July 2014

C ALIFORNIA A ISEKI K AI
Volume 32, Issue 7
July 2014
July Program
John Naka
On July 23rd we will have a photo session in lieu of a
program. Bring no more than 2 of your BEST stones
that will be in the Huntington Exhibit this year. Do not
bring tables or jiita for your stones.
Larry will photograph your displays and we
will select the best ones for the 25th Anniversary Book
to be published later this year.
These will be North American stones only.
Please have the dimensions of your stones in
inches: width x height x depth, written on a piece of
paper with your name on it. You should also include the
source of your stone (eg, Eel River, Yuha Desert, etc). If
you feel that your stone requires further identification or
information, please write that down as well.
Fairness dictates that we photograph your
stone(s) in the order in which you arrive. We will do our
best to ensure that happens. There will be a sign up sheet
or numbered tickets for that purpose.
Of course, there will be snacks and visiting but
once your stones are photographed, you are free to
leave, if you wish....
If you have any questions, please contact us!
(Contact info on page 11)
This year we celebrate the
100th Anniversary of the
birth of John Naka.
There would be
no Aiseki Kai if not for
John Naka. I met Naka
in 1966. In 1976, he
introduced me to Harry
Hirao. Harry loved
stones.
By 1979, Naka
knew of my interest in
stones, too and asked me
to write some articles on the subject for California
Bonsai Society’s periodical, Bonsai in California.
In 1982, I was invited to join Nanpu Kai,
Naka’s club of “teachers” and it was then that he
encouraged Nina and me to form a suiseki study
group, a subgroup of CBS, for club members or any
other interested parties who would meet at the Museum
of Science and Industry. He even invited us to display
our stones at the CBS show. The study group became
California Aiseki Kai. Thus, John Naka was key in
the creation of California Aiseki Kai.
If you are new to the club and know nothing of
bonsai, a cousin of suiseki so to speak, John Naka was
an authentic legend in unveiling these “mystic” art
forms to non-Japanese. Born in Colorado in 1914, but
raised in Japan, he learned the basics of bonsai and
suiseki from his grandfather. On the verge of a career
as an artist, in 1935, his father insisted that he return to
the family farm in Colorado. He found a new friend
there, one Harry Hirao, also a farmer. They became
avid fishermen but both admit never paying attention
to the rocks in the streams.
By 1946, after years of crop failure due to
freezing ice storms, the Nakas moved to LA where he
opened a landscaping business. Harry had a similar
experience and moved to Orange County, opening a
landscape service. Then, in 1961, another young man,
Richard Ota, who came from a similar background,
took them on a field trip to the Kern River. Yes, just as
guessed, the rest is history.
Naka passed away 10 years
ago but thankfully, his legacy endures! ~Larry Ragle
ALERT: There are 5 Wednesdays in July.
If you arrive on the 30th, you will miss
the photo session! Please come on the
4th Wednesday which is July 23rd.
Stone of the Month
We will NOT have a Stone of the Month in July.
Viewing Stone Exhibition
August 9th and 10th
Taiwanese Cultural Center
9443 Telstar Avenue
El Monte, CA
Freeman has invited us to visit this exhibit as
well as participate. If you interested in showing,
please call him at 626-524-5021 or email:
[email protected]
PAGE 2
CALIFORNIA AISEKI KAI
June Meeting Notes
We asked if anyone had questions about next months
photo session for our Anniversary Book. There were
none and no other announcements.
VOLUME 32, ISSUE 7
Colorful stones: We remarked that for a stone to be
called colorful, that should be the main feature although
a stone may also exhibit another feature such as a figure
or a waterfall. Colorful stones are typically shown in
daiza unless the stone is also a landscape scene.
Sizes are in inches, width x height x depth
Sharon Somerfeld 5 x 4.5 x 3
Linda Gill 8.5 x 3 x 5
Linda Gill 9 x 4.5 x 5
Hanne Povlsen 9.5 x 4 x 3.5
Nina Ragle 6 x 5 x 5
Bruce McGinnis 6 x 7.5 x 3.5
Lois Hutchinson
5x9x3
Bill Hutchinson
5.5 x 7.5 x 3
Art Ragazzi 8 x 6 x 4
Larry Ragle
7 x 10 x 5
Buzz Barry 4.25 x 4 x 2.25
Hanne Povlsen
4.5 x 7.25 x 2.5
Lois Hutchinson
4.5 x 6 x 3
The 1 inch wide inner margins are designed for use with a 3 hole punch.
Bruce McGinnis 5 x 5.5 x 3
VOLUME 32, ISSUE 7
June Program Notes
CALIFORNIA AISEKI KAI
by Linda Gill
Larry presented a slide show about the visit from
Kengo and Wil and their meeting with Ralph Johnson.
Their visit was from April 26 to May 1, this year.
Ralph did not get a chance to meet Kengo and
Wil when they were here to give a talk to Aiseki Kai in
August 2012 so he invited them here again.
His house near Palm Springs has over 1,500
stones in it. He has a workshop area where he studies
his new stones and marks how he wants them set in
daiza. He has been collecting in the desert since the
80's and some of his shelves display those stones. Cliff
Johnson has made most of his daiza.
When you see his work room you will meet
Happy, his dog. Aiseki Kai presented an oil painting of
Happy to Ralph in appreciation for all that he does for
our club.
For years Ralph has collected malachite and he
has them displayed in his basement. It used to be a
garage but it has been enlarged and furnished to serve
as a display area for his stones. Five years ago The
Huntington Library hosted a show curated by Jim
Greaves of some of Ralph's malachite collection
displayed in the fashion that Kengo Tatehata prefers a dim room with each stone individually illuminated.
PAGE 3
Originally Ralph's stones were shipped to him
from Africa but now most are purchased at the
Quartzite show in Arizona by Eric, Ralph's "man
Friday". Eric is also making daiza for these stones.
Ralph is now pairing these stones in his display area
which requires that he match them so that they
complement each other.
Wil, Kengo, Ralph, Larry and Nina went
rock hunting off Highway 8, not far from Ralph’s
house, in his Hummer with Eric at the wheel. The
Hummer made traversing the sand a simple task. Fun!
Everyone found something to remember the day by.
1940- Another adventure took them to Catalina
Island. Once there, they took a jeep into the island.
You can also hunt for stones along the shore. Nina
brought home one stone. Catalina was owned by
Wrigley who made his fortune in chewing gum and
owned the Chicago Cubs baseball team. His mansion is
now a bed and breakfast/museum and the island
belongs to the Catalina Island Conservancy. They saw
bison, bald eagles and the island foxes.
Finally, one last tanseki was to the NE corner
of Orange County. Most of the streams were fenced off
and the only open spot had no good stones so they
went to the beach on the Balboa Peninsula to cool off.
It was a very fine week indeed.
PAGE 4
CALIFORNIA AISEKI KAI
VOLUME 32, ISSUE 7
Ask GuyJim
Dear Readers,
Recently I completed a daiza for a dramatic snow-covered mountain range that currently cools my living room
these July days (fig 1). We are all aware that a white inclusion seen as snow or a waterfall on a mountain
stone immediately appeals to most collectors and the viewing public. With no burning questions put before me,
I have decided to devote this month to explore the less common ‘read’ of white elements as clouds.
GuyJim
We all seek well-shaped mountains with good skins and
flat bottoms. Perhaps the next most commonly desired
feature is the inclusion of a dramatic bit of white quartz
suggesting a waterfall or a snow-covered mountain – in
spite of an expressed desire for subtlety and restraint,
even the Japanese cannot resist a snow-capped Fuji-san.
When white exists in a crevice or valley it may
be interpreted readily as lingering snow or perhaps a
glacier; however, when the location of the ‘snow’ does
not intuitively compute, we begin to ask questions such
as ‘why is the snow on an exposed lower flank, but not
as expected on a higher peak?’ Let me propose that
even when the location of white patches might arguably
represent snow, an interpretation/acceptance of lighter
colored minerals as clouds might offer a more
satisfactory experience (fig.3).
Fig 1: ‘The High County’, Calaveras County, CA, Ken McLeod
(AVSRC)
16 1/4" W x 3 1/16" H x 6 3/4" D (41.3cm x 7.8cm x 17.1cm) Cut
A properly scaled and situated waterfall
presents an image requiring no further explanation;
likewise, well-defined mountains coiffed with snow
(fig. 1 / fig. 2). The acceptance of layers of snow-cover
can become more complicated when the mountain
forms are weaker or the snow-coverage too complete
(fig. 2). The extreme case of a low, relatively formless
and entirely white mountain stone – one that might
perfectly represent the winter hills I grew up with in
lower New England – would not make for very
compelling viewing. (Consider fig. 2 without the dark
foreground hills.)
Fig 2: Snow-covered Mountain, Thomes Creek, CA, Frank English
(AVSRC) 11 1/8" W x 3 1/8"H x 4 1/2" D (28.3cm x 7.9cm x 11.4cm)
Cut. The solid white area of this stone reads as a distant snowcovered mountain primarily because the dark foreground establishes
our perspective.
Fig 3: Distant Mountain, Thomes Creek, CA, Jim Greaves
7" W x 2 1/4" H x 4" D (17.8cm x 5.7cm x 10.2cm) Cut
While the smooth surface contour retains enough subtle variation to
represent a snow-covered mountain form, the rounded dome of snow
seems a bit out of place on such a steep sided mountain. An
alternate view might be that of a clinging blanket of clouds sinking
downward from the mountaintop.
When we consider the concept of cloud
representation within/upon stones, we face a
continuum: embedded-images of clouds alone (fig. 4),
Fig 4: Cloud Pattern, Penobscot River, Maine, Jim Greaves
3 1/2" W x 2 3/4"H x 1" D (8.9cm x 7cm x 2.5cm)
An evocation of a delicate cloudy sky.
VOLUME 32, ISSUE 7
CALIFORNIA AISEKI KAI
PAGE 5
embedded-image stones where cloud imagery is but one
element of a picture of mountains and clouds (figs. 5, 6,
7), convincing three-dimensional mountain shapes that
have additional suggestions of cloud imagery (fig. 8),
mountain shapes that have additional three-dimensional
cloud ‘appendages’ (figs. 9, 10 )… to the rare extreme
of a stone that is a three-dimensional mountainous cloud
(fig.11). (Note that the many potential forms and colors
of pure cloud imagery are beyond the scope of this
discussion that is largely concerned with white clouds in
Fig 8: Distant Mountain Stone, Eel River, CA, Alice Greaves
13"W x 5 1/8" H x 11 3/8" D (33cm x 13cm x 28.9cm) Cut.
White patches that would be illogical when seen as snow, become
more acceptable as straggling clouds sitting on the slopes.
Fig 5: ‘Pacific Range’, Eel River, CA, Jim Greaves
4" W x 2 1/8" H x 1 1/2" D (10.2cm x 5.4cm x 3.8cm)
A two-dimensional picture-image of mountains and clouds.
Fig 9: ‘Barrier Range’, Thomes Creek, CA, Jim Greaves
10 3/8" W x 2 3/8" H x 5" D(26.4cm x 6cm x 12.7cm) Cut.
Here clouds from the Pacific pile up against a barrier range. Will they
stop or reach critical mass and roll over into the desert? Note that
the white area is too irregular to be seen as snow.
Fig 6: Scenic Landscape, Eel River, CA, Jim Greaves,
4 3/4" W x 1 5/8" H x 3 1/4" D (12.1cm x 4.1cm x 8.3cm) Cut.
This stone combines features of both a mountain form and picture
stone. While the picture image retains some interesting texture, the
stone’s overall shape is too rounded to be a convincing snow-covered
mountain. The white dome might be better read as clouds serving to
set-off the silhouette of more picture-like elements below.
Fig 7: Mountainous Landscape, Northern California, Jim Greaves
6 ½” W x 5” H x3’ D (16.5cm x 12.7cm x 7.6cm)
This is a rather coarse embedded-image stone with a two-dimensional
image of mountains dominated by cumulus clouds that begin to take
on a three-dimensional form.
Fig 10: ‘Cloud Catcher’, Calaveras County, CA, Ken McLeod (AVSRC)
7 1/2" W x 2 1/8" H x 3 1/4"D (19.1cm x 5.4cm x 8.3cm) Cut.
This translucent cloud has an inner radiance as it hangs on the peak,
portending rain within its shadow. When viewed at lower light levels
there is a suggestion of twilight or moon glow.
conjunction with mountains.) Remaining focus of this
discussion is on cloud imagery that is a component of
actual landscape-shaped stones as distinguished from
the embedded images of clouds and mountains found
on picture stones.
If we forego our inclination to fixate on snow
and instead, open ourselves to the imagery of clouds,
new interpretations may become viable. Clouds might
be incorporated into our view of landscape forms
where the white mineral ‘snow’ just does not ‘sit’
correctly, where its placement would be inconsistent
with natural occurrence. Down-playing the desire for
PAGE 6
CALIFORNIA AISEKI KAI
snow may free one to examine the stone in a different
orientation, perhaps revealing and emphasizing a cloud
form. Further the indefinite, ethereal nature of clouds
increases your possibility of finding a desirable view.
While the imagery of snow requires the presence of an
opaque white mineral layer, ‘clouds’ can range in
density from opaque blankets (figs. 3, 9, 12, 13, 14) to
mere translucent wisps (fig. 15). Not only are these
variable densities readable, but uniquely, clouds neither
have to follow the overall shape of the presumed
landform nor to logically relate to details of underlying
features of the stone such as a strong vertical crevice.
Clouds can be of any size and float horizontally across
landforms at any level or angle, not just at the peaks
(figs. 8, 15).
VOLUME 32, ISSUE 7
Fig 13: ‘Monolith’, Eel River, CA, Ken McLeod (AVSRC)
11 3/4" W x 1 7/8"H x 4 1/2" D (29.8cm x 4.8cm x 11.4cm) Cut.
A granite dome with lingering snow rises above a blanket of clouds.
The variations in forms and of the opacity and translucency of the
quartz lead to possible interpretations of both snow-covered
mountains and clouds above the snow.
Fig 14: ‘Tranquility" Sierra Nevada, CA, Jim Greaves
13 1/4" W x 2 5/8" H x 3 3/8" D (33.7cm x 6.7cm x 8.6cm) Cut.
This stone may be interpreted as an island sitting in the sea, an island
obscured by a fog bank, or an ‘island’ of mountain peaks rising above
a dense cloud blanket.
Fig 11: ‘Golden Cloud Mountain’, Clear Creek, CA, Ken McLeod
(AVSRC) 12" W x 5" H x 8 7/8" D (30.5cm x 12.7cm x 22.5cm)
The simple placement on a lacquered board reinforces the suggestion
of a floating cloud with mountainous form.
Fig 12: ‘North Towards Malibu’, Lake Hill, CA, Jim Greaves
7 1/8" W x 1 7/16" H x 1 3/4" D (18.1cm x 3.7cm x 4.4cm) Cut.
An incoming fog bank confronts a steep landfall along the California
coast.
Inherently, clouds do much to define our concept
of a summit stone where a peak is readily understood as
rising high up and above the surrounding ring or
billowing of clouds (fig. 15) – the presence of the clouds
leaves no need to explain the unseen (incomplete)
mountain below. When a stone has more horizontal
proportions, a peak may appear as arising above a
cloud-blanketed mountain range or be interpreted as a
cloud- or fog-shrouded island (fig. 13, 14). Clouds on
mountains… clouds on sea… ambiguity.
Fig 15: ‘Cliffs and Clouds’, Thomes Creek, CA, Jim Greaves
4 3/8 W x 6 ½” H x 2” D (11.1cm x 16.5cm x 5.1cm)
Arguably enough form for a summit stone, but predominantly a
picture stone with wispy clouds clinging to the cliffs.
VOLUME 32, ISSUE 7
CALIFORNIA AISEKI KAI
Ambiguity is the blessing of cloud imagery, but
one has to be open to seeing it. Early on and much to
my chagrin, I learned this the hard way. I had a very
good Eel River stone, but could not reconcile the
partially translucent white inclusion in the valley as
natural snow or glacier. Eventually, I donated the stone
at a convention. Only as it was auctioned off did I see
that my focus on snow had blinded me to the presence
of a perfect fog-filled valley! (I’ve been working on the
owner for years to get it back, but unfortunately he
wants to trade for Taka.)
A certain level of ambiguity is encountered in
many stones; the decision between snow or clouds may
rest with your first impression, your mood of the
moment, an idea for a potential thematic display … or a
flip of the coin (fig. 16). Perhaps the ultimate
Fig. 16: ‘Sierranade', Trinity River, CA, Ken McLeod, Jim Greaves
11 7/8" x 2 1/8" x 2 1/2" (30.2cm x 5.4cm x 6.4cm)
Ambiguity: Do you see a remaining snow or glacier … or favor
ground fog encircling the base of the mountain?
ambiguous challenge is the possible presence, even
overlapping, of both cloud and snow imagery that can
occur when the white mineral has varying degrees of
translucency and texture (figs. 17, 18).
PAGE 7
Fig 18: Cloud Shrouded Plateau, Thomes Creek, CA, Jim Greaves
7 3/4" W x 5 1/8" H x 3 1/2" D (19.7cm x 13cm x 8.9cm)
While I usually view this stone from some distance and therefore see
clouds settled on the plateau, when viewed up close one finds two
distinct layers of white: the translucent lay then may be interpreted as
a grayish cloud over the brighter opaque snow.
Poetic titles that make reference to clouds/mists
are encountered in Japan and especially China.
Although aware of a few Japanese suiseki that would fit
the concept of the cloud and mountain combinations we
have discussed, I am unaware of any Japanese
categorical prototype. As is often the case, one assumes
that my over-thinking of natural representational
accuracy is not reflective of Japanese stone
appreciation. Hopefully I have provided a few ideas that
will help you avoid snow-blindness and give your notquite-snow stones a second look.
With head in the clouds ... or is it a fog?
GuyJim
The views expressed in this column are personal, perhaps
irreverent, irrelevant or just plain wrong and do not reflect the
consensual view of California Aiseki Kai. Send your viewing stone
questions (or comments) for GuyJim to [email protected]
or 1018 Pacific Street, Unit D, Santa Monica, CA 90405 or call
(310) 452-3680
AVSRC-Huntington Update: Progress on the
Fig 17: Mountain with Glacier, Eel River, CA, Alice Greaves
9" W x 8 1/2" H x 6" D (22.9cm x 21.6cm x 15.2cm) Cut.
Subtle changes in texture and translucency present a low-lying cloud
or ground fog within the plateau’s surrounding snow-covered basin.
River of Awakening, the children’s collecting stream, is
continuing, albeit at a slower pace because an expanded
concept for the surrounding area is under development
all expected to be completed by next years Bonsai-athon. Several members have already shuffled discards
our way; in more substantial loads, Don Dupras of
Sacramento provided a selection of colorful jasper and
some stones from Hanne Polvsen and Larry and Nina
Ragle were of a quality that suggest that we may have
trouble keeping the adult collectors out! However, we
are and will continually be seeking your river rock
wannabe-ishi and leaverite to keep the stream flowing.
PAGE 8
The
Amazing
Stone
Enthusiasts
of America:
A Second
Trip to Los
Angeles-
A Trip of
Friendship
and Stone
Collecting in
the Desert
CALIFORNIA AISEKI KAI
Part 2
VOLUME 32, ISSUE 7
By Kengo Tatehata, Editor-in-Chief of Aiseki magazine, Translation by Wil
[Ed Note: This article appears in this months issue of Aiseki magazine.]
Since the song we know in Japan as “Blue Skies of California” was a hit in 1970, we
Japanese have imagined that the sky there is always a clear azure blue and that rain almost
never falls. Today, yet again, the southern California skies we see from the outskirts of
Los Angeles stretch as far as the eye can see and are so perfectly clear it is almost sad…
such a perfect fit to the original song title “It Never Rains in Southern California”.
Continuing on from our trip two years ago, our hosts this time were also Larry
and Nina Ragle, who write the regular column on page two of this magazine. As before,
we were invited by the world’s foremost collector of malachite, Mr. Ralph Johnson. In
fact, the Ragles write their column “Good Friends, Good Stones, Good Life” for Aiseki
magazine in their capacity as the leaders of California Aiseki Kai in order to strengthen
friendship and increase exchange between the Japanese and American stone worlds, and it
is with this in mind that Mr. Johnson, a member of California Aiseki Kai, invited me and
Wil, who acted as interpreter, to visit the US.
April 28, temperature 90°F.
“It was cool until yesterday. You brought this heat wave with you from Japan.
It’s so hot today!” Nina joked with arms outstretched. Compared to the summer in Japan,
however, the humidity is low, and there couldn’t be a more crisp, pleasant climate. I
thought it would be hot and brought a towel along to wipe the sweat from my brow, but I
didn’t need it once, not even when we went collecting in
the desert. When we went two years ago in August we
experienced unbelievable heat approaching 115°F so I
came thoroughly prepared, but for me as a Japanese, the
climate at the end of April was very comfortable.
Catalina Island, surrounded by the cobalt blue sea about 25 miles off shore from Los Angeles. Called Angelino, or “Los Angeles’ child”, it is a
resort where people relax on their days off. About an hour and a half from the main port in Los Angeles, there is also an untouched natural
park there to be enjoyed.
VOLUME 32, ISSUE 7
CALIFORNIA AISEKI KAI
PAGE 9
The day after we
arrived they brought me
to Catalina Island. In the
past it seems this was a
haven for pirates, but
now it is a resort and
people from Los Angeles
know it well. It enjoyed
great popularity in the
1930s as a vacation spot
for the Hollywood crowd,
and stars like Charlie
Mr. Johnson explaining his malachite collection to
Chaplin and Marilyn
Monroe spent time there.
With its cobalt blue seas and white architecture, it has an atmosphere
that reminds you of the Mediterranean. Everything is slow paced
and easy going, just as a resort should be. We weren’t there to
collect rocks, but Nina took a small stone home from the shore.
[Ed Note: The quality
was excellent so I could
not leave it behind. The
shape and size, however,
were less than desirable.
It is just something to
remember the day by!]
Upper left to lower right: Larry
Ragle, Nina Ragle, Wil and
Mr. Johnson
The desert near Palm Springs. The resort there is about 112 miles east of Los Angeles. There are stones in the desert. Even though the
temperatures are high, it is dry and does not feel particularly hot.
PAGE 10
CALIFORNIA AISEKI KAI
On the
third day, we
visited Mr.
Johnson at his
home in Indian
Wells, an
exclusive,
high-class
desert resort
next to Palm
Springs that is
about a twohour drive from
where the
Ragles live.
Two years ago
we were unable
What I thought were small birds on the Ragle’s
to
meet Mr.
veranda… in fact made of stone!
Johnson
because he had injured himself and was recovering in
San Diego when we visited, but this time we were
fortunate enough to have him there to explain his
malachite collection in person. We were absolutely
overwhelmed by the number and color of the stones in
his collection.
Stones from our desert collecting trip
The garden of Mr. Johnson’s palatial residence
A piece of malachite received as a gift from Mr. Johnson
7½ x 3½ x 3½
3 x 4 x 2¾
4½ x 2½ x 2¾
VOLUME 32, ISSUE 7
5½ x 7½ x 3½
6 × 6 × 7½
That evening he allowed us to stay
in his home, and my room was like a hotel
suite. The next morning we went in his
Humvee to the nearby desert, which we
reached in fifteen minutes. As you might
expect, the desert was nothing for the
Hummer, and we drove over the sand with
ease.
When you think of the desert you
imagine nothing but sand, but there are
stones there, too. One part might be all
sand, but it was dotted here and there with
groups of stones. The stones are eroded by
the wind and sand, leaving behind only the
hardest parts. Like “river worn” stones,
you might be able to call these “sand
worn” stones.
The sun was strong, so we called it
quits early, collecting for about an hour or
so. As my first experience collecting in the
desert I wanted a little more time, but even
in that brief span I was able to find stones
to bring home.
With sincere gratitude to Mr. Johnson, Mr. Larry Ragle and Mrs. Nina Ragle, and Mr. Wil Lautenschlager
CALIFORNIA AISEKI KAI
VOLUME 32, ISSUE 7
PAGE 11
Frank Kelly’s Aiseki Kai Logo Stone
Frank Kelly, a long distance
member from sunny "Down Under"
Australia, sent the following.
He wrote: “Do you think my
little mountain maybe resembles the
Aiseki Kai logo - well just a little bit?
It is a deep reddish brown
desert stone with a rough pock
marked surface (possibly of volcanic
origins).
It was collected in the USA
but from which location I am unable
to determine unfortunately.
The daiza is made from
bubinga wood (aka African
Rosewood).
Bubinga wood is sourced
from the Guibourtia demeusei or
Didelotia africana, tall trees that
grow in the rainforests of equatorial
Africa. The very hard wood is heavy,
dense and has a particularly fine grain
texture. It has thin reddish-brown
veins on a light background. Bubinga
wood is used in musical instrument
making - the world famous
Boesendorfer pianos use it as do some
exotic vehicle manufacturers for
dashboards etc.
The daiza was carved by
Jerry Braswell, from Pioneer, CA.”
Above, front: 12.25"W x 6.25"H x 5.5"D (31cm x 16cm x 14cm). Below, back.
What do you think, Readers? Does Frank’s stone remind you of our logo? We think so!
Do you have one? Send a picture and tell us about it.
Ed Note: We are always delighted to
hear from our (very) long distance
members. Thank you, Frank!
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: Janet Shimizu
Historian: Ray Yeager
Webmail: Bill Hutchinson
Newsletter: Larry and Nina Ragle
Newsletter Committee
949.497.5626
[email protected]
949.497.5626
[email protected]
310.452.3680 [email protected]
626.579.0420
[email protected]
310-822-6012 [email protected]
760.365.7897
[email protected]
714.964.6973
[email protected]
949.497.5626
[email protected]
July Contributors: Linda Gill, Jim Greaves,
Kengo Tatehata, Frank Kelly and Larry Ragle.
Mailing: Flash Partch
Editor: Nina Ragle
We hope you will participate. Please send any
submissions to [email protected] 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
REDWOOD EMPIRE BONSAI SOCIETY
KOFU BONSAI KAI
31st Annual Show, August 23-24, Santa Rosa Vets Bldg.,
1351 Maple Ave., 10-5 (Sat) 10-4 (Sun). Demos at 1 both
days by Kathy Shaner. Sales. Raffle. Silent auction.
Free. For more information: contact Bob Shimon
707-884-4126 or [email protected]
Bonsai at the Bowers Museum, Sept 24-28,
2002 North Main St., Santa Ana. Kofu
members are free. For more info contact:
Manny Martinez at [email protected]
VIEWING STONES SWAP & SALES EVENT
SAN DIEGO BONSAI CLUB
At the home of Tom & Hiromi Elias, 2447 San Mateo Ct,
Claremont. August 2, 1-6PM. Do you have something to
trade or sell? Ken and Freeman will be there! For more
information, contact Tom at 909-626-6095 or email him:
[email protected]
49th Annual Fall Show, Sept 27-28, Balboa
Park, Casa Del Prado, Rm 101, San Diego.
10-5. Demos each day at 11 and 1. Sales
Stone Sales
Ken McLeod
209-605-9386 or 209 586-2881
[email protected] ~ californiasuiseki.com
Freeman Wang
626-524-5021
Suiseki-Viewing Stone Sale
stores.ebay.com/thestoneking
Refreshments
Thank you Emma Janza for that amazing
chocolate cake and thank you Maria
Atkison and Jim & Rebecca Fletcher and
Marge & Ray Blasingame for all the June treats.
July will be a bit different in terms of a snack break….but
treats are still an important part of the evening! They will
be provided by Buzz Barry, Hanne Povlsen, Warren &
Kyra Haussler and Marge Blasingame.