Sakuya Issei no Kari Kakejiku

kakejiku

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Purple Kireji Sumie Geese in Flight Wallscroll.jpgMy question to you bonsaiists is, "would a Japanese Maple work with this scroll for an Autumn themed display?" I probably should have used a more conservative Gold or Khaki cloth, but I felt that just maybe a Japanese Maple in Autumn could coexist because the purple and the pattern is pretty subdued....

Scroll Details of the Poetry below:
Excerpt translated from pg. 330 of the Zengo Kichigo Jiten 禅語吉語字典 published by the Japan Calligraphy Society 日本書道協会.
昨夜一声の雁
Sakuya Issei no Kari (Last night I Heard the Wild Goose Honking)
Subtitle: There Were Small Predictors of Change
The seasons change a little at a time. But because of the nature of these small changes we are not aware of the transition, until the new season is upon us. This is similar to what happens in our personal lives.
After this verse there is an extended line in the poetry which reads, 「清風万里秋」Seifuu Banri Aki. This means that after you wake up in the morning after hearing the goose honking to begin the migration you feel the crisp autumn wind on your face and are reminded that fall has arrived.
As autumn approaches the wild geese gather into flocks and begin to fly South. That honking is an indicator communicating to our hearts the fall season. The Issei in the verse is expounded to teach us that it only takes one goose to sound the honk to gather the birds into a flock. They gather quickly in the evening, begin the migration, and by the morning all that remains of their presence are the crisp autumn winds in your face.
Another deeper meaning of this verse is that through one act alone all things can begin to move. It reminds us that through the honking of only one goose, we can feel the effects of the fall wind. It is this one act that reminds us that the season, predicted to transform is actually already surrounding us in its entirety and only now have we become aware.

Name in Kanji Name in English Size in Bun Size in Millimeters Size in Inches
天 Ten 115 348.45 13.72
上一文字 Ue Ichimonji 11 33.33 1.31
紙本の幅さ Artwork Width 69 209.07 8.23
紙本の長さ Artwork Length 107.5 325.725 12.82
柱 Pillars 20.5 62.115 2.45
下一文字 Shita Ichimonji 6 18.18 0.72
地 Chi 80 242.4 9.54
掛け軸の幅さ Scroll Width 110 333.3 13.12
掛け軸の長さ Scroll Length 319.5 968.085 38.11
 

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I would prefer Gyo of Gyo. With a Shita or Ue of your cloth and a solid color in the Nakamawashi.

The overall color of the cloth is pretty dark and contrasts pretty harshly with the background of the art. If this is paper I would antique it or if silk it should be ecru or gold.
 

kakejiku

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I would prefer Gyo of Gyo. With a Shita or Ue of your cloth and a solid color in the Nakamawashi.

The overall color of the cloth is pretty dark and contrasts pretty harshly with the background of the art. If this is paper I would antique it or if silk it should be ecru or gold.

Finally glad to see your preferences, and by 行の行 I am not sure if you mean a Nidan Hyougu, Sandan Hyougu or Rinpo Hyougu. I also find it interesting that you would choose the pattern kireji for the Ten & Chi and a solid color for the 中廻し Chuumawashi (There are different pronunciations for these terms, I use my Schools style of pronunciation)

In most cases the patterns are used for the Chuumawashi and the Solids for the Ten and Chi. To each their own.

You also have a good point about the paper being too bright. I am against antiquing my paper (Has to do with Hyousoushi guidelines rather than display guidelines). It will do that over time on it's own, but I think the cloth is lighter than the picture is leading it onto be...I am not the best photographer in the world.
 
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