November 2013 - California Aiseki Kai

C ALIFORNIA A ISEKI K AI
Volume 31, Issue 11
November 2013
Appreciation
Year’s End
We are so grateful to our program presenters: Richard
Turner, Juneu Kim, Freeman Wang, Ken McLeod,
Al Nelson and Larry Ragle. We know it is a lot of
work. Your participation is what drives us forward.
Newsletter contributors included Rick and
Mimi Stiles, Peter Warren, Peter Aradi, and most of
all, Seiji Morimae to whom we are especially grateful
for allowing us to reproduce his work each month this
year. Our newsletter is only as good as our contributors!
Thank you staff, Larry Ragle, Jim Greaves, Linda
Gill, and the awesome Flash Partch who ensures you
get your newsletter on time and in one piece.
Thank you Bill and Lois Hutchinson for 27
years of refreshment duty(!) and Joe James, spirited
tanseki guide. Finally, thank you again, Ralph Johnson,
for your amazing support. Our gratitude is endless.
~Nina
A few Aiseki Kai members, Marge and Ray
Blasingame, Jim Greaves, Don Kruger, Nina and I,
met with The Huntington’s staff, Dani and Melanie, to
finalize the plans for Exhibition 24 in a new location.
Arranging the tables is a challenge in order to
maximize exhibit space and traffic flow but to me, the
most important issue was how will guests find us. In
Friends Hall we were at the entrance. That structure is
no more. So where is the new entrance? If we had been
on the planning committee we couldn’t have picked a
better location. As one enters, the first structure guests
see is the Botanical Center, the site of our show.
Further, there will be signage leading guests to our
display. With one or more members along the way,
everyone who enters the Gardens can head straight for
our show. We can make sure that happens if we have a
member or two on the path encouraging guests in our
direction.
There will be table displays and pedestals in 3
locations within the Center: Ahmanson Classroom,
Flora Legium and Banta Hall. This plan provides
almost as much space as we enjoyed in Friends Hall.
However, a divided show requires more attendants, a
minimum of 6 as hosts/security at all times and 2
greeters between the entrance and the Center.
Since we don’t know exactly how things will
fit, members can bring up to 5 stones although they
may not all be displayed. Please bring previously
unseen stones if you have them. Although the displays
will be in the ‘Japanese tradition’, the stone’s origin
will be limited to North America.
If you have a question about your display or
need help, please contact our curator, Jim Greaves.
We will have two glassed cases for small
stones but remember, there will be no international
displays this year.
Huntington Show
Huntington Show Schedule of Events
Dec 21 - set up day. Tables and backdrops will be set
up beginning at 9:00 in Banta Hall.
Dec 22- Bring your displays between 9-12. Bring
bonsai and complimentary plants for set up.
Take plants home, return them on 12/26 by 9:30
Dec 26 - Jan 2 -show opens at 10:30 and closes at
4:30. Closed Jan 1. Jan 2 - Take down at 4:30.
Please sign up for security / docent duty! See page
11 for the schedule. Check your calendar, select the
times you will be available to help and call Linda Gill
with the dates and times. Exhibitors: participation is
a must. Kit Blaemire needs to know what you plan
to display so she can make the labels. Please refer to
page 11 for labeling instructions. Kit also needs to
know if you are planning a multiple piece table
display for the perimeter. The deadline for labels is
Friday, Dec 13th. Do not wait!
Call Kit: 213-445-7211 or email her: [email protected]
Limit 5 displays per person (thematic displays
count as one) ~space available, curator’s choice.
Year’s End
This has been a wonderfully educational year
for us thanks to our program presenters and newsletter
authors. With each year we grow and learn and even
have fun while we are doing it. As students of suiseki
we look forward to another outstanding year of getting
closer to a full appreciation and understanding of this
traditional art.
~Larry Ragle
PAGE 2
CALIFORNIA AISEKI KAI
VOLUME 31, ISSUE 11
October Meeting Notes
ANNOUNCEMENTS: We welcomed Heidi who is a
STONE OF THE MONTH (North American stone suitable
for display). Sizes
Janet Shimizu 2.75 x 5 x 2
Mika Breyfogle 6.5 x 4 x 4
Joseph Gaytan 7 x 2.5 x 4
Joseph Gaytan 7 x 8.5 x 4
Freeman Wang 6 x 3 x 3.5
Richard Turner 14 x 6 x 6.5
Rich Wang 6 x 5 x 4
Larry Ragle 6 x 6 x 4
are in inches, width x height x depth
Al Nelson 5.5 x 4.75 x 3
Harley Newman 6.5 x 5 x 3
Hanne Povlsen 8 x 6.5 x 3
Bruce McGinnis 6.5 x 7 x 4
Nina Ragle 6 x 3.5 x 3.5
The 1 inch wide inner margins are designed for use with a 3 hole punch.
friend of Joseph Gaytan. We talked about our show,
labels and the need for additional security/docents.
Please read pages 1 & 11 carefully! We talked about
our Kern River trip. (See pages 8-10)
We passed out copies of Rock & Gem Magazine,
(at right) compliments of Ralph Johnson. The October
issue features Ralph’s malachite collection and
beautifully describes what we do. It is called “Viewing
Stones, Seeing Nature’s Artistry in Ordinary Rocks” by
Bob Jones. Our club is even mentioned by name!
Thank you, Ralph!
VOLUME 31, ISSUE 11
CALIFORNIA AISEKI KAI
October Program Notes
We would have needed a shoehorn to fit another person
into the meeting room. It was a packed house.
Thank you, Al Nelson, for the step by step
explanation on making daiza for natural uncut viewing
stones. Thank you also for making a CD available of
your program for the low price of just $20, proceeds
going to Aiseki Kai. (Please contact Phil Hogan if you
want one. [email protected] or call 626-256-4609.
What follows is just a “tiny taste”, 7 steps out
of 114. See the finished daiza on page 2, top, right.
Cut out leaving 1/8” from impression
Bandsaw cut approximately 1/4” from stone
Shape bottom and sides
Remove wood with chalk transfers to fit
Remove 1/16” at 45 degree
Press firmly into Bondo mix/plastic wrap
Sand and paint with black and coffee brown
1940- 2000
PAGE 3
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CALIFORNIA AISEKI KAI
VOLUME 31, ISSUE 11
Ask GuyJim
Dear GuyJim,
What is the story behind the huge chrysanthemum stone just put on display in the Japanese Garden at The
Huntington?
Awed in Arcadia
Dear Awed,
At 1200 pounds this recent acquisition by the
American Viewing Stone Resource Center abjectly fails
suiseki’s “fits in one hand” rule and falls well outside
the normal parameters for a viewing stone. However,
with lots of muscle and heavy equipment the stone is
now on display in the Upper Bonsai Court at The
Huntington. Though set high, dry and upright, this is a
true river-washed stone (kawa-zure), found lying
face-up just below a waterfall within the drainage of the
Coast Range in Northern California.
From stone in the rough (above) to elegant setting (below)
The surface of the stone exhibits a single
natural river polished white blossom that appears in
near perfect form. The sharply defined flower could be
mistaken for one found on a cut and polished Japanese
chrysanthemum stone (kikka-seki).
Miraculously the flower, measuring only the size of a
silver dollar, is centered in a prominent, balanced
location. If it had not been so precisely placed, the
stone might well have been rendered a curious mineral
specimen without aesthetic merit. Inevitably, a few
have been dismissive of featuring such a large stone
with only a single flower, but additional flowers may
well have lessened the stone’s impact.
Colors vary from subtle to brilliant, with reds
and deep browns predominating – an attractive
niwa-ishi (garden stone) even without the flower. In
fact, the stone has been placed so that a visitor
approaching the bonsai court through the upper gate
(pathway from the teahouse) will encounter the back of
the stone as the figure of a monk or Daruma (see page
5). This figural image is most prominent earlier in the
day. The appearance of the stone depends significantly
upon the weather – try to catch it on a sunny day after a
cloudburst to see the most dramatic color variations!
VOLUME 31, ISSUE 11
CALIFORNIA AISEKI KAI
[Knowing that many readers knew
my wife, Alice, with your indulgence, allow
me to provide a personal explanation as to
why this stone is of such special significance
to me. Alice’s Japanese name was Kikue
(Chrysanthemum) Nihei. For me, the small,
understated, yet nearly perfect white flower
resting in the center of the contrasting,
almost overwhelming turbulent jasper,
serves as a metaphor for the presence of
Alice as the calm center within my life.]
For convenience, the stone is
tentatively being identified as ‘jasper’, but
there may in fact be several mineral
components. This occurrence of such a
compact, sharply defined flower within what appears to
be a jasper matrix is unique among the fifteen true
California chrysanthemum stones that I am aware of
and, in most cases, handled. A previous analysis of a
sample of Eel River Chrysanthemum Stone provided to
Dr. Thomas Elias found that both the matrix and
characteristic elongated petals consisted of aragonite, a
form of calcium carbonate. Another analyzed stone
from the Eel River was found to consist of aragonite
and quartz. (Elias and Nakaoji: Chrysanthemum Stones
– The Story of Stone Flowers, pp.100-104). Eventually,
mineralogical studies may confirm the identity of our
components … but, then again, who really cares?
PAGE 5
View as a figure stone from the North Gate
The process of obtaining this stone deserves
mention: I am indebted to Keith Olivas (mineralogist
and CAK member from Visalia). The finder had taken
Keith to see the stone in situ prior to its removal from a
river running through his property. (Being a rancher, he
fortunately had the heavy equipment needed to safely
remove it.) Subsequently, while discussing options for
what might be done with the stone, Keith explained the
AVSRC–Huntington project to the owners and
recommended a meeting. Upon his recommendation
they proposed a transaction and invited me North to
examine the stone. Having seen some initial photos my
biggest concern was whether or not Taka would get
along with the rancher’s four pit bulls! The ‘done’ deal
was transacted and two months later Keith trucked the
stone to The Huntington.
It should be noted that in Japan a large stone
such as this might well have been mechanically ground
or cut in the hope of revealing additional flowers and
producing several more marketable-sized biseki.
Thankfully, the owners respected the integrity of the
natural stone. Fortunately, their expressed desire to
place this chrysanthemum stone within a public venue –
one with a large audience – coincided perfectly with the
AVSRC project and my intention of presenting it to
memorialize Alice.
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
Huntington crew positioning the stone under the direction of David
MacLaren, Curator of the Asian Gardens
PAGE 6
CALIFORNIA AISEKI KAI
VOLUME 31, ISSUE 11
In Pursuit of Beauty
The Story of the Genkokai
By Seiji Morimae
Photography by Koji Sakakibara
Translated by Wil
Continued…
After the Exhibition
“The still practice of Zen meditation is indeed
the only way of achieving emptiness, however,
concentrating the mind and undertaking to clean the
temple with sweat breaking on the forehead is also an
excellent form of Zen practice. To act wholeheartedly in
any pursuit of everyday life, this is the same as Zen.”
I have heard that there is something which
should best be called “moving Zen,” and it occurred to
me that this exhibition in its entirety could be thought of
in such a way. Without pretension, without pride, to
Exiting the Hoshun’in and walking back down the tree welcome silently, and silently send off. I felt as if they
were tempering their very hearts through bonsai and
lined paths of the expansive grounds of Daitokuji, I
suiseki, achieving unknowable self-abandon and
looked back on the exhibition. Each display, instilled
personal heights. While viewing the exhibition, I was
with the hopes of the group and the thoughts of its
told many times, “Thank you for coming in the freezing
individual members, unfolded throughout the space of
the Hoshun’in forming a single, unified ideal. I thought cold.” I later commented over tea, “You chose a
difficult season for the show, didn’t you?” I was
back once again to the goals they had in forming the
answered, “We didn’t expect quite this many people to
group. “The cultivation of personal character based on
come. Perhaps we should have scheduled it for a
five specific principles, and not deviating from this
warmer time. But even if no one came to see it, we
moral path, to pass down cultural tradition to the next
wanted to enjoy this time together in a season when the
generation.” The masterpieces exhibited and the
sky was crisp and clear.” This older member of the
individual intention behind each display came
group implied in his answer that it had been planned
harmoniously together, pointing to the larger path that
this way all along.
they aim to follow.
Laboring for years to bring magnificent shapes
On the way out, I saw a group of young monks
silently endeavoring to clean the temple grounds. I was to young, unformed trees, taking up mere lumps of
reminded of the words of the late master Sobin Yamada stone from mountains and rivers, worrying not about
particulars along the way, bonsai and suiseki are both
from the sub-temple Shinjuan, which I heard many
wonderful as ways to enjoy and interact with nature.
years ago when I first visited Daitokuji.
VOLUME 31, ISSUE 11
PAGE 7
CALIFORNIA AISEKI KAI
Bonsai and suiseki exhibitions are held in all parts of
Japan throughout the year, all are done in the name of
love and all are truly enjoyable. However, I believe we
cannot forget that there exists a “way” that has its roots
in hundreds of years of Japanese cultural development.
The cornerstone of these arts as they are today lies in
the complicated history of the beauty and spirit of our
ancestors.
There is no particular end point which we
should aspire to reach, yet I felt as I viewed the
exhibition that as lifelong friends of bonsai and suiseki,
we should find within them and the surrounding culture
something of the nature of life. We should remain
vigilant to maintain the level of these arts as we
gradually bring them forward into the future, so that the
true forms of bonsai and suiseki come to be viewed as
symbols embodying Japanese culture.
Bowing once at the gate of Daitokuji, I
expressed my heartfelt thanks to both the exhibition and
the temple as a whole, and returned home inspired.
Finally, from Morimae-san:
I would here like to introduce two short passages from
the famous essay by novelist Jun’ichiro Tanizaki, In
Praise of Shadows, which was first published in
Japanese in two halves between 1933 and 1934. His
discussion of light and shadow is crucial to
understanding the traditional Japanese aesthetic sense
of beauty, and as it relates directly to the inner spirit of
yugen that resides within both bonsai and suiseki, I
would like to share his words with enthusiasts
worldwide.
Excerpts from In Praise of Shadows
[…] The quality that we call beauty, however, must
always grow from the realities of life, and our
ancestors, forced to live in dark rooms, presently came
to discover beauty in shadows, ultimately to guide
shadows towards beauty’s ends. And so it has come to
be that the beauty of a Japanese room depends on a
variation of shadows, heavy shadows against light
shadows – it has nothing else.”
Kay Komai
Kay was always supportive,
always encouraging. She
was an original member of
Aiseki Kai and although
she did not collect stones,
she was always excited to
see our exhibit and all her
friends in Aiseki Kai.
The main location of S-CUBE,
Uchikutei, which produces WABI
magazine, also supports the activities
of the Genkokai. Please do not
hesitate to contact us with any
inquiries regarding the group at:
[email protected].
“A Japanese room might be likened to an inkwash
painting, the paper-paneled shoji being the expanse
where the ink is thinnest, and the alcove where it is
darkest. Whenever I see the alcove of a tastefully built
Japanese room, I marvel at our comprehension of the
secrets of shadows, our sensitive use of shadow and
light.”
[Quoted from: Tanizaki, Jun’ichiro. In Praise of
Shadows, translated by Thomas J. Harper and Edward
G. Seidensticker (Sedgwick, Maine: Leete’s Island
Books, Inc., 1977), pp. 18, 20]
Ed Note: We are forever grateful to Morimae-san for
painstakingly recording his journal, In Pursuit of Beauty
and The Formal Practice of Displaying Suiseki, and
making it available to a broad audience and to us, his
appreciative students. Thank you, Wil, for your always
brilliant translation.
We have a spent a year serializing Morimae-san’s work
and I think you agree, it was a year well spent!
Mary Bloomer
Mary’s boundless enthusiasm
for viewing stones was as
contagious as her smile. She
even made the commute
from Arizona every year to
participate in our exhibit. She
was a sincere emissary for our
club’s mission.
PAGE 8
CALIFORNIA AISEKI KAI
VOLUME 31, ISSUE 11
October 26-27: Aiseki Kai Goes Kern River Crazy!
Doing what we do best: Friday night cocktail hour (or was it a night
cap?) with BJ, Nina, Arlene, Joe, Buzz, Linda and Richard
Oh dear, we are still at it and it’s now Saturday night! Buzz, Ginger,
Art, Joe, BJ, Linda, Arlene and Nina “prepare” for dinner
14 of us ate Italian Saturday night and thanks to our Secret Santa, we were all well fortified. Thank you Ralph!! (The photographer is always
missing from the pictures but Larry was there, really!)
19 of us enjoyed a perfect day on the Kern River. Everyone found something to remember the day by. Aiseki Kai is nothing if not all the fun!
CALIFORNIA AISEKI KAI
VOLUME 31, ISSUE 11
PAGE 9
Lisa seems pleased with her doha and why not? It’s beautiful.
Jade models her figure stone … or is it a waterfall?
Phat is thrilled with his quiet distant mountain stone
BJ is delighted with her glacial landscape stone
Rich holds his mountain range
First timer, Richard, with his hut
Freeman likes his dad’s obake
Lisa’s figure stone (monk)
PAGE 10
CALIFORNIA AISEKI KAI
Nina found a pattern stone (spider crab)
VOLUME 31, ISSUE 11
Larry nabbed a classic Kern River shore stone
After breakfast at Cheryl’s Diner and picture taking, we began our journey behind our
guide, Joe James, to the Johnsondale Bridge (above). From there we worked our way
back to Kernville, stopping at every promising spot along the way. Phat Vo found a
mountain stone (above right) and we think everyone else found a “keeper” as well.
The weather was perfection and the fall colors were a bonus. Photos by Larry.
GSBF Honors Roberta Walters
Roberta has been collecting
stones in Northern California
for decades. It has been said
that she has 100’s of viewing
stones in her yard. It could
not have been easy to select
only a couple of dozen stones
to display at the recent GSBF
convention in Burbank.
Thank you, Roberta!
CALIFORNIA AISEKI KAI
VOLUME 31, ISSUE 11
Security/Docent Schedule
Our show at the Huntington is just around the
corner! Linda is looking for you to sign up as
docents/security for our show. Naturally,
anyone showing is expected to participate
but all members are welcome. Let her know all
the days and times you will be available.
Date
Hours
Hours
Dec 26
Dec 27
Dec 28
Dec 29
Dec 30
Dec 31
Jan 2
10:30-1:30
10:30-1:30
10:30-1:30
10:30-1:30
10:30-1:30
10:30-1:30
10:30-1:30
1:30-4:30
1:30-4:30
1:30-4:30
1:30-4:30
1:30-4:30
1:30-4:30
1:30-4:30
Linda can be reached at 818.833.9883 or
email her at [email protected]
We need you more than ever. Check your calendars
and select your days and times. Tell Linda when you
can work if the listed times are not convenient. Please
arrive 5-10 minutes before your time slot. Remember
your purpose: you are there to educate and to secure
our displays. Linda said “It's a great chance to get
better acquainted with your fellow 'stoners' and we
encourage all members to come and serve even if you
aren't showing. You'll learn a lot and it's fun!!!”
This Yuha Desert
stone, donated by
Aiseki Kai, went for
$400 at the GSBF
auction. Phil Hogan
and Al Nelson made
the well suited daiza.
10”W x 6”H x 4”D
PAGE 11
2013 Show Labels
Designation (choose one only, a, b or c)
a. Poetic Name (‘Sitting with Fan Kuan’)
b. Descriptive identification (e.g. Distant Mountain)
c. Japanese classification (e.g. Toyama-ishi)
*
Source (choose one only)
a. Specific Site (e.g. Eel River, California)
b. Generic source (e.g. River, Desert or Coast)
and/or State, Province or Region (e.g. Great Basin,
Rocky Mountains, Northwest Coast)
Name of Exhibitor
*
Hopefully, retaining some usage of Japanese names
will impart a sense of the international and historical
aspect of stone appreciation. Since this year we will use
Japanese or English names on individual stone labels, it
is suggested that the Japanese names be reserved
primarily for stones that can be understood by the
public without explanation in either language, such as a
yamagata-ishi that can clearly be seen as a mountain.
Note: If uncertain, the general categories below that are
listed in Matsuura’s 2010 book may help.
Mountain shaped stones
Yamagata-ishi
Island stones
Shimagata-ishi
Shore or coastal stones
Iwagata-ishi
Waterpool stones
Mizutamari-ishi
Waterfall stones
Taki-ishi
Plateau stones
Doha
Stepped or terraced stones
Danseki
Stones with an opening (caves, arches, tunnels) Domon
Figure stones & hut stones
Sugata-ishi & kuzuya-ishi
Pattern stones
Monyo-ishi
* Labels will be consistent, made by Kit Blaemire,
and will be 3 lines total. Remember, you are limited to 5
stones or displays per person, space available. Your
labels MUST reach Kit not later than Friday the13th!
* If you have a multiple stone themed display, please
contact Jim Greaves for labeling instructions.
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/Photographer: 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
[email protected]
949.497.5626
[email protected]
310.452.3680 [email protected]
626.579.0420
[email protected]
714.964.6973
[email protected]
760.365.7897
[email protected]
714.964.6973
[email protected]
949.497.5626
[email protected]
November Contributors: Seiji Morimae, Jim
Greaves 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
Freeman Wang
Coming Events
626-524-5021
Suiseki-Viewing Stone Sale
stores.ebay.com/thestoneking
Stone Sales
Ken McLeod
209-605-9386 or 209 586-2881
[email protected] ~ californiasuiseki.com
Dues are Due. Become an e~subscriber and save
a tree: Send $10 to CA Aiseki Kai c/o Nina Ragle,
P.O. Box 4975, Laguna Beach, CA 92652-4975.
24th Anniversary Exhibition
Viewing Stone Show,
Huntington Library
and Botanical Gardens
Botanical Center, 151 Oxford Road, San Marino
December 26, 2013 —January 2, 2014
10:30—4:30 (closed New Years Day)
Always check Golden Statements Magazine
Calendar section for additional coming events
BONSAI-A-THON XVII
GSBF Collection at the Huntington Fundraiser, Feb 22-23,
2014, Huntington Botanical Center, 1151 Oxford Rd., San
Marino, 7:30-4:30. This is a fundraiser so bring donations!
Please continue to support the Southern California Bonsai
and Viewing Stone Collection. For more information see
Marge Blasingame: [email protected]
Refreshments
Thank you Buzz Barry, Uyen Truong, BJ
Ledyard, Marty Hagbury, Joe & Arlene
James, Mika Breyfogle and Al Nelson for
the October treats. They were brilliant!
We do not have a meeting in November so please
save all those amazing recipes for next year!
(Save the date: Our Holiday Party is set for January 22)