Second Annual National Toko Kazari

Smoke,

Sorry, yes the display is hidden below some of the more previous postings, but here is the excerpt.
The point of my display was to harmonize the three pieces and to have each piece represent something. But before you can read what the symbols mean you need to know the phrase meaning of Touryuumon (登龍門).

Meaning:
The first character 登read as Tou is also the verb noboru which means to climb or reach


The second character 龍 is read as Ryuu and means dragon

The third character 門 is read as Mon or kado and means gate

人生の関門 人生のかんもん(Jinsei no Kanmon) Life Barriers

There is no doubt that the phrase Touryuumon is the name of the difficult barrier that must be broken through or overcome in order to see success. More deeply, this phrase comes from the legend that fish, specifically 鯉 Koi, that can swim upstream past the waterfall called “三段の滝Sandan no Taki or Third Step” which is located on the middle section of the Yellow River in China will become a dragon, and this waterfall area is called the Touryuumon. It is this idea that one must overcome the worst of difficulties, in order to move on to a greater difficulty. Success and growth is only then accomplished.
All human beings are faced with trials in life. However, in order to confront the greatest afflictions one must first have striven to overcome smaller obstacles, much like the fish faces on first swimming up the Yellow River, and then overcoming the waterfall. Only then will the fish become a dragon. Likewise, one will see great growth only after taking on the tasks of the first challenges.

Additionally, no matter how diligently one strives to overcome the trial and become the best, there are times when these barriers just cannot be overcome. However, the effort expended was surely not a waste for the individual. Those mistakes will spring back in the form of success and pride at some time in the future. It can be said that a smooth life will not bring about success. Therefore, this phrase provides all interesting hope for personal struggles.

Excerpt translated by Jonathan Maples from page 640 of the Zengo Kichigo Jiten (禅語吉語字典) published by the Japanese Calligraphy Society (日本書道協会 〒151-0053 東京都渋谷区代々木1-11-1).

Symbols:
The Suiseki, American Viewing Stone Resource Center:


The suiseki chosen symbolizes the carp/Koi. The Koi is in a very neutral vertical position with the head down, and an eye to the left, with the typical wide-open mouth. While some of the form is ambiguous, with the body perhaps curving and hidden by grass, it actually is positive for the overall display design. The image recalls endless similar images found in Japanese paintings. The stone is graywacke, but the image carries well from a distance. The position of the rock presents the Koi in calmer waters, eyeing the falls and circling to gain courage before the ascent.
Dimensions Approx. 10" H x 4" W as displayed

The Bonsai, Southern Utah Bonsai Club:

The cascading shape of the bonsai represents the 三段の滝 Sandan no Taki or Three Step waterfall in the middle section of the Yellow River in China. The fish must climb up the cascade to reach the apex. This tree is a Procumbens nana or Japanese Garden Juniper. The apex is 15” from the base of the pot or 12” from the base of the tree.

The Scroll, Custom Japanese Calligraphy:

Like the Sandan no Taki, the scroll will be made in a three step style called 三段表具Sandan Hyougu. This reinforces both the number of characters in the writing, references back to the name of the waterfall, and completes the three pieces within the three point display. This piece in the display will symbolize the transformation of the 鯉Koi into a 龍Ryuu Dragon. The Blue in the Ichimonji is used to provide a very strong transition between the cloth and 本紙 Honshi. The red cloth is used to stir up the visualization of the koi transforming into a dragon and adding the red color to the scales. The white of the Chi is representative of the mists of foam and water churning in the river’s waterfall. Lastly, the white of the Ten should suggest to the viewer the ascent of the dragon into the clouds. Transformation is now complete. As an interesting side note, Touryuumon was written by my wife who is a 師範 Shihan rank 書家Shoka calligrapher, whose calligraphy name assigned to her by her Sensei is 龍玉 Ryuugyoku. Ryuugyoku means Dragon Egg. Scroll dimensions given in the traditional Japanese 分 Bun unit of measure which is roughly equal to 3.03 mm (Graph not Available on this blog). The total scroll length is 4 feet 5 inches and the width is 15 inches.
In addition, when I was speaking with Bob, my concern about the Chop, is that in Calligraphy (Not Sumi-e) the chop is 99% of the time located on the left of the work. Very rarely, do I ever see my wife Chop a work on the Right hand side. (I have seen her do it only one or two times, and that was when it was mixed with Sumi-e)

I hope you can send to others to follow my blog. I try to teach about scroll making which has a history dating back to the Nara Jidai. You can actually see some more neutral toned down scroll cloths at my blog at www.wallscroll.blogspot.com

Congratulations to all you winners. I did not even know there was a cash prize before I submitted my application. To be honest, I liked Peter's tree the best and I liked the third place display the most. Mine was garish, but it had it's reasons...

Jonathan
 
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#2 is most definitely my favorite. The arrangement feels like a marshy lake that I am so fond of here in Florida. The pine is a little higher on the shore, the grasses and birds are the life in the lake, and at the edges are the little accent growth. I think the stand works well, and there are no redundencies.

I like Boon's display, however I think the scroll is too busy for a display with two trees. I do like how he mixed the colors though.

#11 has nice elements, but the grass on the scroll and the grass in the accent are very redundant.

#12 is also very redundant (as has been mentioned) rocks and tress with rocks and trees.

I liked #8 as well. I thought the scroll was very nice and simple, and I liked the height that the stand provided for the tree, although the legs could have been just a shy bit skinnier.

I really thought #1 would have been much better if the tree was on a stand and shown higher.

I thought #3 was nice. I like it, but the accent is slightly awkward. from the picture, it looks like a rectangluar block with a pyramid on top.

Al, your display was my second favorite I think. I really like the height of the tree compared with the length of the scroll and the distance of the accent. Also, the speckled color at the bottom of the scroll enhanced the trunk, and the foliage brought out the dark green in the scroll border.

#7 is my third favorite. I thought the placement of each element was very nice, even though it was closer than others. I thought the extra large burl worked very well, and the scroll was one of my favorites.

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I'm a poor boy that had to beg for the materials I had...I wish I could afford a more expensive stand...Hopefully an artist in California will work with me on a display next year because I have some incredible seasonal phrases to translate from the book referenced above...I just posted some very traditional scroll cloth colors on my blog about 5 minutes ago for a dojo in Florida. These are three commissioned. Cloth is a taupe, and the scrolls have both Sumi-e and calligraphy. But before I sound like I am just promoting my business, I thought all of the displays were beautiful...and the Toko Kazari was a good learning experience for me to look at things from a non-hyousou perspective.

I had wished I had the time to go to the breakdown seminar on Sunday by Shaner San, but I attended church services in the morning before traveling home.
 
Kakejiku,

Thanks for all your insight on this. It's interesting. I've rarely seen such detailed information.

Given your expertise on wall scrolls, do you have any advice for cleaning old ones--stain/foxing/browing of the painting, cleaning the silk? I've got several older scrolls that need cleaning badly.

Thanks
 
RockM:

I can get a quote from my Sensei for repair and restoration. He is not cheap, but the quality of his handmade work is extraordinary. I had a similar request for a scroll in NY to remount, and cost of remounting it came to about $850.00.
 
Kakejiju,

Unfortunately, investing in remounts and the like is a bit beyond my budget, especially since I didn't pay more than $70 for any of my scrolls.:o

I'm just looking for ways to clean up some of the bigger foxing patches and perhaps brightening up the existing mounts...I've heard that a dilute mixture of hydrogen peroxide blotted onto foxing spots can clear them...
 
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