Modern Bonsai Style vs. Naturalistic Bonsai Style

[Walter Pall]

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Walter Pall​

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This tree is owned by Horst Heinzlreiter - it was finally styled by Michael Rinnerhofer. Michael asks what I think of it. Here's my response: I told Horst the following: This is clearly "Rinnerhofer", it's modern mainstream style executed excellently, very good. For my personal taste, it's far too precisely styled, clearly man-made and no attempt to create a real tree, but a successful attempt to create a very good modern bonsai - and it certainly does NOT look like a real tree. Currently, this is considered the pinnacle of bonsai art. The question is whether this will remain so, or if a shift will occur, as has always happened in art. However, coexistence of different bonsai styles on equal footing is foreseeable and almost already achieved. The bonsai community is, as always in art, several steps behind and must catch up with taste. That means we are not enemies because we work with clearly different tastes, but we are allies - bound by art and we respect what each other does and respect each other as individuals. The modern, somewhat derogatory "plastic style" is completely misunderstood in my opinion. It is seen as the result of very long and precise work, and what emerges after days and weeks is the artwork. I believe it is NOT, but rather an intermediate phase leading to the artwork. That is, the trees remain like this for two to three years. Then the wire is removed. Then they are allowed to grow without wire for another two years. Needles are plucked back so that all clusters are the same size. Too long candles are partially broken off. Minor corrections are made with thin tension wires. However, the tree slightly reverts to its wild state - and suddenly looks "real", authentic. As if it were shaped by nature through a stroke of luck. That means the hand of man becomes less and less visible. Somehow it looks almost "naturalistic", only much more beautiful and just slightly sloppy. That is the artwork towards which everything is heading, in my opinion. A big mistake made then is to "style" the tree again and take away its painstakingly acquired naturalness. Of course, one can have a completely different opinion without having to argue.

 

[Walter Pall]

The man is NOT Michael Rinnerhofer, but my dear assistant and business partner Thomas Haering.

 

[Bonsai Forest]

Thoughtfully stated.

Mr. Paul, in a paragraph, how would you describe your philosophy and style of bonsai?

 

[Cajunrider]

Thank you for your post Walter. I have always admired your naturalistic style. This post shows the direction on how that can be achieved. This is much appreciated.

 

[JRBonsai]

I think this shift towards a more natural or liberal esthetic is already happening, especially in the US and -as with anything gaining momentum there- Europe follows suit.
The overly stylistic or plastic refinement in bonsai already seems to be a lot more dated, listening to the general consensus of most contemporary bonsai artists.

One important theme I hear alot amongst (newer) bonsai artists is the desire to represent one’s own natural environment with the creation of a bonsai. It’s not so much about creating an almost ethereal ideal (like the Japanese). In the West, we’re starting to become much more appreciative of the beautiful part of the world we live in and want to recreate that in miniature. As a result, people are increasingly more accepting towards using native material as opposed to the more traditional species for bonsai.

I was frankly a little surprised to read you referring to the “modern style” as being plastic and almost AI-like perfection. Personally I would consider your approach to design much more the modern standard.

 

[Walter Pall]

The man is NOT Michael Rinnerhofer, but my dear assistant and business partner Thomas Haering.

This is my philosophy in action

I was frankly a little surprised to read you referring to the “modern style” as being plastic and almost AI-like perfection. Personally I would consider your approach to design much more the modern standard.

I cal lmy style" Post Modern" - then everything comes together. Rainer Goebel oince asked me in such a conversation why the heck I try to find something new while the existing is very good and everybody is happy with it. Why would I rock the boat?
Well, I have the suspicion thet Rainer did not know too much about "Real Art" out there. When everybody was happy with an art style then this was a sign of piviot.. The new is not bettter, it is differentt and new. After a pivot often very different. After a while lthe crowds change their taste dramatically and what was wonderful yesterday becommes instantly old- fashioned.

Or so, or not - just my silly thjoughts.

 

[JRBonsai]

I cal lmy style" Post Modern" - then everything comes together. Rainer Goebel oince asked me in such a conversation why the heck I try to find something new while the existing is very good and everybody is happy with it. Why would I rock the boat?
Well, I have the suspicion thet Rainer did not know too much about "Real Art" out there. When everybody was happy with an art style then this was a sign of piviot.. The new is not bettter, it is differentt and new. After a pivot often very different. After a while lthe crowds change their taste dramatically and what was wonderful yesterday becommes instantly old- fashioned.

Or so, or not - just my silly thjoughts.

Yes exactly, what you described is simply the cadence of any form of art, it’s as old as art itself.
It makes sense though, as our brains have evolved to notice anomalies rather than mundane things. What used to be ”ahh sugar, is that a massive bear about to charge my cave?!” has turned into ”Oh blimey, Walter Pall’s JM is neither a clump style nor a broom style, what’s happening?!”