Featured Article of the Month

    The 43rd National Suseok Exhibition

    An overview of the 43rd National Suseok Exhibition in Pohang, Korea

    By Thomas S. Elias

    On November 15-17th, 2025, over 234 exceptional natural, unaltered rocks were displayed at the 43rd National Suseok Exhibition. These stones, selected for their shape, color, surface textures, and hardness, reflect the influence of Buddhist and Confucius beliefs and thoughts about the relationship between man and nature. Living in harmony with nature and appreciating beauty even in a small rock are important aspects of Korean viewing stone appreciation. Two hundred and thirty members of the Korean Suseok Association (KSA) selected stones from their native rivers, coastal areas, and seas from all regions of Korea for this annual event. 

    This year’s exhibition was held in the eastern sea coastal city of Pohang, the steel producing capital of Korea. The exhibition was held in the Pohang University’s Pyeongbo Gymnasium. The opening ceremony consisted of a series of welcoming remarks, singing the Korean national anthem, and the KSA’s official song. Kim Bong-jo, chairman of the executive committee said in his welcoming speech “I hope it will be a time for members to appreciate the works in pure domestic stones that they have cherished deeply.” Mr. Lee Seong-ki, chairman of the central committee, expressed in his remarks “that this will be a venue for a festival to promote the beauty of culture and strengthen communication and harmony among our senior citizens. 


    The exhibit was arranged by Provinces, and the Special Self-Governing Province of Jeju Island. Local club representatives from each of these regions were present to answer questions about their stones on display. Korean Suseok collectors greatly value stones that have not been cut, ground, or chemically or mechanically altered in anyway. As a result, Korean stones are less explicit than some stones seen in exhibitions in other countries where bottom cutting and other alterations are accepted. The sizes ranged from small, medium, to large. Larger rocks are sometimes displayed indoors similar to Chinese practices. 

    A committee of KSA judges awarded four awards at this exhibition: Grand, Gold, Silver, and Bronze. ï»¿

    This exhibition was a rare opportunity to see the fine craftmanship of the glazed ceramic tray, the fine detail of bronze trays, and range of masterfully carved wood bases used in Suseok displays.  


    Throughout the exhibition, several volunteers periodically sprayed or misted the stones displayed in ceramic or bronze trays and sand with water. The water helps to highlight the detailed features of each stone. Sand used in the trays was from local sources, although some of it was produced by pulverizing larger stones to obtain a uniform size and color grains. 


    There was a small area devoted to an auction and sales from stone dealers. This was separate from the exhibition as the focus of the exhibition was on viewing and appreciating quality rocks. 

    The auction and sale of Suseok at the exhibition.


    Over 200 members of the association gathered for dinner at a local hotel on November 15th the evening before the opening of this year’s display of Korean stones. During the dinner, Tom Elias, President of the Viewing Stone Association of North America was made an honorary member of the KSA. He was presented with a plaque and the official KSA pin.

    Article List by Category

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    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
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    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
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    Viewing Stones of the Philippines Washington State Viewing Stone Enthusiasts 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
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    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
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    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
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    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?
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    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 The Kiyosumi Garden, Tokyo Viewing Stone Classification Systems: Pros and Cons
    Learning from Exhibitions: The 46th National All Japan Aiseki Exhibition 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