Yuchuang manbi 雨窗漫筆

Yuchuang manbi 雨窗漫筆, also called Lunhua shi ze 論畫十則 "Ten rules of painting", is a book on painting written during the early Qing period by Wang Yuanqi 王原祁 (1642-1715), courtesy name Maojing 茂京, style Lutai 麓臺, from Taicang 太倉, Jiangsu. He also wrote the book Lutai tihua gao 麓臺題畫稿. His collected writings are called Yanhualou ji 罨畫樓集.

The book appears to be made up of ten essays on various aspects of painting. In reality, the title is not entirely accurate. The first of the "ten rules" is more like a preface, in which the author explains the origin and overall purpose of the work. Consequently, the remaining nine rules consist of personal reflections, covering topics such as painting schools, thematic conception, composition, copying from models, brush techniques, colouring, and tonal refinement. Regrettably, the promise to add further insights was never fulfilled. No sequel was published, and it is likely that none was ever written. Nonetheless, the existing discourses are concise and penetrating, offering rare and valuable insight for future generations to reflect upon with patience and care. Wang Yuanqi studied the works of Huang Gongwang 黃公望 (1269-1354) and Wu Zhen 吳鎮 (1280-1354).

Wang Yuanqi's approach to painting emphasises conceptual intention and composition, insisting that the idea must precede the brushwork, while also ensuring that the brushstrokes appear natural and effortless, achieving a subtle harmony with ancient techniques. Painting students must study these principles deeply to fully understand their significance. What he called "momentum and contour" (qishi lunkuo 氣勢輪廓) is similar to what modern artists refer to as composition and layout. This focus on the grand overall structure is clearly correct, and naturally, it is something that learners often overlook.

The book's discussion on colour application and brushwork is quite concrete. It argues that, compared to brushwork and ink use, colour plays a subordinate role. Colour merely supports what brush and ink lack, highlighting the subtlety of brushwork and ink. Therefore, the focus is not on emphasising colour, but on emphasising spirit, and colour arises from spirit, creating natural patterns. Wang particularly warns against rushing or acting with impatience.

Regarding brushwork, the book warns against being too slick or too soft, too heavy and sluggish, too careless and muddled, or too bright, clean, and yet greasy, as well as too dense and chaotic. At that time, people spoke of "full-bodied", meaning thick brush and dense ink, "elegant", meaning thin brush and light ink, and "bright and delicate", meaning bright colours and tender brushwork. Wang Yuanqi believed all these notions were mistaken.

The book also discusses opinions on copying paintings, claiming that copying a painting is not as good as observing a painting. When examining ancient masterpieces, one should carefully study the artist's intent, composition, brush techniques, and ink layering methods to identify the subtle and excellent strokes, using these to improve one's own skills. Over time, one naturally harmonises with the spirit of the ancients.

Additionally, the book mentions the bad habits of factionalism among late Ming-period 明 (1368-1644) painters and the dangers of counterfeit and fake works. The discussions in this book are incisive and have been highly praised by later generations.

The book is included in the series Cuilangganguan congshu 翠瑯玕館叢書, Sitongguzhai lunhua jike 四銅鼓齋論畫集刻, Loudong zazhu 婁東雜著 and Hualun congkan 畫論叢刊.