Page 23 - Tạp chí bonsai cây cảnh BCI 2015Q3

Top; Collector/Exhibitor:
Don Kruger; Old Man, Wood
burned screen: Famous
Mountain Scenery; 12” high, 9”
wide, 8” deep
Middle and bottom; Collector/
Exhibitor: Chung Kruger;
Screen: 11th century China
Poem (copy): Nine Bend River,
Distant Mountain Stone; 8”
high, 15” wide, 10” deep

of their refined arts) in the 4th century. Korean oral
history records a gift stone called “Mountain of Mysti-
cal Inspiration” from Korean King Mu Wang to Japan
in 612 AD, and Korean scholar No Ja Kong is thought
to have advanced the tradition of stone appreciation in
Japan near the end of the 7th century. Korean collec-
tors, in order to better distinguish their style of stone
appreciation, often interpret/write the ‘su’ as ‘longev-
ity’ (a homonym of the Japanese ‘su’ meaning water).
Korean emphasis is on strength, hard dense stone with
deep cavities, protrusions and folds that illustrate a
stone’s endurance against destruction by the elements.
Suiseki on the other-hand is well known throughout stones (patterns and shapes) routinely advance most
the world as the prevailing bearer of the art. collections. In the USA model, conventional wisdom
Traditionally the Japanese are closely associated tends to describe Suiseki as dark, dense stones that
with the almost unbelievable scenic beauty of their are smooth to the touch with elegant contours
country and ultimately find spiritual union with to encourage contemplation that is conducive to
nature. Everything contributes to ceremony, hence meditation and introspection.
to an atmosphere of contemplation, including the In the last few years in the United States, desert stones
appreciation of stones. Gradually during the growing that have been worn down, eroded, carved, ribbed and
acceptance of Zen Buddhism the Japanese moved polished by wind driven sand (Ventifact action), are
towards a more delicate horizontal landscape shape being added to collections. Multifaceted in form, com-
as the prime feature of their stones. However, stones plex to the touch, they are highly convoluted, coupled
of color, unusual patterns and shapes and abstract

July/August/September 2015 | BCI | 21