Trash to Treasure

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This is a scroll I purchased through an online auction....What a headache for shipping a worthless scroll. I knew the cloths mounting would be bad, because they only took pictures of the painting. The painting has cracks in the paper and wrinkling, but I am going to remake it into something remarkable. I am aiming for that elusive wabi/sabi concept, and may be able to pull it off if I study it deeply. The first thing I will have to do is remove the cloth and take off the back layers of paper on the painting. Then I will put a new layer of paper on it to remove the wrinkles that have settled on the artwork paper. After that I will remount it and try and resell it.

What do you think? REmount

Matching Pair of Martial Arts Scrolls

This was a commission for a personal dojo. These Karateka study Shito-ryu style of Karate. The kakejiku or wallscrolls have a very simple style.

One scroll reads First Purify Your Mind. The Second reads One Punch, One Mind (Ikken Isshin 一拳一心）. I used a lighter rosewood Jikusaki to contrast with the black cloth, but used the dark navy (Kon) hanging string to blend in with the black cloth. Customer requested a red ichimonji, which I think worked out very elegantly for this scroll.

If you would like a custom scroll made contact to sales@customjapanesecalligraphy.com





Scroll dimensions as follows:

Name in Kanji	Name in English	Size in Bun	Size in Inches
天	Ten	92	10.97
上一文字	Ue Ichimonji	14	1.67
紙本の幅さ	Artwork Width	55	6.56
紙本の長さ	Artwork Length	220	26.24
柱	Pillars	20	2.39
下一文字	Shita Ichimonji	8	0.95
地	Chi	60	7.16
掛け軸の幅さ	Scroll Width	95	11.33
掛け軸の長さ	Scroll Length	394	47.00

Gift Custom Wallscroll

This was a gift commission. It has a family name at the top and then a phrase. In English we normally say like two peas in a pod to indicate how two people are alike. This phrase is slightly altered to read Like two pods in a pea. It is an inside joke because one time this phrase was said just like this.  If you would like a custom handmade wallscroll, please email to sales@customjapanesecalligraphy.com

Due to the nature of the plant theme, I used a dark green on gold Ichimonji with a yellow/green wave pattern intermediary cloth. The Ten/Chi (top and bottom) is a light green. The scroll order also included a black gold pattern Fuuchin, with a dark green hanging tassel. The hanging string is the uguisu which is a dark green. I tried to go to Lightest, Dark Green, Lightest Yellow Green, Darker Green, back to Dark Green. I think it provides a very harmonious transition.

The calligraphy was done by Yoshimi Yamada Maples, and it is in the Kaisho style. The scroll is in the Sandan Hyougu format. Dimensions are below:

Name in Kanji	Name in English	Size in Bun	Size in Inches
天	Ten	84	10.02
上中廻し	Ue Chuumawashi	50	5.96
上一文字	Ue Ichimonji	13	1.55
紙本の幅さ	Artwork Width	111	13.24
紙本の長さ	Artwork Length	448	53.44
柱	Pillars	20	2.39
下一文字	Shita Ichimonji	10	1.19
下中廻し	Shita Chuumawashi	35	4.18
地	Chi	55	6.56
掛け軸の幅さ	Scroll Width	151	18.01
掛け軸の長さ	Scroll Length	682	81.36

 

First Name Translation into Japanese Kakejiku

Here is a new scroll commissioned for a friend of a school acquaintance's new baby girl. The girls name is Luella, and in Japanese would Read Ruera. So I went to my dictionary to find some terms that would work with that name and be feminine as well. The first character is Ru 屡, Which can be often or Again and Again. This character is also read as Shibashiba. The Second character is 偉 Era(i), which means Excellent or Admirable. So it would roughly mean someone who is admirable again and again.

It was written by Yoshimi Yamada Maples in the Kaisho style and I completed the scroll with a light purple mixed silk with a small pattern in it. The ichimonji is a gold on gold small karakusa and the hanging string is a light gold. It is completed with ivory plastic jikusaki.

This size scroll is relatively inexpensive and if you would like a quote for a similar price contact to sales@customjapanesecalligraphy.com. Dimensions of the scroll as follows:

Name in Kanji	Name in English	Size in Bun	Size in Inches
天	Ten	104	12.41
上一文字	Ue Ichimonji	6.5	0.78
紙本の幅さ	Artwork Width	55	6.56
紙本の長さ	Artwork Length	120	14.31
柱	Pillars	20	2.39
下一文字	Shita Ichimonji	4	0.48
地	Chi	65	7.75
掛け軸の幅さ	Scroll Width	95	11.33
掛け軸の長さ	Scroll Length	299.5	35.73

My First Scroll Order Ever...

Can you believe that this was the first scroll I ever made...and just today I find it on Facebook from the Broward Bonsai Society show in 2014

New Aikido Kakejiku

This scroll was commissioned for a new Aikido dojo. If you are interested in having a custom scroll made please view www.sales.customjapanesecalligraphy.com or email to sales@customjapanesecalligraphy.com.

The top portion contains an Enso, and the bottom vertical writing says Nihon Goshin Aikidou. It is written in the semi-cursive, gyousho, japanese calligraphy style by Yoshimi "Ryugyoku" Maples. The customer requested a Fukuro Hyougu style scroll with a black cloth and red suji. It has an Ebony Enshu wood jikusaki (Kokutan Enshu) and light gold (usukin) hanging string.





Dimensions as follows:

Name in Kanji	Name in English	Size in Bun	Size in Inches
天	Ten	127	15.15
天	Partition Top	92	10.97
筋	Suji	0.5	0.00
天	Partition Bottom	35	4.18
紙本の幅さ	Artwork Width	55	6.56
紙本の長さ	Artwork Length	218	26.01
柱	Pillars	20	2.39
地	Chi Top	12	1.43
筋	Suji	0.5	0.00
地	Chi Middle	15	1.79
筋	Suji	0.5	0.00
地	Chi Bottom	40	4.77
掛け軸の幅さ	Scroll Width	95	11.33
掛け軸の長さ	Scroll Length	413.5	49.33

 

Japanese Bonsai Displays with Scrolls

I was posed a question on bonsai display on a forum where one poster stated hesitation to use a person in the painting of a scroll...

http://bonsainut.com/forums/showthre...ese-Exhibition
Now a question about the scroll. What is your thinking about introducing a "man" image in a scroll used for bonsai? Since traditional formal bonsai display in a Tokonoma (alchove) is based on three point concepts (Japanese Trilogy) of Man, Heaven and Earth. With the tree being "man" the scroll heaven and the accent earth, wouldn't a man in the scroll be redundent?

This was my reply.
I guess that would go back to the argument in my previous thread about differences between Keidou and Gadou display. Perhaps, Metaxis san studied under the Keidou style...I have never met her, but heard many good things about her knowledge of display.

I am travelling at the moment and do not have access to my files or books, but I remember two examples of displays in the Gaddou book that utilize travelers/person in the scrolls of the display...Also, nowhere in the Gadou kyouhon (teaching books) have I ever come across reading about the Man, Heaven, Earth idea...(Not saying that it does not exist in Gadou...but I have not come across it) When I get back and have time I will try to show those displays and translate meanings. 

I promised some displays with scrolls that have man images in them. Here is one.

The original display is on the left and the critiqued display redone is on the right. Translation by myself is attached.
I was born in Shiga Ken, and I became acquainted with the scenery around lake Biwa (Biwako) It was a joyful place to play among the reeds near the lakeside. Protections and preservation of the lakeshore is continuing, but due to drainage and development the water quality has declined and pollution has reduced the number of reeds around the shoreline, lessening the beauty of the scenery.
This display was created from a childhood scene etched in my memory. Viewing from the reeeds, I could see a fisherman in the far distance. It was a late winter that year, but the anticipation of spring was at the door, so the reeds were still dry but ready to blossom for spring. It made me think of the following poem.比良八荒荒れ仕舞 Hirahakko Are Shimai The end of the storm that brings the cold wind in February on Lake Biwa.
In order to complete the scene with the standing dry reeds, I used a wallscroll with a fisherman and a long formal rectangular lacquered jiita to give the impression of the viewer of seeing this from the lakeshore. The plan of using this jiita was probably a little too hard, but I thought it would work. Always Sensei’s advice is to have a scroll that transports one into the scene. Use of thin objects is best and become transparent to the viewer. With the standing reeds as the main object, I think it achieved a more than elegant taste. In displaying with Shouhin it takes a playful heart and you can display with inexpensive pieces. These qualities also allows the layperson to have a chance at using their heart to display their story. However, elegant displays attach themselves to the foundation but stops short of conceitedness. It has a hint of spirit in the display. Not just the tree or grass plantings or pot, but all the elements of the tools and the artisans work is in the display to create the entire spirit of atmosphere. Because of that one must have understanding, touch, and joy in the heart to create a display. I want to have the heart to share my display so that others will have a spring of joy come to them and a deeper appreciation of nature.

Critique:
This Seki Kazari does an excellent job of telling the intentions of the scene, however, the main planting I feel screams a little bit of impudence, haughtiness or is uncharacteristic. Almost all grass plantings dry out from the fall to winter, and because it is common, but shows good workmanship for the look necessary for the Sanyasou.
Using the original jiita for the lake shoreline was OK, but it does not convey the feeling of cold that is associated with the cold wind storm in February, nor does it match the painting. This type of jiita seems to step on the excellent display of the stalks of reeds. The miginagare hidarikatte setup concentrates the display, and expands it in the inner working of having a sense of semi formal. The lines of the rectangle jiita are too strong, and this jiita would work better for a summer scene. Also by changing this into a suiban and using a natural shaped jiita, the display becomes more settled. By making these changes, it gives consideration and attention and the display is abbreviated and simplified.