Smoke
Ignore-Amus
Bonsai Display
For the exhibit year of 2010 we had some really great displays. Probably had the best year so far for the caliber of trees. While I have been studying very hard about the subtlies of bonsai display in a formal Tokonoma, many that come to this exhibit still consider this a "tree" competition. That idea could not be further from the truth. Tokonoma display is not so much about any one component, but rather about the sum total of each article chosen to tell the story.
The Scroll
The idea here is to assemble small articles of art into a cohesive story that can be instantly read by the viewer and deciphered with out hesitation. The idea is to tell the story through artistic depiction using a scroll, and secondary articles. I mention the scroll first because that is the heart of the display. I am very fortunate in the fact that since beginning in 2008 I began purchasing tea ceremony scroll and have assembled quite a collection of scroll suitable for Tokonoma display in the venues we use. I have over 40 pieces now and all are quite simple in arrangement and allow the scroll to easily tell the season of feeling while not overpowering the display.
So many times I see wonderful presentations only to be ruined by the wrong scroll. I might use this time now to talk about the use of Japanese scrolls to display western themed art. Scroll making in Japan is very old, centuries old in fact. And centuries before that China offered tea ceremony scrolls in temples where monks would study sutra written on the scrolls for hours. In Japan, scrolls have always been displayed in the traditional alcove with Ikebana, vase art/ incense burner, and But Sudan. More recently bonsai and Suiseki. These scrolls have always been relied on to help tell the season either in celebration or actual season. The Japanese use the sky, ocean and mountains to tell their story, as well as the moon, birds, animals and insects. The clever use of certain animals or insects, birds and fish tell stories of the seasons as well. In fact those that covet scrolls for display and follow traditional ways of years gone by understand fully the significance of what is depicted on a scroll.
The image of Fuji, a famous and sacred mountain in Japan is celebrated each year at New Years. Fuji can be depicted with snow, clouds, rain, smoke, green trees, leafless trees and so on with each depiction capturing a specific time of year and even the time of day. The same of the moon. Cloudy, half moon, crescent moon, fuzzy moon, hazy moon, crisp moon etc., etc.
No where else on earth is the depiction of nature and its surroundings and mans place in it found on something so special as a well executed scroll. Why not just hang a picture? One could. In fact the entry blank provides for a hanging picture upon entry. Why are they not used? A scroll offers something no framed art can. Soft edges. Carl Bergstrom wrote some years ago about the principle of the steelyard in bonsai display using the Japanese styled scroll. The scroll while long, vertical and displayed separating the tree and the accent goes a long way in balancing each of those elements. The placement of the scroll in relation to the tree, in relation to the accent can make or break a display. The easiest way to keep from having redundant themes in the display is to make sure the scroll is as simple as one can find. Keep the image to a house, an insect, a bird, no trees, or a moon or sun. That way it is easier to tell the story. Too busy a scroll and the message is easy to muddy.
The Tree
While I am writing the piece, hopefully each will understand these are my points of view and surly cannot deemed concrete. I am no expert in the field of Tokonoma Display, but I am placing, and I am "getting it" from the judges perspective. All I can do is offer ideas the way I see them and hopefully some will agree. Having said that, I can now say the tree is secondary to the display. Anyone who thinks the tree is the anchor and the scroll and accent are supporting will never win a prize in Tokonoma display. Being the only person to have won two prizes, second twice, I can tell you I have the least favorite trees in the museum, but this idea is not about how good the trees are, it's about how well you elevate the trees feeling thru story. With the right scroll, the worst tree in the competition can win the whole thing. It's not a tree competition. Kokufu is a tree competition and they are displayed as such. Seki-Kazari. (Table top display)(More about that later) This is Toko-Kazari (Tokonoma display)and has absolutely nothing to do with Seki-Kazari, yet many come to this competition and set up wonderful Seki-Kazari displays with wonderful Kokufu caliber trees and then get all miffed when they don't win.
It is not paramount that a person hold steadfast to making the scroll the star of the show. The scroll and tree are interchangeable in that regard. Either can be chosen first to set the mood of the display, but always keep in mind that no matter what, the scroll is always going to be seen first. That split second will and should sell the season immediately while not always being overtly obvious. When done right the visual speed between objects in lighting fast. When it is, the viewer is captivated and will linger. It is then that subtleties will be recognized and small items are picked up on. When it is not done right the viewer is left confused and boredom is quick. Time to move on and see the rest of the displays. No payday today. Better luck next year.
A tree can be used to depict almost any season any time. The real key is to make sure the tree used fits the theme of the scroll in telling the story or the season. This year was like that. Since it was a late fall, early winter season, I was struck at the lack of deciduous trees. Though here in the valley and the state, many with some of the best winter ready trees do not participate in this competition. Too bad since $2500.00 dollars in on the line. This year I also learned something very important. I was always under the impression that since we use such large scrolls, in many cases over 7 feet long, the tree had to be large. This year a very small juniper was displayed with a very large scroll and the composition really worked well. In fact so well I am working on a display for 2013 with a much smaller tree than I would normally use.
Trees should be healthy and in peak condition. Wire should be held to a minimum or devoid of wire entirely. Lime sulpher should have been applied months before so as to age and look natural. Deadwood should be dressed and brushed of loose scaly bark. leaves should be shiny, healthy and free from lime scale. Tree should also be pest free. In our case we are bringing trees into a museum that houses baskets, scrolls and shoji screen in some cases a thousand years old. The archive of scrolls there is the largest outside of Japan and in fact has art pieces that are no longer found in Japan. A small pest can devasate all this paper and silk really fast. We prepare the trees for entry into the museum by placing modeling clay into the drainage holes to keep anything from crawling out. The soil surface should be well groomed and moss should be applied preferably a few months or at least a few weeks before so as to look natural. The edges of moss pieced together like a puzzle should no be apparent. Any gaps in the moss should be dressed with a dark color uniform sized sifted stone. Wet Akadama looks good here as well as black lava or red lava. In fact a mixture of red and black lava with Akadama added is wonderful.
The Table
The table plays a very important part in the overall feeling of the presentation. A person will begin to put together the pieces of the display sometimes over a year in advance. I know I do. It is at this time that a stand should be commissioned for the bonsai and pot so they fit well together. In our kazari we have no rules about ownership, and one that wishes to embark in display should seek out others with the pieces needed to complete a good display composition.
The stand should always be dark in color. Being dark, it does not draw attention to itself. Lighter stands seem distracting and the viewer is left feeling "what's wrong". The stand should have ample legs or feet to carry the weight of the tree being displayed on it. The blade (top of the stand) should be large enough to adequately hold the entire pot in its center board. No part of the pot should creep over the framing edge. Tables when possible should be of a taller elevation to keep the tree reverent. Trees look more regal when displayed at a taller level than is normally seen.
When using a table to display the main object on, the accent piece will be displayed on a Jitta or burl slice. The tree and accent piece should never both be displayed on a burl slice at the same time in a display. It would be appropriate to show a Bunjin tree on a burl slice and exhibit the Kusa on a black or dark colored ceramic disk. These disks from Japan or "lacquer ware" can cost hundreds of dollars for one piece 8" around. They can be made at home with thin wood, paint and many coats of lacquer and wax. Jim Gremel many years ago made them from ceramic and glazed and fired them. They were pretty nice and held up well to pots, whereas the lacquer does scratch easily.
Tables should be cleaned well and waxed or oiled before use. Dust can show up in photo's and can be seen by people that are on the lookout for that sort of thing...like judges.
The Accent
This is probably where the most work needs to be done. In spring flowers should be held to one or two blooms and the rest in buds. Toko Kazari is about subtlety. The size of the stand under the accent. Is a flowering plant used, should it be a stone or a carving? In the end this last item is really very important. In fact it may so important that the best course of action is to leave it out. In Keido display, formally introduced by Takeyama and then taught to Kobayashi, Kimura and Sudo, the accent is left out and only a tree and scroll are displayed. Why? Sometimes that is all that is needed to encapsulate the perfect feeling. Don't schlock it up.
More often than not a Kusa in a Keido display will contain only one species of plant within the pot. This is just keeping the display on the simple side. Mixed species Kusa become distracting as the eye is constantly being drawn to the wonderful array of species growing in the pot. Save the mixed species for Ikebana. When using flowering plants for display, keep in mind the time of the season. Is it early spring, late Spring, early summer, late summer, etc.,etc. In early spring keep flowers to one blossom maybe two at the most. The species can also have a couple blossoms as to kindle the emergence of more flowers to come, but not just yet. That is story telling. A late summer display may contain more flowers and no buds, but maybe an empty calyx depicting it is getting ready for summer and no flowers. light colored pots in the pastel range of blues , yellows and greens will work for spring and summer. Pots of the Kusa can be more ornamental than the main object. This is where you get to show that small piece of creativity in about 6 square inches.
Fall can be shown with dried grasses turning brown or tall flat leaved stems with burnt ends and edges from the summer just passed. Small leaved succulents with reddish leaves are also good here and can depict most any season since they look much the same all year long unless blooming. Dark color pots are appropriate here, dark blues and rusty colored pots as well as unglazed pots look good in fall and winter.
This is just a general primer about what the main objects should look like. There is much, much more to display than just having a scroll, a tree and a kusa.
Where does the scroll go?
Where do I place the tree on the Tatami?
Where do I place the accent in relation to the tree and scroll?
Does the accent go in front of the trees front edge or behind the trees back edge?
Is the accent too big or too small?
I my stand too small or too large?
Do I have redundant themes in my composition?
One will only know when you put your display together and open it up to judging or criticism. Hopefully the skin has thickened considerably or one should be ready for disappointment.
For the exhibit year of 2010 we had some really great displays. Probably had the best year so far for the caliber of trees. While I have been studying very hard about the subtlies of bonsai display in a formal Tokonoma, many that come to this exhibit still consider this a "tree" competition. That idea could not be further from the truth. Tokonoma display is not so much about any one component, but rather about the sum total of each article chosen to tell the story.
The Scroll
The idea here is to assemble small articles of art into a cohesive story that can be instantly read by the viewer and deciphered with out hesitation. The idea is to tell the story through artistic depiction using a scroll, and secondary articles. I mention the scroll first because that is the heart of the display. I am very fortunate in the fact that since beginning in 2008 I began purchasing tea ceremony scroll and have assembled quite a collection of scroll suitable for Tokonoma display in the venues we use. I have over 40 pieces now and all are quite simple in arrangement and allow the scroll to easily tell the season of feeling while not overpowering the display.
So many times I see wonderful presentations only to be ruined by the wrong scroll. I might use this time now to talk about the use of Japanese scrolls to display western themed art. Scroll making in Japan is very old, centuries old in fact. And centuries before that China offered tea ceremony scrolls in temples where monks would study sutra written on the scrolls for hours. In Japan, scrolls have always been displayed in the traditional alcove with Ikebana, vase art/ incense burner, and But Sudan. More recently bonsai and Suiseki. These scrolls have always been relied on to help tell the season either in celebration or actual season. The Japanese use the sky, ocean and mountains to tell their story, as well as the moon, birds, animals and insects. The clever use of certain animals or insects, birds and fish tell stories of the seasons as well. In fact those that covet scrolls for display and follow traditional ways of years gone by understand fully the significance of what is depicted on a scroll.
The image of Fuji, a famous and sacred mountain in Japan is celebrated each year at New Years. Fuji can be depicted with snow, clouds, rain, smoke, green trees, leafless trees and so on with each depiction capturing a specific time of year and even the time of day. The same of the moon. Cloudy, half moon, crescent moon, fuzzy moon, hazy moon, crisp moon etc., etc.
No where else on earth is the depiction of nature and its surroundings and mans place in it found on something so special as a well executed scroll. Why not just hang a picture? One could. In fact the entry blank provides for a hanging picture upon entry. Why are they not used? A scroll offers something no framed art can. Soft edges. Carl Bergstrom wrote some years ago about the principle of the steelyard in bonsai display using the Japanese styled scroll. The scroll while long, vertical and displayed separating the tree and the accent goes a long way in balancing each of those elements. The placement of the scroll in relation to the tree, in relation to the accent can make or break a display. The easiest way to keep from having redundant themes in the display is to make sure the scroll is as simple as one can find. Keep the image to a house, an insect, a bird, no trees, or a moon or sun. That way it is easier to tell the story. Too busy a scroll and the message is easy to muddy.
The Tree
While I am writing the piece, hopefully each will understand these are my points of view and surly cannot deemed concrete. I am no expert in the field of Tokonoma Display, but I am placing, and I am "getting it" from the judges perspective. All I can do is offer ideas the way I see them and hopefully some will agree. Having said that, I can now say the tree is secondary to the display. Anyone who thinks the tree is the anchor and the scroll and accent are supporting will never win a prize in Tokonoma display. Being the only person to have won two prizes, second twice, I can tell you I have the least favorite trees in the museum, but this idea is not about how good the trees are, it's about how well you elevate the trees feeling thru story. With the right scroll, the worst tree in the competition can win the whole thing. It's not a tree competition. Kokufu is a tree competition and they are displayed as such. Seki-Kazari. (Table top display)(More about that later) This is Toko-Kazari (Tokonoma display)and has absolutely nothing to do with Seki-Kazari, yet many come to this competition and set up wonderful Seki-Kazari displays with wonderful Kokufu caliber trees and then get all miffed when they don't win.
It is not paramount that a person hold steadfast to making the scroll the star of the show. The scroll and tree are interchangeable in that regard. Either can be chosen first to set the mood of the display, but always keep in mind that no matter what, the scroll is always going to be seen first. That split second will and should sell the season immediately while not always being overtly obvious. When done right the visual speed between objects in lighting fast. When it is, the viewer is captivated and will linger. It is then that subtleties will be recognized and small items are picked up on. When it is not done right the viewer is left confused and boredom is quick. Time to move on and see the rest of the displays. No payday today. Better luck next year.
A tree can be used to depict almost any season any time. The real key is to make sure the tree used fits the theme of the scroll in telling the story or the season. This year was like that. Since it was a late fall, early winter season, I was struck at the lack of deciduous trees. Though here in the valley and the state, many with some of the best winter ready trees do not participate in this competition. Too bad since $2500.00 dollars in on the line. This year I also learned something very important. I was always under the impression that since we use such large scrolls, in many cases over 7 feet long, the tree had to be large. This year a very small juniper was displayed with a very large scroll and the composition really worked well. In fact so well I am working on a display for 2013 with a much smaller tree than I would normally use.
Trees should be healthy and in peak condition. Wire should be held to a minimum or devoid of wire entirely. Lime sulpher should have been applied months before so as to age and look natural. Deadwood should be dressed and brushed of loose scaly bark. leaves should be shiny, healthy and free from lime scale. Tree should also be pest free. In our case we are bringing trees into a museum that houses baskets, scrolls and shoji screen in some cases a thousand years old. The archive of scrolls there is the largest outside of Japan and in fact has art pieces that are no longer found in Japan. A small pest can devasate all this paper and silk really fast. We prepare the trees for entry into the museum by placing modeling clay into the drainage holes to keep anything from crawling out. The soil surface should be well groomed and moss should be applied preferably a few months or at least a few weeks before so as to look natural. The edges of moss pieced together like a puzzle should no be apparent. Any gaps in the moss should be dressed with a dark color uniform sized sifted stone. Wet Akadama looks good here as well as black lava or red lava. In fact a mixture of red and black lava with Akadama added is wonderful.
The Table
The table plays a very important part in the overall feeling of the presentation. A person will begin to put together the pieces of the display sometimes over a year in advance. I know I do. It is at this time that a stand should be commissioned for the bonsai and pot so they fit well together. In our kazari we have no rules about ownership, and one that wishes to embark in display should seek out others with the pieces needed to complete a good display composition.
The stand should always be dark in color. Being dark, it does not draw attention to itself. Lighter stands seem distracting and the viewer is left feeling "what's wrong". The stand should have ample legs or feet to carry the weight of the tree being displayed on it. The blade (top of the stand) should be large enough to adequately hold the entire pot in its center board. No part of the pot should creep over the framing edge. Tables when possible should be of a taller elevation to keep the tree reverent. Trees look more regal when displayed at a taller level than is normally seen.
When using a table to display the main object on, the accent piece will be displayed on a Jitta or burl slice. The tree and accent piece should never both be displayed on a burl slice at the same time in a display. It would be appropriate to show a Bunjin tree on a burl slice and exhibit the Kusa on a black or dark colored ceramic disk. These disks from Japan or "lacquer ware" can cost hundreds of dollars for one piece 8" around. They can be made at home with thin wood, paint and many coats of lacquer and wax. Jim Gremel many years ago made them from ceramic and glazed and fired them. They were pretty nice and held up well to pots, whereas the lacquer does scratch easily.
Tables should be cleaned well and waxed or oiled before use. Dust can show up in photo's and can be seen by people that are on the lookout for that sort of thing...like judges.
The Accent
This is probably where the most work needs to be done. In spring flowers should be held to one or two blooms and the rest in buds. Toko Kazari is about subtlety. The size of the stand under the accent. Is a flowering plant used, should it be a stone or a carving? In the end this last item is really very important. In fact it may so important that the best course of action is to leave it out. In Keido display, formally introduced by Takeyama and then taught to Kobayashi, Kimura and Sudo, the accent is left out and only a tree and scroll are displayed. Why? Sometimes that is all that is needed to encapsulate the perfect feeling. Don't schlock it up.
More often than not a Kusa in a Keido display will contain only one species of plant within the pot. This is just keeping the display on the simple side. Mixed species Kusa become distracting as the eye is constantly being drawn to the wonderful array of species growing in the pot. Save the mixed species for Ikebana. When using flowering plants for display, keep in mind the time of the season. Is it early spring, late Spring, early summer, late summer, etc.,etc. In early spring keep flowers to one blossom maybe two at the most. The species can also have a couple blossoms as to kindle the emergence of more flowers to come, but not just yet. That is story telling. A late summer display may contain more flowers and no buds, but maybe an empty calyx depicting it is getting ready for summer and no flowers. light colored pots in the pastel range of blues , yellows and greens will work for spring and summer. Pots of the Kusa can be more ornamental than the main object. This is where you get to show that small piece of creativity in about 6 square inches.
Fall can be shown with dried grasses turning brown or tall flat leaved stems with burnt ends and edges from the summer just passed. Small leaved succulents with reddish leaves are also good here and can depict most any season since they look much the same all year long unless blooming. Dark color pots are appropriate here, dark blues and rusty colored pots as well as unglazed pots look good in fall and winter.
This is just a general primer about what the main objects should look like. There is much, much more to display than just having a scroll, a tree and a kusa.
Where does the scroll go?
Where do I place the tree on the Tatami?
Where do I place the accent in relation to the tree and scroll?
Does the accent go in front of the trees front edge or behind the trees back edge?
Is the accent too big or too small?
I my stand too small or too large?
Do I have redundant themes in my composition?
One will only know when you put your display together and open it up to judging or criticism. Hopefully the skin has thickened considerably or one should be ready for disappointment.
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