Shiqu suibi 石渠隨筆

Shiqu suibi 石渠隨筆 is a book on calligraphy and painting written by Ruan Yuan 阮元 (1764-1849). The book of 4 juan length was written in 1791, at the same time, when the official book Shiqu baoji 石渠寳笈 was compiled, and assembled remarks and notes which did not find entry into the official work. Apart from his historiographical and scholarly work on the Classics, Ruan also compiled some studies on calligraphic inscriptions, like Shanzuo jinshi zhi 山左金石誌, Liang-Zhe jinshi zhi 兩浙金石誌, Jiguzhai zhongding kuanshi 積古齋鐘鼎款識 or Huang-Qing beiben lu 皇清碑版錄.

The Shigu suibi is arranged chronologically and describes and criticises calligraphic works, paintings and albums from the Jin 晉 (265-420) to the mid-Qing period 清 (1644-1911). While catalogues usually record objective details such as the format, material, dimensions, seals, original texts, and colophons of works, providing purely factual information, the Shiqu suibi places emphasis on textual research and connoisseurship; its critiques and authentication efforts are conducted with rigor, though it tends to lean slightly toward the Northern School style. In its descriptions, the book cuts away redundancy to focus on essentials, sometimes elaborating, sometimes condensing, always with well-suited editing, thereby breaking the monotony and dryness typical of most catalogues.

In its textual research, the book notes, for example, that Song-period 宋 (960-1279) copies of Gu Kaizhi's 顧愷之 (c. 348-409) famous painting Luoshen fu tu 洛神賦圖 "Nymph of the Luo River" contain the spirit of Han-period 漢 (206 BCE-220 CE) artists. It also points out that Song artists' painting of Sima Guang's 司馬光 (1019-1086) painting "Solitary Pleasure Garden" (Duleyuan tu 獨樂園圖) does not follow the layout described in his own essay Duleyuan ji 獨樂園記.

In terms of authentication, the author does not merely echo popular opinions. For example, among the "Four Masters of the Yuan period 元 (1279-1368)" Ni Zan's 倪瓚 (1301/1306-1374) paintings are usually the most highly esteemed by the world. However, Ruan argues that Ni Zan's paintings blend purity and richness into a sparse austerity, marking a distinct path among Yuan painters. This willingness to express personal views that challenge widely held acclaim requires great courage. At the same time, one must possess a certain level of knowledge and keen insight to argue convincingly and earn the respect of others."

Because this book's format differs from typical catalogues, although it provides us with the author's evaluations, its value as a source of factual information is not as high as works like Shigutang shuhua huikao 式古堂書畫彙考 or Daguanlu 大觀錄. This is especially evident in the area of connoisseurship. Compared to the Shiqu baoji, Ruan's Shiqu suibi cannot match in either scale or historical source value. However, because the book records works in an informal, essay-like style, it contains much of the author's personal commentary. Its flexible and varied form thus makes it more readable.

The text is included in the series Biji xiaoshuo daguan 筆記小説大觀本 and Yueyatang congsshu 粵雅堂叢書.