Page 59 - BCI Bonsai & Stone Appreciation Q1 2025

Academy’s workshop activities in Roccavaldina,
Messina.
By now, my interest in suiseki was growing, and
my friendship with Aldo Marchese, an expert in the
field, led me to ask countless questions. Naturally, I
had to discuss the abandoned stone with him. What a
revelation—it opened a whole new world to me!
Unknowingly, I had cultivated a stone for 17 years,
and it had become a suiseki, which I named Mihara.
Aldo, with his calm and practical guidance, introduced
me to the magical world of stone contemplation and
suiseki, teaching me about the Japanese art of creating
harmonious displays in spaces like a tokonoma or
exhibition niche. At the heart of this practice is
simplicity and the pursuit of elegance.
Today, Mihara owes its name and recognition to
Aldo’s invaluable advice. He transformed what I once
saw as a mere rock into a dignified suiseki, beautifully
showcased in a kazari (display).
Naturally, after this transformation, I was eager to
show it. At the 2024 National Exhibition in Catanzaro,
Mihara was displayed and received the award for Best
Suiseki. Without any great ambitions, I decided to
present it at the AIAS Congress, where it won the
prestigious BCI Award, bestowed by President Luciana
Queirolo.
This is the story of Mihara, the stone that made me
fall in love with the world of suiseki.
The Kazari:
The display highlighted the stone’s unique features.
Its base is a light cream color, evoking the relentless
crashing of waves that carved into it. The upper portion,
in contrast, is a darker beige, reminiscent of exposure
to atmospheric elements like wind and water. The
minimalist daiza reflects the stone’s natural character
and enhances its beauty. The base was commissioned
from daiza maker Mimmo Abate, while the table was
crafted by Milan Roberto in harmony with the stone’s
style.
Accompanying the display was a kakejiku (hanging
scroll) featuring the poetess Ise no Miyasudokoro,
one of the 36 immortal poets of the Heian era. The
calligraphy references Mihara, an archipelago in Japan
with numerous coastal rocks where one can feel the sea
breeze, fostering a dialogue with the stone.
As a third complementary element, a pair of okobo
(traditional Japanese sandals) was included, evoking
the sensation of walking barefoot on sand, seeking
inspiration—the wellspring of every artist.
Above: Close-ups of the okobo
complementary element, the
poem, and “Mihara.”
January/February/March 2025 | BCI | 57