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无论是在实践还是在理论方面,石涛在中国绘画史上都有筚路篮缕、承先启后之功,他的《画语录》以完整的绘画思想体系影响了以后的许多画家,令人高山仰止。《画语录》仿佛一部玄奥莫测的“天书”,透过这部天书,我们似乎看到一个独抒自我,以万点恶墨纵恣挥洒,以狂放的线条与墨色写真心、真趣、真境,解衣磅礴,睥睨古今,不为世俗所容的独行客。虽然石涛有离经叛道的一面,但其《画语录》依然是建立在儒、释、道特别是释道思想体系之上的。本着这种理解,我们完全可以把他的艺术思想浓缩为“以一摄万,万象归一”两句话。由此出发来看石涛“一画说”的成因,主要有以下几个方面：一、佛学的影响“一画说”构成了石涛绘画美学思想的灵魂,它包括绘画中心、道、法、物四者之间的关系,其说脱胎于佛教的“华严境界”。
Both in practice and in theory, Shi Tao has a lot of clues in the history of Chinese painting, inheriting the great achievements of his predecessors. His “Painting quotations” have influenced many later painters with a complete system of painting thoughts, which makes people aloft. “Quotations from the Writings” is like a mysterious “bible”. Through this bible, we seem to see a unique expression of self, with a thousand points of evil ink indulgence, with wild lines and ink photo heart, really interesting , The real environment, Jieqiuqian 睥, 睥 睨 ancient and modern, not for the worldly solitary lone traveler. Although Shi Tao has a deviant side, his “painting quotations” are still based on Confucianism, Buddhism and Taoism, especially the ideology of Buddhism. In this understanding, we can completely condense his artistic thinking into two words: “Take a million shots and return everything to everything.” Based on this, the causes of Shi Tao’s “One Painting Theory” are divided into the following aspects: First, the influence of Buddhism “One Painting Theory” constitutes the soul of Shi Tao’s aesthetic thinking of painting, which includes the center of painting, Taoism, The relationship between the four, which is born out of Buddhism’s “state of Hua Yan.”