Page 37 - Tạp chí bonsai cây cảnh BCI 2014Q2

Spirit Stones: The Ancient Art of the

Scholar’s Rock is an example of the
Top right; Figure 1: Taihu stone: “Accept While Pretending to Refuse”
kind of coherence and excellence that Bottom right; Figure 2: Lingbi stone with original base: “Immortal Peak”

derives from an absolutely prepossessing

interaction. The synergies here are

unrivaled as is the final product.

We are introduced to the book by an essay of Kemin’s on the aes-
thetics and appreciation of stones. For Kemin, stone appreciation is in
the blood. She was born in China and her father was a distinguished
stone collector; however, while in China, she was indifferent to view-
ing stones and their artistic and cultural significance. Only after she
left China and moved to North America did the stones take on a deep
and thoroughly heartfelt significance. They evoked memories of home
and were intimately connected to her love of family. Kemin has a very
discerning eye and has developed an exquisite collection that is con-
summately artful and evocative. She sees stones as the work of a great
artist—nature. Tellingly, she quotes Thoreau: “The finest workers in
stone are not copper or steel tools, but the gentle touches of air and
water working at their leisure with a liberal allowance of time.” In this
moving passage, Kemin asserts that Thoreau has captured perfectly
the Chinese view of nature’s artistry. She also considers the qualities
that elevate some stones above others. The Chinese regarded some rare
and ancient stones as gongshi—which has been translated alternatively
as “respected stone”, “tribute stone”, or “spirit stones.”
The topic of gongshi also arises in the three compelling essays writ-
ten by Dr. Tom Elias. He discusses the attributes that contribute to this
status in a way that brings to mind the Japanese concept of gei—or
the special qualities a bonsai must possess to be art. Both concepts are
ineffable but, when present in a stone or in a bonsai, are immediately
recognizable. Tom provides a history of Chinese stone appreciation
and a guide to the appreciation of Kemin’s collection. He notes the
astonishing artistry and quality of Jonathan Singer’s photography. He
observes that the quality and size of the printed images invite con-
templation. The viewer has the opportunity to be truly touched by
the spirit of stones.
For the viewer to be touched by the spirit of the stones requires
a nuanced and creative talent. As in Fine Bonsai, Jonathan Singer’s
photography, with compelling force, indicates why he is considered
to be amongst the greatest nature photographers in the world. His
photographs were, for the most part, taken with a Hasselblad H4D
40 camera. Some photographs were taken with a Leica S2 camera
equipped with a special wide-angle lens. The equipment is impor-
tant—it enables the Jonathan’s artistry and passion to shine through.
It is, however, the artistry and passion that make his photographs
singular. In speaking of his work, Jonathan remarked: “it gives me
something in my heart that nothing else can fill.” It shows. Kemin Hu
remarked that Jonathan’s photography allows the viewer to see the
stone but more importantly it allows for the spirit of the stone to be
felt. The artistic decision to present the stones in duotone allows the
viewer to appreciate form and texture more profoundly.

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