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 componant, 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 becuase that is the heart of the display. I am very fortunate in the fact that since beginning in 2008 I began purchasing tea ceramony scroll and have assembled quite a collection of scroll suitable for tokonoma display in the venuse 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 wonderfull 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 westeren themed art. Scroll making in Japan is very old, centuries old in fact. And centuries before that China offered tea ceromony 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 Ikabana, vase art/ insense burner, and Butsudan. 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, crecent 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 somthing no framed art can. Soft edges. Carl Bergstrom wrote some years ago about the principle of the steelyard in bonsai display useing the Japanese styled scroll. The scroll while long, verticle and displayed seperating 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 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 diplay. 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 interchangable 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 immediatly 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 subtlies 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 diciduous 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 soething 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 displyed 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 normaly use.
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 sublety. 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 trtee and scroll are diplayed. Why? Sometimes that is all that is needed to encapsulate the perfect feeling. Don't schlock it up.
On to some trees.
2010 Toko Kazari.
First place, Katsumi Kinoshita, Montery Cypress
Second place, Al Keppler, Trident Maple
Third place, Seji Shiba, California Juniper
