Thanks for the work of translating these messages. I am sure it is very difficult to find the english meaning for a language that has so many meanings , when no words in english can capture that meaning.
I do have some questions. I do not expect an answer as I have no idea about how long it takes to try and get replies nor if this master is interested in holding a discussion so far away.
1. This displays mentioned in your posts are referred to as seki kazari, which is tabletop display, more like what is done at Kokufu. I was under the impression that what we are doing is Toko kazari which is tokonoma display. Taller and enclosed as would be in a traditional Japanese alcove. The rules of display for each are very different.
2. The Sensei mentions positioning the tree off center on the shoku ( bonsai table) to aid in balance and make the composition seem wider. Conventional theory talks about always positioning the tree centered on the table and make up differences with positions in accompaning accessories.
3. The Sensei also mentions changing out the scroll to maybe a wave. While in seki kazari this might work since the focus is on the tree, while in toko kazari the weight is focused on the story. The story in Brian's piece is rain, which would be appropriate for the season here in the US. I am not so sure what a wave might represent for seasonality.
The images below represent some water birds on the beach with a wave in the background. Also we see a very lush almost Ikabana style accent used. Not very appropriate for the season.
I will ask him, although I can throw my opinion on the matter. I think Seki Kazari translated as a tabletop display is slightly different. Here is a sample of Kuzuhara Sensei's display, with a translation of the meaning of the display. He calls this a Seki Kazari style display. The setup was the same as that at the Clark Center. A raised platform with a Tatami. In this same competition, when it was actually placed in an area with side walls and additional raised platform, then it became a Toko no Ma kazari....If the display lacks the Hashira (pillars) and sidewalls, even if it is on a raised platform it is called Seki Kazari.
席題 松柏千年のみどり 葛原洪行
Sekidai Shouhaku Sennnen no Midori by Kuzuhara Ikkou
真の真体による席飾り
Shin no Shin Style Seki Kazari
盆栽といえば黒松に代表され、また直幹といえば「真の真体」として盆栽樹形中最も端正な形姿とされる。つまり一番位の高い樹なのである。
その黒松直幹を主木に、掛け軸を配しての飾り。軸の「松柏千年青」は禅語（南宋ナンソウ末期スエキの禅僧（Priest）石田法薫和尚の掲）であり、「千年のみどりのようにいつまでも目出度く、幸多かれ」との慶祝（けいしゅく）の意も込められる。
人はともすると華簾（かれん）に咲く花に目を奪われ（うばわれるto be fascinated by）がちだが、不変、不動の松柏のよさをこそ忘れるなかれと自戒（じかいself examination）し、一時の華やかさより変りなき不変の根本精神を身につけたいと願っての飾りであろう。
When one says bonsai, the black pine is the representative tree, and furthermore when you say Chokkan as the Shin no Shin style of bonsai styling, it is the pinnacle of a handsome shape. In other words, it is the highest tree standard to attain.
This black pine acting as the main tree, is a companion with the scroll. The scroll phrase of Shouhaku Sennen no Aoi is a Zen phrase by the Nansou Sueki Priest, Ishida. The phrase is a celebratory blessing that 1,000 years of green stands out to our eyes and brings much happiness.
When we are with others, we are fascinated by seeing the blooming flowers of the Karen, we are required to self reflect on the unchanging and immovable nature of the Pines and Deciduous trees. I hope to convey to the viewer the immutable laws of nature of the spirit’s foundation, by bringing to mind the unchanging of the single Ka flower.
