What is a Masterpiece?

CCCALIFORNIAALIFORNIAALIFORNIA A A AISEKIISEKIISEKI K K KAIAIAI Volume 28, Issue 5 May 2010

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)

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.

Stone of the Month

May Program 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.

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.

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.

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.

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Jim Greaves’ pattern stone of koi swimming up stream was part of the tokokazari competition last month in Hanford. Larry Ragle

June 18-20: La Habra Gem & Mineral show will feature an expert in petrified wood. See www.nocgms.com. Look for suiseki and bonsai coming events on page 12.

April Meeting Notes by Linda Gill

The 1 inch wide inner m

argins are designed for use with a 3 hole punch.

VOLUME 28, ISSUE 5 CALIFORNIA AISEKI KAI

Stone of the Month- (Yuha Stones): All stone measurements are in inches; height x width x depth. Photographs by Wanda Matjas.

PAGE 2

Marge Blasingame: 2.5 x 6 x 3 Hanne Povlsen: 3 x 3 x 2

Kit Blaemire: 4.5 x 5.5 x 3 Harry Trieu: 4.5 x 9 x 5.5 Kit Blaemire: 2.5 x 8.5 x 4.5

Emma Janza: 2.5 x 6 x 5 Janet Shimizu: 2 x 3.5 x 2 Janet Shimizu: 7 x 9 x 5

Kyra Haussler: 2.5 x 4.5 x 3

Richard Aguirre: 1 x 5 x 6

Michele Murray: 3 x 8 x 2

Richard Aguirre: 3 x 5 Joseph Gaytan: 4 x 7 x 5

Phil Chang: 1 x 5 x 4

continued on page 10 Linda Gill: 7 x 5.5 x 2.5

‘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

VOLUME 28, ISSUE 5 CALIFORNIA AISEKI KAI

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 3

April Program Notes by Linda Gill

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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 (mado-ishi) 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

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

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

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.

Cave stone, Ken McLeod (AVSRC)

‘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.

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.

shown to better effect by setting it into the sand of a suiban in such a way as to create a wonderful sea cave!]

As was the case of not allowing any hole to be called a tunnel, I personally dismiss the idea that any stone with a marginal depression, or worse, a dozen pockmarks, be labeled a cave stone. Small, aberrational, out-of-scale holes are not enough. A cave may be small, but if so, it must be the dominant feature (above). Likewise, an exaggerated surface texture should not be interpreted as a cave-covered mountain; the caves should have substance (below).

A cave is self-defined as an inwardly focused feature. Therefore, a cave stone is usually better displayed on a daiza, rather than in a suiban. [My use of suiban for many of my examples herein is a reflection of a lack of time to prepare so many daiza.] Using a daiza allows the viewer to get closer and concentrate on the ‘cave’ feature. The simple act of placing a cave stone in a suiban ‘opens’ the view so that regardless of whether the empty space is considered the abstract Ma or some continuation of a landscape environment, it

VOLUME 28, ISSUE 5 CALIFORNIA AISEKI KAI

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 of water. By displaying such a stone in a suiban one can add water to maximize that effect – the water may even bounce light into the hard-to-see interior of the cave or reflect features within the cave itself. [Note that bounced light and reflections are also especially useful in displaying sea caves and suimon.] As is the case with almost all cave and ‘hole’ stones, it is generally preferable to use a tighter suiban as a framing device rather than the more open spacing one would normally desire for a mountain or island stone – the major 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.

PAGE 5

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 jimgreaves@roadrunner.com or 1018 Pacific Street, Unit D, Santa Monica, CA 90405 (310) 452-3680

GuyJim

‘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.

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.

Your editor’s favorite feature: GuyJim ’s Suibanics...

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 obvious, note that the preference for rough (but not sharp) surfaces with penetrating grooves and depressions derives from the need for a sure grip, while open holes are sought to allow the escape of noxious gases.

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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

VOLUME 28, ISSUE 5 CALIFORNIA AISEKI KAI

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.

PAGE 6

Turtles and Tortoises in Stone by Thomas S. Elias and Hiromi Nakaoji

Guangxi turtle shell pattern stone on a man-made 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 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.

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.

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.

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.

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.

Large, mythical, dragon-like turtle stone on display at a stone exhibition in Anshun in Guizhou Province in China

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!

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PAGE 8 VOLUME 28, ISSUE 5 CALIFORNIA AISEKI KAI

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.

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

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.

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.

Museum Review by Rick and Mimi Stiles

Bucheon Museum of Suseok Seoul, South Korea

(Secret Garden View)

(Museum View 1)

CALIFORNIA AISEKI KAI PAGE 9 VOLUME 28, ISSUE 5

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.

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.

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 daughter-in-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.

(Bucheon Museum View 2)

(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 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.

This is another deeply Korean stone (70cm x 40cm x 35 cm) from the South Han. The museum identifies it as a "Rocks-on-the-seashore 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.

PAGE 10 VOLUME 28, ISSUE 5 CALIFORNIA AISEKI KAI

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.

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. * * *

Stone of the Month continued from page 2

Brent Wilson: 7 x 4.5 x 3 Linda Gill: 7 x 2 x 1

Pass the Vinegar from Ray Yeager

We soaked part of this stone in vinegar for 24 hours (above) . Total success! Results are below.

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:

Programs: Larry Ragle 949.497.5626 cfsmail@cox.net Treasury/Membership: Nina Ragle 949.497.5626 ragle@cox.net Annual Exhibit: Jim Greaves 310.452.3680 jimgreaves@roadrunner.com Exhibit Set Up: Marge Blasingame 626.579.0420 margeblasingame@att.net Refreshments: Lois Hutchinson 714.964.6973 wlhutch@verizon.net Historian: Ray Yeager 760.365.7897 ryeager890@aol.com Webmail: Bill Hutchinson 714.964.6973 hutch@aisekikai.com Newsletter: Larry and Nina Ragle 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

Contact People

PAGE 11 CALIFORNIA AISEKI KAI VOLUME 28, ISSUE 5

Newsletter Committee

We hope you will participate. Please send any submissions to ragle@cox.net no more than 10 days following our monthly meeting. Thank you!

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.

Peter Bloomer: 1.75 x 6.5 x 5 Peter Bloomer: 1 x 2.75 x 2.5

Nina Ragle: 2 x 5.25 x 2.5

Bonnie McGinnis: 4 x 8 x 6

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.

Wanda: 2 x 4.5 x 3 Hanne Povlsen: 1.5 x 2.5 x 1 Larry Ragle: 1.25 x 6 x 2

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.

Ragle P.O. Box 4975 Laguna Beach CA 92652

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 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

Coming Events

Leaves no stone unturned

ADDRESS CORRECTION REQUESTED

aisekikai.com

SANTA ANITA BONSAI SOCIETY 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

Refreshments

May munchies will be provided by Phil Chang, Emma Janza and the Hutchinsons.

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

INTERNATIONAL STONE APPRECIATION SYMPOSIUM 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

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

Always check Golden Statements Magazine Calendar section for additional coming events

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….