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.



Aeseokin Association, Seoul. 608 pages, no ISBN.

One of the most comprehensive displays of Suseok occurred as part of an international exposition. South Korea organized a major world cultural exposition that was held at the Gyeongju World Culture Expo Park in 2003. This event was held at the Bomun Tourist complex in the ancient capital of Gyeongju. A prime goal of this expo was to showcase the art and culture of the Silla dynasty. There were exhibitions, performances, and various activities including a display of more than 575 Korean rocks.

Fortunately, a large format catalog of this Suseok exhibition was published. This 608-page book contains full-page illustrations, one stone per page, of Suseok from each of the nine provinces of South Korea. Because of this, stone connoisseurs can obtain a good understanding of the different types found in each of the provinces.

The Suseok are beautifully displayed in ceramic or metal trays with sand, or in Korean-style carved wood bases. Each page in this large format, hardcover book is 33.5 x 25.5 cm (13.2 x 10 inches). The photography is excellent. Due to the page size and quality of photographs, collectors can study the detailed features of each stone and how they are displayed.

This is an important and impressive volume that documents modern Korean Suseok. The emphasis on using only natural stones rather than modified stones in this 608-page book is a credit to Koreans. 

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.

Preparatory Committee of the Joint Exhibition of Korean Suseok. 2 volumes in slipcover, 1056 pages. No ISBN. 31 x 26 cm

This is an extraordinary catalog of what may be the largest exhibition of viewing stones ever published. There are over 1000 stones illustrated, one per page, in this oversized 31 x 26 cm volume. In non-Asian countries, we are accustomed to seeing from 70 to 150 stones exhibited and consider a display of 200 to 300 stones as a major event. Thus, it is hard to comprehend a venue when so many stones from a single country are displayed. An examination of the stone displays featured in this book reveals only high-quality and beautifully displayed Suseok in suiban, dobans, or carefully carved wood bases. Stones collected in mountains, rivers, and beaches are included. There are no mediocre or poor-quality Suseok in this catalog. 

This catalog is indicative of the breadth and vitality of the Suseok community in South Korea at the time this book was published. The number of public stone museums established and Suseok-related books published in the last three decades is a strong testimony to the importance of stone appreciation practices in this country. The long and important history of Suseok has been largely overlooked in Western countries. This volume and many other recently published books can help change that perception.

Rating: Excellent, a great introduction to the scope of stone types included in 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. 

Namnong Memorial Center, Mokpo. 164 pages, not paginated. No ISBN.

This volume is evidence of a well-known Korean literati who collected and displayed Suseok during his lifetime. Namnong Heo Gun (1908-1987) was a famous Korean artist of the traditional Southern School of Painting. Earlier Chinese literati including Mi Fu, another viewing stone enthusiast strongly influenced this Southern School. 

This attractive book is equally divided between Namnong’s landscape paintings and his collection of stones. Sixty-two Korean stones are illustrated—36 in color and 26 in black and white photographs. About half of these natural, unaltered stones are displayed in carved wood bases (jwadae), and the other half are displayed in ceramic trays with sand and water. Namnong had a preference for the more rugged landscape Suseok.