JAPANESE HISTORY
Between 592-628, the Japanese Empress Regent Suiko received the first Penjing and Gongshi from the Chinese imperial court. Magically shaped with holes, hollows and highly eroded surfaces, they were very interesting to the Japanese aristocracy. These vertical stones, representative of the imposing mountains and cliffs of China, remained popular in Japan for hundreds of years. The samurai warrior class rose to power in Japan during the Kamakura period (1183-1333), and trade between China and Japan had brought the teachings of Zen Buddhism which won wide acceptance with the samurai. With the acceptance of Zen Buddhism, stones with more subtle lines became highly sought - in keeping with the Buddhist teachings of austerity, intuitive insight and meditation.
During the Muramachi period (1338-1573), Zen monks influenced the Japanese aristocracy and sought stones that were simple with subtle details, in line with these teachings -- stones that were suggestive rather than precise. These stones became a means to spiritual refinement, inner awareness, and enlightenment.
The rise of wealthy merchants during The Edo period (1603-1867) saw increased interest in Suiseki and there began a competition for these stones between the aristocracy and merchants. At this time, Japan had closed their borders to the outside world, bringing a period of isolation that allowed their arts to flourish without outside interference.
Due to a decrease in wealth of the nobility and the samurai during the Meiji period (1868-1912), the art remained somewhat stagnant in many ways. But this period also saw the development of Suiseki classifications still in use today.
Thereafter, interest in Suiseki has renewed and expanded throughout the twentieth century, and has grown into a multi-cultural art in the international community with widespread interest with Suiseki associations throughout the world.
In China, viewing stones (scholars rocks and spirit stones known by the Chinese as "Gongshi") have been an art of appreciation for over a thousand years. During the Tang dynasty (618-907AD), it was said that a garden could not be beautiful without such rocks, and that a studio lacked elegance without gongshi. They were transported to Japan and Korea and presented as fine tributes. Dating back to the Han Dynasty (206 B.C.-A.D. 220), Chinese religious and aesthetic interest in collecting rocks was first based on decorating their courtyards and gardens. Evolving from the appreciation of larger garden rocks was "Scholars rocks," smaller stones appreciated for the ability to carry them and to display them indoors - for meditation and beauty.
The garden rock displays represented paradises known as Penglai, or the Eastern Isle of the Immortals. These paradises were perceived to be three or more mountains isolated in the Eastern Sea - Fanghu, Yingzhou, and Penglai, tall and craggy isolated peaks - accessible havens to the immortals but not to mere humans. A mystical place of beauty and wonder, which later became part of Daoist tradition.
Like the Pengali paradises, today's garden rocks are often displayed alone or grouped to represent a mountain range or sometimes a one specific mountain. Most garden rocks are shades of white or gray, and can be as tall as twenty feet high from their base, extremely weathered and worn.
Scholars' Rocks are smaller than garden rocks and are selected for more refined qualities, small enough to rest on a table. Sizes vary from miniature stones of about one inch to four or five feet in height. Scholars brought these portable mountains into their studios and used them for meditation and contemplation. Some were used as brush rests, censors or seals - but the majority were viewed as artistic treasures. The most highly regarded rocks were of limestone that "emitted a bell-like ring when struck."
Scholars' Rocks are usually displayed in carved wood stands, and the stands themselves are often works of art as well, with stylistic or symbolic images in great detail. The most highly sought stones in China are black Lingbishi and slate gray Yingshi.
Scholars' Rocks vary from white, yellow, red or black -- the most prized color. During the Ming and Qing periods (1368-1911) marble, malachite, turquoise, yellow quartz, soapstone and became popular with collectors for their colorful appearance.
These rocks represented a focus for meditation and religious or philosophic principles to the Chinese scholars. They were an inspiration for contemplation prior to painting or writing. Most rocks resembled mountains and natural wonders of the world; and many represented people, animals, and mythical creatures. And foremost, they appreciated "surfaces that suggest great age, forceful profiles that evoke the grandeur of nature, overlapping layers or planes that impart depth, and hollows or perforations that create rhythmic, harmonious patterns."
KOREAN HISTORY
During the Muramachi period (1338-1573), Zen monks influenced the Japanese aristocracy and sought stones that were simple with subtle details, in line with these teachings -- stones that were suggestive rather than precise. These stones became a means to spiritual refinement, inner awareness, and enlightenment.
The rise of wealthy merchants during The Edo period (1603-1867) saw increased interest in Suiseki and there began a competition for these stones between the aristocracy and merchants. At this time, Japan had closed their borders to the outside world, bringing a period of isolation that allowed their arts to flourish without outside interference.
Due to a decrease in wealth of the nobility and the samurai during the Meiji period (1868-1912), the art remained somewhat stagnant in many ways. But this period also saw the development of Suiseki classifications still in use today.
Thereafter, interest in Suiseki has renewed and expanded throughout the twentieth century, and has grown into a multi-cultural art in the international community with widespread interest with Suiseki associations throughout the world.
CHINESE HISTORY
In China, viewing stones (scholars rocks and spirit stones known by the Chinese as "Gongshi") have been an art of appreciation for over a thousand years. During the Tang dynasty (618-907AD), it was said that a garden could not be beautiful without such rocks, and that a studio lacked elegance without gongshi. They were transported to Japan and Korea and presented as fine tributes. Dating back to the Han Dynasty (206 B.C.-A.D. 220), Chinese religious and aesthetic interest in collecting rocks was first based on decorating their courtyards and gardens. Evolving from the appreciation of larger garden rocks was "Scholars rocks," smaller stones appreciated for the ability to carry them and to display them indoors - for meditation and beauty.
The garden rock displays represented paradises known as Penglai, or the Eastern Isle of the Immortals. These paradises were perceived to be three or more mountains isolated in the Eastern Sea - Fanghu, Yingzhou, and Penglai, tall and craggy isolated peaks - accessible havens to the immortals but not to mere humans. A mystical place of beauty and wonder, which later became part of Daoist tradition.
Like the Pengali paradises, today's garden rocks are often displayed alone or grouped to represent a mountain range or sometimes a one specific mountain. Most garden rocks are shades of white or gray, and can be as tall as twenty feet high from their base, extremely weathered and worn.
Scholars' Rocks are smaller than garden rocks and are selected for more refined qualities, small enough to rest on a table. Sizes vary from miniature stones of about one inch to four or five feet in height. Scholars brought these portable mountains into their studios and used them for meditation and contemplation. Some were used as brush rests, censors or seals - but the majority were viewed as artistic treasures. The most highly regarded rocks were of limestone that "emitted a bell-like ring when struck."
Scholars' Rocks are usually displayed in carved wood stands, and the stands themselves are often works of art as well, with stylistic or symbolic images in great detail. The most highly sought stones in China are black Lingbishi and slate gray Yingshi.
Scholars' Rocks vary from white, yellow, red or black -- the most prized color. During the Ming and Qing periods (1368-1911) marble, malachite, turquoise, yellow quartz, soapstone and became popular with collectors for their colorful appearance.
These rocks represented a focus for meditation and religious or philosophic principles to the Chinese scholars. They were an inspiration for contemplation prior to painting or writing. Most rocks resembled mountains and natural wonders of the world; and many represented people, animals, and mythical creatures. And foremost, they appreciated "surfaces that suggest great age, forceful profiles that evoke the grandeur of nature, overlapping layers or planes that impart depth, and hollows or perforations that create rhythmic, harmonious patterns."
KOREAN HISTORY
Korean appreciation for Suseok, began around 100 BC - 1300 AD, when these stones were first introduced from China with Taoism. The preferred styles were upright stones that contained perforations and grooves on their surface, and preference continued during the middle period of Korean history from 1300-1950. As in Japan, Korean cultural changes during this time caused collectors to turn toward more "subdued" specimens. Suseok collecting increased after the Korean war (1950-1953), but the recent closing of many prime collecting areas has seen a decrease in the number of collectors.
Unlike the Japanese stones that are sometimes cut or altered, Koreans do not allow any alteration to their Suseok, preferring to retain the purity of their stones. Rather than cutting uneven stones for a flat bottom, these stones are displayed in deep suiban (ceramic containers filled with sand or water) or a more deeply carved daezwa or zwadae (carved wood display stands) to hide more of the stone. These Korean stands are unique and compliment the stone with their phenomenal flowing lines that merge into the feet of the stand, making Korean Suseok a beautiful and distinct form of this art of stone appreciation.
Following is a list of some collecting sites in Korea that are especially well-known or famous with suseok collectors.
- Kyunghokaang. This river comes from a small stream that brings stones from Zirisan, a mountain famous for its suseok.
- Namhankaang. The Namhan river is the most important and famous collecting site in Korea. All shapes of stones can be found there. Many have good texture, and it is possible to find many shapes in a single stone. Most notable are stones with depressions, furrows, tunnels, arches and peaks.
- Seasides. Korean coastlines have many places where collecting suseok is possible. The southeastern coast of the Korean Peninsula is the most popular.
- Taewhakang. The Taewha river is notable for its green-colored stones.
- Yungkaang. The Yung river is another famous site.
- Zirisan. Ziri Mountain. A mountain famous for its suseok.
Unlike the Japanese stones that are sometimes cut or altered, Koreans do not allow any alteration to their Suseok, preferring to retain the purity of their stones. Rather than cutting uneven stones for a flat bottom, these stones are displayed in deep suiban (ceramic containers filled with sand or water) or a more deeply carved daezwa or zwadae (carved wood display stands) to hide more of the stone. These Korean stands are unique and compliment the stone with their phenomenal flowing lines that merge into the feet of the stand, making Korean Suseok a beautiful and distinct form of this art of stone appreciation.
Following is a list of some collecting sites in Korea that are especially well-known or famous with suseok collectors.
- Kyunghokaang. This river comes from a small stream that brings stones from Zirisan, a mountain famous for its suseok.
- Namhankaang. The Namhan river is the most important and famous collecting site in Korea. All shapes of stones can be found there. Many have good texture, and it is possible to find many shapes in a single stone. Most notable are stones with depressions, furrows, tunnels, arches and peaks.
- Seasides. Korean coastlines have many places where collecting suseok is possible. The southeastern coast of the Korean Peninsula is the most popular.
- Taewhakang. The Taewha river is notable for its green-colored stones.
- Yungkaang. The Yung river is another famous site.
- Zirisan. Ziri Mountain. A mountain famous for its suseok.
