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that stone appreciation is an art, and it may be difficult for some folks to find mystery in an ordinary stone.
Jack: Reportedly the Korean model dictates that the stones are characterized as strong, landscape shaped, dense, hard stones with deep cavities, protrusions and deep folds, but in your show today the stones are mostly imbedded pattern stones. How is this recon- ciled in your mind?
Eden: Even under very strict Neo-Confucianism, there were many picture stones. Especially of the Four Gentlemen: Bamboo, Plum blossom, Orchid and Chrysanthemum. And of course, the collector is restricted to the material that is resident in local col- lecting areas. Many of the west coast USA stones are akin to Korean and Japanese models on the one hand, and inclusive of the nearby blowing sand of the desert on the other. We make do with what is available.
Jack: The concept of chi seemingly plays a big role in the practice of Suseok. Would you explain your per- spective on the concept of chi?
Eden: The nature of chi—the energy flowing through existence—is a very difficult idea to express and has always been a matter of debate. Basically chi, when physically manifested in stones, is evidenced by cavi- ties, holes and folds. Such erosion that reveals struc- ture and reflects a sense of that which endures and that which is transitory. Deeply worn stones epitomize longevity.
Jack: What role did the Yang-ban (literati, scholars, noblemen of the ruling class) play in the development of the Suseok philosophy and practice of the art?
Chung: The Yang-ban were scholarly officials of the ruling class and as such they oversaw and defined the fundamental Neo-Confucian ideology that strictly constrained every aspect of living, including Suseok: simplicity, conformity and filial duty. The only re- lief to this official point of view was Chinese-style Kwaesuk.
Jack: You use the word Kwaesuk in your presentation and in the foregoing response— what does it mean?
Chung: They are strange, compelling stones that are not representative of anything specific, full of feeling but hard to categorize.
Jack: There are some among us who believe that such abstract appreciation is the pinnacle of understand- ing of the art and as a result they question the ability of Westerners to comprehend with any meaningful degree of understanding of the art. Do you agree with this philosophy?
Chung: Yes and No. Yes, it is possible for a Westerner to see the emotional spontaneity of the Korean culture, but no, it will take years of total immersion in the way of Korean life to understand the nuances of the language, history, and psychology of Koreans and East Asians. But, that doesn’t mean that we Westerners cannot ap- preciate the art form in our own cultural terms.
Jack: In your lecture you say, “Stone Cultivation Set- tles The Mind.” Surely there is a psychological link between the stone and the minds of practitioners but what exactly does this mean?
Eden: Cultivation means to admire something and reflect on it and through that focus, the viewer’s own soul may ascend to knowledge. A mind that cultivates awareness will roam free and knowledge will be the result.
Jack: You say Korea is the “Land of the Morning Calm” attributable to Ming dynasty Emperor 1393. What is it about mornings in Korea that contributes to it be- ing so calm?
Chung: The mountainous Korean peninsula lies due east of the traditionally northerly Chinese Capital and so the sun rises first over Korea. Through most of its 5000-year history, the peaceful little kingdom had posed no threat to Chinese hegemony in the region, and so—poetically speaking—the rise of the morning sun brought only warming rays and calm feeling from
Top; Collector/Exhibitor: Eden Chung, ‘Pal Kong Mountain’ 6” high, 12” wide, 6”deep
Middle; Collector/Exhibitor: Eden Chung, ‘Full Moon sky’; 9”high, 8” wide, 7” deep
Bottom; Collector/Exhibitor: Chung Kruger, Single Peak Snow Mountain, 3” high, 10” wide, 4” deep
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