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Top left; Figure 4: Taihu stone:
“Mi Fu Bows to the Rock”
Top right; Figure 5: Ying stone:
“Thinker”
Middle right; Figure 6: Nine
River Dragon Stone; “Morning
Sunlight at Mt. Wuyi”
Bottom right; Figure 7: Youlan
stone: “High Mountains and
Great Rivers”

from small Chinese characters etched on the back of
the stone. The harmony between the stones and the
stands upon which they rest is absolutely stunning
and is quite apparent with this stone. The small stand
holds a relatively massive stone with its mass cantile-
vered over the base—it is a remarkable achievement.
The same harmony is evident with the stone and base
depicted in Figure 1, and throughout the entire collec-
tion. It is interesting to note that the bases are very dif-
ferent yet are in perfect harmony with their respective
stones—both of which are Taihu stones. The stone and
base presented in Figure 2 represent a different sense
of harmony. This Lingbi stone, named “Immortal
Peak” was likely collected before the Ming dynasty. It
rests on its original gall-wood base. The base is simple
yet provides an appropriate platform for the power
of the stone. The patination of the stone and base are
wonderfully complementary. Throughout the book,
we find beautiful and evocative stones resting on won-
derfully complementary and expressive stands. The
combinations are breathtaking.
The scope of Kemin Hu’s collection is astonishing.
Tom Elias observes that with the great scarcity of the
stones of this quality and the tremendous desire in
China to repatriate objects of cultural significance that
Kemin Hu’s stones form a singular collection, the likes
of which will never be seen again. To have this collec-
tion so exquisitely documented is a rare gift. What
follows barely scratches the surface of what the col-
lection holds. It is difficult to capture the grandeur
and crystalline clarity of the images in small scale.
Yet, it is possible to choose some stones that begin to
represent the scope of the collection. Figure 3 pres-
ents a classic Lingbi stone. This mountain stone is one
of the very earliest forms of stone collected. Figure 4
presents a horizontally oriented Taihu stone with the
poetic name: “Mi Fu Bows to the Rock.” This stone
is representative in that it is easy to see a figure on
the left bowing to the mountain on the right. Figure
5 is an ancient Ying stone with the poetic name “The
Thinker.” It sits firmly on its stone base. A figure can
be seen with the external profile of Rodin’s sculpture—

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