all about suiseki

Suiseki: The Japanese Art of Miniature Landscape,

2009-02-04T19:45:00.000-08:00

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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

2008-05-27T20:43:00.000-07:00

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

2008-05-27T20:08:00.000-07:00

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.

suiseki bonsai

2008-05-20T21:13:00.000-07:00

Bonsai...
The millennia-old art form, still going strongly today!

In Japanese, bonsai can be literally translated as 'tray planting' but since originating in Asia, so many centuries ago - it has developed into a whole new form. To begin with, the tree and the pot form a single harmonious unit where the shape, texture and colour of one, compliments the other. Then the tree must be shaped. It is not enough just to plant a tree in a pot and allow nature to take its course - the result would look nothing like a tree and would look very short-lived. Every branch and twig of a bonsai is shaped or eliminated until the chosen image is achieved. From then on, the image is maintained and improved by a constant regime of pruning and trimming.

It is the art of dwarfing trees or plants and developing them into an aesthetically appealing shape by growing, pruning and training them in containers according to prescribed techniques.

Overall, bonsai is a great interest, hobby or even profession to undertake. Although famous theologians have claimed that it is actually 90% art to a meager 10% of horticulture, it has to be said that a successful bonsai is most definitely a horticultural masterpiece.

Once arriving in the Western World, this enjoyable and rewarding pastime has never turned back, and has gained a magnificently diverse range of plant material and techniques.

Whatever you need to know - you will be sure to find it here - at The Bonsai Site.

juniper

suiseki bonsai

2008-05-16T20:21:00.000-07:00

Click on each thumbnail to view a larger picture

More suiseki below

More suiseki below

Suiseki are small, naturally formed stones admired for their beauty and for their power to suggest a scene from nature or an object closely associated with nature. Among the most popular types of suiseki (pronounced suu-ee-seck-ee) are those that suggest a distant mountain, a waterfall, an island, a thatched hut, or an animal.

The art of suiseki is believed to have originated some two thousand years ago in China, where small stones of great natural beauty were set on stands to represent legendary islands and mountains associated with Buddhist or Taoist beliefs. In the sixth century A. D . emissaries from the Asian mainland brought several such stones to Japan. The Japanese adapted the art to their own tastes and have practiced it to this day.

Suiseki are traditionally exhibited on a carved wooden base or in a shallow tray. When formally exhibited, suiseki are often accompanied by bonsai; dwarfed trees trained to grow into pleasing shapes. The term suiseki means literally "water stone". It is derived from the ancient custom of displaying miniature landscape stones in trays filled with water and from the association between suiseki and classical Oriental landscape paintings of mountains and lakes.

In the last thirty years. the popularity of suiseki in Japan has been increasing. Numerous books in Japanese have been written on the subject, and annual exhibitions of suiseki are held in nearly every large Japanese city. Collectors roam the countryside looking for high quality specimens, and some of their finds are sold for thousands of dollars.

Within the last decade, an increasing number of non-Japanese, particularly Western bonsai and tray landscape enthusiasts have discovered the special beauty of suiseki. These new collectors share with their Japanese counterparts the challenge of searching for suiseki among thousands of ordinary stones and the exhilaration of discovering a specimen that will be admired for generations to come.

suiseki bonsai articles

2008-05-11T20:37:00.000-07:00

Suiseki are small, naturally formed stones admired for their beauty and for their power to suggest a scene from nature or an object closely associated with nature. Among the most popular types of suiseki (pronounced suu-ee-seck-ee) are those that suggest a distant mountain, a waterfall, an island, a thatched hut, or an animal.

The art of suiseki is believed to have originated some two thousand years ago in China, where small stones of great natural beauty were set on stands to represent legendary islands and mountains associated with Buddhist or Taoist beliefs. In the sixth century A. D . emissaries from the Asian mainland brought several such stones to Japan. The Japanese adapted the art to their own tastes and have practiced it to this day.

SUISEKI ART

Suiseki are traditionally exhibited on a carved wooden base or in a shallow tray. When formally

exhibited, suiseki are often accompanied by bonsai; dwarfed trees trained to grow into pleasing shapes. The term suiseki means literally "water stone". It is derived from the ancient custom of displaying miniature landscape stones in trays filled with water and from the association between suiseki and classical Oriental landscape paintings of mountains and lakes.

In the last thirty years. the popularity of suiseki in Japan has been increasing. Numerous books in Japanese have been written on the subject, and annual exhibitions of suiseki are held in nearly every large Japanese city. Collectors roam the countryside looking for high quality specimens, and some of their finds are sold for thousands of dollars.

Within the last decade, an increasing number of non-Japanese, particularly Western bonsai and tray landscape enthusiasts have discovered the special beauty of suiseki. These new collectors share with their Japanese counterparts the challenge of searching for suiseki among thousands of ordinary stones and the exhilaration of discovering a specimen

international bonsai-suiseki

2008-05-11T20:31:00.001-07:00

CONGRESO INTERNATIONAL BONSAI ,SUISEKI

We visited the "III Congreso Internacional de Mistral Bonsai". The organization team made a big effort to achieve a difficult goal: To please all visitors arrived from anywhere in Europe. This Congress appears more and more strengthened in every issue. For two days we covered the installations, enjoying happenings that followed one another, comprising most of the arts within Japanese culture of which Bonsai and Suiseki were certainly the most significant.

Logically we were interested in Suiseki, and we have to standout the three conferences given by Chiara Padrini "Stones in Italy", "To carve a Dai", and "Stone Histories", we feel still moved by a presentation so descriptive and poetic.

Concerning the Suiseki exposition, it is true that the level is gradually rising, not only in quality but in number of participants. It is not similar to what happens to de jury for the "Olea Award" for Suiseki. We heard comments about the number and skilfulness of the jury.

On the contrary the decision for the "BCI" award to the best Suiseki, was really correct, Congratulations Mr. Rafael Monje. IT WAS THE BEST!

suiseki barcelona

2008-05-11T20:28:00.000-07:00

Welcome to the web of

ASSOCIACIÓ SUISEKI BARCELONA

We hope that what you will find here arises your interest and you continue visiting us quite often. We will update in this page and therefore we shall be able to offer you more information about such an unknown and interesting world as it is Suiseki.

We will try to know about all events concerning Bonsai and Ikebana too. For that reason we shall be thankful if you kindly collaborate with us informing of any convention, exhibition, meeting, of any kind, to take place wherever it be, national or international.

If you prefer you write to our e-mail already specified above. We expect to be able to respond as through as possible and that with your help we shall widen the fascinating horizon of the world of the "Art of Silence" (as Chiara Padrini calls it in her articles, and so do we as we believe it is a good description).

Thanks for your attention!

suiseki art

2008-02-25T19:30:00.000-08:00

MMMMMMMMMMMMMMMMMMMMMM
MM"Suiseki is the art of attempting to represent natural phenomena, from landscape to the grand universe, using a stone only a few inches to a foot and a half in size. Suiseki revives, refreshes, and enriches the mind. I recommend it highly."

MMMMMMMMMMMMFrom the Forward to my book by Arishige Matsuura, Chairperson, of the Japanese Suiseki Association, Tokyo, Japan.

MM"The art of suiseki begins with the collection of stones in nature and culminates in a sense of beauty and in an emotional and spiritual relationship between the field collector and the stone. Suiseki's charm and attraction as a hobby lies in its elegant simplicity: a stone in its natural state is admired for its unique shape, color, and mineral properties, or for the way it provokes memories of events and times past. A well-proportioned suiseki satisfies the eye, yet inspires awe as, through the process of scaling, it reproduces a famous mountain in miniature. A suiseki can also be treasured as a spiritual and philosophical construct, a metaphor in stone that helps us connect with and understand those things we value in life. . . . The art of suiseki can easily become a way of life as we plan more and more collecting trips in search of that perfect stone, which, of course, is never found."

suiseki art

2008-02-21T18:56:00.000-08:00

Something old, something new
January 23, 2008

We held the Bay Island Bonsai 9th annual exhibit this past weekend, and for the third year in a row Mas was a guest exhibitor. Boon gives him free rein to do whatever he wants, so last year he made an entirely contemporary display with his Suiseki Art piece “Akebono”. This year Mas chose to combine a very traditional suiban display with one of his recent paintings. After creating the display, he titled it “Silence” (静寂 seijaku).

When we were creating this display Mas first tried a more traditional approach, using a calligraphy scroll that his mother had given us. The scroll has the character 然 (zen) which comes from the word shizen, or “nature”. It didn’t look good - the calligraphy was very strong and overpowered the stone, stealing all the attention. On top of that, the meaning of calligraphy is an essential part of it - you aren’t using it just for its visual appearance. Something essential is lost if the great majority of viewers don’t know the meaning.

So we started looking at some of Mas’ recent paintings from last summer. This painting was not made with any intention of displaying it with a suiseki, but when we tried it with this stone and suiban we realized how well they complemented each other.

Mas deliberately avoided giving a descriptive name or label to either the stone or painting . Having a description such as “coastal rock” or “waterpool” limits the viewer’s own imagination. For me, this display is a memory of morning on the Klamath river, surrounded by forest, with the mist rising off the water. For a fellow BIB member (of more practical bent perhaps) the painting seemed like a micrograph of the stone itself.

Having a suiseki display among bonsai gives a moment’s rest while going though the exhibit. In the midst of the trees is a quiet clearing where you can gather your thoughts and go on refreshed.

4 Comments | Japanese art, Japanese culture, Mas Nakajima, Suiseki, Suiseki Art | Tagged: Bay Island Bonsai, Klamath River stone, suiban display | Permalink
Posted by Janet Roth
Suiseki at the Asian Art Museum
November 18, 2007

The San Francisco Asian Art Museum is hosting a suiseki exhibit, put on by the California Suiseki Socity, as part of its AsiaAlive program (it will run through November 25, 2007). Mas and our friend Hideko Metaxas were asked to participate.

Hideko joined San Francisco Suiseki Kai when it was founded in 1981. She travels around the world lecturing on the display of the Japanese arts or bonsai, suiseki, and ikebana.

To accompany the suiseki exhibit Hideko created a formal display using, Mas’ Fuji-san suiseki, in the tokonoma of the museum’s tea room. The antique scroll and incense burner are from her collection.

suiseki

2008-02-21T18:52:00.000-08:00

Suiseki

Photos (c) 2003, 2005 Andrew Alden, licensed to About.com, Inc. (fair use policy)

Suiseki is the art of selecting and presenting natural stones. Where the geologist sees a stone as a riddle—a set of mineral and morphological clues to the history of the area—the devotee of suiseki sees a stone as a pure aesthetic experience, a mystery rather than a puzzle. Suiseki (from the Japanese words "water stone") are natural, unworked stones that suggest other natural shapes, such as mountains, waterfalls, islands, crags, and even whole landscapes. They may also be abstract. The art of suiseki appreciation has existed for centuries in Japan. Recently Westerners have taken up the art, and many American stones meet the highest standards. The California "island stone" above is shown on a traditional sand dish and platform. The "mountain stone" suiseki below are presented in wooden holders.

Suiseki are commonly placed near bonsai pots, where the miniature landforms complement the miniature trees. But these "viewing stones" are also appreciated alone. The Chinese practice of collecting gong-shi, or "scholar's stones," is an interesting relative of suiseki.

The geologist beholding suiseki feels his mind twisted. The top stone, of course, owes much of its charm to schistosity, the middle one to brecciation and the bottom one (a gneiss) to foliation. But these geologic facts are irrelevant, probably a distraction, to the collector/artist. All we can do is keep our big words to ourselves and enjoy the pleasant shock of seeing the familiar—often rocks from our own field areas—in a different context.

See this article for more about this form of "earth art" plus another photo.

Fossils
Geologic Features and Processes
Glaciers and Ice
Landforms
Minerals
Rocks
Geology and Society

suiseki bonsai articles

2008-02-10T19:13:00.000-08:00

ARTICLES

Bonsai History
History of Bonsai

What is Suiseki
As with Bonsai, Suiseki was first practiced by the Chinese during the Song Dynasty (960 - 1279), and are generally referred to as Chinese Scholars Stones. As trade and contact between China and Japan flourished in the middle ages, the Japanese adopted and adapted the art form to their own culture, and like bonsai have set guidelines and refined the art. Due to this Japan is thought of as the mother nation of Suiseki.

How can I make a Bonsai
This is the question that I am most frequently asked "How can I make a Bonsai".
Another question that I am often asked is "Why did my Bonsai tree die".

Dragon Bonsai Tree
The foliage on these trees was wired and shaped as you would any normal Bonsai, and the trees had a deadwood shari area up along the trunk. But to the deadwood area a dragon had been carved and moulded onto this deadwood, and then painted. - read more .....

Adenium
While not strictly Bonsai, these are sometimes grown as Bonsai and as shaped trees resembling animals and people. Whilst in Indonesia I saw a number of these interestingly shaped plants on display in an exhibition in Bali. Some of these shaped trees can be seen here.

Bonsai Palms of Indonesia
About using Palms as Bonsai and as seen often in Indonesia

About Us - The Bonsai in Asia Guide Book

Privacy Statement and Disclaimer

Suiseki in Indonesia - Indonesian Suiseki Association

2008-02-10T19:02:00.000-08:00

Suiseki in Indonesia - Indonesian Suiseki Association

The Indonesian Suiseki Association or called PPSI was founded in 1992. Besides Jakarta it has several chapters in Indonesia like: Bogor, Bandung, Purwokerto, Cirebon, Padang, Aceh and Surabaya.

Our suiseki are collected from several areas of Indonesia like West Sumatra, Aceh, Ciniru - West Java, Irian Jaya and some areas in other islands.

The chairman is M. Paiman with the secretariat Jl Kaji Raya No 1 Jakarta 10130 Indonesia.

The Best Bonsai and Suiseki in japan

2008-02-03T19:18:00.000-08:00

The Best Bonsai and Suiseki
Exhibits in Japan

By Thomas S. Elias

Where and When to Go & What to See

Public exhibitions of bonsai were held in western countries long before they appeared in Japan. Bonsai were displayed in France, England, and the United States at the numerous world's fairs and international expositions staged between 1860 and 1920. In Japan, the first public display was held in Hibiya Park in Tokyo in October 1927 and then annually through 1933 This was replaced by the first Kokufu, ten Bonsai Exhibition held at the Metropolitan Art Museum in Ueno Park in Tokyo. Bonsai exhibits were common in Japan long prior to the late 1920's; however, these were private showings typically held in traditional Japanese restaurants. Bonsai, suiseki and accompanying items were displayed in tokonoma lining the walls of large banquet rooms. There, invited guests could view the plants on display. A catalog of one of these exhibits was compiled by members of the Bijutsu Bonsai Taikai and published in Meiji 25 (1892).

Today, there are literally hundreds of bonsai and suiseki exhibits held throughout Japan. Most are local or regional shows. There are several outstanding national and large regional exhibits that are likely to be of interest to those planning a trip to Japan. The best-known and finest exhibition is the Kokufu-ten sponsored by the Nippon Bonsai Association and held in mid-February. If you can only make one exhibit, this is the one. If, however, you are traveling to Japan at other times of the year or you wish to see more suiseki or specialized bonsai types such as shohin and satsuki azaleas, the following list of the best exhibits of bonsai and suiseki in Japan may be of interest.

JANUARY

Gafu-ten, Elegant Style Exhibit - Early January, in Kyoto

If little gems appeal to you, then this exhibit is a must. This early January show is the largest shohin-size bonsai held in Japan and probably the world. Shohin are miniature bonsai up to 20 cm high. Included here are the tiny mame-sized bonsai that can be no more than 7 cm high. Each year, about 200 trees are included in this four-day exhibit. It is held in the ancient capital of Kyoto at the Miyako Messe.

The All Japan Shohin Bonsai Association organizes the Gafu-ten. The Nippon Bonsai Association and the Nippon Shohin Bonsai Association based in Tokyo support this exhibit. The first Gafu-ten exhibition was held 27 years ago in 1975. A photo album of each year's exhibit is published. An extensive sales area equal in size to the exhibit space provides an opportunity for people to purchase shohin plants and accompanying equipment, supplies and materials. An amazing and beautiful array of comparable sized pots, stands, and figures are available for sale. The 2001 exhibit was held from January 5-8.

Sakufu-ten, Creative Bonsai Exhibit - Early January, in Tokyo

This early January exhibit is the only one where professional bonsai growers can exhibit traditional trees under their own names. Even though it is a relatively small exhibit, 57 trees in January 2002, the quality is high. The first Sakufu-ten was organized by the late Hideo Kato in 1975 at the Daimaru Department Store in Tokyo. It has been held at this same location ever since. The 400 growers of this association are the source of the vast majority of trees for bonsai in Japan; however, the growers are not often recognized for their styling skills. This exhibit provides that opportunity. Among the awards presented to the best trees are the Prime Minister's Award, the Environmental Minister's Award, the Agricultural and Fisheries Minister's Award, and the Minister of Science and Education Award.

The Mainichi Newspaper sponsors this event and publishes an annual photo album of the trees displayed. The trees are judged in October and the selected trees photographed then in order to have the catalog available for the January exhibit. An appealing sales area of plants, suiseki, equipment, and supplies offers everything an aspiring or experienced bonsai artist needs. Approximately 20,000 visitors attended the January, 2002 exhibit. This is an excellent exhibit.

Koju-ten, Satsuki Tree Exhibit - Early January, in Kanuma

This outstanding four-day exhibit of excellent bonsai styled satsuki azaleas is held in early January at the Kaboku (Flowering Tree) Center in Kanuma in Tochigi Prefecture. Kanuma is an easy one-hour ride via the Shinkansen bullet train. Participation in this exhibit is limited to professional bonsai growers; thus, plants are displayed under the grower's name. This is one of the few exhibits featuring the growers. Selection of the plants for this show is carried out in October for the upcoming display in January. This allows them to produce an attractive color book illustrating the trees on display.

The January, 2002 exhibit contained 57 trees. This is a nice feature as it is a reasonable number to appreciate and absorb without experiencing sensory overload from viewing too many works of art at one time. The Koju-ten is the counterpart of the Sakufu-ten exhibition in that it is restricted to professional growers.

Kanuma City maintains both outdoor and indoor facilities for selling plants, horticultural supplies and an extensive array of bonsai pots. An adjacent building houses the sales area for approximately 40 satsuki growers. Kanuma, the capital of the satsuki production in Japan, is the place to be to see the amazing array of bonsai type, size and flowering bonsai satsuki azaleas. They are available for purchase at more reasonable prices in Kanuma than in Tokyo.

Meifu-ten, Excellent Style Exhibit - Mid-January, in Nagoya

Nagoya in Aichi Prefecture is one of the major long-term centers for bonsai growers in Japan. There are 61 dealers, mainly growers, located in Aichi Prefecture. The Chubu Bonsai Cooperative located in Nagoya sponsors this major exhibition of bonsai. This is the second largest and second oldest continuous public exhibition in Japan. The 72nd exhibit was held in 2002. This year, 236 plants were displayed, 90% of them owned by hobbyists. Thirty-two of the plants displayed in this year's exhibit will also be selected for the Kokufu-ten exhibition in Tokyo in early February.

This three-day exhibition attracts approximately 20,000 visitors and the modest admission fee of 500 Yen (about $4.50 US) is a bargain. There is a large sales area adjacent to the exhibition. Here, plants, supplies, materials, and a nice assortment of suiseki are available at reasonable prices. Some of the best suiseki collecting areas in Japan are located near Nagoya so you may find some prizes among the vendors. The sponsoring association publishes a handsome photo album of the plants on display. Like many other major exhibits the plants are judged, selected, and photographed in the fall in order to have the photo album available for the January exhibition. It is always held over a mid-January weekend including the Monday national holiday known as Adult Day.

FEBRUARY

Kokufu-ten, Classical Bonsai Exhibit in Tokyo

This eight-day national exhibit of bonsai from large specimens to small shohin-size trees is the largest and most prestigious of all bonsai exhibits worldwide. If you can only afford to attend one major bonsai exhibit, this is it. The Nippon Bonsai Association (NBA), the official sponsor of the event, worked diligently over many years to insure that only the finest bonsai in Japan are displayed. To win one of the several prizes awarded greatly enhances the career of the stylist and honors the owner of the outstanding tree. However, the Kokufu prize is not given if there is not a worthy tree. This year only two trees received awards. The hundreds of trees are displayed in the Tokyo Metropolitan Art Museum in Ueno Park. The Kokufu-ten is also the oldest continuous (except during World War 11) public exhibit in Japan beginning in 1934. Norio Kobayashi was the driving force behind the establishment of the Kokufu Bonsai Society and the Kokufu-ten exhibition. It is advisable to go through the exhibit more than once. The first time to enjoy and appreciate the trees, and another trip just to see the beautiful and impressive stands and display tables.

The Nippon Bonsai Association publishes a high quality catalog or photo book of the large and medium-sized trees displayed along with many of the shohin-sized trees. A short free bus ride away is a large sales area adjacent to the NBA office. Here, one finds a great array of trees, pots, supplies, equipment, publications, and even antique artifacts relating to bonsai. Bring cash as most dealers do not accept credit cards.

bonsai-suiseki information

2008-01-27T19:06:00.000-08:00

Bonsai Teacher

Please note that this is a personal website and not a free resource for general information I hope that you will find my many books will cover your questions. Many thanks craig.coussins@btinternet.com

beyond suiseki

2008-01-07T19:55:00.000-08:00

Beyond Suiseki

Manette Gerstle

Summary

This is the first 21st Century look at burgeoning global arts based on 2000 year old Far Eastern devotion to Chinese and Korean viewing stones as well as Japanese suiseki. Here the thrilling world of Western viewing stones is also discussed.

About the Author

Manette Gerstle has had a lifelong love for beautiful viewing stones which she has expressed in her growing collection and, now, in Beyond Suiseki. Her educational background is dominated by Art, Law and the Humanities.

SUISEKI REGIE STORE

2008-01-02T18:54:00.000-08:00

SUISEKI REGIE STORE

Hi,everyone.I am Rico.Collecting suiseki is my favorite hobby.I want to introduce our city,Liuzhou.There are the biggest suiseki-market in CHINA.I am only business-man .We trade bonsai and suiseki stones each other every business day and list some on Ebay also. We have a professional team,who look for suiseki stone and all complete set establishment.

Thank you for visitting my store and hope you could enjoy our suiseki and yours.Best wishes for everyone.

COLOR GLAZE SHOHIN BONSAI--HEART SHAPE TOP SUISEKI

2008-01-02T18:50:00.000-08:00

COLOR GLAZE SHOHIN BONSAI--HEART SHAPE TOP SUISEKI	Número del artículo: 260159405211

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                          SHOHIN ROCK------ DAHUA STONE

TOP SUISEKI

You will love the kind of stone.It is real water-scouring stone,famous DAHUA stone or we call it painted pottery rock. Beautiful colour and smooth exterior,so the indigen and suiseki-fans in China love it.If coat vaseline,The colour is shown more flamboyant. But this stone needn't coat,its very slick.The Daiza is made with camphor wood(mothproof)

Setting it as a ornament in your home ,office.It will increase more lovely for your life,work.

Measure:

5 1/4"*3 1/4"*4 3/4"

13cm *8cm *12cm

weight: 1.8kg

Shiping:

Air:$40 within15-20 days(to any country)

SAL:$28 within 4 weeks( to any country)

Winner notice:

1. Refund price of transaction(EXCLUDING SHIPPING), if you don't satisfy. But the buyer must safely return back within 15 days.

2. This is an international shipping. Please label your phone number for the delivery safely and timely.

3. If you receive the item and feel satisfied,please give me a feedback.

4. 7 days we can delay the transaction.If winner don’t respond,we will cancel this transcation.

If bid more items,buyer will get a discount for the combined shipping

If you have any qureys else ,please send message via EBAY contact.

Lingbi Stone

2008-01-02T18:47:00.000-08:00

Lingbi Stone

(Human & animal-pattern suiseki)

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Suiseki

dimension: 11 1/2"W x 3/4"D x 10"H

(29.2cm x 2cm x 25.4cm)

weight: 6.5 lb. (3kg)

Lucky Wonders

Human & animal-pattern suiseki. Image of a woman riding horse, natural surface

pattern with top of the stone polished to avoid the sharp edges, Lingbi Stone

from Lingbi, Anhui Province, China.

Lingbi stone, Ying stone, Kun rock, Taihu rock

For suiseki enthusiasts who have heard about the Chinese scholar's rocks, the names of Lingbi stone, Ying stone, Taihu rock or Kun rock might sound familiar. They are the legendary stones that Chinese scholars have admired and sought after for many centuries. These stones mystify and typify the characteristics of classic Chinese scholar's rocks that seem to appear bizarre but inspirational to contemplate. The dramatic features of overhanging and jagged projections, foramina structures with stalagmites and stalactites, deep crevices, vertical standing in undulating shapes, heavily eroded surfaces, and projecting terraces or spires are some of the well-known characteristics of these scholar's rocks. Chinese called them rare stones (gongshi), or strange or fantastic stones (guaishi).

Lingbi stones are found in the soil of the mountain areas of Lingbi county, Anhui province. They were the most valued stones during the Song dynasty (960-1279 A.D.). The main composition of Lingbi stones is limestone. They are also known for their hardness and dense textures that produce light chime sound when they are tapped. From the sound they produce the stones are also named resonant or chime rocks. The surface of the stones is generally smooth and glossy. The well-known color of Lingbi stones is black, often displayed with white undercurrents of calcite. Red, light gray or brown colors with black undercurrents can be found as well. Not all Lingbi stones carry the features of classic Scholar's rocks' characteristics as described above. Many of the small size Lingbi stones can be found resembling landscape or objects. Lingbi stones with beautiful surface patterns are often cut and polished to become biseki, beautiful stones. back to the top

Kun rocks are found in Kunshan, Jiangsu province. These rocks are rare and highly prized. They have heavily eroded surfaces with perforations, wrinkles, deep fissures and sharp edges. Colors of black and golden brown can be found. back to the top

Ying stone's name came from Yingde in Guangdong province where the stones were originally produced. Guangxi province also produces Ying stones. Limestone is the main composition often displayed with calcite deposits. Black, black gray or dark gray colors with shiny surfaces are common. The surfaces of the stones are often covered with stretches of wrinkles and shallow craters. Ying stones are renowned for the representation of distant mountain views because of its diverse shapes with intricately textured surfaces covered with dimples and channels of furrows that often seem to resemble the shapes of mountains, hills or valleys. back to the top

Taihu rocks are from Lake Tai, Jiangsu province. They are one of the oldest and the most treasured rocks since the Tang dynasty (618-907). These rocks are usually large and they are best known for garden rocks. The surfaces of the stones are usually covered with perforations from the continuous erosive actions of wind, water, waves and sands. These limestone rocks appear very hard, but they are brittle. The colors are generally tan, white or light gray. Dark colors could be found. back to the top

art suiseki

2007-12-17T19:41:00.000-08:00

Chiara Padrini
strada Comunale Saler, 10

10080 Vico Canavese - Italia

tel. 0039(0)125 74138

chiara@padrini.it

All Rights Reserved

Chiara Padrini 2000

Links siti:

ITALIA
AMERICA
AFRICA E AUSTRALIA

CINA - COREA - GIAPPONE

EUROPA

Altri Links:

Tutto sul Giappone

Japanese Green Tea on line

Origami di Gianna Alice

Alcuni Suiseki di Chiara

Presentazione Chiara English version

La Collezione

VACANZA E SUISEKI 2006 reportage English version

VACANZA E SUISEKI - 2007 reportage English version

OPRAP - Un nuova associazione di appassionati di pietre a Puerto Rico English version

International Exhibition Bonsai and Suiseki Slovachia 2007 Report NEW

SUISEKI & c. studio e ricerca

SUPER RIVISTA ! per gli appassionati in cinese/inglese !

AMAZING NEW MAGAZINE for stone lovers ! English/Chinese

SUISEKI FOR SALE !!!!

Updated : December , 8 2007

about suiseki

2007-11-20T18:11:00.000-08:00

Suiseki; A Japanese word meaning "water stone". The name comes from the custom of displaying the stones in a tray of water. Hundreds of years ago the Suiseki were collected from the ancient rivers, polished by the continual movement of water. These stones were displayed, along with bonsai, To complete a vision of a far off mountain in the background.

The only man-made improvement on a Suiseki is sawing the bottom flat, and bringing up the natural patina with mineral oil. Some people think that a stone should never be cut, but the verdict is still out.

The plural of "Suiseki" is also "Suiseki"

Suiseki should be displayed on a "dai," a carved piece of wood, or a "suiban", a bonsai tray with no holes filled with sand or water. The dai and the suiban should be displayed on a bonsai stand.

The dai should complement the stone and not take away from its beauty. The same way that a fine pot can bring out the beauty in a bonsai, so can a well carved dai. Traditionally, the stand that the stone/dai sit on should be of another type of wood to add variety.

Suiseki are and are frequently displayed together with bonsai and make great accents.

One reason to cut stones is that it provides a flat surface to work with to make it easier to construct a suitable dai.

It is a simple matter to get a very precise outline of the stone transferred to the wood. I use a router to remove the wood under the stone. I use a 3/16 flat bit to trace the outline and then change to a 1/2 inch flat bit to remove the inner area. If you do not use a router or power tools for that matter or are not comfortable using them, then you will have to carve out your base.

Some people put their stone on the wood in a fairly dark place and shine a flashlight or light source from overhead and trace the outline. this will not be as accurate but it will give you a fairly good starting point. As far as the stone looking better it does not make that much difference, since at the end you still have a stone sitting in a wooden base. The only difference is that you can get the base on a cut stone thinner than on a base that you have to carve for an irregular bottomed stone. By the rule of thirds, this is easier to achieve with a cut stone.

Western collectors of Suiseki have taken to American rivers and the western deserts to find stones of uncompromising beauty. The Eel river, Russian river area of northern Calif. has yielded some great stones. Harry Hirao has prized dozens of beauty's from the eel river. Some of his Suiseki have been donated to the National Arboretum in Washington D.C. Death Valley has also yielded some great stones, polished smooth by the high winds blowing scouring sand.

For collecting, river areas are best. Rushing water and fairly downstream for the most eroded and polished stones. Volcanic areas are conducive to good stones. The ring of fire happens to be on the Pacific Ocean, and not the Atlantic, but.. there are good volcanic areas around the Mediterranean.

Stones that have been altered by man i.e.; grinding, polishing, dyeing, or cutting except for the bottom, are called "biseki". This means "pretty stone." A chrysanthemum stone would be an example of a biseki. These stones are ground to expose the azurite flower patterns that have made these stones famous. If you can find a "Chrissie", or "plum blossom stone," buy it up, as these stones are now protected in China and are not being exported.

Stones are cut for various reasons.

Some stones would be simply too large to use as viewing stones. Other stones are cut to make the construction of a dai of suitable proportions easier.

The issue of whether to cut a stone and whether a cut stone is in fact a Suiseki or simply a pretty stone is a topic of much contention.

In the end, whether the stone is cut or uncut, you still have a stone sitting in a wooden base. The only difference is that you can get the base on a cut stone thinner than on a base that you have to carve for an irregular bottomed stone. By the rule of thirds, this is easier to achieve with a cut stone.

You split a diamond, but you cut a Suiseki.

For cutting small stones up to 3 inches or 60mm, you could use a dry diamond saw blade in a circular saw. Clamp the stone to a table with a wet rag around the stone under the clamp, so as not to scar it. Then cut away. This works if you are handy. If you are not, then check in the "yellow pages" (I don't know if they have them in the UK) under "lapidary" and maybe they could turn you on to someone that may be able to cut it for you.

If it's a really big stone, then get out the yellow pages again and look for graveyard monument craftsmen. They have the continuous, diamond-coated wire type saws that can cut the really big ones.
Some of the Chinese stone vendors seen at our conventions will have a lot of biseki that have been altered either by grinding or cutting. These type of stones often have a varnish on them to bring out the details. I stay away from these type stones. That's just me. I have seen some real unique stones though.

suiseki-gallery and club

2007-11-20T18:07:00.000-08:00

Suiseki Gallery

Club Gallery


Suiseki Icon	Unusual Daiza	Classic Waterfall stone

thebest suiseki-bonsai

2007-11-18T19:53:00.000-08:00

The artistic and poetic combination of Suiseki and Bonsai creates a true work of art. The combination adds life to the suiseki and strength to the bonsai. And to both, a sense of timeless beauty is added.

Combinations of suiseki and bonsai
The best combinations are achieved with suiseki and bonsai that are found together in nature.

suiseki and bonsai should be in harmony

combination should enhance feeling and aesthetics of each other

always follow nature

reflect spirit of full-size counterparts

suggest natural forms with simplicity

The two methods of combining are:

rock planting (ishi-tsuki)

tray landscape (boneki)

The combination of tree and suiseki is especially beneficial for both the lovers of bonsai and for lovers of suiseki alike:

very young bonsai with suiseki can be enjoyed immediately

flaws in suiseki can be hidden by attaching bonsai

moss or soil can be used to stabilize uneven stone

When used with Bonsai, the best suiseki features are:

many natural crevices

irregular contours, fissures

weathered channels

rough surfaces

stones which hold soil well

crevices used to attach guide roots, or hide anchor wires

When used with suiseki, the best Bonsai are:

maple trees-- roots attach easily, mold to stone

mature trees

young seedling trees

dwarf varieties with many long, thin, flexible, even roots

slow growing trees

pine and spruce need little moisture, look attractive

dwarf box, buttonwood, Japanese yew, Chinese juniper, needle juniper, hemlock, cypress, fir

About Bonsai
Quality features of Bonsai:

suggests features of full-sized tree

small leaves, branches, etc.

tapered trunk, beautiful aged bark

thick dense foliage, in clusters

balanced branches in scale tree size

5 traditional Bonsai shapes:

formal upright
informal upright
slanting
semi-cascade
cascade

Tray landscapes

The success of your tray landscape depends heavily on the container:

think of it as a frame for a painting

preferred are earthenware or ceramic

sometimes used are cement, bronze, wood and copper

Containers for rock planting and tray landscapes are:

usually 2 inches deep or less

depth closely related to width and length

the longer /wider, the greater depth.

oval or rectangular containers best

round, square and hexagon shapes also used

Color considerations for containers:

container colors and object colors should not compete
avoid distracting bright-colored containers
Most collectors prefer :
- neutral colors (beige and off-white)
- subdued natural earth tones (dark brown, dark red, dark green, gray)
- pastels work well with color of most suiseki and bonsai

Rock Plantings
Two styles of rock plantings which are dramatic and effective:

Root Over Rock Style:
- roots are trained down over stone
- roots trained into bed of soi
- 2 or more water drainage holes, 1 inch diameter
Clinging To Rock Style:
- bonsai grown entirely on the stone
- roots wholly contained within peat pressed onto stone
- bed of soil not required
- stone typically placed in shallow suiban with sand, water or both