"Dawn"; W 18" x D 6" x H 6"; Williams Creek stone This is a two-peak distant mountain form. Note that the daiza wall on this suiseki is more nearly vertical compared to that for Fuji-san. As before, the legs are broad, and do not protude much. The traditional daiza is intended to support the stone, and act as a frame for the suiseki; it should not visually intrude or distract from the stone (particularly on the front side).

This gallery shows a sampling of Mas' suiseki with the style of daiza traditionally taught in Northern California. This has a two-level rim, with the inner wall slightly higher than the outer wall; The legs are broad and flat, with relatively little flair; and the daiza wall slopes slightly outward.

The two-line rim gives it a slightly decorative, formal feeling, which harmonizes well with a quiet, elegant stone such as a classic "distant mountain".
http://suisekiart.com/2008/09/16/suiseki-daiza-cut-stones/

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jtroth > Fuji-san; W 12" x D 7" x H 6"; Clear Creek

Every Japanese suiseki collector dreams of finding a stone that resembles Mt. Fuji, which represents the classic mountain form.

This stone is a nearly perfect suiseki. The material is a good medium hard stone (probably serpentine) with beautiful color and a rich patina. The peak is well defined and comes slightly towards the front, and the stone has good balance and shape in all three dimensions. The two ends come slightly forward, embracing the viewer, and the back is nicely rounded. Though the peak is nearly centered, the difference in slope and visual mass between the right and left introduce enough asymmetry for balance.

This is an elegant, quiet, stone. It does not have strong colors, texture or movement. A refined and elegant daiza suits it well.

Notice the three legs. Each leg is positioned to seem to support the main visual masses of the stone, and the size and shape of each is different. The middle leg is essentially two legs merged together.

jtroth > Back view of Fuji-san

Notice the way the two ends and the peak go forward.

The back leg is quite wide, supporting the main visual mass.

jtroth > "Dawn"; W 18" x D 6" x H 6"; Williams Creek stone

This is a two-peak distant mountain form. Note that the daiza wall on this suiseki is more nearly vertical compared to that for Fuji-san. As before, the legs are broad, and do not protude much. The traditional daiza is intended to support the stone, and act as a frame for the suiseki; it should not visually intrude or distract from the stone (particularly on the front side).

jtroth > Here Mas has made two distinct back legs in the major "weight bearing" locations.

jtroth > W 8" x D 3 1/2" x H 3"

This is one of Mas' early daiza, and as you can see it is quite different from his more recent ones.

The traditional daiza style has fairly high walls, as you can see here. But it's not really in proportion with the stone. Many Northern California daiza makers have started making much shallower bases.

If Mas were making this daiza today he undoubtedly would make the rim much lower, and would change the shape of the legs. What changes would you make?

jtroth > Traditional Daiza for Cut Stones photo

jtroth > Another early daiza. Here he has started to give the legs a small "kick" to the outside

jtroth > Notice the center leg in the back. In his more recent suiseki this leg would straddle the rearmost section - which is the visual center of mass, while in this early one it is simply centered left to right.

jtroth > "Late Fall"; W 16" x D 7" x H 6"; Clear Creek serpentine

This is also an early daiza, as you can see from the treatment of the legs. To my eye however, the stone has enough "busyness" in it's surface features that the very plain legs work well. I don't think I'd want the legs to show too much. What do you think?

"Dawn"; W 18" x D 6" x H 6"; Williams Creek stone

This is a two-peak distant mountain form. Note that the daiza wall on this suiseki is more nearly vertical compared to that for Fuji-san. As before, the legs are broad, and do not protude much. The traditional daiza is intended to support the stone, and act as a frame for the suiseki; it should not visually intrude or distract from the stone (particularly on the front side).