Custom-made wood bases made to hold and orient stones are one of the more popular methods used to display stones indoors. Since a wooden base is designed and made for a single stone, it is not as versatile as a ceramic or metal tray. A single tray can serve to hold and orient different stones. But a wood base has the advantage of conforming to the shape and movement of stone while adding to and complementing the message a rock may be suggesting to viewers. The extent to which a base complements the stone is linked to the individual preferences from one country to another. In China, for example, the carved bases are often more elaborate and conspicuous than comparable pieces from Japan. These variations reflect the differences in the sense of aesthetics in each country. These differences help to add interest and diversity in learning how each country relates to nature. 

Carved wood bases, or daiza as they are referred to in Japanese suiseki practices, vary from simple generic forms made from softwood and painted with lacquer or black paint to elaborately detailed pieces made from a variety of hardwoods. Many of the temperate and tropical hardwoods have dense fine wood grain patterns that are best left in a natural finish rather than being painted. 

If a good viewing stone evokes feelings or suggests something greater than just the stone itself, then the base has an essential function in helping to convey that message regardless of an understated subordinate feature or a more elaborate element in the display. Both require creative design and high-level skills in wood carving. Throughout history, most of the products of these skilled workers have gone unrecognized. In earlier times, Chinese Imperial households maintained workshops to create items of beauty for members of the royal family. Likewise, wealthy merchants and bureaucrats could employ skilled workers to carve exquisite panels and other works of art including bases for holding stones. These workers were typically craftsmen and did not sign or mark their products. If, however, a creative person had sufficient means to have an independent studio, that person was often referred to as an artist. 

We think that the distinction between a craftsperson and an artist cannot be sharply defined. It depends, in part, on who is responsible for the design of the base. If a stone’s owner develops the design concept and the woodworker simply carries out that design, then we would refer to that person as a craftsperson. If the woodcarver has a role in the design of the base or assumes total responsibility for the size, shape, and features, then I am inclined to refer to them as an artist. The creation of a unique product is the result of an artistic process. While the manufacture of a repetitive number of basic cup-shaped bases would fall outside of the creative artistic process.

Finally, the task of designing a quality base is not as easy as it first might appear. The features of a stone should guide the process of designing and making the wood base. It is necessary to determine the front of the stone, the correct viewing angle that will emphasize the important features, and the contours of the bottom part of the stone. The late renowned Japanese daiza carver Suzuki Koji, said “it is essential to learn about stones first before trying to learn about making bases for stones. You always start with the stones and their characteristics in order to determine the type of base it needs.”  

An elegant, professionally carved base transforms a stone into a work of art by marrying a natural object (stone) with an artificially produced object (base). The result creates an art form that is a more valuable and aesthetically pleasing object than either of the two separate parts. Let’s join together to recognize these talented individuals as we strive to raise the standards and awareness of viewing stone appreciation.