Songhu huayi 松壺畫憶

Songhu huayi 松壺畫憶 "Recollections on paintings from Pine-Flask [Studio]" is a book on painting written during the Qing period 清 (1644-1911) by Qian Du 錢杜 (1764-1845), original name Yu 榆, courtesy name Shumei 叔枚, later written Shumei 叔美, style Songhu Xiaoyin 松壺小隱, Hugong 壺公 or Wan Jushi 卍居士, from Qiantang 錢塘 (today part of Hangzhou 杭州, Zhejiang). Apart from this book, he also wrote the Songhu huazhui 松壺畫贅.

The Songhu huayi, with a length of 2 juan, is a compilation of Qian Du's experiences in painting and art criticism. The first fascicle focuses on painting techniques, while the second contains the author's critiques of works he encountered throughout his life. On the subject of painting methods, the Pine Flask Studio offers remarkably detailed and practical discussion. It is especially useful for students of painting, as it avoids empty or overly esoteric language.

A particularly rare and insightful contribution is his discussion of colouring techniques, seldom found in other writings. Among all colouring techniques in landscape painting, the blue-and-green style most clearly reveals the artist's technical mastery. Common painters often assume that it simply involves heavy layers of pigment. But Qian Du's remarks show a deep understanding of its subtleties. From brushwork and texturing techniques, to the treatment of solid and empty space, to colouring methods and even inscriptions and seals, the book offers both a concise analysis of classical conventions and reflections grounded in personal practice. These two dimensions, tradition and lived experience, complement each other and together form a luminous whole.

The second juan consists of Qian Du's informal reflections on ancient paintings he encountered throughout his life. Unlike many traditional works that simply transcribe inscriptions, signatures, or stylistic notes, Qian offers detailed observations on the composition and techniques of famous paintings, along with his own insightful critiques.

Qian Du viewed more than a hundred masterpieces from the Tang 唐 (618-907) to the Qing period. After each viewing, he meticulously recorded his observations and attached his own commentary. This practice is not only a hallmark of the book, but also a clear reflection of Qian Du's scholarly rigor. As such, the work has had considerable influence on later generations of painters and art theorists.

The book is included in the series Yuyuan congshu 榆園叢書 and Meishu congshu 美術叢書.