Korea Abstract Stone Forum, Seoul. 260 pages. No ISBN. 

This is truly an impressive catalog of an exhibition of viewing stones that occurred June 6-9, 2019 in Korea. This display of over 100 stones explored the boundary between carved and non-carved viewing stones. Concurrently, it explored the boundary between traditional and contemporary stone display methods. As a result, this is one of the more exciting books published on Asian stones in many years. 

There are several stone sculptures illustrated along with other more natural appearing stones that suggest the careful touch of a stone carver’s hand. One stone appears to have been sliced vertically to expose the color and patterns of the stone’s interior. A few works of modern art utilizing stones were included in this exhibition.

The range of stone types in this exhibition reveals the diversity of stones being collected and displayed in Korea today. This is not an illustrated book of traditional landscape stones. Instead, many rounded to ovoid-shaped beach stones, interesting abstract-shaped stones, and others show the distinction between preferences in forms and styles of Korean and Japanese viewing stones. 

Some natural unaltered stones are displayed in traditional Korean base; however, many are displayed in contemporary style bases from a long history of tradition. The innovation in bases to hold, orient, and display stones are remarkable. The organizers and participants in this exhibit must have shaken the long-standing belief that all Korean suseok are natural, unaltered stones and must be displayed in traditional methods.



Publishing Company Geobukgol. Busan, Korea. 203 pages, ISBN 978-89-91823-70-9. Price:50,000 won when published.

The popularity of beach or sea stones is evident since this is the fourth masterpiece exhibition of these stones. There is a considerable following of beach stones among Korean collectors. This exhibition and subsequent catalog contain over 170 stones. Each stone and its base are given a full page in this volume. As a result, readers can study the details found in each rock. Since they were collected along beaches, most of these have been worn to rounded, ovoid, or related shapes. The surfaces are smooth and with various patterns. Some of the stones are black, while others have complex patterns of colors reminiscent of the works of leading expressionist painters. The carved wood bases, daezwa in Korean, used with these beach stones are simple, unadorned shallow cup-shaped forms that are stained dark in color.

This hardbound volume is a quality production with excellent photographs, a good layout, and design.

Ilsengilseok Invitation Exhibition. Choi Guibak publisher. 306 pages, ISBN: 978-89-969963-9-2. 36 x 25 cm, boxed. Price when published 200,000 Won. In Korean.

Periodically, an exceptional stone appreciation exhibition catalog is published. This is one of those occasions. It is a sumptuous volume of an extraordinary exhibition of Korean Suseok. Since the exhibition was by invitation only, the organizers set a high-quality requirement for the stones display.

The exhibition and subsequent book are divided into two main categories—river or mountain stones and sea (beach and island) stones. Approximately 64% of the stones were collected in rivers and mountains, while the remaining 36% were gathered from islands and beaches. Only one stone is illustrated on a page giving the viewer an opportunity to explore the details found in the stone, its base, or its display tray. This catalog provides an excellent opportunity to learn about the diversity of Suseok collected and appreciated today in South Korea.

Rating: Excellent, a valuable reference to modern Korean Suseok.

Jeong Seong-yong Publisher. 302 pages. ISBN: 979-11-964596-2-8. Price when published 200,000 Won. Boxed. In Korean.

The title of this volume comes from the traditional Korean wisdom that if you find just one “Treasure Stone” (Myong Seok) in your life, you are so blessed. A viewing stone must be of exceptionally high quality to meet this high standard. The exhibition's organizers and the book's editors achieved their goal. It is a world-class exhibit of superior Korea Suseok. 

Carefully observing the stones illustrated in this volume will open the door to a better understanding of Morean Suseok. The type of stones collected, their style of bases and trays used, and the manner in which stones have been displayed all help to define the long tradition in Korea. The Korean style of Suseok is impressive, and each specimen makes a strong statement. In Korea, there is a strong preference for the use of natural stones that have not been altered or enhanced, as seen in many Chinese and Japanese viewing stones. 

This impressive book divides the exhibited stones into two categories. The first and largest section presents stone, the Namhan River, along a small representation of the Younggang River. A selection of beautiful Korean sea stones comprises the second section. These stones were collected along beaches and from several of the many islands along the coast of South Korea. 

This large, 30 x 25 cm hardcover book is a quality publication with excellent photographs, wonderful layout and design, and first-class printing and binding. 

Rating: Excellent, a splendid volume and valuable resource for stone connoisseurs wishing to learn more about Korean Suseok.

Koyo Achim, Seoul, Korea. 175 pages. ISBN 978-89-6039-986-0.

Translated by Jyong-Sook Woo. In Korean and English.

By David McCann

The sijo is a three-line Korean verse form that has been composed and performed for centuries. A famous early example is this one, by the revered stateman and poet Jeong Cheol, 1536-1594. The poem was written early in the Joseon Dynasty (1392-1897) at a time when the new government was pressing hard against Buddhist practices, which had been important in the preceding dynasty.

A shadow falls into the water;

a monk crosses over the bridge.

“Hey you monk! Stop right there.

Let me just ask where you’re going.”

With his staff, he points at the white clouds,

and does not turn to look back.

Considering the form, the sijo is three lines, and each line has four parts of 3 to 4 or 5 syllables. The first line is said to start the poem, and the second develops or continues the narrative or the description. The third line starts with a turn or twist in its first part, a change in the direction of the poem, never varying from three syllables. The second unit expands to five syllables, and then the poem concludes. Because the lines of the poem are long, with their four units, it is very common in translations and in contemporary Korean publishing to divide them on the page.

A striking feature of the sijo over the centuries has been its performance dimensions. The sijo is sung in a distinctively drawn-out melody. In the old days, folks on an outing in the countryside might sing with friends. But the “plot” development also has performance dimensions. In Jeong Cheol’s sijo, the first line invites the mental eye to look down at the water, then up at the bridge. The second line gives us the forceful, intimidating call out, like a recording, from the Confucian official to the Buddhist monk. The third line provides the visual image, of the monk pointing with his staff as he continues on his way.

It is striking to note the performance, and to think what might have happened if the monk had in fact turned and looked back. A dangerous moment. But also, it is remarkable how Jeong Cheol shared this body-cam video of the encounter, revealing himself to generations of readers.

The sijo poet Min-Jung Kim has been a leader in the contemporary sijo realm. Her books give us the form and its lively presence in the Korean literary realm. She has been active in the leadership of the Korean Sijo Poets Association, the Korean Writers Association, and Korea PEN. She and Hyung-Suk Woo, translator of her poems, have dedicated their efforts to increase international awareness and appreciation for the sijo in its various manifestations.

An example of one of Kim’s romantic sijo poems is:

                     Under A Maple Tree

           Why is it that the tree is 

           tinged with red, even from spring?

           The light green dream that we’ve dreamed

            Has never been in full bloom yet.

            Holding hands, we feel the hands hot.

            The maple tree looks aflame too.

The book Someone is Sitting brings an amazing gathering of photographs of Scholar Stones, in the poet’s own collection, together with the poet’s sijo representations. It is our pleasure to listen, to look, and to learn from and about their interaction.

Koyo Achim. Seoul, Korea. 247 pages. ISBN 979-11-0-90487-27-6.

Translated by Jyong-Sook Woo. In Korean and English.

These two volumes may represent the most extensive set of poems produced in modern times related solely to viewing stones. We are keenly aware of the early Chinese poems written about unusual stones by such prominent Tang dynasty scholars and stone connoisseurs Bai Juyi, Niu Sengru and Li Pak. The author of these two volumes, Dr. Kim Min-jung is a nationally recognized poet and scholar in Korea. She specializes in the traditional poetic form known as Sijo, a style that developed during the Goryeo period and flourish during the following Joseon dynasty. The poems focus on romantic, metaphysical, or spiritual themes and are different from to the Japanese haiku and tanka. 

The 2020 volume contains 111 poems divided into five categories. Like the first volume, these poems are all based upon stones in Kim’s personal collection. Most of these stones are natural unaltered sea stones found along coastal beaches. 

Daegwalleyeong Suseok Association, 219 pages, hardbound in slipcase. ISBN: 979-11-961188-1-5. Price when published 100,000 won.

This very attractive volume resulted from a fifteen-day exhibition of Korean Suseok staged for the 2018 Winter Olympic Games held in Pyeongchang. The organizing committee wanted to introduce Suseok culture to the world. The exhibit and the book are helping to achieve that goal. Most of the viewing stone communities outside Asian countries know very little about Korean stone appreciation practices. 

In the opening pages of this exhibition catalog, Suseok is defined as an “old Confucian culture (or hobby) of viewing stones, with a focus on feeling the mysteries of nature and appreciating beauty in rocks collected from rivers.” In this book nearly 200 stone displays are illustrated, one per page. A short poem, the name of the exhibitor, where the stone was collected, and the dimensions of the stone are provided in English and Korean. This feature is a great benefit and allows English reading audiences worldwide to learn about these stones. Reading the poems allows us to understand how each owner felt about their stone. 

About half of the stones are displayed in suiban, ceramic or metal, with sand, while the remaining ones are held and oriented in carved wood bases. The stones in this exhibition appear completely natural, unaltered, or unenhanced. They are mostly dark stones, usually with a rough texture. Suseok enthusiasts like to spray their stones with water and observe the changing patterns as the water evaporates rather than treating them with oils and waxes. It is refreshing to study these unpretentious but often bold native rocks and how they relate to the poems.

The photography is excellent, as is the design and layout of this book.