Hualun 畫論

Hualun 畫論 is a book on painting written during the Yuan period 元 (1279-1368) by Tang Hou 湯垕 (fl. 1328), who is also the author of the book Huajian 畫鑒.

The book of 1 juan length consists of 33 paragraphs, including knowledge on the appreciation, authentication, and collection of paintings, all of which represent the author's lifetime of experience and teachings.

The book begins with a discussion on how to view paintings. The author believes that looking at a painting is akin to admiring a beautiful woman, whose spirit, grace, and inner structure transcend mere physical appearance. The proper approach to viewing a painting should commence with observing its vitality and spirit (qi yun 氣韻), followed by examining the intent behind the brushwork, then the underlying structure, the "bone method" (gufa 骨法), composition, application of ink and colour, and finally the resemblance in form. This sequence reflects the Six Principles (liufa 六法) of painting.

When appreciating landscapes that depict bamboo, plum blossoms, withered trees, fantastical rocks, monochrome flowers, and birds, one must not judge them solely by their outward appearance. One should first perceive their natural spirit, followed by the brushwork and intent. Only by transcending the visible traces of ink and brush can one truly grasp the essence.

Tang Hou criticises the practice common in his day, where people neither learn from teachers nor read records, but instead declare whatever pleases them to be good and whatever does not please them to be bad. If one is not attentive, one merely follows sounds and shadows and will never become a true connoisseur.

The author discusses the authentication and collection of ancient paintings. Tang Hou believed that viewing paintings was an elegant pursuit for the cultured gentry, serving as a means of expressing one's sentiments and interests. Such individuals can be categorised into two types, namely those with wealth, who acquire paintings, and those with discerning eyes, who appreciate and authenticate them. Tang Hou emphasises that one must not trust others' opinions too readily, cautioning against frivolous individuals who, out of envy or self-interest, fabricate slander or false judgments. He also challenges the common practice of valuing old paintings while dismissing contemporary works.

Much of what is written in this book reflects the author's personal insights, and at times his views diverge sharply from conventional opinion. For example, he argues that architectural painting (jiehua 界畫, or "ruled-line painting") is by no means an easy task. The author also emphasises that ancient sketch models (fenben 粉本) and preparatory drawings should be treasured, for in their casual, unrefined brushstrokes, there is often a natural and unforced beauty. Furthermore, he draws attention to the problematic practice, beginning in the reign of Emperor Gaozong 宋高宗 (r. 1127-1162) of the Southern Song dynasty 南宋 (1127-1279), of restoring and patching together ancient paintings from fragments, frequently adding sections from different origins to form a complete scroll, a habit he warns against.

The text is found in the series Baichuan xuehai 百川學海, Tang-Song congshu 唐宋叢書, Shuofu 説郛 (Wanwei Shantang 宛委山堂 edition), Meishu congshu 美術叢書 and Hualun congkan 畫論叢刊. It is quoted in Wang Keyu's 汪砢玉 (b. 1587) Shanhuwang 珊瑚網.