Second Annual National Toko Kazari

[Smoke]

It is obvious to me that no matter how hard you all have tried, many "see" the tree first and the "display" second.


I may have to stay up till 1AM but I think it's important that I write some feelings about just what this competition is all about and why those that won "did".

 

[mcpesq817]

It is obvious to me that no matter how hard you all have tried, many "see" the tree first and the "display" second.

I'll admit that in looking at the pictures quickly this morning, I focused on the tree or some of the other elements individually. It wasn't until I had more time this afternoon to look at the pictures and think about the display as a whole that I found myself changing my mind about some of the displays.

 

[johng]

John,
Each entry had a card with it that contained a title, the message to be confered, and this year they added a translation of the kanji. It was immensly helpful in understanding the composition. Because the cards also have the artist name, I assume Al didn't want to spill that part of the info yet. Maybe he has a picture of the cards for each entry.

Thank you for sharing more details...Al has been holding back I see

But with all respect, this still misses my point.

When I was in Japan and I viewed tokonomas at Mr. Kobiyashi's and Mr. Iwasaki's and in the basement during the Taikan-ten show, I never once saw any cards explaining the art in any manner. For me, a successful display needs no written or verbal explanation...the art should evoke the message.

On the other hand, I can certainly understand that if one's goal is learning about the art of display, as opposed to just appreciating a display, the "cards" would then become very helpful.

John

 

[Smoke]

ahhhh...the basement of Taikan-ten.....Kathy says this is where the real art takes place.

 

[Smoke]

Go back to the beginning as the contestants as well as the winners are announced. All new verbage is typed in red.

Enjoy, Al

 

[johng]

Kazari no. 6

This display reminds me of the early morning fog that we often see where I live in the Spring. There is one local view in particular that comes to mind for me...its a long sloping pasture dotted with three or four old oak trees growing in isolation. The morning mist still low to the ground.

John

 

[Si Nguyen]

This is a nice thread! Thanks for sharing with us BonsaiAl.
I like most of the displays, but I am no expert. There is but one that I don't like.
To me, the top three are #4, #3, and #7. I like #4 the most. It seems to have the largest tokonama space, the best lighting, and the most negative spaces. As an instrument of meditation, tokonama displays should be all about the negative spaces.
In #4, the scroll is nice and thin, very traditional, and centrally located, leaving a lot of empty space on the background. It appears simple, soft, and fades away quietly into the background, which adds to the illusion of distance behind the tree. By contrast, some of the other scrolls are too powerful. The bonsai in #4 is not my favorite in this set, but it worked very well, in size and presentation, including having a very nice tall traditional stand. #4 and #8 both have very similar main elements (maples, tall stands and thin scrolls), but #4 just looks better because of the more generous negative spaces.
I like the Juniper in #7 the most. That's an awesome tree.
The 2-pine bonsai in #12 is awesome too, but it might be better on the other side of the tokonoma. My personal preference is to have the smaller tree on the outside of the composition.
Great show Al. Next time, I have got to get up there and see it in person. It is only about 4 hours from me.
Si
OK, just found out who's the artists were. Their names just popped up! Good job Al! Yours is one of my favorite!

 

[Smoke]

This is a nice thread! Thanks for sharing with us BonsaiAl.
I like most of the displays, but I am no expert. There is but one that I don't like.
To me, the top three are #4, #3, and #7. I like #4 the most. It seems to have the largest tokonama space, the best lighting, and the most negative spaces. As an instrument of meditation, tokonama displays should be all about the negative spaces.
In #4, the scroll is nice and thin, very traditional, and centrally located, leaving a lot of empty space on the background. It appears simple, soft, and fades away quietly into the background, which adds to the illusion of distance behind the tree. By contrast, some of the other scrolls are too powerful. The bonsai in #4 is not my favorite in this set, but it worked very well, in size and presentation, including having a very nice tall traditional stand. #4 and #8 both have very similar main elements (maples, tall stands and thin scrolls), but #4 just looks better because of the more generous negative spaces.
I like the Juniper in #7 the most. That's an awesome tree.
The 2-pine bonsai in #12 is awesome too, but it might be better on the other side of the tokonoma. My personal preference is to have the smaller tree on the outside of the composition.
Great show Al. Next time, I have got to get up there and see it in person. It is only about 4 hours from me.
Si
OK, just found out who's the artists were. Their names just popped up! Good job Al! Yours is one of my favorite!

Si...you are my new best friend. Negative space is what this is all about.


THIS IS WHY IT IS CALLED A TOKONO-"MA". MA is Japanese for space. Toko means alchove...or similer.

A Tokonoma is a spacial alchove, and should be respected for that as well as keeping the reverance. I will talk of this at a later time when I write my 1AM piece.

 

[yenling83]

It is obvious to me that no matter how hard you all have tried, many "see" the tree first and the "display" second.


I may have to stay up till 1AM but I think it's important that I write some feelings about just what this competition is all about and why those that won "did".

Did you at one point "see" the tree first? I'm curious to hear how you transitioned away from doing that. I'm a begginner, but it almost seems to me that you are saying it's okay to use a crappy tree, as long as it fits the mood. How much does the quality of the tree matter? Please explain this to a totally inexperienced. Is there any decent books or posts on this type of display? I'd be interested. Also would love to see some famous or really good similar displays done by Japanese professionals.

 

[R_F]

Second place, 1,000.00 dollars No. 4 Al Keppler

From what I understand you were up against some well known competition. Congrats.

 

[Smoke]

Did you at one point "see" the tree first? I'm curious to hear how you transitioned away from doing that. I'm a begginner, but it almost seems to me that you are saying it's okay to use a crappy tree, as long as it fits the mood. How much does the quality of the tree matter? Please explain this to a totally inexperienced. Is there any decent books or posts on this type of display? I'd be interested. Also would love to see some famous or really good similar displays done by Japanese professionals.

Of course I do...see the tree first. Imagine the look on my face when I saw what some people had brought to display this year. I was blown away. Of course I also understand that the tree is actually nearly insignificant to the display compared to the scroll ,the accent and the placement of those with the tree. After I saw some of the big guns and how the placed their objects, I immediatly knew I had a chance in this thing. I picked the top three, just not in the right order. I picked mine to win, the first place winner second and Seiji third. The only one I got right.

I will talk about what Kathy Shaner said Sunday about mine and the winner. I would have won except for a technicality about the scroll that even the judges did not know about. It pays to do homework in this field. If fact it paid a grand!

 

[R_F]

Al I saw this thread first thing this AM before you posted the winners. My picks were No.2 First , No. 4 Second....BUT....now that I know it's yours can I see the scroll? I can't see it.

I know absolutely nothing about display, but I picked the ones I liked based on the overall impression and I tried not to over analyze and just go with my first reaction.

 

[Yamadori]

Well, I got first and second place right. Never settled on third.
Thanks for these threads Al. It is great fun.

 

[Yamadori]

But with all respect, this still misses my point.

When I was in Japan and I viewed tokonomas at Mr. Kobiyashi's and Mr. Iwasaki's and in the basement during the Taikan-ten show, I never once saw any cards explaining the art in any manner. For me, a successful display needs no written or verbal explanation...the art should evoke the message.

On the other hand, I can certainly understand that if one's goal is learning about the art of display, as opposed to just appreciating a display, the "cards" would then become very helpful.

John

I understood this point from the start. I agree that much is lost when the kanji is unreadable. I prefer images evoking a season or a habitat. I do think it is a greater success when no explanation is necessary. I agree when you say, "The art should evoke the message".

Because kanji is part of the art I really appreciated the translations. It really made a difference for my personal experience.

I would love to have the experience you had in Japan. Lucky man.

 

[Smoke]

Al I saw this thread first thing this AM before you posted the winners. My picks were No.2 First , No. 4 Second....BUT....now that I know it's yours can I see the scroll? I can't see it.

I know absolutely nothing about display, but I picked the ones I liked based on the overall impression and I tried not to over analyze and just go with my first reaction.

Its the one on the right

 

[Smoke]

Here is a different view of my display in the entrance to the Museum. we did not have these Tokonoma's last year and the museum was gracious to remove some art to accomadate three more Toko's so we could drop the corners that made displays hard to view last year.

That Fukami in the corner is worth over a million dollars.


http://www.shermanleeinstitute.org/collection/fukami.html

 

[rockm]

Al,

I've got to say that your display most definitely earned its money. It was my favorite--I'm not JUST being a suck up . It was one that used an appropriate scroll in an appropriate space. I found many of the scrolls used in some of these displays kind of skimpy--too small.

I'm all for negative space, but there's negative space and there's jarringly empty unbalanced space...

I wish we had this kind of spectacular exhibition venue around here. We have a pretty nice space up at the National Arb. bonsai pavillion special exhibits wing, but no Tokoname, only cabinets.

 

[treekutter]

Congrats Al you deserve it you have worked hard to get where you are. Steve

 

[kakejiku]

I like this observation...

its been a while since I have posted here but Al's display posts are always of interest to me. I know this is a big love for you Al, and I very much appreciate the time you have taken to post.

Here are a couple of questions that I have...

Can we ever expect to be able to fully appreciate or participate in an art form (Keido) that is so tied to a culture of which we are not part? Since few of us are Japanese or have the necessary knowledge of Japanese culture why are we trying to imitate their displays instead of making displays that reflect our own culture?

Is not the essence of the display lost on viewers for which translation is required? In other words, if I can't read the kanji characters on the scroll...can I ever really get the intent/message of the display? If it has to be explained doesn't it lose something?

Thoughtfully,
John

I agree with this statement. Many would say that my display in Number 5 misses something. I know it is not a great tree. But the title Touryuumon is a Japanese phrase. Each piece has a meaning for the phrase. Even the patterns and colors of the cloth were selected for a specific reason. Please feel free to read this on my blog at www.wallscroll.blogspot.com

The symbolism in the Kanji and the Symbolism in each piece of the display were to be intertwined.

 

[Smoke]

I agree with this statement. Many would say that my display in Number 5 misses something. I know it is not a great tree. But the title Touryuumon is a Japanese phrase. Each piece has a meaning for the phrase. Even the patterns and colors of the cloth were selected for a specific reason. Please feel free to read this on my blog at www.wallscroll.blogspot.com

The symbolism in the Kanji and the Symbolism in each piece of the display were to be intertwined.

Hi John, Good to see you post here. I know we didn't get much time to speak, but we spoke in depth about scrolls at the convention in Riverside. ( yea I was one of those guys that wanted the colors toned down a bit).

Please feel free to give the viewers a some background into this display. I would be eager to hear something myself. I know Jim Greaves brought the stone as I was able to speak with him Friday with Ken McCloud.

Cheers, Al