Bonsai should be about the art side of horticulture!

It also means design – Artistic design at that! So what has light to do with the above? Well; it was noted by the early artistic pot plant growers presumably in China that their plants grew toward the light, so direction was being subconsciously applied. This can be an asset it can also be a problem depending if directional growth is unwelcome for your design. In these cases your directives will be to turn your bonsai from time to time in order to create a more uniform growth.

For example, take ground- growing trees. On a very exposed elevation, trees catching the full onslaught of strong wind are described as ‘windswept’

In a more sheltered position where the wind is more gentle or because of a windbreak, that tree could be described a ‘wind blown’, having softer rather than acute directional changes. However it has been established that there can be an unfavorable coupling of some trees. In these cases the leaning away from, or reaching for the light produces a different effect in which I choose to call leaning style.

Bonsai style is reaching the point where it needs to expand from the basic concept. Some directional styles such as ‘wind blown’ cannot be styled as wind swept, in my opinion there is a difference between slanting & leaning. My quest is the fine design of bonsai. It is your prerogative to chose the level of your direction & obsession of our horticultural art.

I also feel that ethnic variations play a part in the ultimate appearance of many Bonsai. Various ethnic cultures & intrinsic fundamental issues based on tree forms can be a valid part of the world of artistic container growing plants. ie, China appreciates form irrespective of its many guises; irrespective of art principles. Japan pays attention to discipline of techniques: again, not always staying with the balance of mass & space. Vietnam appreciates the natural ‘look’. Whilst South Africans are searching for an artistic version of the flat topped Acacias as well as the evolving: hopefully of a baobab form. Australia is well on its way in developing its own unique form of structure that will identify its origin. The most notable form is the Eucalypt. With its bare branches thrusting upwards: can be a study in line rather than massed foliage. The catch is: producing an artistic interpretation requires the eye of the artist.

Producing these ethnic ‘works of art’ requires thought given to the fundamental structure of ethnicity. Leaving the branches where they naturally occur and giving the result an ethnic label when in reality it is just an excuse for lack of knowledge or a ‘that will do’ approach to the Art side of the ‘matter’.

Choices for a well rounded Collection can include, if I say Japanese, it goes without saying, we have been indoctrinated by the Japanese with most of us striving for that look. To have a Chinese, African, Australian or whatever else style is worthy, then, why not?

I will carry on with various ethnic interpretations with the most prominent being Literati & Bunjin, but there are others as well. If I say ‘perhaps it’s time to move on’; as some in China & Japan have realized. The world of bonsai is shrinking, by becoming closer & more homogeneous, ethnic influences plays a part. Why shouldn’t it ? Japan imposed their ethnicity upon the Chinese version in the epic journey.

Nothing stays the same. Tradition belongs to the past. Whilst some people move onwards, there are others, who stay with tradition, regarding the ‘movers & shakers’ as radical upstarts. Up to a point I will agree with this statement for only the most artistic will be able to vary the guidelines. Information & knowledge were the ultimate for the time. With each generation, restraint was placed on the new information. We never learn! Remember the past by all means, it is a point of reference to be able to “ see” how far we have progressed. My interpretation of tradition is: being in a state of ignorance. Next, The sub styles....

It is very obvious to many that there IS now a great difference between the two styles. In this tip I will deal with Literati. In its purest form (rather than the insignificant) it can be unrivalled with its beauty & character. Some growers use the term as an excuse for using a plant that no other style would want to know about. It should never be formed with a straight trunk without movement & character. The ideal trunk will have movement involving hardship & struggle, eventually reaching a state of wisdom. The foliage will be spare with the essence of frugality. Just a few well placed branches possibly crossing the trunk; tests the balance and artistry of the designer.

Yuji Yoshmurra coined the term, despite opposition from his co-author who favoured calligraphy tree. Every bonsai has a story. The tale of the Literati is one of survival: rising from disaster with grace & dignity. Next tip, Bunjin....

The current ethnic variation to bonsai forms, will deal this month with the controversy associated with the form of Bunjin, as opposed to the Literati. As I have previously stated; there is a difference!

Bonsai came of age at the point when the are, or stage of Tradition became a point of reference. As the bonsai information explosion erupted, we move on; Radical for its time was the classification of its structure being based on the apical degree. Yuji Yoshimura called this advancement as Neo Classical to Contemporary.

So the time has now arrived for those basic styles to be sub defined to eliminate judging disturbances, as has previously occurred. Bunjin captures the Japanese character more strongly than the Chinese, therefore their interpretation of the more character based, structural Literati epitomizes the ‘softer’ approach of the Japanese nature, symbolized by exterior façade perfection. So what then is Bunjin & how to recognize it?

Usually to a slight or greater degree, the learning or slanting trunk-line has perhaps fewer, conforming placement of branches being arranged higher than the usual. Very often, the downward, rather than the more horizontal angle of those branches, have more profusely foliaged pads, trimmed to create a more, gentle silhouette. Study the look of the Japanese Bunjin in books: as opposed to Literati! Next, wind-blown V wind-swept....