Suiseki: The Japanese Art of Miniature Landscape,

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Looking for something new to do? Something out of the ordinary? Something inexpensive and relaxing?

Maybe its time to collect suiseki (soo-ee-sek-ee).

Felix G. Rivera, founder of the California Suiseki Society, explains how to collect and appreciate suiseki in his book, Suiseki: The Japanese Art of Miniature Landscape Stones.

Rivera began collecting more than twenty years ago. Since then he has written and lectured internationally about the centuries-old art of suiseki collecting.

New and experienced collectors alike will find his book interesting and helpful.

Although they may look like nothing more than plain rocks to the casual observer, suiseki are very special stones. The forces of nature have carved them into miniature mountains, islands, waterfalls, and other landscapes. Some suiseki resemble humans or animals. Suiseki collectors are simply people who search for intriguing stones, which they bring home, clean, and display.

Among the benefits of collecting suiseki is time spent enjoying the outdoors and a fascinating stone that reminds you of the good time you had finding it. Rivera says "the true spirit of suiseki is a shared experience," and for many,the search is as pleasurable as finding that one perfect stone.

Suiseki are never machine cleaned or polished; collectors spend many relaxing hours lovingly hand-rubbing their tiny landscapes. Other than perhaps grinding off the bottoms so that they may be displayed, suiseki are not altered in any way by humans.

Rivera writes that "a suiseki may be viewed quite simply--as a pretty stone with a nice shape--or it may be viewed at various levels of complexity that embrace art, philosophy, or mineralogy or that serve as a metaphor for the connections between one's private world and the universe." He says that the various levels at which one can enjoy and appreciate suiseki make them not only art, but also enable collectors to "achieve personal satisfaction and peace."

He has filled his book with tips on where to search, what to look for, and how to clean and display suiseki. Rivera provides general and introductory material for new collectors, and detailed references for the more experienced. He includes drawings and photographs, including 32 full-color plates with detailed captions. The appendices include a glossary, bibliography, and lists of where to obtain more information, such as maps and collectors clubs.

In his forward to Rivera's book, Arishige Matsuura, Chairperson of the Japan Suiseki Association, writes "all that is required to enter the world of suiseki is to find something intriguing about the stone." Rivera opens the doors to that enchanting world with his comprehensive, but easy-to-understand book.

suiseki the reveal

VEALSUISEKI THE REVEAL

Mas and I found this stone on our first date, a collecting trip to Black Butte Reservoir in Northern California. It was Thanksgiving weekend in 2004 and the weather was ice cold and with a strong north wind blowing. The stone has several significant features, including the amazing autumn colors, the large tamari or waterpool, and the steep cliff recessed under a big overhang. By contrast, the surface features, including the two small peaks to either side of the tamari, are more restrained and gentle.

Soon after bringing it home, Mas made a daiza. Sometimes when so many interesting features are present the viewer’s eye gets lost. Simplicity is one of the most important aesthetic virtues for a suiseki. Mas wanted to simplify the stone by emphasizing the tamari and surface features. This gives the suiseki a modest, settled feeling. We kept the suiseki in the living room and enjoyed our memories of that day.

Recently, Mas took the stone out of the daiza and put it on the table. He didn’t have any intention of redoing it, but while looking at the stone he started appreciating the cliff area. He thought it enhanced the stone rather than detracting so he decided to open up the front of the daiza to reveal this unique feature.

It seems to me that he has revealed the heart of the stone. Its features combine in a dynamic harmony, and the recessed cliff gives a sense of depth and mystery. Removing the wall of wood from the front also allows the eye to appreciate the subtle movements of the stone surface, and perhaps creates more room for the viewer’s imagination

the struggle suiseki

The Struggle
May 27, 2008

Forest - 2007; W 17 1/2" x D 8 1/2" x H 9"; Klamath river stone, poplar and oil stain
Forest - 2007; W 17 1/2″ x D 8 1/2″ x H 9″; Klamath river stone and poplar

Mas made this suiseki last autumn. At the time he had such a feeling of accomplishment, finishing such a difficult daiza. He brought it into the dining room and we enjoyed looking at it every day. But after a few days the excitement kind of disappeared. It just couldn’t stand up next to the fine traditional suiseki in the room.

Mas been struggling with this stone for a long time. It’s a beautiful piece of material from the Klamath River, but the feeling from the stone doesn’t transfer to the finished suiseki. The peak is small and indistinct relative to the vertical and horizontal expanse and there are many features spread out over the surface. It feels like a big wall, too busy and with no focal point.

A suiseki friend was visiting a while ago, and he suggested that Mas cut the stone and make a simple base. Of course this he had considered this possibility. It would solve the vertical wall problem, and would also help give the stone better proportions - a distinct peak and good kamae (good seat or posture). But cutting is a last resort, and Mas always wants to explore all the other possibilities. He feels that it is an incredible stone, even though it does not follow the traditional suiseki style. So what to do? He really wants to “take care” of the stone - and show the deep meaning of stone appreciation.

The other night Mas showed me a picture of his first attempt to finish this stone from several years ago.

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