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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 > Clear Creek stone This is the third, and final, daiza for the stone. It is mainly in the pure traditional form, but with small, subtle movement, particularly at the right end. By arching the spaces between the legs to give a bit space and movement below, and carefully controlling the slope of the daiza wall, he allows the stone's movement to show without overdoing 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 > 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 > 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 > 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 > Rear view
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.
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 > 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.
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.
See photo in gallery
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