The Chinese fascination with stones has endured through millennia. Renowned poets and painters such as Bai Juyi of the Tang Dynasty, Su Shi of the Song Dynasty, and Zhao Mengfu of the Yuan Dynasty, celebrated the beauty of stones through verses and artworks. By the Song Dynasty, this admiration gave rise to stone catalogues, such as Du Wan's Cloud Forest Stone Record and Lin Youlin’s Stone Records of the Plain Garden during the Ming Dynasty. Stones, with their dignified elegance, serene stillness, and grounding presence, have become perfect symbols of Chinese humanistic values, offering solace to the mind and nourishment for the soul. 

Stone Records of the Plain Garden: A Ming Treasure

Lin Youlin (1578–1647), also known as Renfu or Zhongzhai, hailed from Huating (modern-day Songjiang, Shanghai). His Stone Records of the Plain Garden, written during the late Ming and early Qing period, is a comprehensive four-volume work documenting 246 stones. These stones were primarily from his personal collection in the Xianchi Pavilion of the Plain Garden, along with historical stones celebrated since the reign of Emperor Huizong of the Song Dynasty. Illustrated and accompanied by poetic annotations, the book combines visual and literary elements to portray the stones' origins, shapes, textures, and unique qualities.

The catalogue organizes stones into three main categories:

1. Famous and Scenic Stones
   These large, imposing stones often originate from renowned mountains and rivers. Many in the collection resemble landscapes, featuring undulating peaks reminiscent of Guilin or Huangshan. One example is the "Mountain Basalt Texture" acquired by Zhu Mengbian from Jubaoshan, described as majestic and awe-inspiring.

2. Garden Standing Stones
   Medium-sized stones used in traditional gardens, typically displayed with a wide top and narrow base to emphasize their striking and solitary beauty. A notable example includes Taihu stones, meticulously shaped by craftsmen through prolonged water and smoke exposure to create their natural appearance, often used in rockeries.

3. Scholar’s Stones
   Small stones prized for their unique shapes or textures, ideal for close examination and contemplation. Examples from the Stone Records include Changshan stones, Linlü stones, and agate stones, offering tactile and aesthetic pleasure to their owners.

Through its vivid illustrations and detailed descriptions, Stone Records of the Plain Garden serves as an accessible introduction to the art of appreciating and collecting stones. Its blend of scholarship and artistry added depth and appeal to what might otherwise have been a niche subject, making it a valuable resource for scholars and enthusiasts alike. These records provided literati with the conversational material to discuss aesthetics and history, reflecting the sociocultural customs of the time.

Chen Sun Loves Stones : A Modern Tribute

Fast-forward to 2004, and Chung Chen Sun’s ink painting Chen Sun Loves Stones pays homage to the traditional literati practice of stone appreciation. The work portrays a scholar cradling a medium-sized standing stone, emphasizing its textured surface and solemn presence. Employing a combination of contour line and boneless brush techniques, Chung contrasts the scholar’s delicate rendering with the stone’s weighty ink depiction, highlighting their complementary qualities.

The accompanying inscription reveals the artist’s profound admiration for stones:
"I love the physical form, texture, weight, and ruggedness of stones, but even more so their inner steadfastness and archaic simplicity. They are my muse for creation."

Chung’s deep appreciation echoes the stone fascination of literati like Mi Fu and Mi Wanzhong. His work encapsulates the timeless cultural and aesthetic significance of stone appreciation, underscoring its enduring impact on Chinese life and spiritual pursuits.

In essence, stone appreciation has transcended mere aesthetics to become a bridge between nature and culture, imbuing human existence with depth, serenity, and timeless charm.