Tongyin lunhua 桐陰論畫

Tongyin lunhua 桐陰論畫 "Art discussions from Catalpa Shadow [Studio]", also called Huishi jinliang 繪事津梁, is a book on painting written during the late Qing period 清 (1644-1911) by Qin Zuyong 秦祖永 (1825-1884), courtesy name Yifen 逸芬, style Langyan Waishi 楞煙外史, from Jingui 金匱 (today part of Wuxi 無錫, Jiangsu). He was grand salt commissioner (yan dashi 鹽大使) of Bishen Saltern 碧申場, Guangdong, and was known for his expertise in old-style poetry and painting. Qin also wrote the book Huaxue xinyin 畫學心印.

The whole book consists of three parts, the first of which (chubian 初編) was finished in 1866, and the others (erbian 二編, sanbian 三編) in 1880. The first part discusses more than 170 painters of the late Ming 明 (1368-1644) and the Qing period. The text is arranged chronologically, but divided into two sections of 17 "grand masters" (dajia 大家) and 106 "famous masters" (mingjia 名家). An appendix includes discussions of the artworks of 4 female artists. The second and third collections are supplements providing insight into the achievements of 120 persons each. The rating of painters is made according to the traditional four aspects "untrammelled" (yi 逸), inspired (shen 神), excellent (miao 妙), and competent (neng 能). Like in old books, Qin added short biographies of all artists. In its style, Qin's book thus follows the image of Huang Xiufu's 黃休復 (fl. 1007?) Yizhou minghua lu 益州名畫錄, but Qin used the four aspects in a different way than older masters had done, and argues that individual persons could excel in more than one of them. Also, the great number of persons rated as "untrammelled" (yi) shows that Qin's interpretation of the yi aspect was more general.

The first collection includes two appendices, namely the biographical Xu tongyin lunhua 續桐陰論畫 (also called Lunhua xiaozhuan 論畫小傳), and Tongyin huajue 桐陰畫訣 (also called Huishi jinliang 繪事津梁), "formulas" on landscape painting.

Since the Tongyin lunhua includes a rich collection of painters, along with brief biographies and life stories, and offers critical evaluations based on their extant works, this book is an indispensable resource for researchers of painting history.

In terms of painting theory, the book demands the use of genuine brushwork and ink to convey the spirit of landscape painting. It holds that the realm of painting should be like spring clouds floating in the sky, flowing water moving on the ground, both arising naturally. Only with true brushwork and ink can the spirit of landscape be conveyed. The author believed that the "stillness" (jingqi 靜氣) in a painting was the most difficult to achieve. If the "bone method" (gufa 骨法, i.e., structural brushwork) is too obvious, the painting is not still; if the "brush intent" (biyi 筆意) is restless, it is not still. One must completely shed habitual, unchecked strokes and avoid even a trace of warmth or agitation. Only then does a harmonious and leisurely charm naturally arise, floating among hills and valleys.

Regarding the two key concepts in painting, namely principle or order (li 理), and energy or spirit (qi 氣), the treatise emphasises the utmost importance of understanding them deeply.

Although the Tongyin hualun is primarily a work on appraisal, its historical value far exceeds that of its classification system because of its detailed inclusion of Qing-period painters. Moreover, its specific critiques of artists are more insightful than the four-tier grading itself.

The text is included in the series Cuilangganguan congshu 翠琅玕館叢書, Huaxue xinyin 畫學心印, Meishu congshu 美術叢書 and Lidai lunhua mingzhu huibian 歷代論畫名著彙編.