A first edition set of Suyuan Shipu [The Suyuan Stone Catalogue], Ming dynasty, Wanli period, dated 1613 | 明萬曆四十一年（1613年） 林有麟刻 素園石譜

Collection of Tomioka Tessai (1837-1924).

富岡鐵齋（1837-1924年）收藏

The Suyuan Shipu [Suyuan Stone Catalogue] is the earliest, most extensive, and broadly collected illustrated catalogue of stones. Compiled in 1613 by Ming dynasty scholar-collector Lin Youlin, it is the most seminal publication in the history of scholar’s rock appreciation. Since its publication, it has acted as the most influential and classic reference work for the appreciation of natural stones that gave much delight to their owners. Its thorough and exquisitely illustrated collection of stones has earned its high acclaim in the history of Chinese printmaking, making it an artistic masterpiece in its own right.

This catalogue is an original copy printed by the Lin family in the 41st year of the Wanli reign (1613) and is still preserved in very good condition even after over four centuries. It is also endowed with an exceptional provenance, having once belonged to the contemporary prose writer and book collector Huang Shang (1919-2012), who praised it for its historical importance and rarity, as well as the renowned Japanese painter Tomioka Tessai (1837-1924) (fig. 1), who was one of the most prominent artists in imperial Japan and had a deep appreciation of Chinese culture.  

The Suyuan Shipu contains woodblock illustrations and descriptions of scholar's rocks from as early as the Southern Tang rule, and states that rocks, in their captivating forms, act as objects of contemplation. It also compiles poems and writings by famous stone collectors and enthusiasts, such as Mi Fu (1051-1107) from the Song dynasty, as well as notable interactions between Mi Fu and Su Shi (1037-1101).

Lin Youlin further delves into the relationship between rocks and Chan philosophy, suggesting that appreciating rocks can result in profound insights into Chan thought in literary and scholarly circles. He also describes how ancient scholars associated rocks with famous mountains, which enabled them to find inspiration and artistic creativity through contemplation. The link between rocks and nature that is so deeply rooted in the history of scholar’s rocks is explored in this catalogue, offering a comprehensive overview of the theory and practice of rock appreciation, making it a truly influential and representative reference work for the appreciation of rocks. 

Lin Youlin (1578-1647), courtesy name Renfu, styled Zhongzhai, also known as Suyuan, was a native of Huating, Songjiang Prefecture, during the Ming dynasty. In addition to being highly respected for his official roles, Lin excelled in poetry, painting, and playing the qin, with works still surviving to this day.

Admiring Mi Fu, Lin also shared his passion for collecting and revering rocks, engaging in a daily practice of rock contemplation. He established a pavilion in his residence to house and contemplate the rare and unique rocks in his collection, and compiled 129 illustrations of rocks of varying sizes, accompanied by poems by past scholars, culminating in the creation of the Suyuan Shipu, which to this day is remains the most extensive and comprehensive stone catalogue to have been passed down.

「石之大崒嵂盡於五嶽，而道書所稱洞天福地、靈蹤化人之居，則皆有怪青奇碧焉。……余嘗謂法書名畫、金石鼎彝，皆足令人自遠。而石尤近於禪，生公點頭，箭機莫逆。而南宮九華，謂可神遊其際。五岳一拳，尤可芥納，若作是觀，則齊安小兒江頭數餅，已具有嵩、華、岱微體矣。」 －－林有麟〈素園石譜自序〉

「素園石譜」為迄今年代最早、篇幅最多、蒐羅也最廣的一部畫石譜錄，是中國賞石文化的經典著作；內收石品豐富，版畫繪刻精湛，於中國版畫史上素負盛譽，本身即是一件藝術精品。當代知名散文名家、藏書家黃裳（1919〜2012）亦曾收藏此部石譜，其《來燕榭讀書記》有言：「此素園石譜四卷，槧刻頗精，印亦甚早。余獲之石麒許，可珍愛也。壬辰十一月記。小雁。此書有故宮石印本，神采全喪。此猶是棉紙初印之冊，並世蓋不數數覩也。余得書每喜跋尾，世多病之，以為是他日售書之廣告也。然余豈欲售書者哉？且所跋亦非全為誇示，其有殘帙或缺病，皆不少諱。然似此冊，不道其佳，豈非無目，此事殆難言矣。」（1952）^[1] 對此書至為推重，極其珍愛。本書是林氏萬曆四十一年（1613）原刻本，棉紙初印，墨跡清晰，品相上佳，又係日本近代知名畫家富岡鐵齋（1837〜1924）舊藏，書中題簽、藏印累累，並經其以冊頁形制重新裝潢，重新煥發光彩；此書殘卷或偶見古籍拍場，然歷四百餘年而全整品相完好如此者，實甚罕睹，珍稀難得可知。

本書主要搜采南唐以來見諸於史籍圖譜記載的百數種名石奇峰，加以圖繪紀錄，其〈凡例〉有言：「一石有形有神，今所圖止形耳，至其神妙處，大有飛舞變幻之態，令人神遊其間，是在玄賞者自得之。」圖形之外，又輯錄許多名人題詠詩文，蒐羅歷來文人藏石以及賞石逸事，如愛石成癡的宋代著名書畫家米芾（1051〜1107）所藏「石丈」、「寶晉齋硯山」、「蒼雪堂硯山」等。「寶晉齋硯山」廣不盈尺，前聳三十六峰，左右引兩阜陂陀，中鑿為研，渾然天成，原為南唐李後主所有，曾被米芾視若拱璧，後用此石向友人換得潤州（今鎮江）北固山甘露寺一塊風水寶地，築成海岳庵，一時傳為佳話；如米芾至友、嗜石與其匹敵的蘇軾（1037〜1101）所藏「雪浪石」、「仇池石」，以及欲購未果的「壺中九華」等。蘇軾在湖口（今江西九江市湖口縣），李正臣家見有異石九峰，玲瓏宛轉，若窗櫺然，於是將其命名為「壺中九華」，賦詩曰：「我家岷蜀最高峰，夢裡猶驚翠掃空，五嶺莫愁千嶂外，九華今在一壺中。天池水落層層見，玉女窗明處處通。念我仇池太孤絕。百金歸買碧玲瓏。」當時蘇軾本欲以百金將其買下，與「仇池石」作伴，因尚在南遷旅次中，無暇他顧而未成，等到八年後蘇軾復經過湖口，「壺中九華」已被人買走，蘇軾無奈，只能留下「尤物已隨清夢斷，真形猶在畫圖中」的感歎。

林有麟於書中〈自序〉中提出「石近於禪」的觀點，認為芥子納須彌，石中有禪，賞石能悟禪，也為文房清供的「供石」下了極佳的註解。古代文人通過移情想像，使奇石與研山化身為五嶽名山，心遠意適，供以臥遊，坐生清思，在觀想禪悟中，也醞釀出更多藝術創作的靈感。此書總結了奇石與山水之間的關係，對賞石理論與實踐作了高度且全面的概括整理，是探討古代賞石藝術一部極具代表性的作品。

林有麟（1578〜1647），字仁甫，號衷齋，別號素園，明松江府華亭人。林景暘子，以父蔭入仕，歷任太僕寺丞、刑部主事、刑部員外郎等官職。累官至四川龍安知府，清勤有才略，百廢具舉，案無留事，期間人民休養生息，頗得民望。龍安人目為林青天，去之日哭泣奔送者三百餘里。有麟多才多藝，工詩善畫，所作山水妍雅茂密，可接軫宋人，《無聲詩史》有傳；又善鼓琴操縵，據說有羣蝶飛遶之異。^[2] 有《青蓮舫琴雅》、《素園石譜》、《法教佩珠》等著作存世。

林有麟崇仰前輩米芾，不僅「於畫師南宮父子」，也有米顛拜石之癖，家有先人所蓄玄池二拳，起居「每焚香靜對，肅然改容，如見尊宿。」由於愛石成癡，他於所居素園內闢玄池館，供禮石丈，貯藏其悉心蒐羅的珍奇異石，並採錄宣和以後典籍中所載名石凡百數種，始於蜀中永寧石，終於松江普照寺達摩石，書中大小圖共計249幅，彙編成冊，綴以前人題詠，編纂成《素園石譜》，如本書「凡例」所云：「檢閱古今圖籍奇峯怪石，有會於心者，輒寫其形，題咏綴後。」創作出這本公認迄今傳世最廣、篇幅最宏的石譜圖錄。值得一提的是，卷末壓軸的「青蓮舫綺石」為林有麟自藏，有35方雨花石圖繪，多以詩意題名，如「漁浦歸帆」、「鳳鳴高岡」、「目送歸鴻」、「峨眉積雪」、「蓮花法相」、「紅霞映雪」、「面壁初祖」、「赤雲駕龍」、「女媧補石」等，這也是歷史上雨花石圖繪首次入石譜，饒富史料意義。

本書為日本近代著名畫家富岡鐵齋（1837〜1924）（圖一）舊藏，書封有其墨筆題簽與鈐印。富岡鐵齋，號鐵齋外史，是日本明治大正時期最為著名的文人畫家，富岡鐵齋鍾情中國文化，不但精通漢字詩文，熟悉文人典故，又雅好收藏古籍，與羅振玉、王國維等人有交往，還與著名書畫篆刻家吳昌碩信函往來切磋書畫技藝，富岡鐵齋與蘇東坡同月同日生辰（富岡鐵齋生於1837年十二月十九日，蘇東坡生於1036年十二月十九日，兩人正好相差800年），由於崇敬蘇東坡而自號「東坡癖」，畫有許多以東坡居士為畫題的作品。吳昌碩曾為他刻有「東坡同日生」等印章。

^[1] 黃裳，《來燕榭讀書記（上）》（瀋陽：遼寧教育出版社，2001），卷2，頁140。

^[2] 馮鼎高等修，王顯會等纂，《華亭縣志》第十二卷（清乾隆五十六年刊本）。