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Intermediate Bonsai - A Course Syllabus Copyright 1997-2003 by Backyard Bonsai. All rights reserved. Printed in the United States of America. This publication is posted on the Internet for reading, downloading and printing by individuals for their personal use and/or for educational activities within bonsai clubs. It is not to be reproduced for resale. Send all inquiries to: Thomas L. Zane 100 Gull Circle, N. Daytona Beach, FL 32119-1320
CONTENTS
SUBJECT MATTER CHAPTER - PAGE
iii
Contents
SUBJECT MATTER
CHAPTER PAGE
5-1 5-2 5-3 5-5 5-5 6-1 6-1 6-2 6-5
Chapter 5: Slanting Style Bonsai . . . . . . . . . . . . . . . . . . . . . . . . . Slanting Style Bonsai Defined . . . . . . . . . . . . . . . . . . . . . . . . Styling the Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Windswept Bonsai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Potting the Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 6: Broom Style Bonsai . . . . . . . . . . . . . . . . . . . . . . . . . . Broom Style Bonsai Defined . . . . . . . . . . . . . . . . . . . . . . . . . Styling the Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Potting the Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 10: Forest Style Bonsai . . . . . . . . . . . . . . . . . . . . . . . . . 10-1 Forest Style Bonsai Defined . . . . . . . . . . . . . . . . . . . . . . . . . 10-2 Styling the Forest Style Bonsai . . . . . . . . . . . . . . . . . . . . . . 10-4 Potting the Forest Style Bonsai . . . . . . . . . . . . . . . . . . . . . 10-12
iv
Contents
SUBJECT MATTER
CHAPTER PAGE
11-1 11-2 11-3 11-4 11-5
Chapter 11: Raft Style Bonsai . . . . . . . . . . . . . . . . . . . . . . . . . . . Raft Style Bonsai Defined . . . . . . . . . . . . . . . . . . . . . . . . . . . Styling a Straight Raft Style Bonsai . . . . . . . . . . . . . . . . . . Styling a Sinuous Raft Style Bonsai . . . . . . . . . . . . . . . . . . Styling a Clump Raft Style Bonsai . . . . . . . . . . . . . . . . . . .
Chapter 16: Exposed Root Style Bonsai . . . . . . . . . . . . . . . . . . 16-1 Exposed Root Style Bonsai Defined . . . . . . . . . . . . . . . . . . 16-2 Styling the Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-3
Contents
CHAPTER PAGE
Chapter 17: Sources of Material for Bonsai . . . . . . . . . . . . . Collecting Material from the Ground . . . . . . . . . . . . . . . Buying Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Propagating Bonsai Material by Seeds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cuttings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dividing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grafting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Layering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter 18: Refining Bonsai Review the Basic Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . Species ........................................ Roots ........................................ Trunk ........................................ Branches and Foliage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Container . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Soil ........................................ Displaying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17-1 17-3 17-9 17-11 17-14 17-16 17-16 17-20 18-1 18-3 18-3 18-4 18-7 18-11 18-12 18-13
Chapter 19: Displaying Bonsai . . . . . . . . . . . . . . . . . . . . . . . . . . 19-1 Displaying in a Private Collection . . . . . . . . . . . . . . . . . . 19-2 Displaying in a Public Exhibit . . . . . . . . . . . . . . . . . . . . . . 19-9
APPENDICES
Recommended Audio Visual . . . . . . . . . . . . . . . . . . . . . . . . . . . Glossary of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Harmony in Bonsai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Group Planting - Elements of the Two Extremes . . . . . . . . . . Miniature Bonsai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A Brief History of the Literati Style of Bonsai . . . . . . . . . . . . . A-1 B-1 C-1 D-1 E-1 F-1
INDEX
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Index-1
vi
ILLUSTRATIONS
Illustration
1-1 1-2 1-3 1-4 1-5 1-6 1-7 1-8 1-9 1-10 1-11 3-1 3-2 4-1 5-1 5-2 5-3 5-4 5-5 5-6 6-1 6-2 7-1 7-2 7-3 7-4 8-1 8-2 8-3 8-4 8-5 8-6 8-7 9-1 9-2 10-1 10-2 10-3
Description
Page
Trunk Posture . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3 Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-5 Leaning trunk . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-5 Branch placement (proper) . . . . . . . . . . . . . . . . 1-6 Branch placement (improper) . . . . . . . . . . . . . 1-6 Equilateral triangle . . . . . . . . . . . . . . . . . . . . . . . 1-7 Asymmetrical triangle . . . . . . . . . . . . . . . . . . . . 1-7 Asymmetrical bonsai outline . . . . . . . . . . . . . . 1-8 Two off-centers balance eachother . . . . . . . . . 1-8 Focal point illustration . . . . . . . . . . . . . . . . . . . 1-9 Unity in trunk line . . . . . . . . . . . . . . . . . . . . . . 1-10 Formal upright style bonsai . . . . . . . . . . . . . . . 3-3 Relation trunk diameter to height . . . . . . . . . 3-4 Informal upright style bonsai . . . . . . . . . . . . . . 4-1 Slanting style bonsai . . . . . . . . . . . . . . . . . . . . . . 5-1 Placement in container . . . . . . . . . . . . . . . . . . . 5-3 Lower trunk attitude . . . . . . . . . . . . . . . . . . . . . 5-3 Slanting style bonsai . . . . . . . . . . . . . . . . . . . . . . 5-4 Windswept style bonsai . . . . . . . . . . . . . . . . . . . 5-5 Placement in container . . . . . . . . . . . . . . . . . . . 5-5 Broom style bonsai . . . . . . . . . . . . . . . . . . . . . . . 6-1 Configurations of broom style . . . . . . . . . . . . . 6-2 Semi-cascade style bonsai . . . . . . . . . . . . . . . . . 7-2 Lower trunk attitude . . . . . . . . . . . . . . . . . . . . . 7-3 Informal upright with semi-cascading branch 7-3 Extremely slanted semi-cascade style bonsai . 7-4 Cascade style bonsai . . . . . . . . . . . . . . . . . . . . . . 8-1 Formal cascade style bonsai . . . . . . . . . . . . . . . . 8-2 Front of a cascade style bonsai . . . . . . . . . . . . . 8-3 Angle of descent . . . . . . . . . . . . . . . . . . . . . . . . . 8-3 Branch placement . . . . . . . . . . . . . . . . . . . . . . . . 8-5 Alignment of elements in formal cascade . . . 8-7 Alignment of elements in vertical cascade . . 8-7 Two tree/Twin trunk bonsai . . . . . . . . . . . . . . 9-1 Complementary trunks . . . . . . . . . . . . . . . . . . . 9-2 Forest style bonsai . . . . . . . . . . . . . . . . . . . . . . . 10-1 Trunk height/girth ratio . . . . . . . . . . . . . . . . . 10-2 Focal point in arrangement . . . . . . . . . . . . . . 10-4
vii
Illustrations
Illustration
10-4 10-5 10-6 10-7 10-8 10-9 10-10 10-11 10-12 10-13 10-14 10-15 10-16 10-17 11-1 11-2 11-3 12-1 12-2 12-3 12-4 12-5 12-6 13-1 13-2 13-3 14-1 14-2 15-1 16-1 16-2 16-3 17-1 17-2 17-3 17-4 17-5 17-6 17-7
Description
Page
Outline of single group . . . . . . . . . . . . . . . . . . 10-5 Outline of double group . . . . . . . . . . . . . . . . . 10-5 Outline in triple group . . . . . . . . . . . . . . . . . . . 10-6 Trunk placement . . . . . . . . . . . . . . . . . . . . . . . . 10-8 Contour of soil . . . . . . . . . . . . . . . . . . . . . . . . . . 10-8 Attitude of trees . . . . . . . . . . . . . . . . . . . . . . . . 10-10 Fronts of trees . . . . . . . . . . . . . . . . . . . . . . . . . . 10-10 Branch placement . . . . . . . . . . . . . . . . . . . . . . 10-11 Container size . . . . . . . . . . . . . . . . . . . . . . . . . 10-12 Anchors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-13 Anchors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-13 Anchors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-13 Anchors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-14 Anchors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-14 Raft style bonsai . . . . . . . . . . . . . . . . . . . . . . . . . 11-1 Sinuous raft style bonsai . . . . . . . . . . . . . . . . . 11-2 Sinuous raft style bonsai . . . . . . . . . . . . . . . . . 11-3 Miniature bonsai . . . . . . . . . . . . . . . . . . . . . . . . 12-2 First Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-3 Second cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-3 Basic shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-3 Styling by reduction . . . . . . . . . . . . . . . . . . . . . 12-4 Miniature display stand . . . . . . . . . . . . . . . . . . 12-5 Literati style bonsai . . . . . . . . . . . . . . . . . . . . . . 13-2 Literati style bonsai . . . . . . . . . . . . . . . . . . . . . . 13-2 Literati style bonsai . . . . . . . . . . . . . . . . . . . . . . 13-3 Driftwood style bonsai . . . . . . . . . . . . . . . . . . . 14-2 Jin, shari and uro . . . . . . . . . . . . . . . . . . . . . . . . 14-5 Weeping style bonsai . . . . . . . . . . . . . . . . . . . . 15-1 Exposed root style bonsai . . . . . . . . . . . . . . . . . 16-1 Aerial roots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-2 Technique to develop exposed roots . . . . . . . 16-4 Side graft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-17 Cleft graft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-18 Inarch graft . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-19 Drill graft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-19 Air layer - prepared stock . . . . . . . . . . . . . . . . 17-20 Air layer - rooting medium in place . . . . . . 17-21 Air layer - roots developed . . . . . . . . . . . . . . 17-21 viii
Illustrations
Illustration
19-1 19-2 19-3 19-4 E-1 E-2 E-3 E-4 E-5 F-1
Description
Page
Display shelves and supports . . . . . . . . . . . . . 19-6 Picnic table type shelves . . . . . . . . . . . . . . . . . . 19-7 Individual stands . . . . . . . . . . . . . . . . . . . . . . . 19-7 Slatted bonsai shelf . . . . . . . . . . . . . . . . . . . . . . 19-8 Stages in styling miniature bonsai . . . . . . . . . E-1 Stages in styling miniature bonsai . . . . . . . . . E-2 Stages in styling miniature bonsai . . . . . . . . . E-3 Stages in styling miniature bonsai . . . . . . . . . E-4 Stages in styling miniature bonsai . . . . . . . . . E-5 Composite of literati bonsai . . . . . . . . . . . . . . . F-2
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PREFACE
The principal use of this Syllabus, is as a workbook to accompany hands on learning sessions for the intermediate student of bonsai. Instruction is offered on the basic art and aesthetics of bonsai, the design and maintenance of various styles of bonsai, the practice of several special techniques used in creating a bonsai, and finally on the effective display of finished trees. One group instructional technique which I have found to be effective is to begin with the students becoming familiar with the Syllabus. I encourage them to thumb through it, then I cover the highlights of aesthetics in Chapter 1. This is followed by a slide/tape presentation on Harmony. After a break, I show bonsai from my collection as examples of the various styles covered in the Syllabus. The students are then instructed to place on the table before them the plant they brought and to study its structure with a view toward deciding the style for which it is best suited. Students refer to sections of the Syllabus while instructor(s) circulate and gently guide the students decision making until an appropriate style is agreed upon. Then the students are asked to read the chapter pertaining to the agreed upon style and instructor(s) provide detailed guidance in the completion of the styling. Often bonsai artists use words from the Japanese language when referring to bonsai styles or unique features on bonsai. Because this Syllabus is written in English and is intended for use by English speaking persons, Japanese language terms are used sparingly. For the curious there is a glossary of terms in the Appendix which includes translations of some of the more frequently used Japanese bonsai terms. There are various audio visual presentations which may be used to supplement this text and to reinforce learning. A list of these materials is included as an Appendix to this Syllabus. Specific credit for materials in this text include: The drawings of bonsai styles on the Title Pages and in illustrations 3-1, 4-1, 5-1, 5-4, 5-5, 6-1, 7-1, 7-3, 7-4, 8-2, 8-4, 9-1, 10-1, 11-2, 12-1, 13-1 through 13-3, 14-1, 14-2, 15-1, 16-1, 16-2, the grass on page 19-5 and illustration F-2 were created by Norman Haddrick and are reproduced with his permission. All other information is this Syllabus was acquired over a period of years of studying, learning, teaching and practicing the art of bonsai. My thanks go to my many teachers and students who have so willingly shared their time, knowledge and talents. x
By Definition
By Definition
Bonsai is the art of creating a miniature replica of a mature tree or group of trees which could be found in nature. The bonsai artist attempts to create that replica by changing normal plant material into a miniature tree which exhibits the illusion of maturity.
In Review...
In order to accomplish this, the artist must understand that both horticultural principles and artistic principles must be followed. Introduction to Bonsai - A Course Syllabus discussed the horticultural aspects of bonsai as well as basic techniques, rules and principles used in creating a bonsai. When doing more advanced bonsai work, keep these rules in the back of the mind, but do NOT be a slave to them. Approach each new piece of material with an open mind. Do not force the tree into a style, rather give it style. Use the basic rules as needed. Let the material tell you how it may best be treated. This Intermediate Syllabus takes the student more into the artistic realm of bonsai, discussing the creation of styles other than the basic informal upright bonsai.
Imagination...
Imagination, we all have it, to some degree or other. But in styling a bonsai we all too often dont call on our imagination and attempt to recreate a bonsai in the image of some basic bonsai icon, stoically following styling traditions which came from Japan some 50 years ago. These basic rules, or principles, ARE important and ARE essential in getting one started on the road to creating good bonsai; but they are only the beginning of the journey, they are not the end all to bonsai design. The Japanese do not continue to copy the Chinese; they took what China had to offer and, using their imagination and skills, created their own bonsai based on what they see growing in their own land. If we are to progress in our chosen art, we too must evolve, develop, digress, deviate, exercise free thinking and adapt the best history has to offer and use examples in our own landscape on which to build.
xi
1-1
Art and Esthetics of Bonsai, Continued NOTES 2. The function of art is the creation of things that have form and beauty. Composition means to put together. The putting together of a beautiful thing should be the objective of artistic composition. 3. What makes a work of art special is that the artist was able to communicate his emotions to the viewer through his art. The communication of this emotion is the aesthetics of the art. 4. The word, aesthetics, comes from a Greek word meaning, perceptive by feeling. Websters New Twentieth Century Dictionary defines aesthetics as, the theory of the fine arts and of peoples responses to them; the science or that branch of philosophy which deals with the beautiful; the doctrines of taste. B. The creation and maintenance of an aesthetically pleasing bonsai composition involves the application of a variety of horticultural and artistic principles. 1. The horticultural principles are well founded in the science of Botany: light, water, correct temperature range, soil within a particular pH range, periodic fertilizing and disease and pest control. 2. The artistic principles applicable to bonsai are not unlike those appropriate to painting, sculpture, and other art forms. Proportion, balance, unity, rhythm, focal point, framing, texture, color, visual speed, display and environment all affect the quality of a bonsai. 3. Bonsai is a synthesis of horticultural practices which permit the plant to thrive and artistic applications which make it attractive. Bonsai is a horticultural art form. C. A quality bonsai, incorporating various principles of both horticulture and art, creates within the viewer a feeling, an intuition, a sense of beauty. The techniques of applying these principles involve the creation of the appearance of ageing, of a pleasant rhythm of visual movement, a pleasing sense of 1-2
Art and Esthetics of Bonsai, Continued NOTES proportion, texture, and manner of presentation. III. ELEMENTS OF BONSAI AESTHETICS A. Ageing. People have preconceptions about the effects of aging on an object. In bonsai it is not necessary to present an old tree for viewing, merely one that has been styled to look old. In order to trick the viewer into intuitively believing that the bonsai is quite old, it is necessary to carefully replicate visual cues associated with age. Various techniques involving the roots, trunk, branches, and special effects are used to create these illusions of age. 1. Roots. Partially visible, large and mature roots gives the appearance of age. As a tree matures, the soil surface around its base erodes to expose surface roots which develop a mature bark. A well established tree has surface roots which cling to the earth in several directions. 2. Trunk. a. Trunk diameter. The lower portion of the trunk is the oldest portion and should have a significantly greater diameter with a distinct taper, becoming narrower as it progresses upward. The overall diameter of the trunk should be appropriate to the height of the tree. b. Trunk posture. The posture of the trunk gives visual cues to the viewer which tell a great deal about the apparent age of the tree. The trunk of a tree which emerges from the ground at an angle and continues up in a series of bends and curves gives the illusion of age overcoming the elements of nature.
1-3
Art and Esthetics of Bonsai, Continued NOTES c. Trunk appearance. The texture of a trunks surface may be smooth and without blemish which gives the appearance of youth. Its texture may be rough, gnarled, and scarred giving the appearance of age. A mature tree usually has broken limbs and a trunk scarred by the elements. 3. Branches. a. The angle of the branches is a major visual cue in determining the age of a tree. Branches on juvenile trees have a strong upward growth while those on an older and more mature tree droop with weight and age. b. The lower branches, because they are older, are thicker. Since they have to reach out for sunlight, they are longer. c. The older the tree is the more branch ramification (multiple smaller branches) it will have. But, it will also have openings for the birds to fly through. d. The apex provides an indicator of age. The apex of an immature tree is relatively pointed, still moving upward. The apex of a mature tree is more rounded, having reached its maximum height and beginning to spread. 4. Special Effects to Enhance the Appearance of Ageing a. Scarring and damage caused by time can be created on a bonsai by creating areas of dead wood. (1) The top of the trunk or the end of a branch may be stripped of bark, carved and bleached. (2) A portion of the live bark on the trunk may be stripped to simulate a lightening strike or where a branch broke, fell and ripped tissue from the trunk. b. The container should have a patina of age rather than 1-4
Art and Esthetics of Bonsai, Continued NOTES appear bright and shiny. c. The soil surface of a bonsai gives the appearance of age if it has some contours and if a ground cover of moss is permitted to grow. B. Visual Speed. If the eye moves too rapidly over an object the viewer may get a disquieting feeling. It is more pleasant to allow the eyes to rove around, to explore, to make comfortable stops at interesting places. Several factors affect visual speed. 1. Texture of the container, bark and foliage affects the speed at which the eye scans the composition. Eyes tend to move more quickly over smooth surfaced containers, bark and foliage which may be used to increase or reduce visual speed. The more interesting the texture, the more the eye will dwell on it. 2. The rhythm, straight or curved, affects the speed at which the eye scans the composition. Your eye tends to move up or down a straight trunk much more quickly than when viewing a gently curving one. a. The trunk establishes the theme for the entire tree; branches and foliage take their cues from the rhythm set by the trunk. b. If the trunk is curved, the branches should be curved. c. If the trunk is straight, the branches should also be straight. d. If the trunk leans to one side the branches counterbalance by leaning toward the other side. e. Curves generate a calm and gentle feeling while the feeling created by angles and sharp curves is less gentle.
Illus 1-3
1-5
Art and Esthetics of Bonsai, Continued NOTES 3. Branch placement may be used to slow visual speed. a. Properly placed branches, as shown in the illustration, can provide an interesting and leisurely viewing of the tree. Each branch should invite the eye to pause and examine that branch before resuming its movement along the trunk. Notice how easily your eye travels up the trunk, pausing to explore a branch, and then moving on. b. Improperly placed branches can result in the visual speed being slowed and even stopped. If two branches are growing from the same location on the trunk, one to the left and the other to the right (T or bar branching), they act as a barrier to smooth eye movement. The eye stops at the junction of the two branches and has difficulty deciding whether to go left or right and then has trouble resuming the vertical scan.
Illus 1-4
Illus. 1-5
C. Proportion (scale) 1. Proportion, or scale, is the comparative relation between parts. 2. The proportions of the bonsai have to be balanced, the elements have to be in scale, and therefore appear logical to the viewer. The proportions must reflect what the viewer expects to see in a mature tree. a. We expect to see the larger diameter branches lower on the tree and we expect the lower branch to be in proportion to the trunk. b. There also needs to be a logical proportion between the mass of the tree, the mass of the trunk, and the mass of the pot. When any one of these three is too small or too large in relation to the other, the composition is unbalanced, disharmonious and therefore aesthetically unpleasing.
1-6
Art and Esthetics of Bonsai, Continued NOTES c. The rule of thirds is an artistic concept which bonsai artists the world over use as a starting point when designing a tree. (1) The lower third of the tree should be devoted to surface roots and to a proportionately tapered trunk. (2) The middle third of the tree emphasizes branching. (3) The top third consists of small branches and the apex. D. Balance 1. Balance is an integral part of the aesthetics in a bonsai composition. a. Much of Western art relies on symmetrical balance as seen in the design of a formal English garden which uses basic geometric shapes such as the circle, square and triangle. b. Of the various geometric shapes, the triangle best represents strength and stability. The equilateral triangle is static, inactive, passive and motionless; elements to be avoided in most Oriental art. c. The isosceles triangle, having three unequal sides, is not static, supplies variety and a feeling of motion, and in its own way provides an asymmetrical balance. (1) The unequal, or asymmetrical triangle, lacking equality or symmetry, is the concept upon which a unique type of balance can be achieved.
Illus. 1-7 Illus 1-6
1-7
Art and Esthetics of Bonsai, Continued NOTES (2) Eastern painting, flower arranging, garden arrangement and bonsai all rely on the unequal triangle to provide balance and harmony to the composition. The Japanese term, sabi , meaning deliberate imperfection, comes to mind. (3) The three points of an asymmetrical bonsai outline would touch the apex (point A), the longest lowest side branch on one side (point B), and either a lower side branch on the opposite side, or the edge of the container (point C). B
Illus. 1-8
(4) When the tree is placed in its container, an asymmetrical balance is achieved by positioning the tree so that the greater horizontal mass of pot and soil on one side balances the greater vertical mass of the tree on the other. For this reason the tree is placed off center in its container.
(5) The tree is asymmetrical and the relationship of the tree to the container is asymmetrical, but together they provide a balanced composition.
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Art and Esthetics of Bonsai, Continued NOTES 2. Balance can be enhanced or destroyed by the focal point. An example of a focal point is the circle on the line in the illustration. The circle draws your attention, it is the place to which your eye consistently returns. a. The focal point should be that portion of a bonsai composition around which the rest of the tree is styled. T he focal point should have the greatest visual impact on the viewer. It has the ability to direct the viewers attention toward that particular feature and away from lesser features. b. It is important that a focal point be an appealing feature. If a focal point is an undesirable feature, the viewer has difficulty seeing the more commendable elements of the composition and tends to discount the artistic value of the bonsai. An example would be a brightly colored glazed container to which the eye constantly returns or a section of dead wood which is so over powering in appearance that it inhibits the viewing of other elements of the composition. E. Unity. Unity within a bonsai composition is provided by the repeated use of similar or related elements throughout the composition. This repeated use of related elements provides a rhythm, a flow or a movement which enhances the unity of the composition. 1. One of the unifying elements in most bonsai compositions is the triangle. It can be seen in the shape of individual branches, in the trees silhouette and in the entire composition. 2. Unity is achieved by relating trunk shape to branch shape. If the trunk is straight, the branches should be straight. If the trunk curves, the branches should have curves.
Illus 1-10
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Art and Esthetics of Bonsai, Continued NOTES 3. There should be a unity, a consistency in the elements which denote age. If a tree is young it should have a pointed crown, a slender trunk and branches, and no massive roots. If it is to portray an image of great maturity, it should have a wide foliage canopy, a thick and gnarled trunk and branches and strong roots. If it is to portray an image of an ancient tree, past its prime and on the decline, it should have a heavy short trunk, few branches, sparse foliage and dead wood. 4. Unity requires that a tree have a consistent trunk line; it must not mix several types of movement. There should be unity in the direction of movement: if the tree emerges from the ground leaning to the left, the apex should terminate leaning to the left. 5. A tree should have a unity of gender characteristics. A tree which is angular, has dead wood, has coarse foliage, and has a look of strength is a masculine appearing tree. A feminine appearing tree should be the opposite. The elements should not be mixed on the same tree. F. Simplicity 1. Simplicity implies the absence of the ornate. Simplicity implies naturalness. Simplicity is freedom from unnecessary complexities. We eliminate that which is not necessary. a. Seldom are bonsai decorated with balls, bells and streamers or with ceramic figures. b. Containers are relatively simple; not ornate. c. Open space is as important as filled space. 2. The Japanese term, wabi, meaning richness by not needing is appropriate to bonsai. If a bonsai is of quality, adornments are not needed. Less is more.
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Art and Esthetics of Bonsai, Continued NOTES IV. EVOLUTION IN DESIGN A. The creation of a bonsai involves a processes similar to all other art forms; the process of evolution. 1. First comes a concept, then comes the transference of the concept into reality, and finally its refinement over a period of time. 2. This process of conceiving and creating provides the creator of the bonsai a certain aesthetic pleasure accompanied by a sense of accomplishment. 3. A sculpture can be finished as can a painting. A living bonsai is never finished because it is continually growing and changing. a. It requires the constant application of artistic and horticultural skills to maintain its health and appearance. b. If a branch dies or is damaged and if it must be removed from the design, the rhythm and speed of the overall tree is changed and redesigning is necessary to compensate. c. If a tree dies in a group planting, consider leaving it as part of the composition. d. Consider placing a dead tree trunk or branch on the surface of a mature planting to show continuity of its evolution. e. A container may be broken or become otherwise unserviceable, requiring the repotting of the bonsai. This will again cause a change in the overall appearance of the tree and may require that some adjustments be made to the tree or to the soil surface to compensate for the changed container.
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Art and Esthetics of Bonsai, Continued NOTES B. In each stage of the evolution of the bonsai, artistic techniques, aesthetic considerations and horticultural principles have to be employed. V. DISPLAY AND PRESENTATION A. A bonsai should be displayed in such a way as to maximize the tree and to minimize its surroundings. Height, surroundings and background are all factors in displaying bonsai. 1. Bonsai should be displayed at a height which enhances the illusion that it is a mature tree in nature; middle of its trunk at the viewers eye level. 2. The bonsai may have an accessory displayed nearby which either blends or contrasts with the mood of the main tree. The accessory may be a rock, another but smaller bonsai or a small planting of grass or a succulent. 3. There may also be a scroll or other appropriate wall hanging in the vicinity to enhance the display. 4. The scale of each item in the display should be coordinated to harmonize rather than to conflict with the focal point, the bonsai. B. The area where the tree is displayed should be uncluttered; in relative isolation. The background should be plain and of a neutral color to not conflict with or detract from the tree. C. An appropriate container should be used and the tree it contains should be potted according to the principles of balance and proportion. The container functions like the frame of a picture; to enhance the composition but to not detract from it. 1. The container should be an appropriate size for the bonsai. There are various recommended proportions, the most common being that the length (long axis) of the container should be approximately two thirds either the 1-12
Art and Esthetics of Bonsai, Continued NOTES height of the tree or the spread of the foliage mass, whichever is greatest. 2. The container should complement the rhythm, texture, and color of the bonsai. D. The soil surface and ground covers should be tended without appearing to be artificially groomed. E. If wire remains on the tree the wiring should be done skillfully and not in such a manner as to detract from the appearance of the tree. VI. HARMONY A. The result for which we all strive is harmony. Websters New Twentieth Century Dictionary defines harmony as: ...fitting together, agreement, a combination of parts into an orderly or proportionate whole, congruity, proportionate arrangement of color, size, shape which is pleasing to the eye... B. Harmony in a bonsai composition is achieved by the application of various artistic techniques, many of which are summarized in a slide/tape program titled, Harmony in Bonsai. C. The next chapter in this Syllabus explores harmony further. VII. SUMMARY A. Bonsai is a horticultural art form. Horticultural principles keep it alive and healthy and artistic principles make it attractive. B. Many factors contribute to a bonsais appearance of great age. C. The artistic and aesthetic appearance of the bonsai are enhanced by the rhythm, or the visual flow of the composition. 1-13
D. Correct proportions not only serve to unify a composition but send subliminal messages about the tree to the viewer. E. A bonsai, living, growing and ever changing, is never finished.
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HARMONY in BONSAI
Chapter 2
NOTES I. OBJECTIVES As a result of studying this section of the Intermediate Bonsai Syllabus , studying APPENDIX C - Harmony, viewing audio visual presentations, or participating in other activities provided by an instructor, you will be able to: 1. Define harmony. 2. Discuss the concept of harmony as it applies to bonsai, to include: a. b. c. d. e. e. f. Understatement Perspective Line Balance Soul and spirit Nature and natural appearance Display of bonsai
II. GENERAL A. An expanded discussion of Harmony is included in APPENDIX C to this Syllabus. B. Definitions 1. Harmony. Harmony means fitting together, agreement, a combination of parts into an orderly or proportionate whole, congruity, agreement or proportionate arrangement of color, size, shape, etc., that is pleasing to the eye. It is an affirmative emotional response for which bonsai artists strive.
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Harmony in Bonsai, Continued NOTES 2. Bonsai. Bonsai is the art of creating a miniature replica of a mature tree or group of trees which could be found in nature. The bonsai artist attempts to create an illusion by changing normal plant material into a mature tree. III. ELEMENTS OF HARMONY Various elements, concepts and conditions contribute to the existence of harmony in a given composition. They include: understatement, perspective, line and its continuity and rhythm, balance, and the soul and the spirit of the creation. These will be discussed briefly here. See APPENDIX C for more details. 1. Understatement. There is a basic aesthetic premise in the Orient which states that the less powerful a thing may be, the more effective it can be. Empty space is as important as filled space. 2. Perspective refers to a method of organizing forms in space to create an illusion of depth on a two dimensional surface, or of greater depth in three dimensions. Perspective in bonsai is used to further the illusion that the bonsai has greater mass, greater age and greater maturity and is in a much larger environment than is really the case. 3. Line in art refers to a series of points which cause the eye to move along a particular path. It controls the way we view a particular composition. The visual movement along the path created by these points of interest should be smooth and fairly continuous to preclude the eyes becoming confused and lost in the composition. 4. Balance fosters harmony. However, unlike much of Western art, Oriental art, on which bonsai is based, relies on asymmetrical balance rather than on symmetrical balance. 5. The soul and the spirit. Many years ago an early Chinese art critic attempted to establish a criterion by which to 2-2
Harmony in Bonsai, Continued NOTES judge landscape paintings. In effect he said that a work of art may be technically perfect, exhibiting perfect technique in execution and workmanship, and it may follow all of the rules, do everything right. But unless it has a soul and a spirit, it has not been divinely inspired. This soul and spirit separates the great bonsai masterpieces from other specimens. IV. NATURES PLACE IN BONSAI HARMONY A. Nature provides our most basic lessons on harmony. Some of the greatest artists spent their lives studying nature. Mountains, streams, rocks and trees in their natural environment usually exist in simplistic harmony with each other and with their surroundings. The bonsai artist learns by observing nature. B. Natural Style. Bonsai styling should, within reason, reflect the natural growth habit, shape and form of a species. The bonsai artist combines horticultural and design skills to create a miniature replica of the tree which is in harmony with what might be seen in the wild. C. Illusionary Age. Bonsai present an illusionary age; they appear to be of a certain age regardless of their actual age. The trunk, branch and foliage mass should be compatible; consistent with the illusionary age which the bonsai represents. a. A Juvenile tree, 10 - 25 years old, has a slender trunk, little taper, upward sweeping branch growth, foliage in a ball shape. The ratio of lower trunk to branches is about 50/50. b. A Mature tree, 25 - 75 years old, has some taper in the trunk, ramification of the roots, greater trunk diameter and maturing bark. There is more foliage mass in proportion to the lower trunk. Lower branches begin to grow outward so the tree begins to get broader.
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Harmony in Bonsai, Continued NOTES c. Old trees, 75 - 250 years, have significantly heavier trunks and branches and the branches are more horizontal or drooping. d. The Ancient trees, 250 + years, have very heavy trunks, natural dead wood, open wounds, scars, mature bark and a crown which is broader and more rounded. It is just surviving with short branches, understated foliage close to the trunk. The trunk may be split or it may be squat and robust; almost as wide as it is high. V. HARMONY in the DISPLAY of BONSAI A. In the display of bonsai, concepts of understatement, space, perspective, visual movement, rhythm, balance, and natural appearance apply in order for there to be harmony. 1. Focal point. Each display and each segment of a display should have a bonsai as a focal point. 2. Empty space on a display table is as important as space which is filled. The empty spaces in front of, between and behind the displayed items establish perimeters or borders to assist the eye in remaining within the viewed grouping. 3. The background should be neutral. A cluttered background is distracting and makes it difficult for the eye to follow the line in the nearer image. 4. Triangulation is not only considered in the vertical dimension but also in the horizontal plane on the surface of the display table. 5. Stands must be in proportion to the bonsai being displayed and should complement the color, shape or texture of the item being displayed. B. Most of these concepts of harmony involving the display of bonsai apply to the outdoor display also. Plants should be 2-4
Harmony in Bonsai, Continued NOTES thoughtfully grouped, should have adequate empty space, should not be lined up side by side and should have a relatively non-distracting background. VI. SUMMARY A. A harmonious bonsai is one whose lines, shape, size, container and display environment blend together to present a beautiful coordinated scene. B. Various elements, concepts and conditions contribute to the existence of harmony in a given composition. They include: understatement, perspective, line and its continuity and rhythm, balance, the soul and the spirit of the creation, natural appearance, and its display.
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