The Role of Shape and Form in Viewing Stone Appreciation
A discussion of the importance of form in viewing stones and the Japanese concept
of the "Rule of Three Sides."
By Thomas S. Elias, December, 2020
Both shape and form are essential elements of an excellent viewing stone. Shape is a one-dimensional outline such as a square, triangle, or circle, while form is three-dimensional like a box, cone, or globe. Thus, a good viewing stone should have a suitable height, width, and depth that complement each other, especially landscape type stones. The ratio of one dimension (height, width, and depth) to another may vary depending on if it represents a landscape, figure, object, or abstract. Even abstract stones require depth to make them evocative. Shape and form along with color, texture, and composition, as measured by hardness, are the basic components. This article will examine form and shape as they apply to viewing stone appreciation and discuss the importance of balance in a rock display.
Numerous Chinese stone manuals (shipu) for drawing rocks and rock formations emphasize the importance of form and balance in depicting rocks. The 1679 Mustard Seed Garden Manual, the most widely used handbook of painting in China, is a good example. A description and illustrations of the importance of three sides are given on the first page of book 5 (Rocks) of this multivolume manual. This work led to the development of the "Rule of Three Sides" in Japan. This rule is frequently invoked in Japan when evaluating stones that suggest a mountain or mountain ranges.
Yoshimura Toshiji, a bonsai garden owner in Tokyo, was the first to incorporate this concept in Japanese susieki. Yoshimura wrote an article Fun of Stones that appeared in the book Suiseki (1965) edited by Murata Kenji. The three sides represent the front and back, right and left sides, and the stone's bottom. Yoshimura stated that the three sides should be in balance and have a feeling of harmony. He wrote that the sense of harmony is not easy to describe.
This is the Japanese Kurama stone that Matsuura used to illustrate the Rule of Three Sides in his 2010 English language edition Introduction to Suiseki. Shown here are the front, back and top views of this stone. It was part of the Sugi collection but is now owned by Anthony Gedang.
Subsequent Japanese writers of suiseki based their discussions of this rule on Yoshimura's earlier work. Matsuura's (2010) discussion of the importance of gradually sloping front and back may help western students of stone appreciation understand this rule. Matsuura also has noted that the concept of harmony is impossible to define in concrete terms since harmony is a matter of an individual's aesthetic judgment.
The bottom side is the most questionable of the three sides since it is not seen when viewing a stone. However, it is most important when considering if the stone appears balanced or not. The bottom contributes to a stone's sense of stability. The need for balance in displaying a stone sometimes leads to manipulating this surface to achieve greater stability. The base of the stone also plays a significant role in determining how a stone is displayed. Is the stone's bottom side suitable for display in a metal tray with sand, in a carved wood base, or can it be placed on a display table or cloth?
It is not easy to locate a rock with the correct proportions that suggest a mountain range, plateau, or an animal or a human-like figure. Often these stones are lacking when viewed from all angles. A rock can have a shape and can appear to be a convincing viewing stone when observed from the front, but then fall short when viewed from the side or back.
A fine example of this is an older black Japanese stone named "Summer Fuji." This resemblance to the revered Mt. Fuji in central Honshu in the summer months is created in large part to the well-crafted, hand-carved base. There is a gradual slope on the front of the stone, but this is totally lacking on the back side. This is obvious when viewing the stone from either side. This base's high back compensates for the deficiencies in this stone's form by raising the top of the stone higher and at a steeper angle. Without the base, the stone is not so impressive.
Tone River Stone "Mt. Fuji" front, back and side view of same stone.
An extreme example of an unacceptable form is in this California desert rhyolite stone. It is impressive when viewed from the front as it can create a degree of excitement that this may be a great viewing stone. When this stone is turned around, it disappoints us due to its lack of depth and a plain sheer surface. It is important to not judge a rock just from its frontal view but from all angles. The deficiencies in this stone are so significant that a base will not be made for it. It may be suitable for placement in a deep wall-hanging frame.
California desert rhyolite stone: front, back and side view.
It is permissible in some cultures to have a more elaborate base that holds and displays a stone in the best position. In other countries, this practice is not considered as conforming to accepted aesthetic standards relating to stone appreciation. It is best to be aware and informed about the different practices if one wants to become a viewing stone connoisseur.
A third example of a promising viewing stone comes from the northern Japanese island of Hokkaido. This is a fine example of a waterfall stone. However, when examined from the side, we see no more than a thin stone slab. While such shear plates of rock exist in nature, none would be able to support a waterfall. Where is the water originating? If this stone had greater depth, it would be an excellent viewing stone, a rock that can excite a person's imagination.
This Kamuikotan waterfall stone from Hokkaido is 18 cm wide, 15 cm high, and only 5 cm (7 x 5.9 x 2 inches) deep at its thickest point. The front is shown first, and a side view next.
Now, let's look at stones with good shape and form. This Italian Ligurian mountain stone makes an impressive distance mountain range when viewed from the front, back, and sides. It is a larger limestone rock that is 39 cm wide, 6.9 cm high, and 24.1 cm deep (15.5 x 2.7 x 9.5 inches). Notice how the most elevated points run in a line at or near the middle of the stone. The sides taper to the base resembling the natural slopes of a mountain range.
Size is irrelevant when considering a viewing stone's qualities except when considering where and how to display it. Very large stones may be best displayed in a garden or courtyard, while smaller rocks can be displayed indoors successfully depending upon the room's scale and the size of the stones. Smaller, more intimate display spaces are needed for the smallest stones.
Compare this larger Ligurian stone to a tiny Liguria stone. The ridgeline of this diminutive stone also runs approximately near the stone's middle, with the sides sloping to its base. This is an excellent stone even though it is only 12 cm wide, 2.5 cm high, and 5 cm deep (4.7 x 1 x 2 inches).
The final example of an acceptable form is in this mountain-shaped stone from the Kamo River near Kyoto in Japan. This is a fine example of a stone with superior shape and form that evokes the feeling of a mountain regardless of which side or angle that the stone is viewed. It is 34 cm wide, 15.5 cm high, and 24 cm deep without the base. This stone has passed from one owner to another and developed over time a feeling of oldness, another desirable feature of an outstanding viewing stone.
Thus, shape and form are critical for a rock to be regarded as an outstanding viewing stone. A well designed and manufactured base will make a good display. However, the base can compensate to a degree for a stone's deficiencies. When searching for a stone in nature or considering purchasing a stone, pay careful attention to the stone's shape and form. Examine it slowly and carefully from all angles. Following these basic guidelines for landscape stones will improve the quality of your collection.
References:
Li Yu, 1679. The Mustard Seed Garden Manual of Painting.
English language readers can consult the 1997 translation of this work by Sze Mai-mai published by Princeton University Press.
Matsuura, A. 2010. An Introduction to Suiseki.
Yoshimura, T. 1965. Fun of Stones In: Suiseki edited by Murata Kenji.
