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    Malaysian Wax Stones: 10th World Bonsai Friendship Federation Convention 

    A detailed examination of Malaysian Wax Stones displayed in the 10th World Bonsai Friendship Federation


    By David Nguyendo

    The World Bonsai Friendship Federation Convention (WBFF) was held in Kuala Lumpur, Malaysia, August 28-31, 2026. This international exhibition of penjing, bonsai, and viewing stones, held every four years, was hosted by the Malaysia Bonsai and Suiseki Society. This year’s convention consisted of a bonsai exhibition and demonstration, a viewing stone exhibition and lecture, and displays exhibited at the convention. This article will focus on the 232 stone displays exhibited at this convention. 


    The suiseki exhibition and competition at the 10th WBFF were displayed indoors at the popular Bukit Jalil shopping pavilion. All stones were grouped into one of these three stone categories: (1) the wax stones, (2) the river stones, or (3) the mountain stones. The stones were then sorted and displayed separately by size: large, medium, or small. About 90 stones, representing nearly 40% of the total, were Malaysian wax stones. The Malaysian wax stones stood out from the other stones due to the color, surface texture, and form.

    Figure 1: The larger stones were grouped together.

    Figure 2: The majority of the medium-sized stones were wax stones with varying colors and shapes.

    The spacing between the medium-sized displays was better than the spacing between the larger stones which provided a better viewing experience.

    Figure 3 and 4: Two Buddha figure wax stones in yellow and dark orange.

    Malaysia produces a variety of excellent viewing stones, including wax stones found in the northern Kedah and Perak regions. These stones are beautiful and eye-catching, with a deep rich yellow color. Dark reddish colored wax stones are highly prized.  


    Many wax stones are smooth from being polished in river waters. These stones are composed of uniform, fine-grained, microcrystalline quartz or chalcedony with varying amounts of iron oxides that give the stones their color. 


    The wax stones are evaluated by an additional criterion, light penetration, not used in most viewing stones. A Malaysian wax stone collector demonstrated how to determine a high-quality stone from a lower-value one. A small flashlight was placed directly on the stone's surface to see how far the light penetrated and how bright and uniform the color was. Wax stones with deeper light penetration are considered more valuable and highly prized.

     

    However, not all wax stones have a deep rich yellow color and smooth skin. Some wax stones can be very dark, with rough, wrinkled skin.


    Some of the displays included a brightly colored landscape or flower-patterned paneled screen behind the stone. Other accompanying objects included potted plants, small incense burners, and other artifacts. The displays reflected a more distinct Malaysian aesthetic influenced by Chinese tradition, rather than the more subtle minimalist approach seen in comparable Japanese displays. 

    Figs. 5 & 6: Two small, mountain-shaped wax stones of similar size but with different surface textures and colors.

    Other noticeable features in the WBFF stone exhibition were the use of pure white sand instead of tan and light brown sands in tray displays. Also, some carved wooden bases (daiza) served two functions: holding and orienting the stone, and functioning as a landscape tray. A portion of the wooden base was carved and filled with white sand to suggest a pool at the base of a waterfall. This makes the display more explicit and less suggestive. Exceptional viewing stone displays prizes suggestion of literal depiction.

    Fig. 7:  This stone suggests a mountain with a waterfall. The wooden base also has a small carved-out area that contains white sand to represent a pond or lake. The white label said “Jade Mountain with silver waterfall.”

    Fig. 8.: A wax stone sits on a wooden base with an area underneath the stone filled with white sand to represent a river. 

    Fig. 9:  An international committee of judges evaluated and gave awards to several displays. The Grand Award went to this large yellow wax stone.


    This convention provided an opportunity to see so many quality stones, especially wax stones. The array of shapes, colors, and other features was amazing. Even though the viewing stones were heavily influenced by Chinese stone appreciation practices, the quality of the Kedah and Perak wax stones made it a special occasion. Many consider the Malaysian wax stones to be as good as the southern Chinese wax stones. 

    Article List by Category

    Stone Types from Around the World
    Chinese Wax Stones Malaysian Stone Appreciation Chinese Ying Stones, The Tiny Ones Japanese Sado Island Akadama Stones Viewing Stone(s) and Considering Art Is There a Role for the Playful Stones in Viewing Stone Appreciation?
    Malachite or Peacock Stones Chinese Food Stones (shiwu) Japanese Chrysanthemum Flower Stones Part 1 Japanese Ibi River Waterfall Stones The Beauty of Small Stones Korean Suseok, An Introduction
    China’s Vast Network of Stone Collectors Ink Lake Stones, Mohu shi, Japanese Chrysanthemum Flower Stones Part 2 Enny’s “Botero” Stones Viewing Stones of Southeastern Alaska Korean Flower Pattern Stones
    Chinese Chrysanthemum Stones (Juhuashi) Chinese Pan Gong Shi: Ancient and Beautiful Inscribed Stones-An Example Viewing Stones of the Lombardy Region of Italy The Iwasaki Family Numbered Stones The Seven Stones of Kyoto
    Chinese Rain Flower Pebbles (Yuhua shi) Dali Marble from Yunnan China, Part 1 Japanese Furuya Stones Viewing Stones of Malaysia & Singapore Nail and Structure Stones: Viewing Stones or Building Materials? Japanese Tray Landscapes
    Chinese Kun Stones or Kunshan Stones Dali Marble from Yunnan China, Part 2 Contemporary Viewing Stones Displays The Concept of “Dongtian” in Chinese Stone Appreciation Yojuro and His Namesake Stones Malaysian Wax Stones at the 10th World Bonsai Friendship Federation Convention
    Taihu, The Famous Chinese Lake Tai Stone The Use of Coral as Viewing Stones in China Chinese Jiulong Bi (Nine Dragon River) Stones Chinese Rock Landscape Trays (Rock Penjing) Treasures of the Yuha Desert
    Petrified Wood in China Chinese Stone Museum of Wuhan Can Minerals be Viewing Stones? My Suyuan Shipu Stone The Ying Stones of Southeastern China
    Introducing Chinese Ying Stones Chinese Chrysanthemum Stones: True Permian Age Stones or Modern Imitations? The Ligurian Stones of Italy The Italian Metamorphic Marly Limestones: Polombino, Moresco, Jasperine and Nephritic Suiseki – The Art of Viewing Stone Appreciation in India
    The Stones of the Gobi Desert, Part 1 Chinese Grass Flower Stones Can Meteorites be Viewing Stones? Japanese Toki-ishi, Colorful Petrified Wood Korean Beach Stones or Sea Stones (Haeseok)
    The Stones of the Gobi Desert, Part 2 Viewing Stones of the Namhan River, Korea The Kamuikotan Stones of Hokkaido Abstract Stones, Understanding and Appreciating, Part I A Gift of a Lifetime: Kemin Hu’s Donation to the National Bonsai and Penjing Museum.
    Korean Suseok A Wonderful Old Bonsan Japanese Earth Stones Turtle and Turtle Shell Stones Can Fossils be Viewing Stones?
    History People People Exhibitions Exhibitions Art & Aesthetics Art & Aesthetics Practices & Methods
    A Trip to Lingbi County, China Conversation with a Stone Connoisseur A Novel Way to Appreciate a Landscape Stone China Kunming Pan Asian Stone Expo Malaysian Wax Stones at the 10th World Bonsai Friendship Federation Convention Criteria for Evaluating Stones, Part 1 Kobayashi Kunio to lead the Japanese School of Keido Alternates to Traditional Wood Bases
    Shilin Pinnacle Karst National Park Shanghai Contemporary Bases for Viewing Stones The Shanghai Hu Tai Road Stone Market and The Shanghai Viewing Stone Association Elements of Success-The Sixth Japanese Suiseki Exhibition Criteria for Evaluating Stones, Part 2 Bases and the Oldness Concept in Stone Displays Collecting Stones in Northern California
    Stone Appreciation in Italy and the AIAS Yoshida Bonseki, Hokkaido’s Premier Stone Collector Cultivating Viewing Stone Appreciation: Bonsai Winnipeg’s Evolution Reshaping, An Exhibition of Stone Art How Philosophy and Folklore Have Influenced Wood Base Styles. Suisekido and the Genko-kai Exhibit The Importance of Storage Boxes (Kiribako) and Box Writing (Hakogaki) in Viewing Stone Appreciation
    Stone Appreciation in the U.S. China Kunming Pan Asian Stone Expo My Collection: What to Do with It? Scholars’ Rocks, Itineraries of Chinese Art Modern Display Spaces-Post Tokonoma A Novel Way to Appreciate a Landscape Stone The Role of the Wood Base in Stone Appreciation
    Suiseki in Australia Stones in Art Aiseki Club Toyota, A Model Club to Emulate Seventh Hokkaido Suiseki Federation Exhibition Orienting Stones for Display We Move Stones So that They Can Move Us Worked versus Unworked Stones
    The Alashan Stone Museum and Festival A Modern Concept in Chinese Stone Display Evolution of Tray Landscapes in Early 19th Century Japan Based Upon the Senkeiban, Senkeiban Zushiki and the Tokaido Gojusan-eki Edyu, Hachiyama. Stones at the 2018 Combined European Conventions Stones in Art Going beyond the form to appreciate classical Chinese scholars rocks
 Shanghai Contemporary Bases for Viewing Stones
    Viewing Stones of the Philippines Washington State Viewing Stone Enthusiasts The Value of a Stone: Its Features or the Story? The XXI National AIAS Congress 2018, Florence, Italy Stones in Poetry, a Long Tradition Continued Alternate Bases for Your Stones Modern Display Spaces-Post Tokonoma
    Washington State Viewing Stone Enthusiasts The 5th Japan Suiseki Exhibition Suifu Sanjin (水府散人, 1921–1994) Ten Views of a Lingbi Stone, a Major art Exhibition What is a Viewing Stone? The Unspoken Role of Oils and Waxes in Viewing Stone Appreciation My Suyuan Shipu Stone
    The Tonglushan Copper Mine in China Yoshida Bonseki, Hokkaido’s Premier Stone Collector The Combined 38th All Japan Aiseki Association National Exhibition and the 2018 Hokkaido Suiseki Federation Exhibition Scholars’ Rocks, Itineraries of Chinese Art In Praise of Watering Stones Harada Kazuya, Japan’s Master Daiza Carver
    Viewing Stones in Taiwan Elements of Success-The Sixth Japanese Suiseki Exhibition A Japanese Shohin Suiseki Exhibition A Modern Concept in Chinese Stone Display The Value of a Stone: Its Features or the Story? The Use of Spalted Wood Panels in Small Stone Displays
    Introducing Indonesian Stones Stones in Poetry, a Long Tradition Continued The 5th Japan Suiseki Exhibition Shanghai Contemporary Bases for Viewing Stones The Concept of “Untouched” (自然, jayeon) in Korean Suseok (수석 (壽石) The Role of Accompanying Objects in Viewing Stone Appreciation
    Introduction to Japanese Suiseki Seventh Hokkaido Suiseki Federation Exhibition The Use of Spalted Wood Panels in Small Stone Displays Evidence of the Use of Chinese Stones in Japan during the Meiji (1866-1925) Japanese Tray Landscapes Role of Trays in Viewing Stone Displays, Part 1
    Chinese Scholar’s Rocks-Lessons from a Major Auction. Reshaping, An Exhibition of Stone Art Small Stones, Worlds Apart The Katayama School of Keido The Role of Trays in Viewing Stone Displays, Part 2
    Evidence of the Use of Chinese Stones in Japan during the Meiji (1866-1925) Enhancing the Stone: The Chinese Tradition Part I Learning from Exhibitions: The 46th National All Japan Aiseki Exhibition The Role of the Wood Base in Stone Appreciation Options in Displaying Boat Shape Stones
    Italian Stone Exhibition, Implications from the 2016 Exhibition Enhancing the Stone: The Chinese Tradition Part II Sparking Minerals and Poetic Stones The Concept of Linglong in Chinese Stone Appreciation The Role of Lichens in a Natural Viewing Stone
    Native South Korean Stones Ten Views of a Lingbi Stone, a Major art Exhibition Suisekido and the Genko-kai Exhibit Viewing Stone(s) and Considering Art Yojuro and His Namesake Stones
    Japanese Chrysanthemum Flower Stones Part 2 The XXI National AIAS Congress 2018, Florence, Italy The Shanghai Hu Tai Road Stone Market and The Shanghai Viewing Stone Association A Lesson in Viewing Stone Connoisseurship Treasures of the Yuha Desert
    Viewing Stones in Indonesia A Japanese Shohin Suiseki Exhibition Cultivating Viewing Stone Appreciation: Bonsai Winnipeg’s Evolution The Beauty of Small Stones Provenance, Documentation & Attribution
    The Murata Family’s Contribution to the Development of Japanese Suiseki A Lesson in Viewing Stone Connoisseurship Stones of the 43rd Taikanten, Kyoto, Japan, 2023 Patina in Viewing Stone Appreciation Learning Viewing Stone Appreciation Practices: Copy First, Then Adapt
    The Iwasaki Family Numbered Stones Viewing Stones of Southeastern Alaska All Japan Aiseki Association’s 16th Kansai Exhibition The Role of Shape and Form in Viewing Stone Appreciation Stone + Context = Art
    Suiseki – The Art of Viewing Stone Appreciation in India The Murata Family’s Contribution to the Development of Japanese Suiseki The Exhibition of Japanese Suiseki Masterpieces—The Meihinten The Role of Accompanying Objects in Viewing Stone Appreciation Bases and the Oldness Concept in Stone Displays
    A Gift of a Lifetime: Kemin Hu’s Donation to the National Bonsai and Penjing Museum. Small Stones, Worlds Apart Aiseki Club Toyota, A Model Club to Emulate Role of Trays in Viewing Stone Displays, Part 1 A Novel Way to Appreciate a Landscape Stone
    What Makes a Stone Exceptional? A Look at a Special Stone The Iwasaki Family Numbered Stones Impressions of the 62nd Meihinten (Japanese Suiseki Masterpieces) The Role of Trays in Viewing Stone Displays, Part 2. My Collection: What to Do with It?
    Viewing Stone Classification Systems: Pros and Cons Who Carved my Base? A Guide to Base Carvers 2025 Aiseiki Club Toyota Exhibition What is Biseki? A Wonderful Old Bonsan
    Korean Suseok, An Introduction Suiseki – The Art of Viewing Stone Appreciation in India The 43rd National Suseok Exhibition The Role of Lichens in a Natural Viewing Stone Going beyond the form to appreciate classical Chinese scholars rocks

    Evolution of Tray Landscapes in Early 19th Century Japan Based Upon the Senkeiban, Senkeiban Zushiki and the Tokaido Gojusan-eki Edyu, Hachiyama. Kobayashi Kunio to lead the Japanese School of Keido Korean Suseok Museums The Kiyosumi Garden, Tokyo Viewing Stone Classification Systems: Pros and Cons
    The Seven Stones of Kyoto Learning from Exhibitions: The 46th National All Japan Aiseki Exhibition Stone and Scene: A Unique Exhibition Where Stones and Art Meet Stone + Context = Art Buying Viewing Stones on the Internet
    What Makes a Stone Exceptional? A Look at a Special Stone Aiseki Club Toyota Abstract Stones, Understanding and Appreciating, Part 1 In Praise of Watering Stones
    Suisekido and the Genko-kai Exhibit The 58th Tsukumo-kai Exhibition Abstract Stones, Understanding and Appreciating, Part II
    Concepts & Definitions Enhanced Stones Philosophy Organization Publications
    The Value of Pinyin A Westerner’s Thoughts on “Natural” versus Enhanced Stones Chinese Rock Landscape Trays (Rock Penjing) View Stone Association of China Chinese Stone Catalogs
    Viewing Stones or Gongshi Part 1 Enhancing the Stone: The Chinese Tradition Part I The Concept of “Dongtian” in Chinese Stone Appreciation Viewing Stones in Taiwan Treasure, China’s Leading Viewing Stone Magazine
    Viewing Stones or Gongshi Part 2 Enhancing the Stone: The Chinese Tradition Part II The Katayama School of Keido The Kiyosumi Garden, Tokyo Evidence of the Use of Chinese Stones in Japan during the Meiji (1866-1925)
    A Westerner’s Thoughts on “Natural” versus Enhanced Stones Worked versus Unworked Stones. The Kiyosumi Garden, Tokyo Stones of the 43rd Taikanten, Kyoto, Japan, 2023 Small Stones, Worlds Apart
    How Philosophy and Folklore Have Influenced Wood Base Styles. Patina in Viewing Stone Appreciation Learning Viewing Stone Appreciation Practices: Copy First, Then Adapt Korean Suseok: Learning A New Way
    Can Meteorites be Viewing Stones? What Makes a Stone Exceptional? A Look at a Special Stone Bases and the Oldness Concept in Stone Displays Aiseki Club Toyota
    The Beauty of Small Stones The Unspoken Role of Oils and Waxes in Viewing Stone Appreciation
    Patina in Viewing Stone Appreciation
    Abstract Stones, Understanding and Appreciating, Part II
    Kobayashi Kunio to lead the Japanese School of Keido 
    The Concept of “Untouched” (自然, jayeon) in Korean Suseok (수석 (壽石)