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The term has both broad and narrow meanings. Interpreted narrowly, it means various painting techniques. Interpreted broadly, it means the cultural values, personality, artistic style, and aesthetic aspiration embodied in a painting, suggesting a perfect fusion of Dao and skills. Dao determines the theme a painting conveys as well as the painting’s artistic principles and aesthetic style. A painting is a concrete image that illustrates Dao. It reflects the cultural principles followed by the painter as well as his personality, artistic style, and aesthetic aspiration. Therefore, paintings illuminate Dao, which in turn enhances the paintings. Prominent painters seek to access Dao through refining their skills and epitomizing Dao in artwork. The Dao of painting not only encompasses the Dao of nature, but also the Dao of social life, demonstrating the commitment to humanism inherent in the Chinese culture.
In its original meaning, dao (道) is the way or path taken by people. It has three extended meanings: 1) the general laws followed by things in different spheres, e.g. the natural order by which the sun, moon and stars move is called the way of heaven; the rules that govern human activities are the way of man; 2) the universal patterns followed by all things and beings; and 3) the original source or ontological existence of things, which transcends form and constitutes the basis for the birth and existence of all things, and for the activities of human beings. In their respective discussions of Dao, Confucianism, Daoism, and Buddhism imbue it with very different connotations. While benevolence, righteousness, social norms, and music education form the basic content of the Confucian Dao, the Buddhist and Daoist Dao tends to emphasize kong (空 emptiness) and wu (无 void).
While this literally means "lines employed in painting," it is used to refer to the fundamental rules guiding the art of painting and, furthermore, to the universal laws of the formation and development of everything in the universe. This notion was first put forward by the Qing-dynasty painter Shi Tao（1641-1718？）, though his ideas were controversial among contemporary scholars and artists. Shi, drawing inspiration from Daoist philosophy and Chan theory, and perhaps from Fuxi's use of a single line to symbolize yin and yang as a unitary whole in creating the eight trigrams (eight combinations of three whole or broken lines formerly used in divination), held that all things in the universe derive from a single oneness. All tangible things under a painter's brush, likewise, forever have that oneness at their core. For him, oneness means naught. Painting is thus a process of generating tangible objects from nothing. This is also the ultimate dao -- a combination of the way of painting with that of all things in the universe. As well, oneness is a set of broadly applicable rules present throughout the process of painting. Each stroke or line reflects these rules. The oneness in painting theory encompasses multiple relationships between oneness on the one hand, and the dao, nothingness, tangibility, and multiplicity on the other. It is rich in philosophical implication and artistic significance. This term later became an important part of traditional Chinese aesthetic thought and painting theory.
The expressions are about the naturalness of literary and artistic works. The first one, “magically natural,” means that a literary or artistic work is completed naturally and achieves the acme of perfection without any sign of craft. The second, “overly crafted,” means that a work is meticulously crafted, but it is overly elaborate in style while lacking naturalness and spontaneity. “Magically natural” is used to refer to works accomplished by artists while “overly crafted” is used to describe works done by craftsmen. These two standards were proposed by Ming writer Li Zhi （1527-1602）in his “Random Thoughts,” which echoed his idea that writings must reflect the author’s true sentiments. Culturally, the distinction between “magically natural” and “overly crafted” is rooted in the Daoist thought of being harmonious with nature while forsaking excessive skills. Most Ming scholars favored literary naturalism and rejected elaboration and imitation.
The term refers to six techniques and aesthetic principles for painting formulated by Xie He, a painter between Qi and Liang of the Southern Dynasties. After studying famous painters of the previous age, he summarized his views on painting in six basic rules: dynamic style, forceful brush strokes, life-like image, characteristic coloring, careful arrangement and imitation and copying models. In this way, he established a theoretical framework for traditional painting. “Dynamic style” means that a painting should make the viewers appreciate its vitality and charm. This is a general principle focusing on the aesthetic effect. The other five rules concern specific techniques. “Forceful brush strokes” means being able to wield the brush to portray characters freely with lines of various shapes. “Life-like image” means the image should vividly capture the form of the depicted. “Characteristic coloring” means applying color according to the characteristics of the subject of the painting. “Careful arrangement” means a composition should achieve a good overall effect. “Imitation and copying models” means copying masterpieces to refine one’s painting skills. These rules became the basis for later art criticism and discourse on the five aspects of technique, providing a summary of ideal painting techniques and enriching theory on painting. The “six rules of painting” cover the basic techniques and aesthetics of ancient Chinese painting. They also established guidelines for art appreciation and influenced criticism and artistic creation in China from the Six Dynasties on.
Mountains and rivers accord with Dao by way of their shapes. Zong Bing (375-443), a painter of the Southern Song Dynasty, in his “On the Creation of Landscape Paintings” expanded on a saying by Confucius （551-479 BC）– “A virtuous man loves mountains and a wise man loves water.” Zong held that mountains and rivers not only displayed their natural splendor to humanity, but also demonstrated the natural law of changes. Therefore, they were loved by men of virtue. This term shows the aesthetic view of people in the period of the Six Dynasties.
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