May 2010 - California Aiseki Kai

C ALIFORNIA A ISEKI K AI
Volume 28, Issue 5
May 2010
May Program
What is a Masterpiece?
On the Trail of Illusive Stones
On May 26, Tom Elias will present an illustrated lecture
on the illusive chrysanthemum stones in China. There
are several types of chrysanthemum stones known in
China with the more common ones originating in Hubei
and Hunan Provinces. However, rare types of
chrysanthemum stones occur in other regions of China
and this lecture will focus on the long, three-year search
to locate and identify the Huadu and Liuzhou
chrysanthemum stones. This was part of the research
and studies that Tom and Hiromi Nakaoji conducted
for their book, Chrysanthemum Stones, The Story of
Stone Flowers, which will be published in September,
2010 by Floating World Editions.
It was great seeing Jack and Sachiko Dennis at the
April meeting; first, because they have both recovered
from recent ills and second, our meeting was all about
a question Jack had raised at one of our meetings last
year. (See Program Notes on page 3)
Last month Don Mullally asked if any stone with a
pattern suggesting a scene from nature could be called a
suiseki. With that in mind,
let’s bring in pattern stones
that suggest a natural scene.
Covello & Yoshimura said,
“...an interesting pattern is not
sufficient grounds for a stone
to be classified as a suiseki.
The stone must also be
suggestive and meet certain
aesthetic standards.” Japanese
Art of Stone Appreciation,
page 45.
Jim Greaves’ pattern stone of koi
swimming up stream was part of the
tokokazari competition last month in
Hanford.
*
Stone of the Month
*
Sales: Ken McLeod will be in our meeting room
at 6:00 with a bunch of affordable but amazing
starter stones. He said he found a new place!
Please come early for the best selection.
*
We are extremely fortunate to have Tom and Hiromi
for our program. Now that they have moved back to
California, we hope to see them more often. Come and
enjoy this special evening.
Suiseki appreciation is a lot like any other art; the
greater the number of people who are moved by the
piece, the more highly regarded it will be. Of course,
each person’s emotional response will be predicated on
a personal set of circumstances, but in the end, it is the
community of interest who will judge. It is always nice
for each of us to enjoy our stones and the feelings they
evoke, but for the big picture, the stones most
universally understood will take on the mantle of
‘masterpiece’. [We are told that some are even called
masterpiece because of their history but that is another
story.]
Naturally, we would hope that our stones fall
into this category and that is why we have guidelines to
help direct us toward that end. It is not a “whatever you
like” sort of art… rather, it is a somewhat arcane art,
with a sophisticated palate, developed over time, and
one that has evolved. Any one of us might stumble
across a superb example of suiseki, and that is in part
what keeps most of us looking. We are nonetheless
guided by some principles that are helpful and that is
why we are encouraged to keep learning and trying to
discover what that certain something is that sets one
stone apart as special.
Even though there is no single set of rules to
follow, whether it involves what the stones are called
or how they are displayed, it is a fascinating subject
that has captured our imagination and provides us with
hours of enjoyment and relaxation.
It hasn’t been easy trying to develop a single
vocabulary for all our stones, but that process is
worthwhile if one is to discover a greater depth of
understanding. There is a difference between the stones
one enjoys at home, recalling the day and so on…. and
the stones we put “out there” for the world to see.
Those stones, masterpieces or not, are the ones that are
an indication of our knowledge of the art.
Larry Ragle
PAGE 2
April Meeting Notes
CALIFORNIA AISEKI KAI
VOLUME 28, ISSUE 5
by Linda Gill
June 18-20: La Habra Gem & Mineral show will feature Stone of the Month- (Yuha Stones): All stone
an expert in petrified wood. See www.nocgms.com.
measurements are in inches; height x width x depth.
Look for suiseki and bonsai coming events on page 12. Photographs by Wanda Matjas.
Richard Aguirre: 3 x 5
Richard Aguirre: 1 x 5 x 6
Phil Chang: 1 x 5 x 4
Michele Murray: 3 x 8 x 2
Kyra Haussler: 2.5 x 4.5 x 3
Janet Shimizu: 7 x 9 x 5
Janet Shimizu: 2 x 3.5 x 2
Emma Janza: 2.5 x 6 x 5
Kit Blaemire: 2.5 x 8.5 x 4.5
Harry Trieu: 4.5 x 9 x 5.5
Kit Blaemire: 4.5 x 5.5 x 3
Hanne Povlsen: 3 x 3 x 2
Marge Blasingame: 2.5 x 6 x 3
Linda Gill: 7 x 5.5 x 2.5
continued on page 10
The 1 inch wide inner margins are designed for use with a 3 hole punch.
Joseph Gaytan: 4 x 7 x 5
VOLUME 28, ISSUE 5
April Program Notes
PAGE 3
CALIFORNIA AISEKI KAI
by Linda Gill
‘Lost in Translation’ presented by Larry Ragle
“Although there is no agreement in Japan on a single
definition of suiseki or how stones should be displayed,
the major players, Nippon Suiseki Association for
example, and most key experts, include patterns, animal
and object shaped stones as suiseki if they suggest a
natural scene.”
Larry introduced a change in terminology based on
recent communications with sources in Japan as to what
defines a suiseki. Other than the stones we find, every
moment of Aiseki Kai’s activities is a reflection of what
we interpret from Japanese sources. We exist to learn
from our interpretation of this information, not invent.
Larry noted that this information will not change the
labels or displays for our show; it is a viewing stone
show. We will continue to show Japanese 'style' stones
that will be judged by their quality. He reviewed the
history of the club's definition of “suiseki” from its
inception.
By 1983 we defined a suiseki based on Toy Sato’s
studies in Japan. A suiseki was a small, dark stone that
suggested a landscape scene, a belief still held by some
Japanese clubs. Those 'other' stones - object, pattern,
color and abstract - were not included.
Further, Hideko Metaxas and Nancy Eaton
published an article in Golden Statements in 1983 that
defined some of the Japanese terms that we use. Hideko
shared this definition of suiseki: a stone with a
mountain shape suggesting a natural scene; san is
mountain, sui is water, kei is scenic, jo is sentiment and
seki is stone. In this article she listed 8 types of
landscape shapes but she also mentioned there were
'other' categories of stones shown in another area at
suiseki exhibitions.
We learned from several sources the differences in
displays. Suiseki could be shown in daiza or suiban
although suiban should only be used in summer. The
'other' stones should only be displayed in daiza, except
for huts and boats, that may be shown in suiban. In
Japan all stones have a daiza.
A friend of Larry's from northern California,
knowing his interest in stones, sent him a copy of a
classification chart and later he found the same chart in
the book Introduction to the Hobby of Suiseki by
Murata and Ei. Larry reshaped that chart into a flow
chart form. Again, only landscape shapes were
considered suiseki.
Larry recalled a meeting last year when Jack
Dennis analyzed Chung Kruger's celestial stone. Jack
said he thought that the stone was a suiseki even though
it did not fit into the Ei chart since it was so suggestive
of an endless sky. Based on what we accept now, Jack
was right. (Larry said he was wrong when he depended
on the first Ei chart.)
Wil, writing from Japan, also stated that his
Japanese friends believe that these 'other' stones (pattern
and figure stones) could be considered suiseki
depending on their suggestiveness. Even in Japan there
is debate about what constitutes a suiseki. The foremost
Japanese stone group, the Nippon Suiseki Association,
and others, say that a stone that suggests a natural scene
is a suiseki (see below). The emotion that Jack was
sharing with us has been the NSA’s accepted view. The
second Ei chart, published one year after the first one,
included pattern and figure stones as suiseki.
The definition proposed for a suiseki relies on the
SUGGESTIVENESS of a natural scene:
A stone that is suggestive of a natural scene
Based on your life experiences and imagination
Each viewer is free to imagine
Un-worked - as found
Cleaned and aged - yoseki
Ideally it is small enough to carry in one hand
Dark in color with a deep patina
Smooth - soft to the touch with no chips or cracks
Each landscape shape should have an appropriate front,
sides and back and ideally a flat bottom.
(Note - the Japanese now work the bottom of a cut stone
to look natural but no true suiseki is cut in Larry's
view.)
Larry closed with some slides of stones from a
Japanese club show (Wil’s series, Part 2: Vol. 27, Issue
10, pages 8-11) that displayed some of the stones
without daiza or suiban, obviously emphasizing the
stone, and he showed some slides of West coast stones
that he now considers suiseki due to their
suggestiveness of a natural scene.
Bottom line, Larry feels that suiseki has become a
generic term for any attractive stone, like Kleenex for a
tissue or Xerox for a copy.
Nina reiterated that the suggestiveness of a stone is
more important than the shape.
Larry reasserts that the beauty is in the stone, not
in its classification.
*
*
*
PAGE 4
CALIFORNIA AISEKI KAI
VOLUME 28, ISSUE 5
Ask GuyJim
Dear GuyJim,
What distinguishes a bridge stone from an arch or tunnel stone?
Anonymous
Part 4: Cave Stones
Over the past few issues we have dissected the various
types of stones that have been lumped under the
category of domon-ishi (tunnel stones). Although some
tunnel, bridge, arch, and window-rock stones (madoishi) may represent dry land forms, and other stones
with holes may be seen as ‘abstract’, we noted that the
original Japanese designations for all stones featuring
holes are found under the broader categorization of
coastal, water-based forms. Dokutsu-ishi (cave stones)
are also included under the ‘water system’.
A perusal of the standard reference books will
quickly reveal that the only thing consistent about their
photographed examples of all the classifications of
stones having holes is their inconsistency. One would
expect that a cave stone should be easier to define, but
even with dokutsu-ishi, one finds that many
‘illustrating’ examples fall short. As with the best tunnel
stones, a cave stone should have an opening that does
not reveal all the interior recesses at a glance. A sharp
bend soon after ‘entering’ is highly desirable as are
great, hidden depths to explore (fig.1-4). A sense of
Cave stone, Ken McLeod (AVSRC)
Cave stone, Cape Breton, Nova Scotia, Jim Greaves. This stone
lacks depth and blind recesses, but is an example of how careful
lighting can create a shadow sufficient to add some sense of
mystery.
Cave stone, Dokutsu-ishi, Thomes Creek, Alice Greaves. This stone
is impossible to photograph in a manner that reveals the 7” deep
cave that turns to the right.
wonder and mystery is desirable. As with tunnels, a
cave requires a floor although an exception may be
argued for coastal sea-cut caves displayed with water or
(sand representing water) hiding the ‘floor’ or even
desert caves with ‘sand’ obscuring base rock. [This
leads to the fortunate fact that on a practical level, a
poorly formed arch or bridge opening, even if
completely passing through the stone, can often be
‘Sacred Cave’ stone, Dokutsu-ishi, California Coast, Jim Greaves.
This cave has a massive ‘formality’ that suggests a setting for a
religious pilgrimage site. Although most of the interior is visible, there
are blind recesses both left and right of the broad opening.
VOLUME 28, ISSUE 5
PAGE 5
CALIFORNIA AISEKI KAI
‘Hewn Cave’ stone, Dumont Dunes, Jim Greaves. Although the cave is
small, it is the dominant feature of this otherwise uninteresting stone.
The cave has several well-delineated chambers suggesting
modification as a religious site or dwelling. See cave close up at right.
diverts concentration from the stone – an obvious
exception being the representation of a sea-cave or an
analogous desert feature. However, some caves have
concave ‘floors’ that may be better understood as pools
shown to better effect by setting it into the sand of a
suiban in such a way as to create a wonderful sea cave!] of water. By displaying such a stone in a suiban one can
add water to maximize that effect – the water may even
As was the case of not allowing any hole to be
bounce light into the hard-to-see interior of the cave or
called a tunnel, I personally dismiss the idea that any
reflect features within the cave itself. [Note that
stone with a marginal depression, or worse, a dozen
pockmarks, be labeled a cave stone. Small, aberrational, bounced light and reflections are also especially useful
out-of-scale holes are not enough. A cave may be small, in displaying sea caves and suimon.] As is the case with
almost all cave and ‘hole’ stones, it is generally
but if so, it must be the dominant feature (above).
Likewise, an exaggerated surface texture should not be preferable to use a tighter suiban as a framing device
rather than the more open spacing one would normally
interpreted as a cave-covered mountain; the caves
desire for a mountain or island stone – the major
should have substance (below).
exception being some water-passage stones (suimon).
We had expected to complete the discussion of
'stones with holes' this issue, but unexpected, although
appreciated, restraints on newsletter space have dictated
that you will be subjugated to yet one more round with
round airy spaces where I will present a few final
thoughts and a novel variation or two.
GuyJim
*
*
*
Your editor’s favorite feature: GuyJim ’s Suibanics...
Dokutsu-ishi, Antarctica, Lucille Roberts (AVSRC, gift of Ralph
Johnson). Rather than being viewed as a mountain, this stone is
better considered as a near-view of a cliff face penetrated by both
shallow and deep recesses.
Kimchi-ishi - The oldest form of the classic Korean
soosuk; a natural, well-worn, heavy stone that is
traditionally displayed on top of a vat of fermenting
kimchee. While the desirability for weight is quite
A cave is self-defined as an inwardly focused
obvious, note that the preference for rough (but not
feature. Therefore, a cave stone is usually better
sharp) surfaces with penetrating grooves and
displayed on a daiza, rather than in a suiban. [My use of depressions derives from the need for a sure grip, while
suiban for many of my examples herein is a reflection
open holes are sought to allow the escape of noxious
of a lack of time to prepare so many daiza.] Using a
gases.
daiza allows the viewer to get closer and concentrate on
the ‘cave’ feature. The simple act of placing a cave
The views expressed in this column are personal, perhaps irreverent,
stone in a suiban ‘opens’ the view so that regardless of irrelevant or just plain wrong and do not reflect the consensual view of
Aiseki Kai. Send your viewing stone questions (or comments)
whether the empty space is considered the abstract Ma California
for GuyJim to jimgreaves@roadrunner.com or 1018 Pacific Street,
or some continuation of a landscape environment, it
Unit D, Santa Monica, CA 90405 (310) 452-3680
PAGE 6
CALIFORNIA AISEKI KAI
VOLUME 28, ISSUE 5
Turtles and Tortoises in Stone
by Thomas S. Elias and Hiromi Nakaoji
Turtle stones and turtle shell stones are regularly seen in
stone museums and stone markets throughout China and
to a lesser extent in Japan. These carapace bound
creatures along with selected others animals including
lions, dogs, frogs, and birds are commonly envisioned
in the shape and texture of certain stones. Also, turtle
ponds, often containing hundreds of turtles, are
sometimes encountered within Buddhist temples. But
why turtles and tortoises?
Turtles along with cranes have long been associated
with longevity in Asian countries. Chinese legend
maintains that a mystical mountain chain named Horai,
consists of several islands whose inhabitants are
immortal beings. According to the legend, the
immortals flew from one island to another on the backs
of cranes that allegedly lived for 1000 years. Each
island was located on the backs of giant turtles whose
life spans were ten times that of the cranes. Other
legends maintain that the turtle or mythical versions of
turtles or tortoises represent the world with the upper
part of the shell or carapace symbolic of heaven and the
lower part of the shell representing the earth. Thus,
turtles have long been associated with longevity in Asia.
Stones symbolizing turtles or tortoises are placed
into two general categories: turtle shell pattern stones
and turtle stones. The turtle shell stones are those that
are rounded or nearly so and with crisscross markings
reminiscent of the shell of a turtle. These stones of
sedimentary origin are typically displayed in an upright
manner on a modest base. They range in color with
black and dark brown being the commonly encountered
color of these stones. No attempt is made to depict or
represent the head, legs, and tail of a turtle in these
stones. Kemin Hu refers to these stone as testudinate
(derived from the Latin word pertaining to turtles and
tortoises) or turtle shell pattern stones in her book,
Modern Chinese Scholars’ Rocks.
Turtle stones are stones that resemble turtles or
tortoises, at least in part. Since it very rare to find a
stone that has most of the parts of a turtle, bases are
skillfully and cleverly carved to clearly indicate that the
combined base and stone represents a turtle. Combining
a suggestive base with a stone to create the image of a
turtle is more common in China than Japan. In China,
we have seen bases carved for stones that represent
fearsome, mythical, turtle-like creatures likely from
various legends. Turtle stones are not restricted to one
type of stone, but can be found among a wide array of
stones used in stone appreciation. These range from
desert agates, to well worn river stones, Lingbi stones,
and even fossils. They are appreciated by many
because of their interest and particularly for evoking
feelings relating to longevity. Following are examples
of a few of the turtle shell pattern and turtle stones we
have encountered or have in our collection.
Guangxi
turtle shell
pattern stone
on a manmade root
style base.
The partially
flattened and
round stone
measures 16
cm across
and 6 cm
deep at the
widest point.
The large,
brown, turtle
shell pattern
stone is
housed in the
impressive
Stone
Museum in Liu
Zhou, Guangxi
Province,
China.
VOLUME 28, ISSUE 5
CALIFORNIA AISEKI KAI
This fascinating turtle stone consists of a fossil coral head from
Guizhou province forming the back or upper shell of the turtle and a
remarkable wooden base that forms the lower shell, four legs, and
head of a turtle. This stone and base is 28 cm long, 19 cm deep,
and 12 cm high.
PAGE 7
A dark stone from Hokkaido, Japan that evokes the feeling of a turtle
with a raised head. This stone is 14.5 cm long, 7.5 cm deep, and
5 cm high.
Visitors can see this impressive large and excellent turtle stone in
the Liu Zhou Stone Museum. This beautifully colored stone is highly
unusually because the head and legs of the turtle are a natural part
of the stone. This stone is estimated to be about 60 cm long.
This turtle stone is comprised of a beautiful flat Dahua (Red River)
stone from Guangxi Province in China combined with a thinly carved
wooden base that constitutes the lower shell and legs. It measures
20 cm long from tail to nose and 14.5 cm deep.
Large, mythical, dragon-like turtle stone on display at a stone
exhibition in Anshun in Guizhou Province in China
*
A tiny Gobi desert agate reminisce of a baby tortoise is a rare find.
No base is needed for this stone to convey an image of a turtle. This
stone is 5.5 cm long.
*
*
Ed Note: Thank you, Tom and Hiromi. We are happy
to have you as members and contributors.
We are looking forward to your book, Chrysanthemum
Stones, The Story of Stone Flowers, and a book signing
party!
PAGE 8
CALIFORNIA AISEKI KAI
VOLUME 28, ISSUE 5
Museum Review
by Rick and Mimi Stiles
Bucheon Museum of Suseok
Seoul, South Korea
The Bucheon Museum of Suseok is located on the
Western fringe of Seoul, South Korea in the municipal
region of Bucheon. The government of Bucheon City
established this museum in 2004 with the donation of
1000 stones by Jungam Choi-hwan, a lifelong
collector who became the museum's first director. The
collection is housed in a beautiful gallery (with
attached office and library space) in the elaborate
Bucheon Sports complex within the exterior annex of a
large soccer stadium. Although this location might
seem incongruous, the stadium also provides fine space
for several other specialty museums.
(Museum View 1)
80 stones and placed them in a newly constructed
Buddhist temple.
Even earlier, near the beginning of the 7th
century, there is evidence of stone appreciation on the
Korean peninsula. King Mu of Baekje reportedly sent
yeongsanseok (stones) to Japan as early as 612. Japan
may also have adopted elements of the early Baekje
style of miniature hill technology (a landscape style)
under the direction and influence of Baekje gardener
No Ja-gong. A 13th century text,
Hwaeomjongjosahoejeon, in Japan also refers to the
use of small stones by 7th century Silla Buddhists in
Korea.
Clearly the Korean tradition has great antiquity.
Additional scholarship is needed to probe its
beginnings and its connections to the other major
traditions. There seems to be little doubt that the
historic roots of stone appreciation are deeply
entangled, and international. No individual country or
culture can lay sole claim to origination. This stone in
the palace Secret Garden at Changdeokgung in Seoul
speaks to the Korean legacy.
(Secret Garden View)
Bucheon City has a master plan to position itself
as a city of culture. According to the Mayor, there is a
national consensus that museums are indicators of
advanced "cultural competitiveness" so Bucheon has
been carrying out "culture projects" including the
establishment of the Bucheon Philharmonic Orchestra,
and thematic museums such as the Bucheon Museum
of Suseok. The Korean government has pushed for the
construction of 500 new museums -- one for every
95,000 people. In Korea, this notion of "cultural
competitiveness" is a serious matter.
According to the Bucheon Museum, the earliest
written record of Korean stones comes from Buddhist
writings of the Goreyo period. They tell the tale of
Seungjeonbeopsa, a monk from the preceding Silla
period who travelled to China in the late 7th century
when stone appreciation first became popular among
Tang scholars and aristocrats. When
Seungjeonbeopsa returned to Korea during the reign
of Silla King Hyoso, he brought back a collection of
Korea claims 300 viewing stone associations with
1.5 million members. This may have been true in the
past, but if the United States had the same ratio to
population we would have 10 million collectors.
Today Korea runs at incredible speed. Compared to
Seoul, U.S. cities seem placid. If you ask young urban
sophisticates about suseok, they will tell you that
stones are unfashionable. Stones lack bling.
Grandparents might be interested, but the younger
generation is not. The Bucheon Museum of Suseok is
an important repository for preservation of this Korean
art, but the general level of interest seems to be in
decline.
VOLUME 28, ISSUE 5
CALIFORNIA AISEKI KAI
The main body of the Bucheon collection comes
from the South Han River, perhaps the most famous
collecting site in the country. This river cuts through
some interesting geology in its upper reaches including
the Yeongnam Massif and also the Okcheon Group, a
belt of mixed Paleozoic rock that transects the Korean
peninsula diagonally. This gives South Han stones
some variety. The collection also contains stones from
Indonesia, Russia and other places. Surprisingly, there
are only a few examples from Jeju Island, another
famous Korean site. Collecting is now restricted in
many parts of Korea. We were told that removal of
stones from Jeju Island has been banned.
(Bucheon Museum View 2)
Choi Yu-ri, a member of the museum staff,
attempted to explain the Korean preference for leaving
stones in their natural condition. Many of the classic
pieces have ruggedly detailed surfaces. Water has
acted upon them but not to the extent that they have
become smooth like Eel River stones, for instance.
This stated Korean preference for natural stones seems
to be a subtle concept however. As we talked with the
staff, we got the impression that they think of the
stones as being natural in spirit. The stones have great
strength. They embody this rugged mountainous land,
and the endurance of the Korean people.
This South Han River
stone offers dense
black material with
multiple thin layers and
excellent skin. It
appears to be hard
basalt, not a
sedimentary, despite
the delicate layering.
This type of stone is a
classic suseok type
with great water-worn
patina and presence,
revealing both the deep
work of the Han, and
the depths of Korean
culture. The Koreans have their own methodology for evaluating
stones. They look at shape, stone quality, color, size, and concepts
such as gotaemi (ancient naturalness). But you have to throw the
Japanese rulebook away. It's a different system.
PAGE 9
(Bucheon Figure 1)
The South Han River generates a variety of stone types. This
second example, a green colored stone (31cm x 35 cm x 16 cm)
displayed in a bronze suiban will seem more familiar. It is identified
as a "Figure-shaped stone", but it could be appreciated perhaps
more easily as a mountain stone with rugged crevices and features.
This is another deeply Korean stone (70cm x 40cm x 35 cm) from
the South Han. The museum identifies it as a "Rocks-on-theseashore scenery stone" but there is much more to it than that. This
stone is profoundly hypnotic. Its color, density, amorphous form and
natural bottom draw you in. You're looking into the Korean soul here.
The fanciful sinuous base sits at quite a far distance from the studied
restraint of Japanese daiza. But again this is a classic from
another genre. The stone rests comfortably with this contrast of
curlicue carving.
Understand that the Bucheon Museum of Suseok is
off the beaten path for tourists. In theory, you can get
there by taking the subway to the Bucheon station, and
getting a cab from there. If you have access to a car,
driving would be a better option. However you need to
be mindful of Seoul traffic, which can be horrendous.
You should also be aware that the museum provides
virtually no English language support. Our daughterin-law speaks Korean so she was able to help us
communicate with the staff and read the display
labels. If we had been on our own, we would have
enjoyed seeing the stones, but we would not have been
able to put them in context.
PAGE 10
CALIFORNIA AISEKI KAI
Stone of the Month
VOLUME 28, ISSUE 5
continued from page 2
This extraordinary waterfall stone (57cm x 35 cm x 30 cm) comes
from the Yeongyang area. This is one of the best stones in the world.
The torrent spurts asymmetrically from a deep cleft. The mountain
shapes come straight from the Mustard Seed Manual of Chinese
painting. Meanwhile, the rock itself is in motion, with swirling
porphyry elements embedded in a twisty grey matrix. These flecks
catch the ambient light slightly as you move around, simulating mist
drifting from falling water. The effect is all the more astonishing
because this porphyry is refractive. Subtle rainbows appear and
disappear before your eyes, just as they would with a natural
waterfall. Photography doesn't capture it. You need to see this one in
person.
The next stone is one of the few in
the collection from Jeju Island, a
palmy honeymoon destination off
the southern tip of the peninsula,
and a well known source of suseok.
The spire shape of this stone is
somewhat unusual for a Jeju stone.
It's evocative of the work of the
Swiss sculptor, Alberto Giacometti.
More commonly, Jeju stones will
have a mountain shape in which
finger ridges define eroded valley
forms. The geology of these Jeju
stones seems similar to a certain
type of ropy dark lava known as
pahoehoe in Hawaii. Like Hawaii,
Jeju is of volcanic origin. The more
typical Jeju forms can also be
vaguely reminiscent of the Napali
Coast on Kauai.
Brent Wilson: 7 x 4.5 x 3
Pass the Vinegar
Linda Gill: 7 x 2 x 1
from Ray Yeager
I belong to a local rock and mineral club and I was
told that to remove carbonates (the hard white
deposits on our Yuha stones) soak in vinegar for 24
hours.
Thank you, Ray. We gave it a go and this is what
happened:
We soaked part of this stone in vinegar for 24 hours (above) .
Total success! Results are below.
This large showstopper is located in the library and office area behind
the main exhibition room. We almost missed it. This is another South
Han River stone but it has an entirely different character. Surely it
must be a favorite of the principal donor because it sits in a place of
honor, not far from the Office of the Director. It was one of our
favorites, too. The focal point of the stone is a left eccentric mountain
pass through the main ridge set nearly perfectly on the golden ratio.
*
*
*
VOLUME 28, ISSUE 5
CALIFORNIA AISEKI KAI
PAGE 11
Wanda Matjas: 3 x 5 x 4.5
Hanne Povlsen: 5 x 5 x 3 The two halves of this stone were found a few feet apart.
Hanne Povlsen: 1.5 x 2.5 x 1
Larry Ragle: 1.25 x 6 x 2
Wanda: 2 x 4.5 x 3
Peter Bloomer: 1 x 2.75 x 2.5
Peter Bloomer: 1.75 x 6.5 x 5
Bonnie McGinnis: 4 x 8 x 6
Nina Ragle: 2 x 5.25 x 2.5
Marge Blasingame: 5 x 4 x 3. Marge said her stone looks just like Eagle Rock, a picture of
which is on the right, that photo taken by Kit Blaemire.
California Aiseki Kai meets on the 4th Wednesday of each month at 7:30 pm at the Nakaoka Community Center located at
1670 W. 162nd St, Gardena, CA. Second floor. We do not meet in Nov-Dec.
Contact People
Programs: Larry Ragle
Treasury/Membership: Nina Ragle
Annual Exhibit: Jim Greaves
Exhibit Set Up: Marge Blasingame
Refreshments: Lois Hutchinson
Historian: Ray Yeager
Webmail: Bill Hutchinson
Newsletter: Larry and Nina Ragle
Newsletter Committee
949.497.5626
cfsmail@cox.net
949.497.5626
ragle@cox.net
310.452.3680 jimgreaves@roadrunner.com
626.579.0420
margeblasingame@att.net
714.964.6973
wlhutch@verizon.net
760.365.7897
ryeager890@aol.com
714.964.6973
hutch@aisekikai.com
949.497.5626
ragle@cox.net
May Contributors: Linda Gill, Tom & Hiromi
Elias, Rick & Mimi Stiles, Jim Greaves and Larry
Ragle.
Mailing: Flash Partch
Editor: Nina Ragle
We hope you will participate. Please send any
submissions to ragle@cox.net no more than 10
days following our monthly meeting. Thank you!
Ragle
P.O. Box 4975
Laguna Beach CA 92652
ADDRESS CORRECTION REQUESTED
Leaves no stone unturned
aisekikai.com
Coming Events
SANTA ANITA BONSAI SOCIETY
INTERNATIONAL STONE APPRECIATION SYMPOSIUM
48th Annual Show, May 29 -31 at the LA Arboretum, 301 N.
Baldwin Ave, Arcadia. 10-4:30. Demos 1:00 each day. Sales.
Reception May 29 at 6:30 - 9. Finger food & dessert, raffle. For
more information: see website www.sabonsai.org
September 30 - October 3 at the Harrisburg-Hershey
Holiday Inn, Grantville, PA. Seiji Morimae, Rafael
Monje Garcia (Spain), Kemin Hu, Peter Warren and
Larry Ragle. Exhibits, workshops, critiques, vendors,
auction. For more information: email Glenn Reusch at
stoneshow2010@aol.com or call 540.672.5699
DESCANSO BONSAI SOCIETY
40th Annual Bonsai Exhibit, June 12-13, Descanso Gardens,
1418 Descanso Drive, La Canada. 9-5. Demos 11 and 1 each
day, sales. Reception June 13 at 6:30 in Van de Kamp Hall.
Live auction and raffle. For more information see website:
descanso-bonsai.com or call Michael Jonas: 818.776.0813
CALIFORNIA SUISEKI SOCIETY
15th Annual Suiseki Exhibition, June 12-13, Lakeside Garden
Center, 666 Bellevue Ave., Oakland. 10-5. Sales. For more info:
Felix Rivera, 510.527.6255 or email felixsuiseki@gmail.com
ORANGE COUNTY BONSAI SOCIETY
GSBF CONVENTION XXXIII
“New Face of Bonsai”, Santa Clara,
Santa Clara Marriott, October 28 –31. See
Mike Hagedorn, Ryan Neil & Peter Warren
Info at: gsbfconvention.com/index.htm
Refreshments
47th Annual Bonsai Exhibit, June 12-13, OC Buddhist Church,
909 S. Dale Ave., Anaheim. 10:30-4. Demos 1:00. Sales, raffle.
Info: ocbonsai@gmail.com or Ken Schlothan 714.553.7516
Thank you Marge Blasingame, Bruce
McGinnis, Kit Blaemire, Emma Janza,
Joseph Gaytan, the Ragles and the leftovers from the
Yuha trip for the appealing April appetite appeasers….
Always check Golden Statements Magazine
Calendar section for additional coming events
May munchies will be provided by Phil Chang, Emma
Janza and the Hutchinsons.