I recently read Lao Tze and learned his Taoism Unity idea or theory though rather short as a theory. Taoism Unity is considered to have a close connection with Shi Tao's ＜Oneness of Brush Strokes＞ or ＜一画＞ in Chinese. Shi Tao was a Buddhist monk and a professional painter (tried to sell his paintings). Taoism and Zen Buddhism are closely related, too. Taoism has been deeply rooted in Chinese people for long time up to now, a lot more than Buddhism.
I have found the following very good article on ＜One Painting (Oneness of Brush Strokes)＞ but in Chinese. First I used Google translation but modified it to make more sense. The article is rather long and Google translation is available for only the beginning. So I did translation my self. Generally this article introduced some Buddhism ideas to explain ＜One Painting＞.
朱良志谈石涛研究：被误解与被重新发现的石涛
http://cul.qq.com/a/20171104/006285.htm
＜朱良志｜“一画”新诠＞から
石涛的一画说主要是在禅宗影响下形成的一个重要概念。
Shi Tao's ＜One Painting＞is an important concept formed under the influence of Zen Buddhism.
一画不是道，不是线，而是法。
＜One Painting＞ is not Tao (道), not a line, but a method.
一切具体的法则是有为法，而一画是无为法，是最高的法，至法无法，无法即法本身。
All the methods have the ways to execute them but ＜One Painting＞ is no way to execute. It is the supreme method, and actually no way to execute. This "no way to execute" is the method itself.
石涛强调这一无为之法，意在使画家解除一切来自于传统、概念、物欲、笔墨技法等束缚，进入到一片创作的自由境界中。
Shi Tao emphasized this method of inaction, intended to relieve an artist from all the traditional, conceptual, materialistic, pen and ink techniques and other constraints and make him or her enter into the realm of free-form creation.
所以，一画的核心是要掘发人的创造力，这一创造力是人的自性的显现，而如何使这一创造灵明自在兴现，惟有通过妙悟的认识途径才能达到。
Therefore, the core of ＜One Painting＞ is to dig out the creativity from a man. This creativity is the manifestation of man's own self-nature. How to make this creation comes to light and free representation can only be achieved through the understanding of this mysterious method.
石涛的一画说，不是一个关于画法的理论，而是一种侧重于建立自性本体的理论，这一自性本体可以称为创造本体。一画可以说是一种体物方式，一种创作原则，一种创作心境，甚至可以说是一种人生境界。
＜One Painting＞ by Shi Tao is not a theory about painting but a theory that focuses on the establishment of a self-nature that can be called creation-nature. ＜One Painting＞ can be said a practical method, a creative principle, a creative psychological condition, or even a realm of life.
它比较全面地反映了石涛在画学方面的整体看法，所以他说：“吾道一以贯之”。
It more fully reflects Shi Tao's overall view on painting, so he said: "My Tao is consistent with Oneness."
在中国画学史上，虽然也有一画、一笔画等类似的概念，但和石涛的一画说的内涵是完全不同的。
In the history of Chinese painting and calligraphy, although there are also similar concepts such as one painting and one stroke, the connotation of ＜One Painting＞ by Shi Tao is completely different.
一画说是石涛独创的画学概念，如果说石涛有画学理论体系，这个体系的中心概念就是一画。
＜One Painting＞ is an Shi Tao's original painting concept. If we say that Shi Tao has a theoretical system of painting, the center concept of this system is ＜One Painting> .
“一画”，是研究石涛画学思想无法回避的概念，学界对此有深入的研究，已经取得一些令人瞩目的成果，但至今它仍然是一个疑窦丛生的研究对象。
＜One Painting> is a study of the concept. For this study Shi Tao's painting thought can not be avoided. The academic circles have conducted in-depth researches on it and have made some remarkable achievements. However, up to now, this still remains as a subject of study with many doubts and uncertainties.
以下是笔者的研究心得，提出以求教于同道。
The following is the author's research result, proposed to seek advice for those in the same study.
一、石涛所谓“一画”，乃是画之一，是绘画创作的最高法则。
1. Shi Tao's so-called "One Painting" is one method of the paintings; this is the highest law of painting creation.
石涛所谓“一画”，实际是“无画”。与其说石涛要建立一种绘画体系，倒不如说他要解构长期人们所奉行的艺术观念。
The so-called "One Painting" by Shi Tao is actually "No Painting." Instead of creating a painting system, Shi Tao wanted to deconstruct the artistic concepts which had been followed and pursued by people for long-time.
石涛的论证方式不是表诠，而是遮诠，它用否定的方式来说明自己的道理。
Shi Tao's argument is not a form of positive reasoning, but rather a negative reasoning is used to explain his thought.
他树立的“一画之洪规”，是一个不为任何先行法则所羁束的艺术创作原则。
He established the "Very large rule of One Painting", a principle of artistic creation that is not bound by any preconceived notions.
在他看来，世人说的是“经”，他说的是“权”；世人说的是“有”，他说的是“无”；世人说的是 “万”，他说的是“一”。他的“一”，不是数量上的“一”，不是一笔一画，而就是无。
In his view, the world speaks of "the established old ways" and he speaks "breaking the old ways"; what people say is "yes", what he says is "no"; what the world says is "million" and what he says is " one". His "one" is not "one" in quantity, not one stroke one painting, and none at all.
“经” established old ways
“权” breaking the old ways
在他看来，无心处就是有心，无画处就是有画，无法处就是至法。他要通过对先行法则的解构，建立一种无所羁束、从容自由、即悟即真的绘画大法。
In his opinion, there is no intention at heart that leads to a real, true, genuine intention at heart, no painting that leads to a real, true, genuine painting. No method leads to a real, true, genuine method of painting.Through deconstruction of the existing rules and principles, he established a kind of ruleless freedom method, that is, a real big method.
从石涛的画学观点看，“一画”是无分别，无对待的，是“不二之法”，这是“一画”说最重要的特点。
Judging from Shi Tao's painting theory, "one painting" is indiscriminate and unmanageable, and is "the only one method". This is the most important feature of "one painting". (It is a general rule. He wanted to talk about the absolute and fundamental method. No original Chinese. Why Google 翻訳 put these sentences ?)
依佛教的术语，可以说，他的一画不是有为法，而是无为法，是无法之法、不二之法。
According to the Buddhist terminology, one can say that his "one painting" is not a method to execute, but a method of inaction. This no method and is a method. A method of no method. There is only one method, not the first "one", then two, and even all.
没有时间的分际，并不是先有了这个“一”，再有二，以至万有。
There is no division and sequence of time. There is no first "one", then there is the second one , and then up to all of the ones.
所以，石涛在《画语录》中虽然说“太古无法，太朴不散，太朴一散，而法立矣，法于何立，立于一画”，但这并不等于说，它是一个时间的展开过程，不是由太朴分出一画，由一画分出万有。
Therefore, Shi Tao in his "Painting Quotes" (Hua-p'u or Treatise on the Philosophy of Painting) although he says "太古无法，太朴不散，太朴一散，而法立矣，法于何立，立于一画 " this is not what it says. On the contrary this shows the unfolding process through time passage, not "one painting" emerged from Big p'o but "one painting" produces everything.
In the Google 翻訳 "太古无法，太朴不散，太朴一散，而法立矣，法于何立，立于一画 " is almost missing.＜"it is too archaic, too simple, too simple＞is a part of this but does not make sense at all.
In my post titled ”Shitao's Hua-p'u (Treatise on the Philosophy of Painting)” the auhor's translation is as follows.
＜Shitao's Hua-p'u (Treatise on the Philosophy of Painting)＞ by COLEMAN, Earle Jerome (All rights reserved 1971) - uhm_phd_7210163_r
"
In remote, ancient days were no principles. The primordial p'o (or state of uncarved block) had nit been dispersed. As soon as the primordial p'o was dispersed, principles emerged. How did these emerged? They were founded upon the oneness of strokes. The oneness of strokes is the origin of all things. The root of myriad forms.
"
This translation is similar to the opinion of the Chinese article.
同时，一画也不是在空间中延展的序列，如由一点一画推延开去。
At the same time, "one painting" is not a series of extensions in space. It is like that "one painting" is expanded from point.
禅宗的古德云：“两头共截断，一剑倚天寒。” 彻天彻地，彻古彻今，一切束缚，尽皆除去，只剩下一把锋利的剑矗立在天地之间，放出凛凛的寒光。这一剑无分别，无对待，两头绝断，两头是二，二就是分别，是对待，是差异，是杂多。
Zen Buddhist Gude says: "Cut the two heads off. off The sword relies on the sky." Cut off your self from the heaven and earth, from the things of the old days and the present days. Cut off yourself from all shackles. Remove everything, leaving only a sharp sword stands between heaven and earth, letting out cold light from the sward. This sword is no difference, no opposite. Cut of the two things. Two things mean difference, opposition, difference and miscellaneous.
此意为石涛建立他的“一画”说的基本原则。
This means that Shi Tao set up his "one painting" that is the basic principle.
石涛在《画语录》中说：“自一治万，自万治一”；“自一以分万，自万以治一”的论断，这个“一”，就是他的“一画”。“一画”的“一”不能以量上观，由一到万，不是体量上的扩大。“
Shi Tao said in "Painting Quotes: " By one many are ruled , by many one is ruled; from one many derives, from many one is ruled. This one is ＜one painting＞. The "one" in "one painting" can not be viewed from the perspective of quantity, but from one to tens of thousands, not an enlargement in volume.
“一”就是无。如同慧能所说：“心量广大，遍周法界，用却了了分明，应用便知一切，一切即一，一即一切”；慧能弟子永嘉玄觉所说：“一性圆通一切性，一法篇含一切法，一月普现一切月，一切水月一月摄”。
"One" is none. As Huineng said:"The vast amount of mind, around the circle of law, with a clear, application will know everything, everything is one, which in turn is all". Huineng disciple Yongjia Xuanjue said: Oneness is connected to wholeness, one law covers all laws. One moon produces many moons on the water surface every where while many moons seen on the water surfaces are derives from one moon.
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Google 翻訳 is available only up to this part on the internet. But the original Chinese article continues.
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The above shows that Shi Tao's of <one painting> idea is originated from Buddhism. However, we can find a very similar idea in Lao Tze (Lao Zi)'s TAO TE CHING (Dao De Jing）. For instance Chapter 14.
.
第１４章
視之不見，名曰夷；聽之不聞，名曰希；搏之不得，名曰微。此三者不可致詰，故混而為一。其上不皦，其下不昧。繩繩不可名，復歸於無物。是謂無狀之狀，無物之象，是謂惚恍。迎之不見其首，隨之不見其後。執古之道，以御今之有。能知古始，是謂道紀。（中國哲學書電子化計劃）
English translation - 1 （中國哲學書電子化計劃）
"
We look at it, and we do not see it, and we name it 'the Equable.' We listen to it, and we do not hear it, and we name it 'the Inaudible.' We try to grasp it, and do not get hold of it, and we name it 'the Subtle.' With these three qualities, it cannot be made the subject of description; and hence we blend them together and obtain The One. Its upper part is not bright, and its lower part is not obscure. Ceaseless in its action, it yet cannot be named, and then it again returns and becomes nothing. This is called the Form of the Formless, and the Semblance of the Invisible; this is called the Fleeting and Indeterminable. We meet it and do not see its Front; we follow it, and do not see its Back. When we can lay hold of the Dao of old to direct the things of the present day, and are able to know it as it was of old in the beginning, this is called (unwinding) the clue of Dao.
"
English translation - 2
TAO TE CHING, The definitive edition; LAO TZU Translation and Commentary by Jonathan Star (Jeremy P. Tarcher / Penguin)
"
Eyes look but cannot see it
Ears listen but cannot hear it
Hands grasp but cannot touch it
Beyond the senses lies great Unity －
invisible, inaudible, intangible
What rises up appears bright
What settles appears dark (these two lines are originally paradox expressions)
Yet there is neither darkness nor light
just an unbroken dance of shadows
From nothingness to fullness
and back again to nothingness
This formless image
cannot grasped by mind or might
Try to face it
In what place will you stand?
Try to face it
To what place will you go?
Know That which is beyond all beginnings
and you will know everything here and now
Know everything in this moment
and you will know the Eternal Tao.
"
In case of Lau Tze, he refers to One as well as to Nothingness or Zero (there was no concept of Zero in his time).
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The author of the Chinese article also refers to Lao Tze. But no Google translation available. Let me try.
English parts - My Translation and my opinion
石涛的“一画”说并非画道论 。画道说是学界关于石涛“一画”说最重要的观点之一。我之所以不同意这一观点，是因为：画道说是中国传统画学中一种由来已久的理论，石涛的一画说是他独创的概念，如果说石涛的“一画”就是画道，那实际上等于否定石涛的重要理论贡献。中国古代画道说有以下几个观点，一是以艺弘道，这是道德的担当，“一画”说不同于此；一是道本艺末，这是一种艺道合一论，艺术必须以体道为根本，“一画”说不同于此；一是技道合一论，如庄子所说的“技进乎道”，即由技巧的纯熟达到忘乎所以的地步，“一画”说所关注的中心问题也与此不同。学界有这样一种观点，说石涛的《画语录》满纸玄言，四处喷射，并无深意。我以为，这是对石涛的误解，是将他的一画说等同于传统画学中的画道论所得出的结论。石涛的“一画”不同于老子所说的道，《画语录》开始就说：
“太古无法，太朴不散，太朴一散，而法立矣。法于何立？立于一画。一画者，众有之本，万象之根，见用于神，藏用于人，而世人不知。所以一画之法，乃自我立。立一画之法者，盖以无法生有法，以有法贯众法也。”
This is the first part of ”Shi Tao's Hua-p'u (Treatise on the Philosophy of Painting)”. The author says that this part is easily misunderstood as "One Painting" being equivalent to Lao Tze's Dao because of the similarity. But Shi Tao's "One Painting" refers to an artistic creation while Lao Tze's Dao refers to the creation of the universe. Lao Tze talked about mainly life and politics (how to govern or rather not to govern people) and did not say anything about art. He used the word beauty (美) in some chapters in his TAO TE CHING but this beauty generally means good things.
这段话很容易使人误解成“一画”就是老子的“道”，因为石涛是把“一画”上升到宇宙生成论的角度来讨论的。一画为众有之本，万象之根，就是说它是宇宙万物之根源，一画是生成万物之本体。但石涛的落脚点并非在宇宙论原理上，他是将绘画放到宇宙的角度，说明绘画艺术的灵泉在于创化之元，在于他所说的“天蒙”，这是艺术家智慧的根源，又是绘画作品艺术魅力的根源。所以，不能将“一画”等同于老子的“道”，那样就有可能将一个讨论绘画艺术的概念变成了一个宇宙哲学本体的概念。要说是本体，它是画的本体，而不是天道宇宙的本体；要说是“种子”，它不是老子的道生一，一生二，二生三，三生万物的种子，而是灵的种子，性的种子，艺术创造的种子。所以，在《一画章》里，他在将“一画”溯向创化之元后，紧接着谈“一画”在绘画中的落实，他说：
Shi Tao says:
“夫画者，从于心者也。山川人物之秀错，鸟兽草木之性情，池榭楼台之矩度，未能深入其理，曲尽其态，终未得一画之洪规也。……人能以一画具体而微，意明笔透。腕不虚，则画非是；画非是，则腕不灵。动之以旋，润之以转，居之以旷，出如截，入如揭。能圆能方，能直能曲，能上能下，左右均齐，凸凹突兀，断截横斜，如水之就深，如火之炎上，自然而不容毫发强也。”
TAO TE CHING, The definitive edition; LAO TZU Translation and Commentary by Jonathan Star (Jeremy P. Tarcher / Penguin)
"
The art of painting is a manifestation of truth. With regard to the delicate arrangement of mountains, streams, and human figures, or the natural characteristics of birds, animals, grass and trees, or the properties of ponds, pavilions, towers, and terrace, if one's mind cannot deeply penetrate into their reality, and subtly express their appearance, one has not yet understood the fundamental meaning of oneness of stroke,
(------)
A single stroke which identifies with universality can clearly reveal the idea of a man and fully penetrate all things. If the wrist is not empty (flexible) then the painting is wrong, when the wrist seizes reality it moves the brush with a revolving movement, enriches the strokes by rolling the brush hairs and, leaves them unbouded any limitations. When the brush moves upward, it is like lifting something.
To make either a square or circle, to make a straight line or a bent line, either upward or downward, left or right, all of these movements are similar to water flowing naturally downward and flames burning upward. They are natural and are free from the slightest artificiality. All things become real and their manner is vividly and fully expressed.
"
My note: This "real" is not "real" of realistic but in a way "true", "genuine" , "pure", 'fully revealed" without cover or concealment.
The missing part (-----) of the Chinese. But this part is also important.
行远登高，悉起肤寸。此一画收尽鸿蒙之外，即亿万万笔墨，未有不始于此而终于此，惟听人之握取之耳。
To both travel far and ascent heights, one's step begins with a single inch at hand. Hence, oneness embraces all strokes before their differentiation. Myriad brush strokes and ink wash all derive and diminish here. Merely reply upon the grasp of men.
这里主要谈“一画”的表现形态，“一画”和笔墨的关系，“一画”与用腕、形势之关系，即他所说的“以一画具体而微”。在石涛看来，他的“一画”的“一”，不仅是创化之元的“一”，而是作画之“一”，赏画之“一”，他要用“一”的心胸去创作，去体悟山川，以“一”意去控笔墨。可见，“一画”是画中之一，而不是宇宙论之道。
The key sentence here is “以一画具体而微” or "A single stroke which identifies with universality can clearly reveal the idea of a man " Jonathan Star translated at the beginning of this part as "The art of painting is a manifestation of truth." for "夫画者，从于心者也。", which is literally "Painting is the one derives from heart." So nothing about "truth" but "manifestation" means "具体" and "(to) clearly reveal the idea of a man" means "具体而微".
The Chinese author says:
This shows the relation between "One Painting" and Brush and Ink Wash; between "One Painting" and Use of Arm and Shape and Movement (形势). That is "(to) clearly reveal the idea of a man" From She Tao's point of view "One Painting" is Oneness. Not only one(ness) of creation but one(ness) of painting and one(ness) of appreciation of painting as well. A painter must use one(ness) of heart to make creation, to experience mountains and rivers, and with one intention to control a brush and ink wash. Here we can see one(mess) of painting, not one(ness) of universe theory.
My opinion
以“一”意 or "with one(ness) intention" is seems contradictory as Shi Tao says
腕不虚，则画非是；( If the wrist is not empty (flexible) then the painting is wrong,) 画非是，则腕不灵。
Intention limits being empty or flexibility. But this is not simple intention but one(ness) of intention. Then want is one(ness) here ? Also
one(ness) of (base) of creation 创化之元的“一”
one(ness) of painting 作画之“一”
one(ness) of appreciation of painting 赏画之“一”
one(ness) of heart “一”的心胸
one intention “一”意
What is one(ness) ?
学界另外一个重要观点，就是“一画”即线，线条的线。以为石涛是一位画家，解读他的“一画”说不能从玄言晦语中寻求答案，而应从切实的创作中找答案。这一思路我是同意的，但所得出的这一结论我却不能同意。因为石涛的“一画”说说的并不是一笔一画之工夫，那是技法，他说的是一种原则，一种精神。他强调的是贴近自然，以悟为真，以创造为本。如果将“一画”理解为一笔一画之说，则无法显示这方面的要义。“一画”虽然不是一笔一画之线，但笔画则是对“一画”的落实。“一画”是无为（自由而无所羁束）创造之法，一笔一画则是这一创造之法的显现。“一画”和笔画之间的关系，是内隐原则和外显形式之间的关系。
My translation
One more common interpretation of "One Painting" is "one line, one stroke of brush". This is not a correct interpretation either. "One Painting" cannot be fully understood by words but understood by practice of painting. But "One Painting" is not a practical method, not a technique but a kind of principle, a kind of spirit. What Shi Tao emphasized was to be close to nature, physically understand nature and make use of it for creation. If "One Painting" is considered as "one line, one stroke of brush" then the true understanding of "One Painting" cannot be attained. Though "One Painting" is not "one line, one stroke of brush" an actual painting by using brush strokes is a result of "One Painting". "One Painting" is a method of Not Doing 无为 (free and no restriction) method of creation.
Brush stokes and "One Painting" are manifestation of creation. The relation between brush stokes and "One Painting" is the relation between the hidden inner principle and the visible outer representation.
My comment
Not Doing 无为 (free and no restriction) is originated from Lao Tse. Not Doing is not doing nothing but doing nothing with intention. "With intention" is not natural as original human nature (本心). But the author does not elaborate this here.
就是：以“一画”的原则来创造一笔一画。《兼字章》说：
“一画者，字画先有之根本也；字画者，一画后天之经权也。”
TAO TE CHING, The definitive edition; LAO TZU Translation and Commentary by Jonathan Star (Jeremy P. Tarcher / Penguin)
"
Oneness of brush strokes is the prerequisite and foundation of calligraphy and painting. Calligraphy and painting are the subtle manifestation of oneness of brush strokes, which has been acquired.
"
In this English translation "the subtle manifestation" is used for 经权.
As I mentioned above
“经” established old ways
“权” breaking the old way
So this should be <calligraphy and painting are the manifestation of breaking the established old ways, i.e. oneness of brush strokes>.
这里所说的“先有”“后天”并非说在时间上“一画”为先，字画为后，乃是说字画笔墨以“一画”为根本，笔墨技法是对一画的权变。这和《一画章》的“人能以一画具体而微”的说法是一致的。在《石涛画语录》中，“一画”共使用29次（包括《一画章》标题之“一画”）。其中，26处的意义都是指不二之法的“一画”，只有3处别有所指，意为笔画之“一画”。而这 3处所指的具体的“一画”，都是强调对不二之“一画”的落实。《皴法章》：
“一画落纸，众画随之；一理才具，众理付之。审一画之来去，达众理之范围。”
TAO TE CHING, The definitive edition; LAO TZU Translation and Commentary by Jonathan Star (Jeremy P. Tarcher / Penguin)
"
As soon as one stroke is put on paper, all others follow it. As soon as one principle is formulated, all others adhere to it. If one examines the practice of one-stroke and understand the application of all the basic principles.
(Jonathan Star's note: Each contributing to total unity)
"
My opinion
This simple note is very important to understand one aspect of She Tao's One Painting.
“一画”之法是不二之法，不可从量上起论，而一笔一画则是从量上言之。这里的“一画落纸”的“一画”不是作为不二之法的“一画”，所以“一画”和“众画”相对而言。《运腕章》云：
“受之于远，得之最近；识之于近，役之于远。一画者，字画下手之浅近功夫也；变化者，用墨用笔之浅近法度也。山海者，一丘一壑之浅近张本也；形势者，鞹皴之浅近纲领也。”
TAO TE CHING, The definitive edition; LAO TZU Translation and Commentary by Jonathan Star (Jeremy P. Tarcher / Penguin)
"
Talent is from afar, but what one achieves is right at hand. If one grasps what is near at hand, then he can apply it to what is distant (mountains, rivers, etc.). That which is one-stroke is the rudimentary commencement of calligraphy and painting. Transformed strokes are the rudimentary ways of applying brush and ink. The heights of mountains and all depths of sea are primary models used to paint hills and valleys. Actual scenery is the fundamental stroke for outlines and wrinkles.
"
受之于远，得之最近；识之于近，役之于远
Talent is from afar, but what one achieves is right at hand. If one grasps what is near at hand, then he can apply it to what is distant (mountains, rivers, etc.).
The Chinese is a symmetrical, rhetorical expression, which is commonly used by Chinese writers and poets. Literally
When you receive "it" in a far place you can get "it" in a near place; when you know "it" in a near place you can use "it" in a far place.
Which meas if you master One Painting you can apply it either near place or far place (which near and far are related, united)
这里所说的“字画下手之浅近功夫”的“一画”，是一笔一画，是对不二之法“一画”的落实。石涛说“受之于远，得之最近”，他的思路是，为了说清“近处”（一笔一画）的事，他从“远处”说起，这个远处就是他的“众有之本，万象之根”的“一画”。
当然，在石涛这里的确存在着一个“线的一画”。不过，石涛在《画语录》中论述的中心是作为不二之法的“一画”，而“线的一画”是对作为不二之法的“一画”的体现。作为不二之法的“一画”是石涛提出的重要画学概念，而“线的一画”则不是一个具有独立意义的画学概念。正是在这个意义上，我以为将石涛的“一画说”说成是线，一笔一画的线条，则不是一个恰当的概括，是混淆两种不同的“一画”所造成的。
The Chinese authors says
Shi Tao's One Painting has double meanings combined:
1) One is a manifestation of one stroke of brush.
2) One is a freedom, independent creation.
石涛的“一画”说不仅与中国古代典籍中的“一画”语词有别，与中国画学史上诸多“一画”理论也有根本的差异，这里容我稍作辨析：
一是一笔画。有人说这是一个和石涛“一画”说相类似的学说。其实，一笔画是一种笔势论，它是就用笔的内在气脉而言的，强调笔有朝揖顾盼，笔断势联。而石涛的“一画”所申说的是一种创作法则，二者有明显区别。当然，一笔画的内容可以包括在石涛的“一画”概念之内，当一位创作者去除束缚，个性张扬，淋漓恣肆地作画时，他在笔墨上就有可能产生这样的气势。
Chinese people already had a concept of importance of one stroke, especially its force and direction showing a painter's or calligrapher's inner mind. Shi Tao's One Painting relates this concept but not only this.
二是以少胜多的说法。明末恽向题画时曾说：“仲生所不可及者，以其一笔能藏万笔也。”恽格在题倪云林的画时说：“一木一石，千崖万壑不能过之。”又说：“夫一者，什百千万之所以出也，一笔是，千万笔不离乎是，千笔万笔总一笔之用也。” 郑板桥在一幅竹画上曾题道：“敢云少少许，胜人多多许。”这是中国画学构图学上中的一个重要思想，其要义在：以小观大，以近及远，在一个微小的对象中积聚宇宙无边的力量。这和“一即一切，一切即一”的石涛“一画”说有根本的差异，后者并不是量上的广延。
Chinese people also already had a concept of the relation between one and many or one stroke and many strokes. But Shi Tao's One Painting is not just a matter of numbers.
三是伏羲一画说。清人布颜图说：“因悟画道之变化，与易理吻合无二，古者伏羲氏之作易也，始于一画，包诸万有，而遂出个天地之文，画道起于一笔，而千笔万笔，大到天地山川，细则昆虫草木，万籁无遗，亦始于一画矣。”这是神学论上的一画，但不管它多么神秘，这一画仍然是一个具体的刻画，或者说一个包含神意的刻画，它是一画即线说的变体，和石涛这里所说的“一画”是完全不同的。正因此，本文以为，石涛的“一画”是一个独创的画学概念。
Chinese people also had a mythology of 伏羲一画 (Fuxi One Painting). But this does not have a relation with Shi Tao's One Painting.
二、石涛的“一画”不是道，不是线，而是法。
2. Shi Tao's ＜One Painting＞ is not Tao (道), not a line, but a method.
This part is a further explanation on the above mentioned
＜One Painting＞ is not Tao (道), not a line, but a method.
石涛依照佛学的术语，将“一画”称为“法”，也就是他的“一画之法”。他之所以提出“一画”说，就是要树立一种新“法”。他的《画语录》乃为演此法而作，“一画”是他的至法，其他概念（如蒙养、生活、尊受、资任等）都是这一至法的阐释，是至法在某个方面的体现。他说：
“所以一画之法，乃自我立，立一画之法者，盖以无法生有法，以有法贯众法也。”
“盖自太朴散而一画之法立，一画之法立，而万物著矣。”
TAO TE CHING, The definitive edition; LAO TZU Translation and Commentary by Jonathan Star (Jeremy P. Tarcher / Penguin)
Chapter 1
"
However, man in the world does not realize this. I was the first to discover the principle of oneness of strokes. The principle of oneness of strokes is such that from no-method originates; from one method, all methods harmonize.
"
Jonathan Star's note says that the original Chinese <法> can be translated to stature, law, regulation, plan, method, technique, model, approach but he selected "method" here.
The word "harmonize", though from music, indicates something which unites many different things to the whole one. The point is how to harmonize many different things to the whole one. One painting (not Shi Tao's "One Painting" is the whole one - a result, manifestation made or dome (not with so much intention) by a painter.
“盖自太朴散而一画之法立，一画之法立，而万物著矣。”
"
(In remote, ancient days were no principles. The primordial p'o (or state of uncarved block) had not been dispersed.) As soon as the primordial p'o was dispersed principals emerged.
"
These are the beginning of Chapter One of Shitao's Hua-p'u.
石涛认为，一画之法是一至法，即最高的法，他说：
“至人无法，非无法也，无法而法，乃为至法。”（《变化章》）
Chapter 3
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Not that he has no method whatsoever but Non-method is the method which is the perfect method.
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This is a very short and simple but contradictory statement and some explanation is required. "Non-method is the method which is the perfect method." is a paradoxical expression. Lao Tse quite often uses this rhetoric in his TAO TE CHING.
石涛提出一画，是要为绘画创作找一个终极的根源；他抬出至法（或称一法），则是说明一画是绘画的最高法则，即无尚之法。一法是绝于对待的，它不在时空中展开，所以，至法被他称为“一法”。石涛并没有赋予这一无尚之法以具体法度规则的意义，他认为，最高的法则是无法则的，但他并不否定至法可以转出法则的性质。在他看来，至法是一种“母法则”，一切法则都是由至法生出，他说：“以法法无法，以无法法法”，法是具体的创作法度，无法是最高的至法，无法是法本身，一切法度都由这个法本身生出，一切法度都必须以法本身为最高典范。从另一方面看，法本身并没有纯然的意义，至法通过具体的法得到体现，这就是“以无法法法”。石涛探讨绘画创作的法度为什么不从具体的方面入手，而树立一个无尚的至法？就是要通过至法来消解具体的法度。因为在他看来，一切历史存留下来的法度都是对艺术家创造精神的桎梏，一切经验世界中存在的具体准则都与自由的创作相冲突，艺术家大脑中先行的创造法式都有可能影响创造潜能的提取。所以，他从至法角度为具体的法度找到一个法本身，其根本目的，就是要通过至法来确立真正的法度是无法，而无法才是艺术家应该须臾不忘的，无法为自由开辟了天地。这样，石涛通过引入至法，巧妙地以无法消解了有法。
In this part the Chinese author explains why and how Non-method is the method which is the perfec method. This is one of the points raised by the author.
My translation (not full but picking out the point).
Shi Tao though that the best method is having no method. No method is the method from itself. All the method comes from this No method.
(However) from another point of Shi Tao's view this No method is not no method at all but a manifestation or a attained method through actual experiences. That is "以无法法法". Then why Shi Tao do not establish a method derived from the methods gained from the actual experiences ? This is because if a painter uses any established method he will be restricted it, It hinders his creativity, conflicts his freedom in creation.
佛学中的法具有多层含义，既有作为性的法，又有作为相的法。作为相的法的意义，主要包含两层意义，一是物，万物都可以叫做法；一是理，人的思维名相活动也可以叫法。比如一竿竹子
一、它是具体存在的物，这是作为有形存在的法；二、竹子的概念，这是对竹子的指称，这是名相的法；三、作为性的竹子，这是性之法。这三者都可称为法。在佛家，法本来并不含有贬义，无所谓好法坏法，佛学中所说的破法执我执，并不是由法本身所引起的，而是凡夫俗子因情识计度而产生的，法性随妄缘起，惑造业感苦果。凡夫俗子往往不识法性，但得其拘，实境之对象使人拘于有形之相，名相之对象使人拘于理的缠绕中，从而执法而失法。石涛所说的法，和佛学中的这一思想有相通之处，佛学中的上述思想可以说是石涛论述知法破法障的主要理论基础。
The author mentions one Buddhist theory about the method or rule (法). And Shi Tao's One Painting comes from this theory. The basic theory seems is called 我执 (self centered) and 法执 (method or rule centered) and these must be expelled. (To explain this Buddhist theory in depth is our of range this post).
《石涛画语录》第一章《一画章》论述
“立一画之法者，盖以无法生有法，以有法贯众法”，
"
The principle of oneness of strokes is such that from no-method originates; from one method, all methods harmonize.
"
旋即又在第二章《了法章》中论述了了法识法障的问题。石涛所要说的是，法除了具有根性的意义之外，由于识者的“遍计所执”，还具有遮蔽真性的可能，或者说正是存在这种遮蔽真性的可能，使得石涛要回归真性——至法。
《金刚经》说：“如来说法，如筏喻法者，法尚应舍，何况非法。”石涛正是在法有所障的情况下，要了法识法障，建立他的至法——一画之法。在他看来，绘画存在两大法障，一是理障，一是物障。他以为，只有破此二障，才能建立一画之法。
There are two obstacles against One Painting. One is reasoning obstacle and the other one is material obstacle. The reasoning obstacle is the established old methods and thoughts.
在理障方面，他要破古人的成法。对此石涛论述很充分。作为一个张扬自我个性的画家，石涛针对当时摹古风甚浓的画坛，取来佛学破法执我执的思想，对古法进行了细致的辨析。他说：
“古人未立法之先，不知古人法何法；古人立法之后，便不容今人出古法。千百年来，遂使今之人不能出一头地也。师古人之迹而不师古人之新，宜其不能出一头地，冤哉！”
This part cannot find in Shitao's Hua-p'u.
今之论者常误以石涛此说在抨击古法，具有强烈的反传统倾向，认为在石涛的绘画思想中，古法乃是僵化之法，如董其昌和四王 。如果依此说法，石涛实际上是在选择师法的对象了，这是对石涛的误解。石涛并不需要一个更加合理的师法对象，他一再强调我自用我法。他认为，从法性角度看，凡人存在必有其性，有其性即有其法，董其昌有董其昌的法，四王有四王的法，我石涛也有石涛的法。正是在此基础上，他说古人在未立法之先，不知古人法之法。古人以古人之法立法，我为何不能以我法立法？为什么在古人立法之后便一定要成为我之法，而剥夺我立自我之法的权利？我立法之天赋“法权”不能享用，怯生生地于古人屋檐下寻得一席栖身之地，实在是“冤哉”！所以他说：“是我为某家役，非某家为我用也，纵逼似某家，亦食某家只残羹耳，于我何有哉！”他并不是有意回避古人之法，而是要著我之法，因一依古人法，即无自我法，无我法即无
自由，没有自由便物我相斥，意象难凝。我法行而他法退，即自在运行，以心合物，无所为拘，这样所出现的与古人之法相合之处（偶），也不在有意，那是无意乎相求，不期然相会。所以，依据石涛关于法方面的思想，揣摩他的论画主张，可见石涛的理论落脚点并不在反古法，而在于著我法。
Shi Tao's method is not necessarily fighting against the established old methods and thoughts but to seek and attain your own method and thought.
在理障方面，他还提出要破技法。画家作画不能没有技法，没有技法基础的创作只能是欺世盗名。技法是一些基本的创作规范，如山水画中的笔墨，在长期的历史积淀中技法形成一些程式化的内涵，绘画传统的内容往往体现在技法上。在石涛看来，画家的创造精神几乎必不可免地要遇到来自技法方面的滞碍，画家伸纸作画，甫一着笔，即有可能为这种规矩所左右，自性障而不显，笔墨虽运乎心手，实际上是心手为笔墨所运。所以石涛提出
“纵使笔不笔，墨不墨，画不画，自有我在”。“以运乎墨，非墨运也；操乎笔，非笔操也
Chapter 4
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Even if the brush stokes 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 the painting, for one moves the ink, the ink does not move him. He holds the bush, the brush does not hold him.
"
的自由境界。“运夫墨”，我是主体，我是技法的主宰者，一切技法都不能束缚我：“墨运”则是它的反面，创作者成了轨范的奴隶。石涛提出“墨海里放出光明”，就是强调挣脱技法的束缚，达到自由的创作境界。
在物障方面，石涛认为，绘画是造型艺术，因其不脱具象，必有物可寻，在似与不似（具象与抽象）之间权衡，体现出对物的选择。石涛认为，具体的物象也是一种法。石涛超越物障的学说有两点值得注意，一是在物我的关系中，我是绝对的，是物的驾御者，一切法皆缘于一心，三界唯心，万法唯识。与此同时，石涛强调在对物的观照中，要超越物的形体，走向对物性的肯定。
About the material obstacle, as the painting has an object to be painted and an art of creating a visible thing (painting) you cannot depart from the materials. But the important thing is the relation of the materials (objects) and a painter. A painter must overcome the superficial shape of the object and get the essence of the objects.
他在《画语录》中说：
“得乾坤之理者，山川之质也；得笔墨立法者，山川之饰也。知其饰而非理，其理危矣；知其质而非法，其法微矣。”（《山川章》）
Chapter 8
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(得乾坤之理者 no English for this part) The substance of mountains and rivers contains the reality of the universe. Painting (the method of brush and ink) shows the refinement of mountains and rivers. If one only knows the refinement and neglects the inner reality, this reality is jeopartized. If one merely knows the substance but ignores the method, then then this method is trifling. (A painter must grasp the oneness of method and reality - No Chinese is shown here. But this is a important part.)
"
"
（是故古人知其微危 no English for this part)），必获于一，一有不明则万物障，一无不明则万物齐。画之理，笔之法，不过天地之质与饰也。
"
A painter must grasp the oneness of method and reality. If this unity (oneness of brush and strokes) is not understood, then the ten thousand things are obstructions. If this oneness is perfectly understood, then every one of the ten thousand things will be as it should be. The reality of painting and the method of brush are simply the substance and expression (refinement) of nature.
这里涉及到三个对象：物之质、物之饰、我。石涛认为，物是质与饰的统一，一切作为外物存在的法都根源于一法，即法性之法。画家无法脱离饰，无饰则无以出形显相；又不能脱离质，必因性识相。如何使质饰一体、性相相融，则在于一画，也就是一法或我法。我法不出，则万物有障，法性难彰；我法一出，则“万物齐”，我与万物合一，出现在画家笔下的意象就是我代万物之“言”，是一法和万法的统一，我与物的统一。
The Chinese author explains the things that there are three things:
1) substance of things
2) refinement (expression by the method using brush and ink)
3) my self or my own method
1) substance of things and 2) refinement must be united by 3) my self or my my method.
Apart from <free from the old ways> as One Painting as mentioned about this is another interpretation of One Painting concept and more like it shows the unity created through painting.
1684年，石涛作有《奇山突兀图》，上自题有“我自用我法”；石涛在去京津前，曾治有“我法”一印，每作画喜钤之。我法可能是石涛中年前后最喜欢使用的两个字。1691年，石涛至北京，客居法源寺，作山水册，其中有长篇题跋，这与其关于法的思想关系密切，其云：“我昔日见‘我用我法’四字，心甚喜之……夫茫茫大盖之中，只有一法，得此一法，则无往而非法，而必拘拘然名之曰为我法，又何法耶？”，他感叹道：“后之论者，指为吾法可也，指示为古人之法可也，即指为天下之法亦无不可。”[5]
石涛既说“我用我法”，又说“不立一法”，二者之间并不矛盾。这里涉及到石涛思想中的一个重要问题，就是：破法，破破法。如果说，破物障、理障是破法，那么，石涛同时又强调破除那种用来破物障理障的法。因为，局限于“破”，那必然落是非、有无之论，这正是佛学中观学派所说的“边见”。石涛这里所依据的正是大乘佛学的思想：我说法，即非法，是为法。《金刚经》第七品说：“如来所说法，皆不可取，不可说。非法非非法”。第十七品说：“所言一切法者，即非一切法，是故名一切法。”石涛“我用我法”和“不立一法”的关系，正是《金刚经》所说的非法、非非法所要表达的思想。
从石涛法的主张看，他之所以提出“我用我法”，就是要超越一切成法（包括古法和一切具体的法则），克服理障和物障，进入到一片自由的创造境界中。一画之法，乃自我立，立一画之法者，盖以无法生有法。我法立而他法死，我法即是一法，一法即是无法。理解石涛我法与一法的关键在一个“我”字，石涛的“我”的天地是不能有任何法可以规范的主体，他真正挣脱了法的束缚，所以有“不恨臣无二王法，恨二王无臣法”的说法。此臣法也即无法，无所拘束自由涌现之法也。所以，1691年，他在著名的《搜遍奇峰打草稿》中，有“不立一法，是吾宗也；不舍一法，是吾旨也”的著名表述。“不立一法”强调，我石涛的“我用我法”，其实是不立一法，没有任何法，即无法。“不舍一法”的“一法”就是他的至法，“一画之法”，这是“吾旨”——我的画学思想的最高准则（这两句话中的“一法”意思并不一样，“不立一法”的一法是一个准则，“不舍一法”的一法是一画之法）。这里更加清晰地显现了石涛关于法的思路：我法——一法——无法三者合一。
石涛注意到，他所用之“我”也易引起理解混乱。作为一法的我法，统摄众法，但我自为画，自有我在，对于那些不能领会石涛自由创造精神的人来说，又极易产生一个新的障碍——我障。执着于我法，虽然超越了外在的障碍，却溺于内在的困顿中。我用我法，一旦变成一种定则，一种不可超越的法则，一种对个性化的自恋，那么我法又极易堕入我障中。对于一个真正的艺术家来说，超越内在的障碍比超越外在的障碍更难，破我执甚于破物执，我执之障能使创造精神变成一腔幽暗的冲动。所以石涛对此保持高度的警惕。一方面，他强调“我自有我，自有我在，发我之肺腑，出我之肝肠”，宣畅自己的天赋法权；另一方面，他又说：“至人无法，非无法也，无法而法，乃为至法”。一法立即我法立，我法即无法，晚年他在扬州，曾在山水册中题道：“是法非法，即成我法。”[6]可见，石涛是以我法破他法，又以无法破那种可能趋于定相的“我法”。作为定相之我法，已非一法，它是对创造精神的遮蔽。依石涛画学的逻辑，他的无法论强调，每一次创作都是一次发现，一次创造，一次对此前的超越，所以，“我法”若流于定相，创造精神就会遁然隐去。
The author mentions here (the underlined part )as Shi Tao's logic
Shi Tao emphasized No Method of One Painting. Each time (every one time) you paint you make one manifestation, one creation which differs from the previous ones. Therefore if you insist "your own way" the creative spirit will go away.
My opinion
The author makes the front part (the underlined part) to reason the latter part (no method, not to stick to your own method) but does nor elaborate it. But this is also relate with One Painting as every One time you paint you make One manifestation, One creation which differs from the previous ones.
In face (in practice), either with or without intention even one painting you make differs from the others you make even you use your own method. You cannot perfectly control your method because many, really many factors which you cannot control are involved in the process of One Panting being made.
石涛将佛教法无定法的思想如盐溶水地汇入自己的画学体系中。1703年，他在题画跋中赫然标出“法无定相”，可以说是石涛论法思想最简洁最道地的概括。他自谓：“世尊说：昨说定法，今日说不定法，我以此悟解脱法门矣。” 定法与不定法皆是一法。佛教大乘空宗强调，一切诸法皆是空名，凡夫任识事物限于“遍计所执”，为形所拘，为名所拘，为识所拘，这都根源于我拘，一入我拘，将如春蚕作茧，重重织幛，所以要破我执，佛学于此有法无定法之论。石涛于此有破法破破法之思。
由此可见，石涛的一画之法，是法无定法之法，是无法之法。石涛提出一画说，是要破除一切成法，也破除这要去破法的意念，进入到一片自由的境界中去。这就是下文所说的创造性的问题。
The author introduces other Buddhist ideas
空宗 - Void phase
遍计所执 - Self Centered
The English words are a part of the original Chinese words which are Buddhist jargons. Again these are out of the range of this post. The author says: A fixed method or a non-fixed method is a method anyway.
My understanding:
空宗 - Void phase (which can be considered as No method)
遍计所执 - Self Centered (which must be avoided. To break the method and be free from the methods)
由此可见，石涛的一画之法，是法无定法之法，是无法之法。石涛提出一画说，是要破除一切成法，也破除这要去破法的意念，进入到一片自由的境界中去。这就是下文所说的创造性的问题。
Then the author concludes that Shi Tao's One Painting method is the method of no method He excluded any method including the method breaking the existing method, which leads the condition free from any restriction which leads to artistic creation.
三、一画之法，乃自我立。石涛提出一画说，是要申发他强调个体创造力的思想。
3. One Painting is self made. Shi Tao proposed One Painting and emphasized one own thought of creation.
《一画章》云：“一画之法，乃自我立。” 《远尘章》云：“画乃人之所有，一画人所未有。”这两处常常被解说者释为：一画别人没有提出过，是我石涛第一次提出的。将石涛这两段话理解为著作权的问题。有论者进而指责石涛：一画并不是石涛第一次提出 。用石涛的话说，这真是“冤哉”！这里的“我”不是石涛，而是自我(self)，一画之法，是我心中之法，而不是他法，立一画之法，就是自己做自己的主人。这一画之法，“见用于神，藏用于人，而世人不知”，它是太朴赠我的一粒生命的种子，它是宇宙赋予我的天赋法权，它神妙莫测，就藏在我的生命的深处。
“一画之法，乃自我立。”
Chapter 1
We already quoted this part in above as
“所以一画之法，乃自我立，立一画之法者，盖以无法生有法，以有法贯众法也。”
TAO TE CHING, The definitive edition; LAO TZU Translation and Commentary by Jonathan Star (Jeremy P. Tarcher / Penguin)
Chapter 1
"
However, man in the world does not realize this. I was the first to discover the principle of oneness of strokes. The principle of oneness of strokes is such that from no-method originates; from one method, all methods harmonize.
But the author refers to this again and explain as
This method was not made and announced first by Shi Tao but read this part as
The method to be made by you self.
The Chinese word ＜自＞has at least three meanings 1) self or oneself, 2) my self (your self) and 3) from and often means 1) or 3). The Chinese word ＜我＞means ＜I, or me or myself＞.
“一画之法，乃自我立。”
literally means
The method of One Painting is (乃) from me (自我) established (立).
So Jonathan Star's translation
I was the first to discover the principle of oneness of strokes.
has a similar meaning. How every the Chinese author's interpretation of this part comes from the meaning of <自我(self)>.
The method of One Painting is to be self established.
This interpretation is possible. But when reading this part in the context (before and after) as below it is strange to read ＜自我＞as ＜self＞. The modern Chinese word is ＜自己＞.
一画者，众有之本，万象之根；见用于神，藏用于人，而世人不知，所以一画之法，乃自我立。立一画之法者，盖以无法生有法，以有法贯众法也。
They were founded upon the oneness of strokes, The oneness of strokes is th origin of all beings, the root of myriad forms. It is revealed through spiritual reality, and innate in man. However, man in the world does not realize this.
The principle of oneness of strokes is such that from no-method originates; from one method, all methods harmonize.
Besides the Chinese author omits the reasoning conjunction ＜所以, therefore＞.
The Chinese author quotes 《远尘章》云：“画乃人之所有，一画人所未有。” to support his interpretation.
Jonathan Star's translation of this part
"
The talent to paint is originally possessed by man. But as for one-stroke painting, men have never before achieved it.
"
This translation is not so correct as no word for 'talent' is found in the original Chinese. Let's see this part in context, too.
远尘章第十五
人为物蔽，则与尘交。人为物使，则心受劳，劳心于刻画而自毁，蔽尘于笔墨而自拘，此局隘人也。但损无益，终不快其心也。我则物随物蔽，尘随尘交，则心不劳，心不劳则有画矣。画乃人之所有，一画人所未有。夫画贵乎思，思其一则心有所著而快，所以画则精微之，入不可测矣。想古人未必言此。特深发之。
TAO TE CHING, The definitive edition; LAO TZU Translation and Commentary by Jonathan Star (Jeremy P. Tarcher / Penguin)
Chapter 15 Sublimity and the commonplace
"
When man is confused by things, he attaches himself to commonplace. When man is ruled by things, his mind will become a servant. When the mind becomes a slave of limitation and rigidity, it destroys itself. Confused by the common taste in his brush work and limited by it, this is the man of rigidity. This can only be harmful and of no advantage to him. Finally there can be no satisfaction or joy in his mind. As for me, let things obstruct themselves. Let the commonplace associate with the commonplace. The the mind will be set free. When the mind is set free, the art of painting emerges.
画乃人之所有，一画人所未有。
The talent to paint is originally possessed by man. But as for one-stroke painting, men have never before achieved it.
To engage oneself in painting one must value thinking (intuition). Intuiting oneself, man's mind arrives its destination and is joyful. Therefore the art of painting will enter what is subtle, refined, and beyond imagination.
"
My comment
The front part of this English translation seems OK. Then ＜The talent to paint is originally possessed by man. But as for one-stroke painting, men have never before achieved it.＞does not match with the context of this front part.
The last part of this English translation seems not be so correct. And no translation for 想古人未必言此。特深发之。(The people in the past may or may not have referred to this. I will especially dig into it).
By considering the context before and after ＜画乃人之所有，一画人所未有。The talent to paint is originally possessed by man. But as for one-stroke painting, men have never before achieved it.＞
highly likely means
People have some idea of common and ordinary paintings but do not have an idea of One Painting.
In this part (or in some other parts) Shi Tao emphasizes the importance of ＜oneself＞ in painting and creation. ＜自我＞can be read as ＜from or through me＞and this ＜me＞ is not necessarily Shi Tao but oneself.
The point here is, in addition to the the importance of ＜oneself＞, 夫画贵乎思，思其一则心有所著而快，所以画则精微之，入不可测矣。 (To engage oneself in painting one must value thinking (intuition). Intuiting oneself, man's mind arrives its destination and is joyful. Therefore the art of painting will enter what is subtle, refined, and beyond imagination.)
The English translation misses one important word ＜其一 (this one, oneness)＞of ＜思其一＞.
＜To engage oneself in painting one must value thinking＞ should be－－＞ To engage oneself in painting one must think of this one(ness) of One Painting. The Chinese author refers this oneness later.
My opinion
Thinking and intuition are contradictory. But only thinking by yourself independently leads to meaningful and fruitful intuition which leads to a wonderful result beyond imagination, which may make you delighted.
《大般涅槃经》 卷十九《德王品》说：“一切众生悉有佛性，佛法众僧，无有差别，三宝性相常乐我净。”[7]每一个人都有自己的根性，都有自己的灵明，所以我石涛提出一画之法，就是要人把内心里的这个灵明显露出来。不必仰他人之鼻息，不必拾他人之残羹。我之有我，自有我在，别人作画，有别人之创造，我作画也有我的创造。何必以他人之意堵自己之路，我之作画，是我心中的一画，我心中的灵明，是他人断断没有的。
The Chinese author again refers to a Buddhist idea here. He uses 内心里的这个灵 / 我心中的灵明 (intuition, your mind) which I/you can get only when you use your own mind and paint your own painting. Other people cannot make you do this. Only you can do this.
在万法之中，石涛为何要树立一画之法？因为一画之法，是我的法，由我而立，是我深衷的感受。万法万学，虽然也有可观处，可学处，但总是他法。虽能资我心，激我意，但也可囿我心，困我意。我意不展，成为他人之奴仆，成为成法之工具，何来创造！何来新意！以这样的心意作画，虽曰作画，不如说刻画；虽曰己画，不如说是他人之画。在石涛看来，无一画，即无魂灵，这样也就达不到石涛所说的“出人头地”。
石涛取来大乘佛学“一切众生，悉有佛性”的思想，来表达他的创造思想，赋予一画说以深刻的内容。石涛这一思想在《画语录》中表现得较充足。石涛回归一画就是提取人的天赋权力的观点，令人印象特别深刻。《变化章》说：
“我之有我，自有我在。古之须眉，不能生在我之面目；古之肺腑，不能安入我之腹肠。我自发我之肺腑，揭我之须眉。纵有时触着某家，是某家就我也，非我故为某家也。天然授之也，我于古何师而不化之有！”
This part cannot be found in Jonathan Star's translation Chapter 3. The basic meaning is <Other people cannot make you do this (to get an intuition or inspiration make a good painting). Only you can do this. Or only Heaven can gives you.
在反复的“我”的咏叹中，石涛认为，我之所以要回到一画，回到生命的本然，那是我的权力，那是“天然授之也”。他说：“天生一人自有一人之用。” 我尽可秉持这一天然权力去创造，不必自卑，不必藏头护尾，纵然有时似某家，那又有什么关系，那是“某家就我，非我故为某家也”，某家不是我的主人，我的主人就是我。这正是“不恨臣无二王法，恨二王无臣法”。
人不能做他人他法的奴仆，也不能做万物的奴仆。他说：“人能受天之任而任，非山之任而任人也。”天地赋予人以生命，人生命的展开过程，就是天赋生生精神的铺展过程，人以及天地中的一切都源于创化，人和万物有同样的根源，也有同样的权利，所以他说：“非山之任而任人也”。但人和山川的共通，是源头上的共通，所以人不能为山川的形式所束缚，人应该在山川之“质”上和天地实现共通，从而成为山川的代言人。
石涛没有停留在歌颂人这种权力上，而是将这种权力看作是对人的挑战，石涛提出“天之授于人，因其可授而授之。”（《兼字章》）正像黄山谷所说的“天下清景，不择贤愚而与之，然吾特疑端为我辈设”[8]，真正的艺术家是那些能够感通天地的人，这样的艺术家才能得到创化的赐予。如心绪杂乱，汨于尘氛，心无主见，意有他骛，即非可授之人，天则不会授之。
正是这种挑战，使得石涛以激昂的笔调，呼唤人的创造力，呼唤
“见用于神，藏用于人” (It is revealed through spiritual reality, and innate in man. )
的一画精神。他引入儒家的“德配天地”的思想强化他的观点。他的《尊受章》实际上就是谈这个问题，他说：
“然贵乎人能尊。得其受而不尊，自弃也。得其画而不化，自缚也。夫受，画者必尊而守之，强而用之，无间于外，无息于内。《易》曰：‘天行健，君子以自强不息。’此乃所以尊受之也。”
"
Chapter 4 The value of inborn nature
If one has reached this type of paining but cannot be free from it, he has bound himself.
Regarding primordial intuition the artist must honor and preserve it, strengthen and apply it. Outwardly, there is no gap (everything ir, the universe has been penetrated). Inwardly there is no cessation. This I-Cheng states: "The action of nature is constant, so chung-ztu himself should be strong and unceasing." This means that he values his primordial intuition.
"
This English translation is difficult to understand. The difficulty comes from the two words尊受 Shi Tao used in Chapter. 尊受 is also the title of this chapter and also from This I-Cheng Shi Tao quoted.
Jonathan Stars explains 尊受 as follows:
受 (shou): (literally "to receive, or reception) "inborn nature", "natural gift", an innate ability contrast to knowledge; intuition, intuition knowledge, primordial intuition, more fundamental than knowledge which is later acquired (not inborn).
尊: (literally "to respect or respect (noun) to honor, to value. 受(special intuition) to be honored, preserved, strengthened, applied, valued.
In another words a painter must develop, strengthen and use this inborn, primordial intuition.
I-Cheng quite: "The action of nature is constant, so chung-ztu himself should be strong and unceasing." More literally a man must unceasingly strengthen himself as nature is going on soundly (nature does not hinder a painter from developing this).
My opinion
Intuition is OK as a source of creativity in painting but how to develop it ?
石涛认为，天行健，天的精神就是创造精神，所谓万物资始，大明以成，云行雨施，品物流形。而人作为三才之一，必须自强不息，刚健不息，饮太和之气，不停地创造，这样才能配得上独立天地之间，鼎然成三，才能配得上做天地的儿子，这就叫“德配天地”。所以《周易·文言》说：“夫大人者，与天地合其德，与四时合其序，与鬼神合其吉凶”。这样的“大人”精神，就是石涛这里提出的一画精神。
正是基于此，石涛认为一画的精神是回到天蒙，回到素朴，回到鸿濛，但这并不表示你就可以大有作为，成为可授之人，回到天蒙等只是一个起点，“透过鸿蒙之理”，是要“堪留百代之奇”。在这个起点上的创造才是艺术家最最需要的。
四、一画之法，乃自悟出。石涛提倡“一画”是要确立绘画的根本认识方式：悟。
4. One painting derives from your own enlightenment (悟). Shi Tao proposed enlightenment (悟) as a method to understand One Painting.
潘天寿曾说：“石溪开金陵，八大开江西，石涛开扬州，其功力全从蒲团中来，世少彻悟之士，怎不斤斤于虞山、娄东之间？”[9]所谓从蒲团中来，就是从悟中来。这是很有见地的。艺术家的创造力只有通过悟才能提取出来，在石涛看来，悟是一种无遮蔽的显现。石涛的“一画”说是要掘发出深衷的创造力，绘画创造方式有多种，由感相把握致之者，由理性把握致之者，由技巧圆备致之者，由妙悟可以致之者。在这些途径中，石涛唯取一径：悟。用他的话说，就是“此道见地透脱，只须放笔直扫”，“见地”是根本。这个“见地”就是觉悟。此道唯论见地，不论功用。
From the Shi Tao's view enlightenment (悟) is a kind of method to see things or the things to be seen as they are without covers. One painting can dig out the creative ability. There several methods to create paintings such as by using the senses or felling, by using the reasoning or head, by using techniques, by using enlightenment (悟). But the enlightenment (悟) is the most powerful and fundamental.
石涛对前三条途径皆不取。所谓由感相而致之者，就是他说的“世人形似耳”，在他们的笔下，竹也萧萧，花也灼灼，山也赫赫，水也迢迢，似则似耳，美则美耳，然究其竟，乃无灵魂也，人之深心为相所拘，画沦为徒然形色之具。石涛认为，此不通一画之弊也。
由理性而致之者，绘画认识过程的控制者是理性概念，绘画毕竟不是逻辑理性活动，不少画家动辄仿某家，法某派，这可以说是成法之理也；动辄在山川花鸟中计较何以是德，何以是仁，何以发挥教化之功能，何以见出人格之高标，这是以理性概念强行拘限山川花鸟，是理的究诘，这样人的内在生命创造力将会遁然隐去。石涛认为，这也是不通一画之弊也。
Shi Tao thought that good paintings cannot be made by using reasoning or logic but using something different. To try to understand by using reasoning or logic is to obstruct "One Painting". Some people says that paintings can lead men to gain virtue （behavior showing high moral standards）, benevolence (the quality of being well meaning; kindness), utility, enhancement of man's character. But these thinking covers the creating mind and hinders "One Painting" principle.
由技巧圆足而达之者，是技巧主义的道路，如画师课徒之类的方式。石涛秉持中国画学之传统，强调绘画是心的艺术，绘画要表达心灵的独特体验，而不是简单地逞才斗技，画道固然离不开技巧，但笔墨只为人所操持，技巧乃为表达人的精神所用，人不是技巧的奴隶，用他的话说，运夫墨，非墨运也，操乎笔，非笔操也。故石涛认为，奉行技巧主义的道路乃是不通一画之又一弊也。
Shi Tao thought that good paintings need some techniques buta painter should not become a slave of techniques. We referred to the quote above
运夫墨，非墨运也，操乎笔，非笔操也。
for one moves the ink, the ink does not move him. He holds the bush, the brush does not hold him.
石涛的一画，在认识方式上，要建立一种无识之识。他要解除人们习惯的认识方式，挤去“万”，而达至他的“一”，也就是无。目遇之为色，耳遇之为声，意辨之为法，等等，都是虚妄不实之识，都是名相之观，都和真正的绘画艺术方式有左。所以，石涛所提倡的悟法，就是要超越名相，超越身观，超越寻常的认识方式。
The author introduces here one way of recognition - Enlightenment (悟法) free from the old knowledge, old way of recognition - One not million, ie Nothing. Not superficial recognition like colors to the eyes, sounds to the ears, reason in the head - all these are not real and not true recognition needed for creation of painting art.
《画语录》之《远尘章》云：
“画乃人之所有，一画人所未有。夫画贵乎思，思其一则有所著而快。所以画则精微之入不可测也。”
(To engage oneself in painting one must value thinking (intuition). Intuiting oneself, man's mind arrives its destination and is joyful. Therefore the art of painting will enter what is subtle, refined, and beyond imagination.)
为什么思其“一”就能有所著，就能探精入微？因为“一”是澄明的，毫无染著，“一”就是无心，无念。如同《坛经》所说的“于念而不念”。石涛提出的“一画”说，是要强调他的无念的悟法。
We already talked about this above.
My opinion
Thinking and intuition are contradictory. But only thinking by yourself independently leads to meaningful and fruitful intuition which leads to a wonderful result beyond imagination, which may make you delighted.
So Jonathan Star's intuition and the Chinese author's Enlightenment (悟法) are similar. Intuition is usually free from the common senses (eyes, years, etc) and reasoning in the head.
在《画语录》中，石涛提出“尊受”的概念。在一定意义上就是要尊崇直觉的洞见。作为直觉洞见的受就是一画之受。一画之受，就是直觉，是一种不夹杂任何知识、欲念、情感的纯然之受，是对本性的洞见。石涛将其称为“大受”。小受是差别之受，大受是本觉之受，由感觉到直觉，便形成了石涛尊受说的内在理论结构。石涛虽然强调直觉领受的根本性特征，但并不由此排斥作为较浅层次的感觉之受。相反，他认为，由一般的感觉之受，推动情感的产生，使心体注目于外在的对象，神迷于心物之间的契合，并且增强心灵的识见，为直觉洞见奠定基础。在这里石涛显示出和佛学的差异，因为在佛学中，一般的感受如大海之泡沫，虚妄不真，是对人本性的遮蔽，而石涛则将其看成导入他的一画之大受的必要前提。石涛说：“不过一事之能，其小受小识也，未能识一画之权，扩而大之也。”一画之受，是对小受的“扩而大之”，当然这里的扩大决不是量上的增多，而是本质上的提升，是由表层感受过渡到本然之受，由差别之受过渡到不二之受，由情感之受过渡到无念之受。用他的一联题画诗表示，就是“一念万年鸣指间，洗空世界听霹雳。” 他说作画要“善用误墨，误者，无心，所谓天然也”[10]，就是受到这思想的影响。
Here the Chinese author refers again to Chapter 4 The value of inborn nature (尊受) and explains what 尊受 means or expands the meaning of 尊受.
So Jonathan Star's translation of this Chinese is ＜Inborn Nature＞ (the title of Chapter 4) and he explains (already mentioned above)
受 (shou): (literally "to receive, or reception) "inborn nature", "natural gift", an innate ability contrast to knowledge; intuition, intuition knowledge, primordial intuition, more fundamental than knowledge which is later acquired (not inborn).
尊: (literally "to respect or respect (noun) to honor, to value. 受(special intuition) to be honored, preserved, strengthened, applied, valued.
Shi Tao introduced grand intuition (大受) and small intuition (小受).
Chapter 4 starts with
受与识，先受而后识也。识然后受，非受也。古今至明之士，籍其识而发其所受，知其受而发其所识。不过一事之能，其小受小识也。未能识一画之权，扩而大之也。夫一画含万物于中。
Jonathan Star's translation
"
Distinguishing between intuition and knowledge, first there is intuition, then knowledge, first there is knowledge, then intuition. Throughout history, even very learned scholars - who relied upon their knowledge and developed their intuition, and, being aware of their intuition, then developed their knowledge - were capable of a single thing. That is small intuition and small knowledge. These men did not yet comprehend the power of one-stroke, expand it, and enlarge it. That which is the one-stroke contains myriad things in it.
"
In Jonathan Star's translation the small intuition is rather negatively treated while he Chinese author reads this part “不过一事之能，其小受小识也，未能识一画之权，扩而大之也。” as
But (this is) one state of thing, and small intuition and small knowledge. Not yet knowing "One Painting" “权” (breaking the old way) but can expand and enlarge it.
The first 不过 means "only" (Jonathan Star) as well as "but" (Chinese author). Jonathan Star's last part "That which is the one-stroke contains myriad things in it." has no relation with the previous statement (small intuition, which is negatively treated). How to read this part ?
一画之受，是对小受的“扩而大之”，当然这里的扩大决不是量上的增多，而是本质上的提升，是由表层感受过渡到本然之受，由差别之受过渡到不二之受，由情感之受过渡到无念之受。
To expand and enlarge it (small intuition) is not in quantity but elevation in quality. Accumulation of small intuitions (and knowledge is related with intuition) expands to grand one, which is One and Nonthinking One.
My opinion
This is one point. As "intuition" is rather abstract, cannot be analyzed by reasoning. Though intuition works in creation of painting but the result of it must be revealed in a painting. The accumulation of small intuitions must be harmonious and unified to make them leads to a grand intuition and a grand result. Also as Shi Tao says in this chapter intuition development relates or is intermingled with knowledge development. In fact this process goes on in myriad ways and myriad factors are involved. So One(nesee) for harmonious unity is rrequired.
石涛提倡悟，当然来自于禅门，但他并不是像禅门有那么多的操持，石涛自号钝根，十分反常地称自己为小乘客 ，在唐代以来的禅宗发展史上，很少有人自号为小乘客，在以禅悦相激赏的文人艺术家那里，更是讳言小乘。但在这些号称大乘客的文人中，倒是有不少人真的是禅家门外汉。而一身禅病冷如冰的石涛，却深藏般若智慧，具有大乘灵性，强调智慧观照，奉行妙悟之方。石涛在一则题画跋中写道：“前人云：远山难置，水口难安。此二者原不易也，如唐人千岩万壑头角十全者，远山水口之变无一不有。若冷丘壑不由人处，只在临时间定。”他的两则题画诗说得更清楚：“喝棒应当机，豁然开豹露。” “丘壑自然之理，笔墨遇景逢缘。以意藏锋转折，收来解趣无边。”[11]
在这里，所谓“只在临时间定”、“当机”、“豹露”、“遇景逢缘”等，都是禅门之语，即禅宗所强调的当下直接的领悟，刹那片刻的真实。石涛有时将这种瞬间的领悟称为“镜中取影”。他在一则画跋中说：“古人立一法非空闲者，公闲时拈一个虚灵只字，莫作真识想，如镜中取影。山水真趣须是入野看山时，见它或真或幻，或是我笔头灵气，下笔时他人寻起止不可得。此真大家也，不必论古今矣。”镜中取影，玲珑活络，无所沾滞，自在圆满，所以别人寻起止不得，因为这是“由临时间所定”下，是悟入的产物。在这个意义上说，吴冠中先生所说的“石涛所谓的一画之法,就是不择手段地创造能表达自己独特感受的画法”[12]的理论才找到真正的立脚点。
Here the author refers to Buddhism again and also refer to some writings in Shi Tao's paintings. He also refers to Wu Guanzhong's comment on Shi Tao's One Painting.
Wu Guan Zhong says "Shi Tao's One Painting is the method of creatively expressing the painter's own feeling (to an object) no matter what method he or she takes.
My opinion
In Zen Buddhism Enlightenment (悟) suddenly in a moment comes, comes in to your head or comes out in your head (which you have been looking for).
五、一画之悟，乃自性起。石涛提倡“一画”是要建立“性”的觉体。
One Painting is Enlightenment (悟) . Shi Tao proposed that One Painting is to establish the sense of "nature" of man.
“一画”说要解放个体的创造力，但不代表“一画”说是一个洋溢着强烈主观主义色彩的学说。有的论者认为石涛受到心学的影响，沾染上了晚明的狂禅之风。石涛个性中确有狂的成分，他的艺术风格确有狂狷纵横之气，其掀天掀地之文，纵横恣肆之画，诡谲奇瑰之书法，都饱含着激昂流荡的气势，都具有浪漫高标的“大涤子”风采。这也是石涛的特色。
Shi Tao's One Painting liberated painter's creativity. But this does not mean that he emphasized the strong individual subjective creativity. Some people say that his paintings and writings (calligraphy) in his painting show some his lunatic character and style, even grotesque and romantic nature.
但是，深入研摩石涛的文字，可以发现，石涛并不是简单地“从于心”，而是“根于性”，由“性”而起，才是他的“一画”说最终的落脚。“一画”所要建立的不是心的本体，而是性的本体。石涛说要回到一画，也就是回复人的自在之性。在性中，才能没有机心，没有解释的欲望，像鸟儿那样飞翔，像叶儿那样飘零，这样才能真正实现与山光水色相照面。以一“性”通万象，就能以一“性”控笔墨。石涛强调一法见万法，这个万法只能在性中显现，而不能通过人们的心识所达到。如慧能所说：“于自性中，万法皆现。”性是我之体，而心包括的是意志、情绪、知性活动，无法作为世象的明镜而显现一切。所以也就无法完成一和万的转换。
The Chinese author says that Shi Tao referred to the importance of man's "nature (性)" (some thing naturally possessed by man) rather than man's heart "心" or mind. As man's heart "心" or mind tends to have intention, desire, preference (and is subjective) while man's nature is (objective) mingled with nature, can reflect (objectively) the nature. (the author does not use the words "subjective" and "objective" here). This man's nature is the origin of One Painting and artistic creativity.
The author also refers to the influence of Zen Buddhism to One Painting concept.
My opinion
Artistic creation is not simple and difficult to explain by using words. Zen Buddhism says Enlightenment (悟) cannot be explained by words. But this contradicts to Shi Tao's writing Hua-p'u (Treatise on the Philosophy of Painting).
石涛潜在地依照南宗禅的思路，以为性觉才为本觉，技巧的获得，画法的具备，只能是一种末识。我之所以说石涛建立的“一画”不是一种心本体，因为石涛并不是以绝对的创作意志去控制，以主体的意欲去渲畅，石涛说了那么多的“我”字，并非主张“宇宙在我心，我心即宇宙”，“宇宙我出，造化我生”，他和心学的主张有相当大的差异。在石涛这里，世界不是意志的表象，不是心的表象，世界即心，心即世界。他强调的作画方式是“随转随注，出乎自然”[13]，用“迹化”二字表示也许更加确切，他说：
“山川使予代山川而言也，山川脱胎于予也，予脱胎于山川也，搜尽奇峰，打草稿也，山川与予神遇而迹化也。” Actual this continues to 所以终归之于大涤也。
Jonathan Star's translation
Chapter 8 (Mountains and Rivers)
"
Mountains and rivers let me communicate for them. They are free from me and I am free from them. I thoroughly investigate strange peaks, making rough sketches. Mountains, rivers and I meet a spiritual level and mingle together without trace. Therefore, finally all belong to Ti Ta (Shi Tao).
"
This translation is not very correct as this part states the process of a certain mysterious transformation (迹化) of the mind, spirit of a painter which contributes to a creations of painting.
迹化: a spiritual level and mingle together without trace. ＜化＞ means transformation. 迹化 may means transformation with hidden trace. Shi Tao also used the word ＜化＞for transformation and ＜变＞for change as well as ＜变化＞as the title of Chapter 3.
They are free from me and I am free from them. －－＞ They (mountains and rivers) are born from me and I am born free from them. Thus it indicates Oneness of nature and a painter.
This process is important. Shi Tao exploited it in Chapter 18 ＜资任 Creativity and Fulfillment of Nature＞. The author will refer to Chapter 18 later. So we will check it later.
My opinion
Actually something mysterious (which cannot be managed and controlled by man) works when a good painting is made - myriad factors are involved. This phenomenon is seen in almost anything in the world. Not just paintings but a baseball game, football match, war, business, politics, our lives, etc., etc. Some or very much intentions are involved and almost always we see unexpected outcomes. But we can also see some fundamental laws of nature.
才能冥能所，合物我，全天人，才是真正的“一”，才是“一画”。也只有这样，才能不落“边见”，不着有无，不执是非。如果如心学那样以心统万物，进而上下与天地同流，则不能称为“一画”，而是“心画”了。
所以，石涛之一画，不是设天人之防，以人去统天。如：我之灵明即天之灵明，我的心意即天之意，我照亮了万物，世界因我而美，我是万物的主人，发挥自我的创造力，就是以自己的情意去控制世界，铸造世界。这样的思路是不符合石涛思想的。石涛提出“一画”说毋宁说是为了张扬一种境界，一种创作和欣赏的境界。就是：画由性起，性随画生，自在兴现为世界存在之方式，也为绘画所应达到的最高境界。
"nature (性)" is not a heart nor feeling nor emotion.
石涛的一画是绝于对待的，所以它绝于天人之对待。他让画家奉行一画，就是要解除心与物、天与人之间的相互冲突的关系，从世界的对面回到世界之中，我就是这世界的一分子。石涛提倡“一画”，要人们从“万”回到“一”，也就是回到天人物我相合的“一”中。在石涛看来，人将自己视为主，将对象视为宾，这样，人与对象的关系是分离的、二元的。当人作为认识的主体的时候，人似乎不在这个世界中，他用理性的大脑、高高地站在人的位置打量对象，实际上，是人站在世界的对面看世界。人与世界之间有巨大的“壅塞”、“障壁”，此时，人与世界的关系只能是“隔”、“滞”，不可通。人满足于对对象的解释，这样必然造成对对象真性的忽略。所以，石涛秉持禅家思想，强调要从世界的对面回到世界之中，超越主客二分的模式，天人一体，物我同视，自在显现，从而恢复在这个世界中的真实位置。
Here the author introduces the subjective world and objective world or the inner world and the outer world or man and things. Shi Tao proposed by the Buddhist Zen idea that these two worlds are usually treated separately but in the artistic world either creation or appreciation these two worlds should be merged or united through One Painting concept.
The author here explains subjectivity and objectivity in a deeper sense by referring Oneness. That is
that a man see the things (objects) or the world subjectively like a man as a master and things (objects) or world as a slave. There is a barrier (difference) between a man and the outer world - two different things. Shi Tao suggested to destroy this barrier and combine them together to the whole one. The world and a man as a whole - Oneness. And this is the real and true position of a man.
石涛的画学思想有强烈的任持自性的思想。《画语录》的“资任”一章就专门谈这个问题。在他看来，万物受任于天，皆有其存在之合理性，也决定了存在的差异性。石涛伸展个性的画学非常重视这种差异性。万物本于天，因而各得其性，其性之完满展开，即自然，即本性。石涛“资任”学说的核心就是“任性”，也就是万物的自在呈现。虽然万物都是生生联系中一个纽结，但都有其存在之特点，丧失了这一特点，也就丧失了存在的可能性，即失去了“自性”，负于天之所任。
Shi Tao talked about this problem in Chapter 18 ＜资任 Creativity and Fulfillment of Nature＞. So we check this Chapter. Chapter 18 is the last chapter of Hua-p'u.
资任章第十八
古之人寄兴与于笔墨，假道于山川，不化而应化，无为而有为，身不炫而名立，因有蒙养之功，生活之操，载之寰宇，已受山川之质也。以墨运观之，则受蒙养之任；以笔操观之，则受生活之任；以山川观之，则受胎骨之任；以郭皴观之，则受画变之任；以沧海观之，则受天地之任；以坳堂观之，则受须臾之任；以无为观之，则受有为之任；以一画观之，则受万画之任；以虚腕观之，则受颖脱之任。有是任者，必先资其任之所任；然后可以施之于笔。如不资之，则局隘浅陋，有不任其任之所为。且天之任于山无穷。山之得体也以位，山之荐灵也以神，山之变幻也以化，山之蒙养也以仁，山之纵横也以动，山之潜伏也以静，山之拱揖也以礼，山之纡徐也以和，山之环聚也以谨，山之虚灵也以智，山之纯秀也以文，山之蹲跳也以武，山之峻历也以险，山之逼汉也以高，山之浑厚也以洪，山之浅近也以小。此山受天之任而任也，非山受任以任天也，人能受天之任而任，非山之任而任人也，由此推之，此山自任而任也，不能迁山之任而任也。是以仁者不迁于仁而乐山也。山有是任，水岂无任耶？水非无为而无任也。夫水：汪洋广泽也以德，卑下循礼也以羲，潮汐不息也以道，决行澉跃也以勇，潆洄平一也以法，盈远通达也以察，沁泓鲜洁也以善，折旋朝东也以志。其水见任于瀛潮溟渤之间者，非此素行其任，则又何能周天下之山川，通天之血脉乎？人之所任于山不任于水者，是犹沉于沧海而不知其岸也。亦犹岸之不知有沧海也。是故知者，知其畔岸逝于川上，听于源泉而乐水也。非山之任，不足以见天下之广，非水之任，不足以见天下之大。非山之任水，不足以见乎周流；非水之任山，不足以见乎环抱。山水之任不著，则周流环抱无由；周流环抱不著，则蒙养生活无方。蒙养生活有操，则周流环抱有由；周流环抱有由，则山水之任息矣。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。
Jonathan Star's translation
Chapter 18 ＜Creativity and the Fulfillment of Nature＞
The original Chinese title ＜资任＞ has a special meaning and Shi Tao coined this,
What is Fulfillment of Nature （资任）?
资任 - to render
资任 (found first in the last Chapter 18 and the key two words in 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".
What is Fulfillment of Nature in Shi Tao ? Let's see.
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古之人寄兴与于笔墨，假道于山川，不化而应化，无为而有为，身不炫而名立，因有蒙养之功，生活之操，载之寰宇，已受山川之质也。
In the past, men experienced their feeling through brush strokes and ink wash painting mountains and rivers. Their approach was to meet all variations through the invariables. They proceeded to action through non-action. They did not display themselves, yet they were known, because the achieved awakening from the cultivation of non-differentiation and grasped the life spirit. Thus, these qualities carried them to universe, which means that ancient artists obtained the essence of mountains and rivers.
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Shi Tao uses some special words he invented.
＜to meet all variations through the invariables.＞ is originally only two words 应化. 应化 literally means ＜to change or to transform accordingly＞. Here ＜to change＞ means to paint, to express mountains rivers on paper by using a brush and ink wash and in this case satisfying all variations through the invariables - successful paintings.
They proceeded to action through non-action. 无为而有为 means in this case ＜using methods gained from No-method approach. This method leads to ＜to change or to transform (to paint) accordingly＞.
They did not display themselves, yet they were known - means they (ancient painters) did not make themselves well knows but thew were well known.
Non-differentiation （蒙养）and the life spirit （生活）are special words and co-related. We talked about these words in my first blog on Shitao's Hua-p'u (Treatise on the Philosophy of Painting) together with the other his special words.
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蒙养 - Concealment in non-differentiation
"Concealment in non-differentiation" is a very elaborate translation. What is "non-differentiation"? This is the question to which answer we must dig out. Literally "non-differentiation" 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 non-differentiation in rhetoric. So 生活 means "Manifestation" in contrast to "Concealment". Then "Manifestation" of what ? The answer would be "Manifestation of Concealment in non-differentiation". Then we have been back to the question "What is non-differentiation?" 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 non-differentiation 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.
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以墨运观之，则受蒙养之任；以笔操观之，则受生活之任；以山川观之，则受胎骨之任；以郭皴观之，则受画变之任；以沧海观之，则受天地之任；以坳堂观之，则受须臾之任；以无为观之，则受有为之任；以一画观之，则受万画之任；以虚腕观之，则受颖脱之任。
When we examine the movement of the ink wash, we know that the artists had obtained the awaking from the awakening from the cultivation of non-differentiation.
When we examine the exercise of brush strokes, we see that the artists had obtained the life spirit.
When we examine the mountains and rivers, we see that the artists had grasped the fundamental structure.
When we examine the contours and wrinkles, we see that they had grasped the various expressions of the brush strokes.
When we examine the vastness of the ocean, we see that they had grasped the essence of heaven and earth.
When we examine the little bits of grass floating on the water, we know that they had grasped the essence of moment.
When we examine the non-acton, we see that they had grasped the essence of action.
When we examine one-stroke, we know that they had grasped the essence of myriad strokes.
When we examine the freedom of the wrist, we know that their achievement had gone beyond the brush .
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"When we examine the non-acton, we see that they had grasped the essence of action."
Please recall that non-acton does not mean 100% non- action, acting (doing) nothing but action with a very little intention or with no intention. A painting made with much intention is not good as that made by with a very little intention or with no intention.
These sentences arrangement is the repetition rhetoric. Sometimes the rhetoric works more than the meanings. But in this case the meanings work as they are. The point is that in the original Chinese Shi Tao hear uses the key word ＜任＞(to render or rendering) repeatedly. So the original meanings are all ＜You can see (受) xxx rendered by the artist.＞ ＜xxx rendered by the artist＞is the result of transformation.
Please also recall the meaning of (受), not simply <to receive> but as mentioned above (受) Shi Tai uses has the following connotation.
受 (shou): (literally "to receive, or reception) "inborn nature", "natural gift", an innate ability contrast to knowledge; intuition, intuition knowledge, primordial intuition, more fundamental than knowledge which is later acquired (not inborn).
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有是任者，必先资其任之所任；然后可以施之于笔。如不资之，则局隘浅陋，有不任其任之所为。
Those who possess these qualities must first let them be revealed by themselves, then they will be able to be applied by the brush. If one should not let these qualities be revealed by themselves, then the brush work will become rigid, shallow and awkward, and he will not be able to let them be fulfilled by themselves.
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This part is difficult to understand.
<these qualities> , <them>, <themselves>, <they> all refer to ＜任＞(to render or rendering).
The how to <let them be revealed by themselves> ?
We can think of the question <What is Fulfillment of Nature in Shi Tao ?> I raised. Jonathan Star used <Fulfillment of Nature> for <资任> - the title of Chapter 18.
Now back to the Chinese article.
万物各有自性，人也有其自性，人必须不舍自性。石涛由此展张了他对人受任于天因而自任其性的思想，所谓“天生自有一人职掌一人之事”正是指此。他说：“我之为我，自有我在。”我就是完足，就是充满，这是天资之性、天赋之权，古人不能剥夺我，古人以其差异性展现了他的独创性，我也应以我的差异性展现我的独创，一切外在的力量均不可剥夺我的权利。我只要做到自任，自性展露，才不枉于天任；回到一画，回到蒙养之源初，即回归自性；回到纯一不杂的本性，就是自性。
Everything in the world has its own "nature (性)" as man has its one "nature" as well. This nature should be free and true and fulfilled when necessary without any restriction. Then it leads to artistic creativity.
禅宗有所谓“教外别传，不立文字，直指本心，见性成佛”的十六字心传之秘。“见性”在禅宗中被视为宗教修炼的最高目的，修炼就是要使佛性自在显现，禅宗将一个“见”（现）字看得十分重要，神会竟然说：我三十多年所学功夫，只在一个“见”字 。 见性学说被看作禅宗的不言之秘。禅宗认为，一切众生，本有佛性，其灵明就是一个具足的世界，它本自清净，但是被烦恼覆盖，被欲望缠绕，使性遁迹难见，这性就是佛性，真性，也是自性，它是人的本然之性。以慧能为代表的南宗禅实现了最终实体的佛性和人的自性的合一，认为佛性就是自性。禅宗强调在了悟之后，这个自性就会自然显现，自在圆满，丝毫不隐藏，朗照一切。
Zen Buddhism sees that this nature is the nature of Buddha, the true nature, the man's own nature deriving from the original nature. This nature can be obtained only after Enlightenment attained, and naturally revealed, fulfilled, no concealment, enlighten every thing.
禅宗所说的见性的“性”不仅是人的内心世界的一种描绘，它反映了禅宗对世界存在方式的根本观点，自在显现是一种境界，这种显现是一种生命的原样呈现，如同禅宗的古德所说的“青山自青山，白云自白云”，“青山不碍白云飞”，“云在青天水在瓶”。云自飘，水自流，花自绰约，柳自窈窕，一切都自在优游，就像黄山月轮禅师在回答弟子“如何是本来面目”时所说的：“不劳悬石镜，天晓自鸡鸣”[14]。这个自在显现的世界就是“本来面目”，是原发的世界。禅宗强调世界方式的自在性，主要是为了说明，人能成佛见性，就会如如不迁，没有表达的欲望，没有理性的桎梏，没有大人主义的控制欲望，只有一任自性随世界而优游，与青山白云相往还，像云那样展现，像风那样缱绻。而石涛所看重的就是这种境界。石涛一生虽命运坎坷，但一直以护持真性为志，不敢有丝毫懈怠，作为一个禅客，见性成佛为其念念不忘；作为一位画家，他也强调以真性去作画，他的画是其真性的显露。石涛提出：“何妨笔墨资真性。”[15]他把禅宗的“真性”学说作为服膺之对象。他在金陵时，号称“壁立一枝” ，在扬州期间名其阁为“一枝阁” 。他所谓一枝，并非是为了独自高标，以为超出群表。如果这样理解石涛，那是对石涛的误解。一枝不比他枝，石涛并非要出人头地，他的一枝，性也，是天赋之一枝，本然之一枝，自在显现，不受他法限制之本我，这是一种性的裸露。他自号“瞎尊者”，也表达了他不甘泯灭真性的愿望 。
The nature does not care of the human intentions. The things in nature are what they are and how they are. An artist should be like this though One Painting and enter into and stay in the fundamental realm of freedom. This should be totally free from any restrictions. Then he can find the true meaning of the outer world which has myriad things. Then he can find the true meanings of the myriad things.
他对禅家自在显现的学说深为致意，他在题画诗中写道：“白云自是无情物，随我枯心飘渺中。”他每每说自己的心是一种枯心 ，这枯心就是淡去一切束缚，进入到“一画”境界的心。此时我无心，物无念，我也无情意去改造物，物对我也没有诱惑，一切都自在性起，自在运行，山有山之性，水有水之性，我有我之性，山水白云自飘渺，枯心一片随风飘。他将人置于这种自在优游的境界称为“闲”，他在题画中说：“闲山闲水，必自有意”；“一泓野水茆檐下，轮与闲人看白鹭”；“一水一亭闲意趣，只凭消息令人知”等。闲山闲水闲意趣，就是一片自在显现的境界。
在这里我们可以看到，他对禅家“见性”境界的向往，康熙三十八（1699）年，他在一幅送给朋友的画中题道：“空山无人，水流花开。拈坡公语为西玉道兄。”“空山无人，水流花开”是苏轼之语，然此语被禅宗所借，而成为一重要境界 。石涛正取此意。康熙三十四（1695）年，他在一幅设色山水中题道：“夕阳在山云在水，高歌人醉杏花天”。语取唐李翱访问药山惟俨禅师后所写的诗：“我来问道无余说，云在青天水在瓶。”石涛题画诗道：“茅屋无人到，云生谷口田。”也取自禅语。而其著名的《与友人夜宴诗》中的“大叫一声天地宽，团团明月空中小”诗句，也来自禅门。禅宗灯录中也有类似之语，《临济录》云：“孤轮独照江山静，自笑一声天地宽。” 这里并不是说石涛的诗语有模仿之嫌，而是说禅宗的见性成佛的思想对于他有沦肌浃骨的影响，他的一画说所要张扬的正是这种境界。
六、综上所论，关于石涛的一画说，可得出两点结论：
Conclusion: One Painting leads to two conclusions
一、石涛的一画不是道，不是线，而是法。这个法是他的至法，至法即无法，是一种母法则，是法本身。一画作为无法之法，是要使画家解除一切来自于传统、概念、物欲、笔墨技法等束缚，进入到一片创作的自由境界中。所以，一画的核心是要掘发人的创造力，这一创造力是人的自性的显现，而如何使这一创造灵明自在兴现，惟有通过妙悟的认识途径才能达到。石涛的一画说，不是一个关于画法的理论，而是一种侧重于建立自性本体的理论，这一自性本体可以称为创造本体。所以在《画语录》中，尊受、蒙养、生活、资任、氤氲等石涛整合的新概念，都是围绕着一画而展开的，都是为了突显一画作为创造本体的特点。正因如此，一画可以说是一种体物方式，一种创作原则，一种创作心境，甚至可以说是一种人生境界。它比较全面地反映了石涛在画学方面的整体看法，所以他说：“吾道一以贯之”。在中国画学史上，虽然也有一画、一笔画等类似的概念，但和石涛这里所要表达的内涵是不同的。故我以为，一画说是石涛独创的画学概念，如果说石涛有画学理论体系，这个体系的中心概念就是一画。
1. Shi Dao's One Painting is not Lao Tse's Dao, not one line, not one brush stroke, not a method but the center concept of Shi Tao's philosophy or theoretical system of paintings.
二、石涛一画说的思想渊源主要来自于禅宗。在《画语录》中，儒家思想，易学思想、道家思想都有不同程度的体现，但其根本的思想来源主要是禅宗。虽然依照石涛法无定法、不立一法之思想逻辑，不应该为其确立一个思想源头，但其痕迹是如此明晰，使我无法放弃这一判断。只是我感到石涛并非是生吞活剥禅宗思想，他是把禅的思想冥然溶入到他的具体论述之中。禅是一画之髓。石涛一画说的理论基础是大乘佛学的“一切众生，悉有佛性”的思想和南宗禅“直指本心，见性成佛”的观念，他不像莫是龙、董其昌硬性套用禅宗的理论，为自己取得南宗禅的正宗地位，石涛是用南宗禅的精神写出他的惊世绝俗的《画语录》，铸造他义理晦涩的一画说的。
2. One Painting concept may have derived from Confucianism, I-Cheng theory, Taoism or a part of them but mainly come from Zen Buddhism. This is why the content of Hua-p'u and concept of One Painting are difficult to understand.
My Opinion
Please appreciate the Paintings shown in this post. And the concept of One Painting is not just one concept but has several different concepts combined together. This concept of <several different concepts combined together> is the concept of One Painting. A good painting is made as a whole by combining many or myriad different factors combined together harmoniously and usually made naturally, not intentionally. So it is difficult to analyze the process how a good panting is created. Shi Tao tried it very philosophically not technically as he thought that techniques and methods are not the fundamental things to make real and good paintings.
石涛画谱原文
一画章第一
太古无法，太樸不散，太樸一散而法立矣，法于何立，立于一画。一画者，众有之本，万象之根；见用于神，藏用于人，而世人不知，所以一画之法，乃自我立。立一画之法者，盖以无法生有法，以有法贯众法也。夫画者，从于心者也。山川人物之秀错，鸟兽草木之性情，池榭楼台之矩度，未能深入其理，曲尽其态，终未得一画之洪规也。行远登高，悉起肤寸。此一画收尽鸿蒙之外，即亿万万笔墨，未有不始于此而终于此，惟听人之握取之耳。人能以一画具体而微，意明笔透，腕不虚则画非是，画非是则腕不灵。动之以旋，润之以转，居之以旷。出如截，入如揭。能圆能方，能直能曲，能上能下。左右均齐，凸凹突兀，断截横斜，如水之就深，如火之炎上，自然而不容毫发强也。用无不神而法无不贯也，理无不入，而态无不尽也。信手一挥，山川、人物、鸟兽、草木、池榭、楼台，取形用势，写生揣意，运情摹景，显露隐含，人不见其画之成，画不违其心之用。自太樸散而一画之法立矣。一画之法立而万物著矣。我故曰：吾道一以贯之。
了法章第二
规矩者，方圆之极则也；天地者，规矩之运行也。世知有规矩而不知夫乾旋坤转之义，此天地之缚人于法，人之役法于蒙，虽攘先天后天之法，终不得其理之所存。所以有是法不能了者，反为法障之也。古今法障不了，由一画之理不明。一画明，则障不在目，而画可从心。画从心而，障自远矣。夫画者，形天地万物者也。舍笔墨其何以形之哉！墨受于天，浓淡枯润随之；笔操于人，勾皴烘染随之。古之人未尝不以法为也。无法则于世无限焉。是一画者，非无限而限之也，非有法而限之也，法无障，障无法。法自画生，障自画退。法障不参。而乾旋坤转之义得矣，画道彰矣，一画了矣。
变化章第三
古者识之具也。化者识其具而弗为也。具古以化，未见夫人也。尚憾其泥古不化者，是识拘之也。识拘于似则不广，故君子惟借古以开今也。又曰：“至人无法”，非无法也，无法而法，乃为至法。凡事有经必有权，有法必有化。一知其经，即变其权；一知其法，即功于化。夫画，天下变通之大法也，山川形势之精英也，古今造物之陶冶也，阴阳气度之流行也，借笔墨以写天地万物而陶泳乎我也。今人不明乎此，动则曰：某家皴点，可以立脚，非似某家山水，不能传久。某家清淡，可以立品。非似某家工巧，只足娱人。是我为某役，非某家为我用也。纵逼似某家，亦食某家残羹耳。于我何有哉！或有谓余曰：“某家博我也，某家约我也。我将于何门户？于何阶级？于何比拟？于何效验？于何点染？于可革郭皴？于何形势？能使我即古而古即我？”如是者知有古而不知有我者也。我之为我，自有我在。古之须眉，不能生在我之面目；古之肺腑，不能安入我之腹肠。我自发我之肺腑，揭我之须眉。纵有时触着某家，是某家就我也，非我故为某家也。天然授之也。我于古何师而不化之有？
尊受章第四
受与识，先受而后识也。识然后受，非受也。古今至明之士，籍其识而发其所受，知其受而发其所识。不过一事之能，其小受小识也。未能识一画之权，扩而大之也。夫一画含万物于中。画受墨，墨受笔，笔受腕，腕受心。如天之造生，地之造成，此其所以受也。然贵乎人能尊得其受，而不尊，自弃也；得其画而不化，自缚也。夫受：画者必尊而守人，强而用之，无间于外，无息于内。《易》曰：“天行健，君子以自强不息”。此乃所以尊受之也。
笔墨章第五
古人有有笔有墨者，亦有有笔无墨者，亦有有墨无笔者；非山川之限于一偏，而人之赋受不齐也。墨之溅笔也以灵，笔之运墨也以神，墨非蒙养不灵，笔非生活不神，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。山川万物之具体，有反有正，有偏有侧，有聚有散，有近有远，有内有外，有虚有实，有断有连，有层次，有剥落，有丰致，有飘缈，此生活之大端也。故山川万物之荐灵于人，因人操此蒙养生活之权，苟非其然，焉能使笔墨之下，有胎有骨，有开有合，有体有用，有形有势，有拱有立，有蹲跳，有潜伏，有冲霄，有崩力，有磅礴，有嵯峨，有奇峭，有险峻，一一尽其灵而足其神？
运腕章第六
或曰：绘谱画训，章章发明，用笔用墨，处处精细。自古以来，从未有山海之形势，驾诸空言，托之同好。想大涤子性分太高，世外立法，不屑从浅近处下手耶？异哉斯言也！受之于远，得之最近；识之于近，役之于远。一画者，字画下手之浅近功夫也；变画者，用笔用墨之浅近法度也；山海者，一丘一壑之浅近张本也；形势者，皴之浅近纲领也。苟徒知方隅之识，则有方隅之张本。譬如方隅中有山焉，有峰焉，斯人也，得之一山，始终图之，得之一峰，始终不变。是山也，是峰也，转使脱瓿雕凿于斯人之手，可乎不可乎？且也形势不变，徒知皴之皮毛；画法不变，徒知形势之拘泥；蒙养不齐，徒知山川之结列；山林不备，徒知张本之空虚。欲化此四者，必先从运腕入手也。腕若虚灵则画能折变，笔如截揭则形不痴蒙。腕受实则沉著透澈，腕受虚则飞舞悠扬，腕受正则中直藏锋，腕受仄则欹斜尽致，腕受疾则操纵得势，腕受迟则拱揖有情，腕受化则浑合自然，腕受变则陆离谲怪，腕受奇则神工鬼斧，腕受神则川岳荐灵。
氤氲章第七
笔与墨会，是为氤氲，氤氲不分，是为混沌，辟混沌者，舍一画而谁耶？画于山则灵之，画于水则动之，画于林则生之，画于人则逸之。得笔墨之会，解氤氲之分，作辟浑沌手，传诸古今，自成一家，是皆智得之也。不可雕凿，不可板腐，不可沉泥，不可牵连，不可脱节，不可无理。在于墨海中立定精神，笔锋下决出生活，尺幅上换去毛骨，混沌里放出光明。纵使笔不笔，墨不墨，画不画，自有我在。盖以运夫墨，非墨运也；操夫笔，非笔操也；脱夫胎，非胎脱也。自一以分万，自万以治一。化一而成氤氲，天下之能事毕矣。
山川章第八
得乾坤之理者山川之质也。得笔墨之法者山川之饰也。知其饰而非理，其理危矣。知其质而非法，其法微矣。是故古人知其微危，必获于一，一有不明则万物障，一无不明则万物齐。画之理，笔之法，不过天地之质与饰也。山川，天地之形势也。风雨晦明，山川之气象也。疏密深远，山川之约径也。纵横吞吐，山川之节奏也。阴阳浓淡，山川之凝神也。水云聚散，山川之联疏也。蹲跳向背，山川之行藏也。高明者，天之权也。博厚者，地之衡也。风云者，天之束缚山川也。水石者，地之激跃山川也。非天地之权衡不能变化山川之不测；虽风云之束缚，不能等九区之山川于同模；虽水石之激跃，不能别山川之形势于笔端。且山水之大，广土千里，结云万重，罗峰列嶂，以一管窥之，即飞仙恐不能周旋也。以一画测之，即可参天地之化育也。测山川之形势，度地土之广远，审峰嶂之疏密，识云烟之蒙昧。正踞千里，邪睨万重，统归于天之权、地之衡也。天有是权，能变山川之精灵；地有是衡能运山川之气派；我有是一画，能贯山川之形神。此予五十年前，未脱胎于山川也；亦非糟粕其山川而使山川自私也。山川使予代山川而言也，山川脱胎于予也，予脱胎于山川也。搜尽奇峰打草稿也。山川与予神遇而迹化也，所以终归之于大涤也。
皴法章第九
笔之于皴也，开生面也。山之为形万状，则其开面非一端。世人知其皴，失却生面。纵使皴也于山乎何有哉？或石或土，徒写其石与土，此方隅之皴也，非山川自具之皴也。如山川自具之皴则有峰名各异，体奇面生，具状不等，故皴法自别。有卷云皴也，劈斧皴，披麻皴、解索皴、鬼面皴、骷髅皴、乱柴皴、芝麻皴、金碧皴、玉屑皴、弹窝皴、矾头皴、没骨皴，皆是皴也。必因峰之体异，峰之面生，峰与皴合，皴自峰生。峰不能变皴之体用，皴却能资峰之形势。不得其峰何以变，不得其皴何以现？峰之变与不变，在于皴之现与不现。皴有是名，峰亦有是形。如天柱峰、明星峰、莲花峰、佩人峰、五老峰、七贤峰、云台峰、天马峰、狮子峰、峨眉峰、琅琊峰、金轮峰、香炉峰、小华峰、匹练峰、回雁峰。是峰也居其形，是皴也开其面。然于运墨操笔之时，又何待有峰皴之见，一画落纸，众画随之，一理才具，众理附之。审一画之来去，达众理之范围。山川之形势得定，古今之皴法不殊。山川之形势在画，画之蒙养在墨，墨之生活在操，操之作用在持。善操运者，内实而外空，因受一画之理而应诸万方，所以毫无悖谬。亦有内空而外实者，因法之化，不假思索，外形已具而内不载也。是故古之人，虚实中度，内外合操，画法变备，无疵无病。得蒙养之灵，运用之神。正则正，仄则仄，偏则偏侧。若夫面墙尘蔽而物障，有不生憎于造化者乎？
境界章第十
分疆、三叠、两段，似乎山水之失，然有不失之者，如自然分疆者，到江吴地尽，隔岸越山多是也。每每写山水，如开辟分破，毫无生活，见之即知。分疆：三叠者：一层地，二层树，三层山，望之何分远近？写此三叠，奚啻印刻？两段者：景在下，山在上，俗以云在中，分明隔做两段。为此三者，先要贯通一气，不可拘泥。分疆、三叠、两段，偏要突手作用，才见笔力，即入千峰万壑，俱无俗迹。为此三者入神，则于细碎有失，亦不疑矣。
蹊径章第十一
写画有蹊径六则：对景不对山，对山不对景，倒景，借景，截断，险峻。此六则者，须辩明之。对景不对山者，山之古貌如冬，景界如春，此对景不对山也。树木古樸如冬，其山如春，此对山不对景也。如树木正，山石倒；山石正，树木倒，皆倒景也。如空山杳冥，无物生态，借以疏柳嫩竹，桥梁草阁，此借景也。截断者，无尘俗之境，山水树水，剪头去尾，笔笔处处，皆以截断，而截断之法，非至松之笔莫能入也。险峻者，人迹不能到，无路可入也，如岛山渤海、蓬莱方壶非仙人莫居，非世人可测，此山海之险峻也，若以画图险峻，只在峭峰悬崖，栈道崎岖之险耳。须见笔力是妙。
林木章第十二
古人写树，或三株、五株、九株、十株，令其反正阴阳，各自面目，参差高下，生动有致。吾写松柏古槐古桧之法，如三五株，其势似英雄起舞，俯仰蹲立，蹁跹排宕。或硬或软，运笔运腕，大都多以写石之法写之。四指、五指、三指，皆随其腕转，与肘伸去缩来，齐并一力，其运笔极重处，却须飞提纸上，消去猛气。所以或浓或淡，虚而灵，空而妙。大山亦如此法，余者不足用。生辣中求破碎之相，此不说之说矣。
海涛章第十三
海有洪流，山有潜伏。海有吞吐，山有拱揖。海能荐云，山能脉运。山有层峦叠嶂，邃谷深崖，巑岏突兀，岚气雾露，烟云毕至，犹如海之洪流，海之吞吐，此非海之荐灵，亦山之自居于海也。海亦能自居于山也。海之汪洋，海之含泓，海之澉啸，海之蜃楼雉气，海之鲸跃龙腾；海潮如峰，海汐如岭。此海之自居于山也，非山之自居于海也，山海之自居若是，而人亦有目视之者，如瀛洲、阆苑、弱水、蓬莱、元圃、方壶，纵使棋布星分，亦可以水源龙脉推而知之。若得之于海，失之于山；得之于山，失之于海，是人妄受之也。我受之也，山即海也，海即山也。山海而知我受也。皆在人一笔一墨之风流也。
四时章第十四
凡写四时之景，风味不同，阴晴各异，审时度候为之。古人寄景于诗，其春曰；每同沙草发，长共水云连。其夏曰：树下地常荫，水边风最凉。其秋曰：寒城一以眺，平楚正苍然。其冬曰：路渺笔先到，池寒墨更圆。亦有冬不正令者，其诗曰：雪悭天欠冷，年近日添长。虽值冬似无寒意，亦有诗曰：残年日易晓，夹雪雨天晴。以二诗论书，欠冷、添长、易晓、来雪、摹之不独于冬，推于三时，各随其令。亦有半睛半阴者，如片云明月暗，斜日雨边睛。亦有似睛似阴者，未须愁日暮，天际是轻阴。予拈诗意为画意，未有景不随时者。满目云山，随时而变。以此哦之，可知画即诗中意，诗非画里禅乎？
远尘章第十五
人为物蔽，则与尘交。人为物使，则心受劳，劳心于刻画而自毁，蔽尘于笔墨而自拘，此局隘人也。但损无益，终不快其心也。我则物随物蔽，尘随尘交，则心不劳，心不劳则有画矣。画乃人之所有，一画人所未有。夫画贵乎思，思其一则心有所著而快，所以画则精微之，入不可测矣。想古人未必言此。特深发之。
脱俗章第十六
愚者与俗同讥。愚不蒙则智，俗不溅则清。俗因愚受，愚因蒙昧。故至人不能不达，不能不明。达则变，明则化。受事则无形，治形则无迹。运墨如己成，操笔如无为。尺素管天地山川万物，而心淡若无者，愚去智生，俗除清至也。
兼字章第十七
墨能栽培山川之形，笔能倾复山川之势，未可以一丘一壑而限量之也。古今人物无不细悉，必使墨海抱负，笔山驾驭，然后广其用。所以八极之表，九土之变，五岳之尊，四海之广，放之无外，收之无内。世不执法，天不执能，不但其显于画而又显于字。字与画者，其具两端，其功一体。一画者字书先有之根本也，字画者一画后天之经权也。能知经权而忘一画之本者，是由子孙而失其宗支也，能知古今不泯而忘其功之不在人者，亦由百物而失其天之授也。天能授人以法，不能授人以功；天能授人以画，不能授人以变。人或弃法以伐功，人或离画以务变。是天之不在于人，虽有字画亦不传焉。天之授人也，因其可授而授之，亦有大知而大授，小知而小授也。所以古今字画，本之天而全之人也。自天之有所授而人之大知小知者，皆莫不有字画之法存焉，而又得偏广者也。我故兼字之论也。
资任章第十八
古之人寄兴与于笔墨，假道于山川，不化而应化，无为而有为，身不炫而名立，因有蒙养之功，生活之操，载之寰宇，已受山川之质也。以墨运观之，则受蒙养之任；以笔操观之，则受生活之任；以山川观之，则受胎骨之任；以郭皴观之，则受画变之任；以沧海观之，则受天地之任；以坳堂观之，则受须臾之任；以无为观之，则受有为之任；以一画观之，则受万画之任；以虚腕观之，则受颖脱之任。有是任者，必先资其任之所任；然后可以施之于笔。如不资之，则局隘浅陋，有不任其任之所为。且天之任于山无穷。山之得体也以位，山之荐灵也以神，山之变幻也以化，山之蒙养也以仁，山之纵横也以动，山之潜伏也以静，山之拱揖也以礼，山之纡徐也以和，山之环聚也以谨，山之虚灵也以智，山之纯秀也以文，山之蹲跳也以武，山之峻历也以险，山之逼汉也以高，山之浑厚也以洪，山之浅近也以小。此山受天之任而任也，非山受任以任天也，人能受天之任而任，非山之任而任人也，由此推之，此山自任而任也，不能迁山之任而任也。是以仁者不迁于仁而乐山也。山有是任，水岂无任耶？水非无为而无任也。夫水：汪洋广泽也以德，卑下循礼也以羲，潮汐不息也以道，决行澉跃也以勇，潆洄平一也以法，盈远通达也以察，沁泓鲜洁也以善，折旋朝东也以志。其水见任于瀛潮溟渤之间者，非此素行其任，则又何能周天下之山川，通天之血脉乎？人之所任于山不任于水者，是犹沉于沧海而不知其岸也。亦犹岸之不知有沧海也。是故知者，知其畔岸逝于川上，听于源泉而乐水也。非山之任，不足以见天下之广，非水之任，不足以见天下之大。非山之任水，不足以见乎周流；非水之任山，不足以见乎环抱。山水之任不著，则周流环抱无由；周流环抱不著，则蒙养生活无方。蒙养生活有操，则周流环抱有由；周流环抱有由，则山水之任息矣。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。
