markyscott
Imperial Masterpiece
What a sensitive interpretation of that exhibit, Hoe. No idea if that's what the artist meant to convey, but I had a new appreciation of that display after your suggestion.
Scott
2016 US National Bonsai Exhibition
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What a sensitive interpretation of that exhibit, Hoe. No idea if that's what the artist meant to convey, but I had a new appreciation of that display after your suggestion.
Scott
MACH5
Imperial Masterpiece
Yes! Excellent take on it. I'll buy that one Hoe!
Vance Wood
Lord Mugo
And sometimes a cigar is just a cigar? Just kidding.
klosi
Shohin
Are there any pics of prizewinners? Or did I miss that somewhere?
Was taking photos allowed?
Was taking photos allowed?
markyscott
Imperial Masterpiece
http://www.bonsaiempire.com/blog/5th-usnational
Also, be sure to purchase the book(s). Each tree in the exhibt was professionally photographed and will be in this book. I have all four and will get the fifth as soon as it's out.
http://www.internationalbonsai.com/page/1442819
Scott
coh
Imperial Masterpiece
I'll second that, the exhibition books are awesome. I have 2 through 4, missed out on the first unfortunately...but soon will be adding #5. In addition to the great photos, each tree has a short description, which can include information about the species and the history of that particular tree.
Vance, that is also one way to look at it. It is all within the eyes of the beholder.
Andrew Robson
Shohin
Using your comparison, say the Great Wave was entered in an art exhibition about boats. Is the painting really about the boats, or is it about the wave?
I study and practice traditional bonsai, so I didn't care much for the display. In traditional bonsai, Wabi-Sabi plays a crucial role. Some words associated with WabiSabi are: humble... unassuming... non-flashy... subtle... worn by time... quiet... lonely...
To me this display read the opposite: loud... flashy... new... attention-seeking...
Now I don't have a problem with people experimenting and working outside the realm of traditional bonsai. I personally prefer and find it much more challenging to experiment and push the limits within the realm of traditional bonsai, but that being said... I did wish that the tree used for the wood sculpture display matched the quality of the other trees in the show. I applaud the craftsmanship that went into the wood piece, I just wish that same craftsmenship went into the bonsai displayed with it...
Cheers!
Very true, Andrew.
I'm not a cascade fan, for the most part. I do have one I'm working on. But I have seen some fabulous cascades that if they were in that wooden wave they would knock my socks off!
Brian Van Fleet
Pretty Fly for a Bonsai Guy
Ironically, this piece remains the talk of the thread among the traditionalists, long after the show is over.
barrosinc
Masterpiece
So... 2015 the year of the vacune cleaner larch... 2016 the wave...
Andrew,
I very much prefer the traditional display which has withstood the tests of time. Nevertheless, the judges suggested creating this innovation award, I think it is a double-edge sword. Will it encourage display innovation which still emphasizes tree in harmony with every elements in the display, or will the tree take a back seat? I don't know.
Robert Stevens pushed the envelope in last year's Indonesian show displaying bonsai within a picture frame, it was repeated in several European shows. It was fresh looking the first time, but become tiring to look at after several repetitions.
As for comparing it to Hokusai's Waves, it was a resonating thought with my prior experience. I have this print on my wall for about 45 years, it never tires me looking at it repeatedly. For the "Wave" display, I looked at it once, interesting, but did not come back or look at it again even when I passed through the aisle. What I just said is not a disrespect to the judges and the creator, there were just so many great trees to look at.
At the Artisans Cup, I like Michael Hagedorn's vine maple very much. It also struck me as his tribute to an artist of another artwork using bonsai as a medium. Later Michael told me it was not, I very much appreciated his explanation, and it was the power of an artist's creation which strikes viewers differently when we first see it. Is it a bird, a plane or Superman? It all depends.
I very much prefer the traditional display which has withstood the tests of time. Nevertheless, the judges suggested creating this innovation award, I think it is a double-edge sword. Will it encourage display innovation which still emphasizes tree in harmony with every elements in the display, or will the tree take a back seat? I don't know.
Robert Stevens pushed the envelope in last year's Indonesian show displaying bonsai within a picture frame, it was repeated in several European shows. It was fresh looking the first time, but become tiring to look at after several repetitions.
As for comparing it to Hokusai's Waves, it was a resonating thought with my prior experience. I have this print on my wall for about 45 years, it never tires me looking at it repeatedly. For the "Wave" display, I looked at it once, interesting, but did not come back or look at it again even when I passed through the aisle. What I just said is not a disrespect to the judges and the creator, there were just so many great trees to look at.
At the Artisans Cup, I like Michael Hagedorn's vine maple very much. It also struck me as his tribute to an artist of another artwork using bonsai as a medium. Later Michael told me it was not, I very much appreciated his explanation, and it was the power of an artist's creation which strikes viewers differently when we first see it. Is it a bird, a plane or Superman? It all depends.
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Let me first state that I hope your study is going well, that you are enjoying yourself and that you are learning a lot!
The notion of Traditional Bonsai being Wabi-Sabi is intriguing to me... and have for some time been questioning if in fact this is actually the case?
Will explain, of course...
By "Traditional Bonsai", in the sense of the word... some would assume this to mean Japanese. I say some, because nowadays the term Bonsai has come to be known as being somewhat of a universal term for the art of let's say for the sake of this discussion "miniature trees"... Where often times things like Penjing, the Chinese version of the same art, are lumped together by most ... into one big all encompassing group.
This is understandable seeing that for all intensive purposes different versions of the same art are so intertwined. Over the centuries, the Japanese have borrowed from the Chinese, as well as vice versa, and a whole lot of other countries have had their impact as well.
Some examples of this "borrowing" are easily apparent in what most would think to be Japanese... but in fact have their origins in the Chinese version of the art. Examples of which are things like Root over Rock Plantings, Slab Plantings... these are easy, seeing that most understand that Penjing deals with rocks... but, there is much more that is not as equally understood.
The whole concept of the Chinese creating Penjing goes back to the Toaist (Doaist), and perhaps even further, and even into possibly India. With the monks who were in charge of bringing nature and all of it's mysticism, a common thought of the time... that tree's and nature held power and the souls of those who had not left this world... to the Emperor.
The more bizarre, unique, weird, stange, old etc. The more power the tree had.
Now, the reason why I am saying this, is because one could easily argue that everything from, bunjin styled trees, literati, windswept, cascading trees and the list goes on and on... have their creation in Penjing.
Why? Because the Chinese were the first to study and try to mimic what they saw happening in nature. Novel thought? One could argue that their trees are in fact light years ahead of this whole western concept now of having more natural looking trees...
So, then what are the Japanese known for? And what is it then that one can say is definitively Japanese and not necessarily borrowed?
Easiest answer that most will give for an answer would be that they are known for their immense ramification, their tons of foliage (heads of broccoli), their attention to detail, and as most seem to say quite often... their subtlety.
Here is where I am conflicted... and where I think the work of the Japanese, could argue is anything but subtle...
Trees in nature almost never reach the intensity of ramification, nor the amount of foliage that the Japanese have been for a long time creating... Why? Because their foliage would shade them out and prevent them from doing so... and in fact they would do so with their Bonsai as well, if it were not for the attention spent by the artist trying to rectifing this problem.
So, in essence... one could argue that this in itself is not trying to replicate what one sees in nature... this is in fact, just the opposite. It is showing man's "dominance" over nature. And the artist's ego in the process. This imense ramification, and foilage is showing their mastered understanding of Horticulture, and using it in a way to manipulate their trees into being more perfect than what nature can for the most part create. They are known for this... and in fact fir the most part seem to judge the quality of one's work based on the fundamental ideas... Having the "Utopian" tree.
This is anything but Wabi-Sabi.
Now sure one could say we'll isn't all bonsai and even Penjing doing this... and the answer would be yes! Of course! But, to think that the Japanese are any more subtle, or Wabi-Sabi is just not correct... yeah, perhaps they might believe in having a more subtle pot, or stand... or even display. And as most would say, a less is more approach... but is this really true? Not sure that it is... It sure is not shown in their trees.
Which would be why folks like Walter Pall are probably arguing no heads of broccoli... and there is such a push for a more natural looking tree movement. Which funny enough is bringing us back to the basic fundamentals of Penjing.
If one wants to argue Wabi-Sabi... it seems to me replicating what is seen in nature, would more closely fit? Where branch structure and design is usually more subtle.
This is just my understanding and my opinion. ..
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Now, I know Wikipedia is not necessarily the greatest place to find the meaning of thoughts or ideas....
But it is interesting to read their definition and compare to the Japanese style of doing trees...
Wabi-sabi (侘寂?) represents Japanese aesthetics and a Japanese world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete".[2] It is a concept derived from the Buddhist teaching of the three marks of existence (三法印 sanbōin?), specifically impermanence (無常 mujō?), suffering (苦 ku?) and emptiness or absence of self-nature (空 kū?).
Characteristics of the wabi-sabi aesthetic include asymmetry, asperity (roughness or irregularity), simplicity, economy, austerity, modesty, intimacy, and appreciation of the ingenuous integrity of natural objects and processes.
But it is interesting to read their definition and compare to the Japanese style of doing trees...
Wabi-sabi (侘寂?) represents Japanese aesthetics and a Japanese world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete".[2] It is a concept derived from the Buddhist teaching of the three marks of existence (三法印 sanbōin?), specifically impermanence (無常 mujō?), suffering (苦 ku?) and emptiness or absence of self-nature (空 kū?).
Characteristics of the wabi-sabi aesthetic include asymmetry, asperity (roughness or irregularity), simplicity, economy, austerity, modesty, intimacy, and appreciation of the ingenuous integrity of natural objects and processes.
Andrew Robson
Shohin
Stacy,
You're right, a lot if not most of Japanese culture was most definitely inspired by China. Japanese inspiration for Wabi Sabi came from Chinese poetry and ink paintings in the 9th and 10th centuries. One of the most obvious expressions of wabi sabi in japan was with tea. One tea master, named Rikyu, worked to transform the expensive and flashy Chinese ceremony to a more rustic and simple setting, using ordinary utensils in a simple room. His work was so controversial that he was forced to commit seppuku. WabiSabi started to diminish with the rise of the flashy taste merchant class, only to resurface after WWII.
WabiSabi is mostly used when talking about bonsai display, rather than bonsai design. While elements of WabiSabi can show themselves in bonsai design, they are more frequently discussed when it comes to display.
Traditional display is: suggestive rather than obvious, understated, items with age (old tree, old pots with patina, simple stands, even old accent plants that are pushing themselves out of their pots, subtle & faded scrolls rather than bold new ones).
My teacher's artist statement sums up traditional bonsai aesthetic perfectly.
"Beautiful things don't ask for attention."
James Thurber
Cheers!
You're right, a lot if not most of Japanese culture was most definitely inspired by China. Japanese inspiration for Wabi Sabi came from Chinese poetry and ink paintings in the 9th and 10th centuries. One of the most obvious expressions of wabi sabi in japan was with tea. One tea master, named Rikyu, worked to transform the expensive and flashy Chinese ceremony to a more rustic and simple setting, using ordinary utensils in a simple room. His work was so controversial that he was forced to commit seppuku. WabiSabi started to diminish with the rise of the flashy taste merchant class, only to resurface after WWII.
WabiSabi is mostly used when talking about bonsai display, rather than bonsai design. While elements of WabiSabi can show themselves in bonsai design, they are more frequently discussed when it comes to display.
Traditional display is: suggestive rather than obvious, understated, items with age (old tree, old pots with patina, simple stands, even old accent plants that are pushing themselves out of their pots, subtle & faded scrolls rather than bold new ones).
My teacher's artist statement sums up traditional bonsai aesthetic perfectly.
"Beautiful things don't ask for attention."
James Thurber
Cheers!
Victrinia Ridgeway
Omono
Dan's tree is a Mountain Hemlock. The stand worked fine because Daniel knows its limits... I was dubious myself at first, but that man could balance an elephant on a pin. Which is about what that must have felt like for you. I'll post a photo of it when I can get my phone to cooperate.
Andrew Robson
Shohin
I love the vine maple tower we have in the yard! It's a good example of a revolutionary work within the limits of traditional bonsai. It's compositions like this that made me want to apprentice with Michael.
Michael with bonsai is a bit like Chopin with music. As one critic described of Chopin's revolutionary compositions at the time, "it's guns buried in flowers"
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Let me say that of couse I am not arguing... with you, we are just having a discussion...
I understand what you have written and agree that yes, the logic behind most who come at the art of miniature trees from more of a Japanese style is as you say it is. This is true. And I understand this fully, as well as I appreciate the thought and logic behind it.
However, I am not quite sure how one having a feeling of Wabi-Sabi in their display, and not in their tree is much greater or equal to the reverse... Having a Wabi-Sabi in their tree, a very simple design... and having their display much more complicated.
With one the feeling is all the background should be calm and the tree should be crazy asking for attention... the other the background is crazy asking for attention and the tree is the calming feature... the focal point that brings relaxation.
To me this is just two sides of the same coin. One is the world is calm, but the tree is crazy... the other the world is chaos, and the tree or nature is calming, so to speak.
I am not sure it would be at all fair to say as your teacher has said, that beautiful things don't ask for attention in the case of either type of display. This is suggesting one is somehow better and suggests your teacher has only seen one side of the coin.
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rockm
Spuds Moyogi
It's kind of obvious that Chinese penjing and Japanese bonsai are two side of the same coin.
The Japanese brought restraint to bonsai. That is their "signature" on the practice. The modern bonsai "ideal" is, as Andrew pointed out, is also bound closely to "Wabi-cha" tea ceremony esthetics.
https://en.wikipedia.org/wiki/Sen_no_Rikyū
The Japanese didn't just "copy" the Chinese. They made bonsai their own, using their culture to translate its meaning to their culture. Doesn't make it "better," "worse," or in competition with Chinese penjing. They are different interpretations of the same thing.
Penjing and Japanese bonsai can be taken to extremes, and sometimes are--green pile of donuts and screaming messes of mudmen, miniature pagodas and herons.
Good Chinese Penjing can embody the qualities as a quiet, unadorned Japanese planting.
"I am not sure it would be at all fair to say as your teacher has said, that beautiful things don't ask for attention in the case of either type of display. This is suggesting one is somehow better and suggests your teacher has only seen one side of the coin."
I think you miss the meaning. The teacher wasn't being judgmental, but offering what is at the heart of traditional Japanese bonsai and display. It is a core principal of that culture's esthetic.
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