Page 25 - Tạp chí bonsai cây cảnh BCI 2015Q3

that stone appreciation is an art, and it may be difficult
for some folks to find mystery in an ordinary stone.
Jack: Reportedly the Korean model dictates that the
stones are characterized as strong, landscape shaped,
dense, hard stones with deep cavities, protrusions
and deep folds, but in your show today the stones are
mostly imbedded pattern stones. How is this recon-
ciled in your mind?
Eden: Even under very strict Neo-Confucianism,
there were many picture stones. Especially of the
Four Gentlemen: Bamboo, Plum blossom, Orchid
and Chrysanthemum. And of course, the collector is
restricted to the material that is resident in local col-
lecting areas. Many of the west coast USA stones are
akin to Korean and Japanese models on the one hand,
and inclusive of the nearby blowing sand of the desert
on the other. We make do with what is available.
Jack: The concept of chi seemingly plays a big role in
the practice of Suseok. Would you explain your per-
spective on the concept of chi?
Eden: The nature of chi—the energy flowing through
existence—is a very difficult idea to express and has
always been a matter of debate. Basically chi, when
physically manifested in stones, is evidenced by cavi-
ties, holes and folds. Such erosion that reveals struc-
ture and reflects a sense of that which endures and
that which is transitory. Deeply worn stones epitomize
longevity.
Jack: What role did the Yang-ban (literati, scholars,
noblemen of the ruling class) play in the development
of the Suseok philosophy and practice of the art?
Chung: The Yang-ban were scholarly officials of the
ruling class and as such they oversaw and defined the
fundamental Neo-Confucian ideology that strictly
constrained every aspect of living, including Suseok:
simplicity, conformity and filial duty. The only re-
lief to this official point of view was Chinese-style Jack: In your lecture you say, “Stone Cultivation Set-
Kwaesuk. Top; Collector/Exhibitor: Eden
tles The Mind.” Surely there is a psychological link Chung, ‘Pal Kong Mountain’ 6”
Jack: You use the word Kwaesuk in your presentation between the stone and the minds of practitioners but high, 12” wide, 6”deep
and in the foregoing response — what does it mean? what exactly does this mean? Middle; Collector/Exhibitor:
Eden Chung, ‘Full Moon sky’;
Chung: They are strange, compelling stones that are Eden: Cultivation means to admire something and 9”high, 8” wide, 7” deep
not representative of anything specific, full of feeling reflect on it and through that focus, the viewer’s own Bottom; Collector/Exhibitor:
but hard to categorize. soul may ascend to knowledge. A mind that cultivates Chung Kruger, Single Peak
Jack: There are some among us who believe that such awareness will roam free and knowledge will be the Snow Mountain, 3” high, 10”
wide, 4” deep
abstract appreciation is the pinnacle of understand- result.
ing of the art and as a result they question the ability Jack: You say Korea is the “Land of the Morning Calm”
of Westerners to comprehend with any meaningful attributable to Ming dynasty Emperor 1393. What is
degree of understanding of the art. Do you agree with it about mornings in Korea that contributes to it be-
this philosophy? ing so calm?
Chung: Yes and No. Yes, it is possible for a Westerner Chung: The mountainous Korean peninsula lies due
to see the emotional spontaneity of the Korean culture, east of the traditionally northerly Chinese Capital and
but no, it will take years of total immersion in the way of so the sun rises first over Korea. Through most of its
Korean life to understand the nuances of the language, 5000-year history, the peaceful little kingdom had
history, and psychology of Koreans and East Asians. posed no threat to Chinese hegemony in the region,
But, that doesn’t mean that we Westerners cannot ap- and so—poetically speaking—the rise of the morning
preciate the art form in our own cultural terms. sun brought only warming rays and calm feeling from

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