Featured Article of the Month

    Korean Flower Pattern Stones

    An introduction to Korean Flower Pattern Stones


    By Thomas S. Elias

    Chrysanthemum flowers are highly esteemed in temperate Asian societies and serve as symbols for autumn and for an easier life in retirement. It is not surprising that mineral formations in rocks resembling chrysanthemums and other flowers are prized for their beauty and permanence. In China, they are known as Juhuashi (菊花石); in Japan, they are called Kiku-ishi (菊石) or Kikka-seki (菊花石); and in Korea, they are known as Hwamunseok (화문석, 花紋石). While the Chinese and Japanese chrysanthemum flower stones are well known among the global viewing stone communities, the Korean flower pattern stones are less familiar to us. 

    The Korean Hwamunseok were only recently discovered in the early 1970s, mainly in Cheongsong County, North Gyeongsang Province, and PyeongChang County, Gangwon Province. Once mined, these stones are typically ground and polished to reveal intricate mineral patterns beneath the surface. Their Chinese counterparts were known in the mid to late Qing dynasty, and the Japanese flower stones from the late Edo Period. 


    Many serious Korean collectors only include natural, unworked stones in their definition of Suseok, stones collected for their aesthetic qualities. Since the Korean flower-patterned stones are worked (ground and polished) to reveal their inner beauty, they are not considered as Suseok. Because of their rarity and beauty, Hwamunseok are often included in regional and national exhibitions of viewing stones in Korea. 

    “Sunflower Emperor” is the best-known flower stone in Korea. It is displayed in the Cheongsong Suseok and Flower Stone Exhibition Hall.


    The Korean flower-patterned stones are much younger geologically. Studies date these stones to between 48 and 50 million years ago, when molten magma rose to fill cracks and fissures in older, overlying sedimentary rock. Rhyolite was formed as the magma cooled, and small ball-like formations, spherulites, formed within the rhyolite. The flower-like mineral formations formed in the spherulites. Thus, the Korean Hwamunseok are igneous in nature, rather than the Chinese Juhaushi, which are sedimentary rocks. There are several different mineral patterns seen in the Hwamunseok. Geologists believe that the different patterns result from the rate at which magma cools. Korean rock collectors have assigned these different patterns to flowers that appear similar. Thus, we have chrysanthemum, rose, sunflower, dandelion, peony, apricot, and others. 

    These polished stones are displayed on distinct Korean-style carved-wood bases rather than in trays with sand. Unworked Hwamunseok are typically not displayed in exhibitions. 


    Because of their popularity, there are two museums in South Korea that prominently feature flower-pattern stones. The Cheongsong Suseok and Flower Stone Exhibition Hall and the Cheongcheongbuk Lake Suseok and Flower Stone Exhibition Hall in Jecheon City are both located in South Korea's eastern mountainous region. 


    The Korean Hwamunseok represents another facet of viewing stone appreciation that should not be overlooked.

    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
    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?
    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
    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 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 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 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 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) 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
    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 Abstract Stones, Understanding and Appreciating, Part 1 In Praise of Watering Stones
    Suisekido and the Genko-kai Exhibit Abstract Stones, Understanding and Appreciating, Part II