Page 27 - Tạp chí bonsai cây cảnh BCI 2015Q3

Jack: Stone aficionados among us are quick to use the
word Traditional when describing their points of view
regarding the practice of collecting and exhibiting
stones. It is today’s practice that is tomorrow’s tradi-
tion, which means to me, that the method of practice
is in a constant state of flux or change. Whether the
preceding statement is true or false, what is your per-
spective regarding the conventional/traditional prac-
tice of the art in Korea?
Eden: The ancient Kwaesuk influence, Mi Fu’s four
preferred traits, and even the Confucian admiration Top left and right; Sam Suk
of pure hardness of material in combination with sub- Memorial. Sam was the
dued color (i.e., specific form not withstanding) still founding member of the
live on in Korean stone collecting. These are our tradi- SOOSUK club. He was always
tions. But Japanese Suiseki style has flourished since happy and made everyone
World War II and is today an equal influence. who knew him feel good as
well.
Jack: With regard to the purists among us, the tradi- His passion for stones was
tions have not changed in either Japan or Korea but exceeded only by his good
the methods of practice of the art certainly have, es- During every show it is a common sight to see groups nature and love for the art.
pecially in the West, which, undoubtedly, will shape of stone enthusiasts discussing the relative merits of a Surely his spirit will live on
in his stones. Especially
tomorrows traditions. The result of the propensity to single stone. The ideas and thoughts of these groups within the imagination of
change the practice offers an opportunity for experi- of admirers is the impetus for further discussion at viewers of his ‘Spirit Dancer’
mentation using the material available to collectors. meetings and roundtable debates of their respective stone. We all look forward to
As has been pointed out earlier in this dialog it is well membership. This particular show was not an excep- seeing his stones again and
for us to remember that it is art we are discussing and tion to that philosophical belief. It was a great show again as reminders of his life
experience.
art and its interpretation are seldom predictable. What and we hope that it will be but one of many yet to
do you consider to be the most defining aesthetic (ar- come. Congratulations again to the leadership of the Bottom; A viewing stone dis-
played with a poem, In Praise
tistic/visual) characteristic that separates Suseok from Korean American Soosuk Club for staging a fine show of Kwaesuk, by Syngman Rhee,
the other notable methods of general practice? and many thanks to the LA Arboretum for making a First President of the Republic
Chung: It’s like traditional Korean soup—not too wonderful space available for this very worthy exhibit. of South Korea, 1954-1957.
fussy! Humble. Hearty. A mix of flavors and textures. Well done!
A fragrance. Its warmth invites you in. One sip, deep
and satisfying. Pure experience carries you away.

EPILOGUE
There is little doubt that each exhibition of viewing
stones, whether they are Gongshi, Suseok or Suiseki,
presents an opportunity for a great learning experi-
ence for both visitors and for all those who take the
time to exhibit stones in shows and participate in the
ensuing dialog.
To me there is no greater fun than scanning the desert
floor, frolicking at the edge of the surf on a beach, or
wading in a cool stream in search of that masterpiece
stone which is most difficult to find and even more
difficult to define and may not even exist except in
the imagination of the collector. It has been said that
a spare time enthusiast can scarcely expect to find one.
Even if you are providential enough to possess one, it
often appears to be deficient for a complete expression
of your artistic discernment of what it should be and
so the search continues on and on. Therefore too many
never seems to be enough.
Chung’s presentation at the symposium in Pennsyl-
vania was a masterwork of decorum, scholarship, and
distinction. She was a tribute to herself, to the whole of
the Korean community, and to all of us who practice the
art and are fortunate enough to call her friend.

July/August/September 2015 | BCI | 25