Scholar painting was first recognized in the theory set by Dong Qichang, a famous painter and calligrapher of the Ming Dynasty (1368-1644).

Dong Qichang (1555-1636) was born in a poor family. He made a living by teaching when he was young. Dong was very interested in Buddhism, which later had great influence on the formation of his painting theory. He took part in the imperial exam at the age of 35 and landed a job as an official. Although he resigned several times to enjoy the free life of countryside, his importance and influence in the court was still on constant rise. 

Dong began to learn painting when he was 23. With the rise of his position, his social circle was greatly enlarged and he got to know more excellent works of the Tang and Song Dynasties, which in turn greatly enhanced his painting techniques as well as percipient ability. He spent a lot of time and efforts doing research on Scholar Painting and became a promoter of it. His theory helped establish the dominant status of Scholar Painting in the painting circle and formed a whole set of aesthetic standard for Scholar Paintings. He attached great importance to nature, as he realized that excellent paintings must root in nature. His painting techniques became mature when he was 50.

In the late Ming Dynasty, he promoted the Scholar Painting, and made it the dominant style in both theory and practice. The creative approaches and the aesthetic standard established by him set up a milestone in the Scholar Painting history.