The Chinese term ‘gongshi’ refers to scholar's rocks or viewing stones. These naturally occurring geological formations are admired for their aesthetic qualities and often resemble mountains, cliffs, or other landscape features on a smaller scale. Gongshi have been highly valued in Chinese culture since the late Tang dynasty (618-907), particularly among scholars, poets, and artists. They are prized for their unique shapes, textures, and colors, and are collected and displayed as objects of contemplation, meditation, and inspiration. Gongshi are seen as miniature embodiments of the natural world, inviting viewers to reflect on the beauty and transience of life.
The appreciation of gongshi is deeply rooted in Chinese philosophy and aesthetics; for example, in the concept of shanshui (mountain-water) painting, which seeks to capture the harmony and balance of nature. In traditional Chinese gardens, gongshi are often placed in carefully curated settings where they can be viewed from different angles and in a variety of lighting conditions. The stones are also used in meditation gardens, where they serve as a locus of reflection and introspection. Gongshi continue to be appreciated and collected by enthusiasts worldwide, and their influence can be found in various forms of art and design, including painting, sculpture, and landscape architecture.
To encounter a private sculpture collection of this consistency, cohesion, and quality is exceptionally rare.
I have had the great pleasure of getting to know the Wind collection and the family through the lens of abstraction and sculpture. As the Executive Director of Grounds For Sculpture, I worked with the Dina Wind Art Foundation to commission an enlargement of Dina Wind's Harp of David #1 (1985/2018). Produced on our campus at the Johnson Atelier fabrication studios, the resulting 26-foot monumental, welded steel sculpture now commands attention at the heart of our 42-acre sculpture park in New Jersey. Early in the planning process, I vividly recall my first visit to see the collection Jerry and Dina had built. As one entered along the walkway, you encountered a series of thoughtfully installed sculptures nestled into the landscape surrounding their Gladwyne home. The collection was immediately familiar, with notable echoes of the permanent collection at Grounds For Sculpture, including work by Anthony Caro, Peter Voulkos, Paul Chaleff, Jon Isherwood, Barry Parker, Bernar Venet, and Robert Lobe. To encounter a private sculpture collection of this consistency, cohesion, and quality is exceptionally rare.
