Bonsai Diary Dates
|29 April 2013||Nepean Bonsai Society Annual Show
PCYC Hall,100 Station Street, Penrith
|11-12 May 2013||Illawarra Bonsai Society Annual Show
Sutherland Trade Union Club, Gymea
|18-19 May 2013||Canberra Bonsai Society Exhibition
Rydges Lakeside, London Circuit, Canberra.
|17-20 May 2013||26th National Bonsai Convention "The Australian Journey"
Rydges Lakeside, London Circuit, Canberra.
|25 May 2013||Bonsai Study Group, Annual Exhibition |
West Pymble Community Hall
Loftberg Road, West Pymble.
|2 June 2013||Forage and Feast Fair|
Penrith Regional Art Gallery
River Road, Emu Plains (The Nepean Club will have a stall selling trees, pots etc).
|8-9 June 2013||Bonsai by the Harbour |
Sydney Church of England Grammar School
Rowing Centre, Wharf Road, Gladesville
|6-8 September 2013||Illawarra Bonsai Society "The Tops" Weekend Workshop
Tops Conference Centre
Bendena Gardens Road, Stanwell Tops
Seminar of Seminars
Australian Associated Bonsai Clubs
13th Annual Seminar
19th. -- 22nd. May 2000
|Well our Seminar, Spectacular, Extravaganza call it what you will; has come and gone. Three years and more have gone into its conception.
At the start of a new century, the title we coined was apt:- ‘We go back to the origin, at the dawning of a new era’.
Our entire program was aimed from this direction. The B.S.of A. feels we must acknowledge the History and evolution of our particular Horticultural Art form.
We set the mood on The Friday night - Cocktails at the Chinese Gardens of Friendship this event went down well, as did the cocktails, but no need to worry: we were taken back by 3 buses.
Saturday morning brought a merging for the first time, the Art of Horticultural Sculpture and Play Acting. A short play in costume was performed, highlighting events from the Creation: to the Chinese Garden, Artistic Potted Plants to Penjing. Pun Jae in Korea and Tieu Canh (Tee u can) in Vietnam. Then on to the word we all understand:- Bonsai from Japan. This was chronicled by KRONOS, the recorder of events. This was an unique departure from the usual where an acting segment was introduced.
Following the Historical ‘Play’ Saturday’s Lecture/Demonstrations all focused on the Past.
Master Hu Yunhua took us back to China at the height of the classical Chinese interpretation of land Penjing. Using three 1958 cedars and various small underplantings in a white marble rectangular penjing tray, he created a vision that transported us back to the best of styling from the past.
We then had our Korean representative deliver "Suiseki, a brief History". Richard Kong, ably supported by his Son Peter, highlighted Suiseki History, appreciation and acquisition. The show and tell segment was at times, quite amusing.
‘Nature in the European tradition’ was the title: and Nick Lenz its presenter. Nick worked on a dark, almost black rock, reminiscent of the dark, middle ages. He then planted two Chinese elms on it. This represented the European era and its effect upon - and freedom for - Artistic interpretation. In particular Nick focused on the period of Germanic Romantism. This enlightened our knowledge of the renaissance and its importance to the future of art.
After an eventful dinner cruising Sydney Harbour, Sunday brought us into the present.
Again the first presentation focused on learning. In particular we follow the progress of a potential bonsai enthusiast. Ingrid Bauer is the student, at the beginners class. We follow Ingrid through time from Basic, Intermediate, Advanced 1 and 2. Her teacher Dorothy Koreshoff explains at each stage the student reaches, how to condense time in order to achieve more mature results over a period of five years. This departure from the norm kept the audience entertained whilst acquiring knowledge as well as amused by relating to the their personal earlier experiences.
Nick Lenz escalated us from the contempory to the future, with a presentation of anticipation for what the future could reveal. "Nature as pure form" was a masterpiece of foresight. The materials used to enable Nick to explain pure form were a more mature hornbeam and a bowling ball. Blue if you please.
If we use the Art principles to style our bonsai, a reversed taper is not artistic, but when Nick showed how to make it so, futuristically in this case, by reducing their combined outlines to line, it all made sense. A round ball on top of a long (tray) a v indent to the top right of the ball where the trunk emerges from the ball became a simple work of art diagram. It was a delightful experience to see how simple form can and should be used as a guide to the future development of our Art.
The early afternoon Show & Tell presentation of display by Val Allan & John Marsh consisted of three tokonoma type units. The title being "Ancient - Traditional - Contemporary".
The ancient display featured the Chinese aspect. Moon Gate, Towering rock and water background. Importance to the Chinese of rocks, plants and water, real or simulated in combination with the flat marble trays was also.
This aged style of landscapes took us back to the beginning of our form of "dwarfing trees" as it was once described.
Traditional Japanese Display in all its simplicity was a delight.
Viewing the craftsmanship of all three displays was worthwhile without the added information, which was a bonus.
The Contemporary display featured an ultra modern arrangement with an innovative way of displaying a bonsai indoors. But, of course we all know for a few days at the most. A very innovative and different aspect.
To round up the Seminar, China’s Master, Hu Yunhua brought present day Chinese Penjing styling using carved pumice. A extremely low edged oval marble tray with the pumice panted with a variety of small plants wasthe main focus. A planted medium /small piece of pumice was added as also many small pieces and figures were added. A beautiful masterful was a fitting finale to an event that has gone down in history.
P.S.The Chinese Garden has earmarked this masterpiece for its Garden.
The display area was housed in four large lecture rooms, with six different ethnic interpretations of bonsai. A passport had to be stamped in order to progress to the next "country". This was a fun feature, providing a great memento & keepsake of the Bonsai Journey.
As one entered old China, Penjing of the period was displayed. Proceeding through the room, one passed dimensional three peaked mountains as a backdrop plus applicable artifices. Once passing the moon gate you travelled through time to the contemporary Chinese design. This gave viewers an appreciation of Chinese background of our art. Dorothy Koreshoff & Max Blanco designed the Chinese room.
Passports were then stamped to pass into Korea. This took us from China to a variant aspect of Penjing as it translated to Pun Jae. Richard Kong was in charge of the Korean section.
Our passports were stamped as we crossed over to Japan. Much technical and artistic skill by John Marsh went into the design. John was more than ably assisted by Kym James, and together they were able to create the best of Japanese display. Its authenticity was fantastic.
We then travelled South to Vietnam. Where the miniature plants became Tieu Canh, here we felt we had really left Australia. We all marvelled at the quality of their plants but the display itself was unbelievable. I am sure none of us have ever seen such an overwhelming display. Quan (John) Tran in costume, headed the small team of their main members.
Upon legally entering the Northern Hemisphere, featuring English, European and North American influences, we catch the last stages of autumn as we enter a section, which is decorated with autumn leaves, both on the floor and on the bonsai. We find as we turn that we are in the depth of winter. Snow is covering the benches, with dimensional Snow Mountains in the background. All is icy blue and white with ice and snow. This vision then moves on to late winter /early spring. Ingrid Bauer, and Ian Smith produced the wonderful feeling.
We cross the equator to find Australia in the Southern Hemisphere. Benches covered with cowhides and artistically aged palings. Rusty corrugated tin as a backdrop, an old paling door with rusty hinges and rusty old farm tools all set the scene for an amazing display of our native bonsai. All this with koalas in gum tree bonsai and bales of wool and straw. But could there be more? What about gum trees as a section of backdrop. A Lee Wilson creation. Native Bonsai were provided though the courtesy of the Waverley Bonsai Society of Melbourne.
All this could not have been achieved without the many unrecognised assistants who worked tiredly but tirelessly all through the night without sleep, and yet fronted up ready to go on Saturday morning.
Master Hu Yunhua
John Marsh and Val Allan