painter does between Concealment in nondifferentiation and its manifestation.
The answer is ＜to render> broadly.
Shitao's argument in Chapter 18 is not very clearly stated and looks like going around something - artistic creation processes which is difficult to analyze even now. He tried to make and state a conclusion at the end for this writing. I do not follow the original text much here (it is difficult to guess what he tried to say here for one reason) instead think about the meanings of the verb ＜to render＞ by referring what he said.
From one of internet dictionaries
－－
1. to provide or give (a service, help, etc.).
to submit or present for inspection or consideration.
to deliver (a verdict or judgement)
literary to give up; to surrender
Simply ＜to give＞
＜蒙养 - Concealment in nondifferentiation＞ can be considered as ＜to take＞. To take something, some meaning (invisible, hidden, meaningful) out from the objects (mountains, water, trees, people, etc) you see.
2. to cause to be or become; make.
Simply ＜to cause＞.
3. to represent or depict artistically.
"the eyes and the cheeks are exceptionally well rendered" (maybe referring to a painting)
synonyms: to paint, draw, depict, portray, represent, reproduce, execute
"her paintings are rendered in wonderfully vivid colours"
to perform (a piece of music).
to translate
Computing
to process (an outline image) using colour and shading in order to make it appear solid and
three-dimensional.
(and more but omitted)
Origin:
late Middle English: from Old French rendre, from an alteration of Latin reddere ‘give back’, from re- ‘back’ + dare ‘give’. The earliest senses were ‘recite’, ‘translate’, and ‘give back’ (hence ‘represent’ and ‘perform’); ‘hand over’ (hence ‘give help’ and ‘submit for consideration’); ‘cause to be’.
Simply ＜to give back＞. ‘to submit for consideration’ is a simple and good expression, may mean by "to show something to someone with some purpose".
－－
Shitao ended Chapter 18 therefore this Treatise on Painting with a riddle like statement. This part is a bit ambiguous but may have a profound meaning. The original Chinese and the English translation are quite far apart. What Shitao said ow wanted to say is "Be original, be yourself, be innovative."
Original Chinese
吾人之任山水也，任不在广，则任其可制; 任不在多，则任其可易。非易不能任多，非制不能任广。任不在笔，则任其可传; 任不在墨，则任其可受; 任不在山，则任其可静; 任不在水，则任其可动; 任不在古，则任其无荒; 任不在今，则任其无障。是以古今不乱，笔墨常存，因其浃洽斯任而已矣，然则此任者，诚蒙养生活之理，以一治万，以万治一，不任于山，不任于水，不任于笔墨，不任于古今，不任于圣人，是任也，是有其实也。总而言之，一画也，无极也，天地之道也。
English translation
When we artists engage in painting mountains and water , our task is not just to value their vastness but their composition; not to value their quality but to select the best. Without knowing the selection we cannot engage in painting more mountains. Without knowing the composition, we cannot engage ourselves with vastness of the scenery. Furthermore, the work of the brush is not limited to the brush, but lies with what the brush can transmit. The work of the ink wash is not limited to the ink wash, but lies with what is hidden in the ink wash. So it is true that the work of mountain does not lie just with the mountain, but lies with its quiescence. So it is true that the work of water does not lie just with the water, but lies with its movement. Moreover, the work of antiquity does not lie with just in antiquity, but with its freedom of error. The work of the present does not lie with just the present, but with its freedom. Therefore, the value of antiquity and the present are not confused, and the value of the brush work and ink wash become everlasting, because their functions are perfectly fulfilled. Thus, when we discuss the function of painting, we see the truth of the awakening from nondffferentiation and lively spirit. From Oneness, deal with the ten thousand things; from the thousand things, deal with the oneness. It is not the function of particular aspects of mountain or water or the function of mere brush strokes and ink wash, or the function of antiquity and the present, or the function of the wise man. Within the function, there is reality. In short, it is the oneness of strokes. It is the limitless, it it the Tao of heaven and earth.
－－
Generally Chinese in writing is shorter than its equivalent English due to the use of Chinese characters. But this English translation is quite much longer than the original Shitao's Chinese, which is quite concise or too concise to get the meaning.
Let's see one by one
吾人之任山水也，任不在广，则任其可制; 任不在多，则任其可易。非易不能任多，非制不能任广。
When we artists engage in painting mountains and water, our task is not just to value their vastness but their composition; not to value their quality but to select the best. Without knowing the selection we cannot engage in painting more mountains. Without knowing the composition, we cannot engage ourselves with vastness of the scenery. Here ＜任＞is translated as <to engage>, <to value>.
In the original Chinese there are no words for composition, (to) value, quality, to select the best, selection.
This part literally means: (When) we artists render in painting mountains and water, not just to render their vastness, but render to control (to limit) them (mountains and water); render not too much, then its rendering becomes easy. When rendering is not easy, then the work (the result, the rendered things) is not much, with no control (selection) you cannot render their vastness.
One highly possible interpretation of this statement is like the English translation: Without selection we cannot engage in painting the vastness of the scenery. The point is how to select.
The next part
任不在笔，则任其可传; 任不在墨，则任其可受; 任不在山，则任其可静; 任不在水，则任其可动; 任不在古，则任其无荒; 任不在今，则任其无障。是以古今不乱，笔墨常存，因其浃洽斯任而已矣
Furthermore, the work of the brush is not limited to the brush, but lies with what the brush can transmit. The work of the ink wash is not limited to the ink wash, but lies with what is hidden in the ink wash. So it is true that the work of mountain does not lie just with the mountain, but lies with its quiescence. So it is true that the work of water does not lie just with the water, but lies with its movement. Moreover, the work of antiquity does not lie with just in antiquity, but with its freedom of error. The work of the present does not lie with just the present, but with its freedom.
1) 任不在笔，则任其可传; The work of the brush is not limited to the brush, but lies with what the brush can transmit.
2) 任不在墨，则任其可受; The work of the ink wash is not limited to the ink wash, but lies with what is hidden in the ink wash.
3) 任不在山，则任其可静; The work of mountain does not lie just with the mountain, but lies with its quiescence.
4) 任不在水，则任其可动; The work of water does not lie just with the water , but lies with its movement.
5) 任不在古，则任其无荒; The work of antiquity does not lie with just in antiquity, but with its freedom of error. (this English does not make sense to normal people).
6) 任不在今，则任其无障。 The work of the present does not lie with just the present, but with its freedom. (this English does not make sense to normal people).
This part of the original Chinese has quite a rhetorical structure as often seen in written Chinese and as we have seen some above. The English follows this rhetoric pattern as you can see above.
One interpretation is this English translation. But the English translation of 5) and 6) may be wrong.
5) 任不在古，则任其无荒: literally, when (if) not rendering (relying on) antiquity your rendering is not so wild.
6) 任不在今，则任其无障。literally, when (if) not rendering (relying on) the present your rendering is not so obstructive (free).
By 5) and 6) Shitao asked or warned the readers,
5) Do not rely on the past paintings. If you do not, your painting will become not not so wild (in order, freedom of error). ＜in order, freedom of error＞is not a good thing for Shitao.
6) Do not rely on the present paintings, too. If you do not, your painting will become not so obstructive. Blindly following the present paintings will obstruct you.
5) and 6) can be re-arranged as a rhetoric as
任不在古今，则任其无荒, 无障无障.
Literally: Do not rely on the past and present paintings. If you do not, your painting will become not so wild and not so obstructive.
是以古今不乱，笔墨常存，因其浃洽斯任而已矣，然则此任者，诚蒙养生活之理，
Therefore, the value of antiquity and the present are not confused, and the value of the brush work and ink wash become everlasting, because their functions are perfectly fulfilled. Thus, when we discuss the function of painting, we see the truth of the awakening from nondffferentiation and lively spirit.
Probably you cannot get the meaning of the English translation, especially the first sentence. The original Chinese should read as follows (though one possibility)
是以古今不乱: Therefore, the value of antiquity and the present are not confused
---> If you are not confused with the past and present paintings (, techniques and artists)
Next and the very final.
以一治万，以万治一，不任于山，不任于水，不任于笔墨，不任于古今，不任于圣人，是任也，是有其实也。
From Oneness, deal with the ten thousand things; from the thousand things, deal with the oneness. It is not the function of particular aspects of mountain or water or the function of mere brush strokes and ink wash, or the function of antiquity and the present, or the function of the wise man. Within the function, there is reality. In short, it is the oneness of strokes. It is the limitless, it is the Tao of heaven and earth.
Here ＜任＞is translated as <function>. In the original Chinese there are no words for "function" while "function" is used many times in English. The word "function" can be interpreted as "rendering" or "relying on" in this case. So he intended to say
"
Not render (reply on) too much mountain or water
Not render (reply on) too much brush strokes and ink wash
Not render (reply on) too much antiquity and the present (paintings, techniques and painters)
Not render (reply on) too much the wise man.
"
＜the Tao of heaven and earth＞is not found in the original Chinese.
As the conclusion at the very final part, Shitao used the words 蒙养 (nondffferentiation), 生活 (lively spirit) and＜一（画）＞(oneness of strokes). So these words are the keys to the understanding of what he said or tried to say.
This last part differs from 画语录 or Hua-Yu-Lu. This is misterious. 画语录 or Hua-Yu-Lu ends with
不任于山，不任于水，不任于笔墨，不任于古今，不任于圣人，是任也，是有其资也。 (end)
Not ＜实＞but ＜资＞. As mentioned earlier ＜资＞literally means "sources" as ＜资源＞ means "resources". So this pert will become
Within the function（任）, there is "sources".
What does this mean?
As far as we regard ＜资＞as "sources" the relation between＜资资＞and ＜任＞is very similar to the relation between Concealment in nondifferentiation＜蒙养＞ and ＜生活＞Spirit of life or “Manifestation of Concealment in nondifferentiation”.
AAG
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