W 6“ x D 2 1/2” x H 3“; Gill Creek (Sonoma County) This suiseki is an example of a good use of the creative daiza style. The two ends both have strong undercuts, and to avoid empty space under the ends, a normal horizontal-rim daiza would require a higher cut than Mas used. The part of the stone that gives it excitement is the bit at the bottom center where the avalanche (in my imagination) pours into the horizontal valley. Without that feature the stone loses its interest as a suiseki. In the next photo you can see where the cut would be in the traditional daiza style.

The creative daiza are a variation on the standard daiza forms. For these, the rim is not horizontal but instead varies with the contours and movement of the stone, as is commonly done in making daiza for natural stones.

Using this style can allow you to cut the stone lower, thus keeping important features, while "filling in" places where the stone is undercut, too vertical, etc. Thus, stones that might not be good suiseki at all when using the normal suiseki style (with horizontal rim), might become so using this style.
http://suisekiart.com/2008/09/16/suiseki-daiza-cut-stones/

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jtroth > W 6“ x D 2 1/2” x H 3“; Gill Creek (Sonoma County)

This suiseki is an example of a good use of the creative daiza style. The two ends both have strong undercuts, and to avoid empty space under the ends, a normal horizontal-rim daiza would require a higher cut than Mas used.

The part of the stone that gives it excitement is the bit at the bottom center where the avalanche (in my imagination) pours into the horizontal valley. Without that feature the stone loses its interest as a suiseki.

In the next photo you can see where the cut would be in the traditional daiza style.

jtroth > I've masked the stone to show where the daiza rim would be in the normal suiseki style. If you compare this with the previous, you can see that an essential part of the beauty and excitement of the stone would be eliminated.

jtroth > Back view, Gill Creek stone

In order to hide the gap in the back it may be that you would have to cut the stone even higher than I showed before.

jtroth > Black butte stone

This stone was also cut much lower than it would be for a straight-rim daiza. This stone is all about the color - and the balance between the gold and red is very important. By cutting low, Mas was able to keep the red part, and also ensure good proportions for the stone.

Mas has brought the ends of the daiza up under the ends of the stone. An interesting point is the slope of the right and left sides of the base. In each case, the slope echoes the slope of the opposite edge of the stone itself.

jtroth > Rear view

In the traditional suiseki style, often the daiza is left flat and large undercuts and protusions are simply left there. Mas thinks that you should always finish the back as carefully as the front. The whole suiseki should be as beautiful as you can make it.

jtroth > Tamari ishi

This stone has a settled color and not much surface detail. But the deep tamari and stong wave-like motion of the stone make the a contemporary, single-rim, daiza suitable. The rim rises on both ends to fill in gaps. It's important to pay careful attention to the lines of the stone and echo those in the daiza rim and leg angles. Otherwise you can have the daiza and stone fighting with other - when your goal should be to have them complement and harmonize.

As before, cutting the stone low allows a good balance to the stone's proportions.

jtroth > Clear Creek stone

Mas first made a pure traditional style daiza for this stone. The result was very disappointing. The daiza gives the whole suiseki a static feeling - all the excitement of the stone seems to drain away.

jtroth > Clear Creek stone

At the time he was finishing this suiseki, Mas was starting to expermint with his creative daiza for cut stones. In this case, it was not an issue of trying to make a lower cut (indeed, the stone was already cut) but rather, to help show the movement and excitement of the stone.

When he first finished it, we liked it so much. But as you study it you start to become dissatisfied. Especially on the left side the movement of the daiza is too strong and detracts from the stone. All the attention is drawn to the base, rather than the suiseki.

W 6“ x D 2 1/2” x H 3“; Gill Creek (Sonoma County)

This suiseki is an example of a good use of the creative daiza style. The two ends both have strong undercuts, and to avoid empty space under the ends, a normal horizontal-rim daiza would require a higher cut than Mas used.

The part of the stone that gives it excitement is the bit at the bottom center where the avalanche (in my imagination) pours into the horizontal valley. Without that feature the stone loses its interest as a suiseki.

In the next photo you can see where the cut would be in the traditional daiza style.