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.
Wave – 2000; W 24″ x D 12″ x H 11″; Stone, Douglas Fir with paint
This was one of his very early experiments with using a board for his “suiseki art”. The stone evokes the image of a great wave, and that reminded him of this print by Hokusai, so he carved and painted the board in a deliberate reference to the print. The result was not satisfying to him. The board is too busy, competing with the stone, and the carving does not harmonize with the form of the stone.
Nevertheless, I was kind of excited by the picture. The stone, presented in this way, seems really powerful to me. It gives me the image of a strong and ancient rock slowly being eroded away by the power of the sea. Mas now feels encouraged to try again, and I look forward to someday being able to finish this story. He says that if he simply concentrates how to create a “Wave”, without any preconceived concepts, then all the rest will follow.
“No good book has ever been written that has in it symbols arrived at beforehand and stuck in,” says Hemingway. “That kind of symbol sticks out like raisins in raisin bread. Raisin bread is all right, but plain bread is better.” He opens two bottles of beer and continues: “I tried to make a real old man, a real boy, a real sea and a real fish and real sharks. But if I made them good and true enough they would mean many things. The hardest thing is to make something really true and sometimes truer than true.”
[…] you look back at The Struggle, Mas feels that he got lost by trying too hard to make the finished piece “fine art”, […]
The stone is very nice and is strongly suggestive of a wave. I’m picturing the stone tilted upward about 60 degrees, in a dark-stained dai. I think it would nicely capture the feel of Hokusai’s wave that way. It could be considered an object stone (wave), albeit not traditional.
[…] Alternatively, he could just simply make a daiza by filling up the space under the stone. But this would result in a big wood wall in the front – sort of repeating the problem I discussed in The Struggle. […]
Thanks for telling this story.