MULTI Shielding
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MULTI Shielding
IBC chao forums
Hi everyone, I play the stone as a rock overhang, where lemon covers for boats, I expect comments from you
Hi everyone, I play the stone as a rock overhang, where lemon covers for boats, I expect comments from you
nguyển thái lý- Member
Re: MULTI Shielding
Hi Nyugen thai ly... The stone & seating are very elegant and distinctive for an overhang-rock viewing stone. Have you read previous discussions on IBC in regard to rock overhangs and daiza in suiseki practice? This is different than "Japanese-style' suiseki in stone material, form & seating. It is arguably an advantage to not mimic suiseki daiza-design practice, here.
The seat's exposed top appears to be slightly cushioned (convex) above a very subtle bead or indent separating the top contour from the side contour of the seat. To accomplish it well requires well-chosen wood & deft carving skill. The choice of dark (or dark stained) wood with little obvious grain pattern encourages the viewer to focus on the subtle stone. The almost indiscernible cushion adds to delight in the seat's craftsmanship. The meandering lip of the wood seat supporting the stone suggests the a style of Chinese wood seating that is consistent with the stone's material & form.
The slightly concave front of the stone & its seat both contribute to drawing the viewer into the center of the stone's image-- very nicely conceived! The undercut wall of the stone's seat gives the stone a visual lift and lightness which elevates the stone and seat in feeling.
I cannot see your figurine well enough to comment. Typically, adding a figurine other than a very small image of a large object (e.g., temple pagoda) makes the scene imagined very much smaller. That might improve an intimate "shelter rock" suiseki, but is often less functional for viewers to imagine scenes that could suggest a vast sea or landscape. Boats can be an exception in size as a plain boat (which is small) typically is better choice than a larger form of boat for leading the imagination into a remote, natural scene.
Hope that helps.
The seat's exposed top appears to be slightly cushioned (convex) above a very subtle bead or indent separating the top contour from the side contour of the seat. To accomplish it well requires well-chosen wood & deft carving skill. The choice of dark (or dark stained) wood with little obvious grain pattern encourages the viewer to focus on the subtle stone. The almost indiscernible cushion adds to delight in the seat's craftsmanship. The meandering lip of the wood seat supporting the stone suggests the a style of Chinese wood seating that is consistent with the stone's material & form.
The slightly concave front of the stone & its seat both contribute to drawing the viewer into the center of the stone's image-- very nicely conceived! The undercut wall of the stone's seat gives the stone a visual lift and lightness which elevates the stone and seat in feeling.
I cannot see your figurine well enough to comment. Typically, adding a figurine other than a very small image of a large object (e.g., temple pagoda) makes the scene imagined very much smaller. That might improve an intimate "shelter rock" suiseki, but is often less functional for viewers to imagine scenes that could suggest a vast sea or landscape. Boats can be an exception in size as a plain boat (which is small) typically is better choice than a larger form of boat for leading the imagination into a remote, natural scene.
Hope that helps.
Chris Cochrane- Member
Re: MULTI Shielding
hi IBC
thanks for your advice, I'll edit for a more rational, to wish you a happy day
I apologize for my English not good, people understand, and forgive
thanks for your advice, I'll edit for a more rational, to wish you a happy day
I apologize for my English not good, people understand, and forgive
nguyển thái lý- Member
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