Pushan lunhua 浦山論畫

Pushan lunhua 浦山論畫 is a book on painting written during the high Qing period of Zhang Geng 張庚 (1685—1760).

In the general introduction, Zhang Geng critiques the increasingly rigid and factional atmosphere of the landscape painting world in the late Ming and early Qing periods. He strongly condemns the sectarianism that had taken root. He identifies the stylistic faults of various major schools. The historical significance of the Pushan lunhua lies in its contribution to the study of Ming–Qing painting history. Among the Eight Discourses on Painting, the following key positions are set forth: In the chapter "On brushwork" (Bilun 論筆), Zhang Geng asserts that weight and substance must be the foundation of one's entry into painting. In "On ink" (Lunmo 論墨), he praises Dong Qichang 董其昌 (155-1636) for the brilliant clarity of his ink tones, which radiate with a luminous charm. "On character" (Lun pinge 論品格) maintains that the nobility of a painting lies not in its visible form, but in the intention behind it, and the ability of a painter to give his works "vital resonance" (Lun qiyun 論氣韻). In "On disposition" (Lun xingqing 論性情), he declares that painting and calligraphy share a common origin—they are both expressions of the mind. The chapters "On technique" (Lun gongfu 論功夫), "On entering the path" (Lun rumen 論入門), and "On sources of inspiration" (Lun quzi 論取資) offer particularly insightful reflections on the process of learning to paint. Zhang emphasizes that the path to entry must be approached with utmost care; a single misstep may result in ingrained habits that penetrate to the bone. Once formed, even if one regrets them later, they are difficult to completely eradicate. At the same time, he acknowledges that even those whose skill falls short may at times reveal flashes of inspired insight, such moments can still enlighten us. Even forgeries of ancient works, he suggests, should be approached with discrimination: set aside their flaws, but take what is worthy.

Due to his own artistic lineage, although Zhang Geng criticises the shortcomings of various painting schools in the late Ming and early Qing periods, he showed excessive admiration for Wang Yuanqi 王原祁 (1642-1715), one of the "Four Wangs" of Qing dynasty landscape painting. Zhang claimed that Wang Yuanqi was "perhaps the one who best transcended mere copying of tradition, studied ancient masterpieces, consulted the works of predecessors, and established a lasting school for future generations." This, however, reveals a certain sectarian bias. In reality, while Wang Yuanqi made significant contributions to the study of Yuan dynasty brush and ink techniques, he and the Loudong school he represented largely remained confined to imitating the ancients and lacked innovation. Their limitations were quite evident.

Nonetheless, in the essay "On sources of inspiration" (Lun qu zi 論取資), Zhang Geng expressed a more progressive view, arguing that artists must seek their sources in the living, vibrant world; if they rigidly adhere to old models, they will never find a way forward. This insight surpasses Wang Yuanqi's conservatism and has been recognized and praised by later critics.

The text is included in the series Zhaodai congshu 昭代叢書, Cuilangganguan congshu 翠瑯玕館叢書 and Sitongguzhai lunhua jike 四銅鼓齋論畫集刻.