This small Italian Ligurian stone has many nice features, but the five arches in different positions near the base of the stones are the most attractive features. This stone was collected by Luciana Queirolo, a true connoisseur of Ligurian stones and president of the Italian Stone Lovers Association. It was presented to me by Mrs. Queirolo without a base. I turned to Phil Hogan, a highly skilled wood worker in southern California, to discuss how a base could be made for this stone, one that would emphasize the arches. He agreed to make a hardwood base for this stone. A few weeks later Hogan returned with a beautiful base made from walnut (Juglans). He knew from the expression on my face that it wasn’t what I was hoping to achieve with the base. We further discussed this display and he took the stone and base back to his work shop. Reducing the thickness and carving an undulating top to the base to give the arches greater size and emphasis resulted in uniting the base and stone into a more cohesive unit. The skill of a master wood carver like Phil can turn a stone into a timely work of art and raise it above the more frequently encountered generic style soft wood bases used to create hobbyist level objects. This stone should be viewed from different angles or slowly rotating to see all five of the arches.
The role of the wood base is to hold, orient, and help convey the stone’s message. As the display of interesting and unusual stones progressed from large out door courtyards to more intimate smaller garden spaces and eventually into interior settings, mechanisms were needed to secure stones in desired positions for viewing. The first devises were stone basins, bowls, low tables, and even cloth. According to Jan Stuart in a paper in the seminal book Worlds Within Worlds, the wood base first came into use in the Ming dynasty in China. The evolution from simply placing a stone on a piece of wood to the development of a lip and socket to better hold and orient a stone was a significant advance in stone appreciation practices. This then opened the door to seemingly infinite ways of shaping and adorning bases in making statements to viewers. Most Chinese collectors and wood carvers opted for more elaborately decorative bases, while Japanese counterparts eventually choose more subtle, understated bases that were subordinate to the stone and in line with their aesthetic tastes. If you buy a stone with a base, then the decision on size, style, and message has already been made for you. If you have a stone that needs a base, then you have the pleasure and challenge in deciding what the message to convey.
First, a wood base must securely hold a stone in a preferred position that also appears balanced and stable. The owner of a stone has the responsibility of determining its front. In rare cases, a stone may be displayed in more than one position with each position expressing a different feeling. A superior base firmly holds the stone in place and does not have to reply on the use of museum wax or other similar means to hold it in position. This also means that a stone should not be sitting precariously and not be in danger of falling over with the slightest vibrations. Securing a stone in a wood base is one of the more difficult tasks for amateur wood carvers.
The second challenge is orienting the stone in the most desirable position for optimal viewing. Tilting the stone slightly forward or backward can make a successful display or detract from it. To determine this angle, it is best to view and study the stone in different positions. The use of a bean bag or tray with sand is an effective way of doing this. Should the right or left side of the stone be raised a few millimeters or not is equal in importance as the forward or backward angle. This is a stage in the development of a base that many owners begin to relinquish their role in the display. This is unfortunate as it turns the role of determining the message to the base maker. In some cases, such as novice stone collectors, this may be best as an experienced wood carver knows the best methods for a successful display. But true stone connoisseurs will have determined these angles before any wood carving begins. One of the more pleasurable times in having a base made is when a knowledgeable stone collector sits with a highly skilled wood worker and discusses viewing angles and the type of base to be made for a stone. This is a valuable learning experience for both parties. For many, the collector and the base carver are the same person out of necessity. The paucity of highly skilled wood workers who make bases for viewing stones is a limiting issue in the world of viewing stone appreciation. Also, the cost of having a suitable and beautiful base made by a professional is a limiting factor for many collectors.