Page 55 - BCI Bonsai & Stone Appreciation Q1 2025

It is composed of multiple materials, and its texture
resembles a waterfall entwined with the coils of a dragon.
Hence its name: Lóngmén 龍門 (Dragon’s Gate).
Kazari (Display):
For the display, I used a century-old silk shikishi
holder featuring traditional Heian Period motifs, such
as migrating birds. These motifs reflect the sentiments
of aware and mono no aware—the transient beauty of
things that fade. They express an appreciation for the
passage of time and its natural, irreversible transfor-
mations, even on something as enduring as a “stone.”
Inside the holder, I placed a shikishi with an artwork
by Hon’ami Koetsu and Tawaraya Sotatsu, exempli-
fying the Rimpa school. The depiction of the moon
over pine trees reflects the autumnal seasonal kigo,
no longer as radiant as during Tsukimi (September’s
moon-viewing festival).
The poem on the shikishi reads: “The moon is a guide
to those who seek the voice of the heavens. It clears the
wall of clouds above the forest of the world.”
The stone rests on a bronze incense burner from the
early Meiji Period. One side features a phoenix, while
the other displays a Japanese dragon, identifiable by its
three claws (Chinese dragons typically have four). This
sits atop a jita—a fine, lacquered wood slab used in cha
no yu (tea ceremonies)—measuring just 8 millimeters
thick and coated in urushi lacquer.
The tempai includes three bronze carp—two large
and one small—resting on a round burlwood jita.
These were crafted by master goldsmith Terinazzi. Two
darker dots can be seen on the heads of the larger carp.
The composition represents the legend of the carp
at Lóngmén 龍門 (Dragon’s Gate).
This ancient legend, renowned throughout East
Asia, symbolizes surpassing one’s limits and striving
for self-improvement.
The Legend: Long ago, there was no passage for water
under Mount Longmen. The Yi River ended its course
at the base of the mountain, where a roaring waterfall
cascaded down. Beyond the waterfall, on the southern
side of the mountain, lay a vast and enchanting lake,
inaccessible from the north.
The carp of the Yellow River heard tales of this
wondrous place and longed to visit it. They embarked
on a journey from the Yellow River near Mengjin, swam
through the Luohe River, and entered the Yi River.
Eventually, they reached the base of Mount Longmen,
where the waterfall blocked their way.
Unable to find a passage through the rock, the carp
gathered to decide what to do. One small carp suggested,
“What if we jump over the mountain?”
The others hesitated, fearing the height and potential
danger. But the little carp, filled with courage, volun-
teered to try. With a mighty leap, it soared into the air,
disappearing from view. Battling the waterfall’s force,
the tiny fish pressed on, enduring immense pressure
and pain as its tail began to burn. Despite the agony,
it persevered and finally leaped over the mountain,
landing in the southern waters.
At that moment, thunder roared, and lightning
flashed as the little carp transformed into a majestic
dragon. It called to its companions, urging them to
follow its example. Inspired, some attempted the leap,
but most failed, leaving a black scar on their foreheads
as a mark of their fear.
To this day, the carp of the Yellow River bear this
scar, a reminder of the courage it takes to overcome
life’s challenges.
In the Tang Dynasty, poet Li Bai immortalized this
tale, writing:
“Carp of the Yellow River, dwelling in Mengjin’s
waters, you did not become a dragon, and the mark
remains on your forehead. Return now among the
lesser fish.”
The stone
rests on a
bronze incense
burner from
the early Meiji
Period. One
side features
a phoenix,
while the
other displays
a Japanese
dragon,
identifiable by
its three claws.
January/February/March 2025 | BCI | 53