Huishi fawei 繪事發微

Huishi fawei 繪事發微, also called Hua shanshui jue 畫山水訣, is a book on landscape painting written during the high Qing period 清 (1644-1911) by Tang Dai 唐岱 (1673-1752), courtesy name Mindong 毓東 or Jingyan 靜嚴, style Ailu 愛廬 or Mozhuang 默莊, a member of the Plain White Manchu Banner (Manzhou baizheng qi 滿洲正白旗). His collected writings are called Zailetang ji 載樂堂集.

The book of 1 juan and 24 chapters brings together the author's experience and insights in the practice of painting, addressing many issues related to the theory and techniques of landscape painting for aspiring artists. It describes "orthodox schools" (zhengpai 正派), transmission and teaching, quality of artworks, reputation, hills and valleys, brush techniques, ink techniques, texture strokes, colouring, moss dots, trees and forests, slopes and rocks, water outlets, distant mountains, clouds and mist, wind and rain, snow scenes, villages and temples, the achievement of momentum (de shi 得勢), nature, rhythmic vitality (qiyun 氣韻), copying old masters, reading, and travelling to gain impressions.

The book discusses the essential knowledge that a student of painting should understand before formally beginning their practice. The book explains the specific techniques and theories of landscape painting. The final three chapters address methods of study and personal cultivation for the painter.

Tang Dai was a disciple of Wang Yuanqi 王原祁 (1642-1715), and thus often took pride in being a legitimate inheritor of the Orthodox Southern School (Nanzong zhengpai 南宗正派) tradition. Accordingly, Tang Dai provides a detailed account of the origins, transmission, and distinctions between the Southern and Northern Schools, comparing their division to the transmission of orthodoxy in Confucianism. He even denounces Ming-period 明 (1368-1644) painters such as Dai Jin 戴進 (1388-1462) and Wu Wei 吳偉 (1459-1508) as "non-orthodox." This kind of sectarian exclusivism, asserting the superiority of one's own school, is clearly biased and not to be taken at face value. Unlike previous critics who discussed the Southern and Northern Schools primarily in terms of philosophical or stylistic lineage, Tang Dai places particular emphasis on differences in "texture stroke" (zoufa 皴法) techniques.

Many of Tang Dai's discussions are quite thorough and perceptive. The book is especially practical for beginners. In addition to listing over ten important texts on landscape painting. Tang Dai emphasizes that learning to paint must begin with a solid foundation and correct method, ideally under the guidance of a skilled master. As for brush technique, Tang Dai stresses the importance of using the centre of the brush tip with full control of the wrist, guided by the mind. The stroke should combine firmness with flexibility. In coloring, the method should follow the same principles as ink work. One must begin with light tones and gradually build toward darker ones. Even within a single colour, subtle variations should exist. Ink should contain colour, and colour should carry ink. Colour is used to enhance the brilliance of ink, and ink in turn reveals the richness of colour. Beyond these foundational principles, the book also provides individual explanations for how to depict various common elements in landscape painting, making it a valuable instructional guide.

Many of the arguments in this book closely resemble those found in Han Zhuo's 韓拙 (c. 1100) Shanshui Chunquan ji 山水純全集. In some cases, Tang Dai expands upon Han's ideas, while in others he directly quotes Han's original text.

The text is included in the series Zhaodai congshu 昭代叢書, Sitongguzhai lunhua jike 四銅鼓齋論畫集刻, Qingsouge duhua shiba zhong 清瘦閣讀畫十八種, Hualun congkan 畫論叢刊 and Yihai yishao 藝海一勺.