The Chinese Theory of Art: Shi Tao (Part VII)
17. Calligraphy Included:
There is no limitation to methods or skills, and the skills can be shown in calligraphy (书法 shufa) as well as in paintings. For these are twin arts with the same function. The single-stroke is the origin of all calligraphy and painting. To know the applications and forget the first principle of the one-stroke is like children who forget their ancestry. One might forget the God-given while entangled with material objects, and so know that the universe is eternal and yet ascribe the work to man. Heaven can give man his method, but not his skill, inspire him with a painting, but the change and development are up to the man himself. Therefore all painting and calligraphy are based on heaven and perfected by man.
18. Maintaining Function:
The ancients left a name for posterity without being well known in their lifetime, for they had gone through the awakening and growth of life, recorded in the work they left behind, and had thus incorporated into themselves the substance of hills and streams. With regard to seas and oceans, they have received the function of the universe; with regard to the lowly backyards, the function of the moment; with regard to no-action (无为 wuwei), that of action; with regard to one-stroke, that of all strokes.
For heaven has invested the mountains with many functions. The body of the mountain comes from its location; its spirituality from its spirit; its changes of mood from growth and change; its first awakening and growth from its clarity; its stretch across vast areas from movement; it hidden potentialities come from silence; its rambling manner from a peaceful disposition; its beauty from delicacy of spirit; its awe-inspiring aspect from its dangerous shapes; its reaching out to heaven from its height. These are functions of the nature of the mountain itself, not what it receives from others to thrust upon Nature. Man can take these functions from Nature and maintain them and not because the mountain thrusts them upon man. Therefore the true man never leaves his true manhood and enjoys the mountains.
It is the same with water. It reaches out in vast rivers and lakes to spread its benefits–such is its virtue. It seeks lowly humble and places (Laozi Ch. 8). Its tides ebb and flow ceaselessly, such is its Dao. It breaks out in crashing waves, such is its strength. It reaches out to all places, such is its far-reaching power. Its essence is clear and pure, such is its goodness. For water carries out these functions from the primeval damp chaos.
For the immensity of the world is revealed only by the function of water, and water encircles and embraces it through the pressure of mountains. If the mountains and water do not come together and function, there will be nothing to circulate with or about, nothing to embrace. And if there is no circulation and embracing, there will be no means of life and growth.
As for the painter, the value lies not in the vastness of mountains and water, but in their ability to control, not in their number and quantity, but in their flexibility of change. Only flexibility in change enables one to paint like a great master, and only control can manage their vastness. The function of the brush and ink is in the value created. Likewise the functions in mountains and water lie in themselves, but in their respective silence and mobility.
So in speaking of these function, one sees that they are laws of growth and life. The One controls All, and All are controlled by One–not by mountains, not by waters, not by brush and ink, not by the ancients, nor by the moderns or sages.
[The Chinese Theory of Art: Translations From the Masters of Chinese Art by Lin Yutang: Putnam’s Sons, New York 1967]
[Commentary by author Lin Yutang: It is clear from Shi Tao’s own description of his method that his theory of one-stroke means the following: the artist dips his brush in ink and is ready to paint, like the creator about to create forms and shapes out of chaos. He then follows the inspiration of the moment, and lets the picture grow out of his brush, following the momentary demands, governed by its own harmonies, changing and making adjustments according to its own inner necessity, so that from beginning to end it is one continuous act of creation.]