This second part of a study of Shitao’s treatise on painting, the Huayulu, explores its core values through three major aspects developed by the painter: personal identity, non-rule, and transformation in art, followed by a reflection on the treatise’s significance today. The author argues that Shitao’s philosophy of painting is an extension of his philosophy of life, shaped by what François Cheng called a “threefold loss of the father”. Painting properly requires knowing oneself and the gifts received from Heaven; the author compares this idea with the parable of the talents in Matthew 25 and the one-stroke (yihua) concept with Kandinsky’s geometric point. Turning to non-rule, he shows how Shitao’s ideal of “the perfect man has no method” parallels Kandinsky’s principle of inner necessity, and how the painter must first master rules before transcending them, moving from learning from the ancients to learning from nature. On transformation, he stresses that antiquity is an instrument of knowledge, not an object of worship. Drawing on Henri Focillon, the essay concludes that Shitao’s theory and practice form an organic whole, and that contemporary painters should absorb its philosophical essence rather than imitate its forms.