The Chinese Theory of Art: Shi Tao: Part II (Gifts and Insights)
2. From the Freedom of Method
Heaven and earth bind man to a “method”, and through ignorance man becomes enslaved by it. Too often method obscures the inner law of things. This is because the nature of one-stroke is not understood. Once this is understood all obstacles fall away. Method is created from the painting and obstructions fade away during the creation. Thus the principle of painting is revealed and the principle of one-stroke is full comprehended.
3. Development
To “develop” means to know and to furnish the pathway to insights and recognition. Those who inherit the discoveries of the past often fail to develop them further. This is because of their limited insight. Therefore the true artist takes the past merely as the impetus for modern development.
One should know the principle and its flexible adaptation in expediency, as one should know the method and apply it with flexibility. For what is painting but the great method of changes and developments in the universe? The spirit and essence of hills and streams, the development and growth of the creation, the action of the forces of the yin and yang, all are revealed by the brush and ink for our edification and enjoyment.
One’s art will not have permanent appeal unless it is like the landscape of such-and-such artist from the past. Even if one succeeds in imitating a model well, they are only eating the leftovers of his home. People need to remember well that they have a self too, a unique and valuable perception of our worlds. If sometimes by chance I happen to resemble someone, it is he who happens to come to me, and not I who try to be his death. This is the way it is.
4. Respect For Your Gift
In regards to natural gifts and insights, the natural gifts come first. For if insights come before the gifts, it is not an inborn, natural gift. The wisest of the ancients developed their natural gifts from what they learned, and developed what they learned fully aware of what their inborn gifts were. But too often it was knowledge of some special thing. This would be a minor talent or ability. To move beyond this, one needs to recognize and realize the power of the one-stroke, and then fully develop it. For the one-stroke is contained in all things.
A painting receives the ink, ink receives from the brush, the brush from the artist’s wrist, and the artist’s wrist from his directing mind. This giving and receiving is like the way life is created by heaven and forms are made by the earth. [It appears to me that here the acts of painting are manifestations of the Dao, as revealed by Laozi in his Dao De Jing.]
The important thing is that we should respect our natural gifts, and not neglect them. To know or conceive of a painting and not develop it is to shackle oneself. One who receives the gift of painting must respect it and keep it, strengthen it, not dissipate it, or let it go to sleep inside. An artist strengthens themselves without cease. This is the way to honor your gifts.