Shi Tao ((Chinese)), (1642-1718), born as Ruoji Zhu (朱 若 极) was a Chinese landscape painter and poet in the early Qing Dynasty (1644-1911). Born in Quanzhou County in Guangxi Province, Shi Tao was member of the royal palace of the Ming Dynasty. He barely affected in 1644 when the Ming Dynasty fell in the attack Manchuria and civil disobedience. Having managed to escape, taking the name Shi Tao Shi Tao Yuanji before in 1651 when he became a Buddhist monk.
He moved from Wuchang, Hubei when he started teaching religious, to Anhui in the 1660s decade. In the decade of 1680s he settled in Nanjing and Yangzhou, and in 1690 he moved to Beijing to meet his mentor for his promotion in the system monastery. Disappointed because it failed to find a mentor, Shi Tao replace a Taoist belief in 1693 and returned to Yangzhou where he spent the rest of his life until 1707.
Shi Tao has more than 24 aliases during his life. The most common names among the names used are Shi Tao (Wave Rock - 石涛), Heshang Ku Gua (Bitter Gourd monk - 苦瓜 和尚), Yuan Ji (Penghulu Safety - 原 济), Zun Xia Zhe (The Blind Yang Honorable - 瞎 尊者, blind to worldly desires), Da Dizi (The Holy (or terbersihkan) - 大 涤 子). As a former Buddhist, he is also known by the name of monkhood Yuan Ji (原 济) Name Da Dizi used when Shitao leave embraced Buddhism and Taoism. It was also the name used for a home in (Da Di Hall - 大 涤 堂).
Shi Tao was one of the most famous individualist painters of the beginning of the Qing Dynasty. Art can be said that he created the revolutionary, because the difference of the techniques and styles that have been standardized and rigid previously considered beautiful. Mimicking appreciated than a breakthrough, and although Shi Tao was clearly influenced by his predecessors (Ni Zan and Li Yong), the art he created menyelisihi their ways in some new and fascinating ways.
Official breakthroughs in painting include attention to the act of painting itself through the use of thinning and thickening of the way, the impressionistic brushwork, also his interest in the subjective approach and the use of white or negative space to express distance. Breakthrough style Shi Tao is difficult occupy context prevailing at that period. In a sign of publishing (colophon) which dates to the year 1686, Shi Tao wrote: "In this painting, there is a school of the South and the North, while in the art of calligraphy are two methods of Wang (Wang Xizhi and his son Wang Xianzhi).
Zhang Rong (443-497) once said, 'I do not regret that I did not share with two methods of Wang, but Wang's two do not share with my methods.' If someone asked me if I [Shi Tao] follow schools of the South or the North, or whether both schools that follow my method, I laugh and say, 'I always use my own!' "Poetry and accompanying calligraphy paintings the landscape is so beautiful, a bit naughty, and bright paintings as they accompanied. paintings to be examples of internal contradictions and tensions for amateur artists-educated, and they are interpreted as a slur against penyakralan art
"10,000 Point Ink Poor" is a perfect example of the aesthetic principles and resistance ironic given Shi Tao. The work is challenging aperseptif unique raw-raw beauty that has been institutionalized at the time. Because the landscape is painted carefully move deteriorated into a Pollock-esque splashes, spectator was forced to admit that this painting is not transparent (soon-in the most literal sense-without media) in a way that is intended from the beginning. Simply because they are called "bad", ink dots began to take on a kind of abstract beauty.
"Warning Qin-Huai" Shi Tao is a unique painting others. As many paintings from the late Ming Dynasty and early Qing Dynasty, the painting is concerned with man's place in nature. However, at first glance, craggy peaks in this painting looks distorted. Which makes this painting so unique is that this painting looks depict mountain bends. A monk stands quietly on a boat floating along the Qinhuai River, stare in awe of giant stones on her knees. Economic respect of repeat shuttle between man and nature explored here in a sophisticated manner, reminiscent of surrealism or magical realism, and is bordered by silliness.
Shi Tao himself had visited the river and the surrounding region in the decade of 1680s, but it is not known whether this album contains paintings depict specific places. Representation itself is the only way to feelings of mutual respect that Shi Tao tried to describe in this painting are successfully communicated; subject personified mountain denied any simpler.