Going to Bonsai Art School, who wants to come?

I saw this tree this summer and it still looks impressive. This particular tree with all of the different mosses, underplantings and irregulars makes the tree almost a
Saikie, a miniature landscape. This bonsai is one of the best in the country.
 
Well, I guess the vanishing point is kind of obvious. I mean there's a path leading back that pinpoints it...
 
Also interesting to note the creator also included two small trees underneath the tall trees in the foreground. They aren't really part of the force, but they play a role. They're meant to give scale and a bit of depth to the towering trees above them.

BTW, I wish I could remember who made this planting. It's not listed in the National Bonsai Foundation's list of the American Collection where this is displayed. The donor is listed on the plaque at the museum though. I just can't remember the name, but vaguely remember it's a West Coast donor. Material is foemina juniper (for real ;-))
 
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John Naka, one of the most prominent pioneers of bonsai in America.
 
John Naka, one of the most prominent pioneers of bonsai in America.
Don't think it is Naka's. All of his are in the front of the exhibit. This one is in the back.
 
You may be right it is very much like Goshen but it is not Goshen. I seem to remember that Naka-san made a couple of versions of the composition and this may be one of them. I'll have to go through and look at my pictures and see if I can find the name legible on it.
 
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They look Goshin-y because they're the same species. I'd put money on the "Not Naka" Whoever put it together was, or is, talented enough to include details that add exponentially to the composition, but are far from obvious. Like the lump of rock in the very back on the left that is meant as a distant mountain peak. The ground cover is spectacular too.
Another detail--the primary tree is not really in the front of the composition. It recedes behind smaller trees, adding to its imposing character.
Another--the overall amount of negative space in the composition is pretty large, further strengthening the perception of a vast space. Negative space and asymmetric tree placement are two of the most overlooked aspects of compositions like this. Both are the keys to the artistic kingdom in bonsai.
 
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I think it's the main/number one tree of each, plus the "look" of the foliage pads. If not Naka, then inspired by Naka.
 
You may be right it is very much like Goshen but it is not Goshen. I seem to remember that Naka-san made a couple of versions of the composition and this may be one of them. I'll have to go through and look at my pictures and see if I can find the name legible on it.

Nope. Mas Moriguchi...Found a reference
https://commons.wikimedia.org/wiki/File:Foemina_Juniper_bonsai_267,_May,_29,_2011_-_Stierch.jpg

Here too
http://bonsaitonight.com/2010/11/26/national-bonsai-and-penjing-museum-north-american-pavilion/
 
Yup one of Mas's plantings. He was one of John Naka's early students, one of my teachers and the sweetest guy one could ever hope to meet. So happy to see this looking so good.
 
Forest bonsai are about "forced perspective" intended to create a feeling of depth where there isn't much.

As Vance said, smaller trees are at the back and sides because in a wider real life landscape, those "smaller trees" would be farther away from the viewer than the trees directly in front of the viewer --which appear larger.

This planting at the National Arb. is one of the best I've seen at fooling the eye into perceiving vast depth in a small space. It doesn't convey as well in the photo, but it does if you're standing in front of it. It's also big (which amplifies the forced perspective). Tallest tree is almost three feet.... The right side is supposed to look "closest" to the view. The left is supposed to be seen as a slope away from the viewer--the tiny tree in at the back whose base can't be seen is a nice touch that deepens the feeling of distance.
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Looking at this again.....from this.....far view......

I start not liking the 3 big trees......
The small ones however.....look incredibly large and old.....and those 3 look like out of place aliens.....

Now.....if I were looking at it......with my eyes at the level of the red dot by IronBeav.....I think it would look totally different.....making the small trees further below the hill.....and adding some vanishing taper to the 3 uglies....therefore....making it beautiful again.....

I think this is a near view planting....

Any lower pics?

Sorce
 
Ok, I don't want to be the party pooper but seriously you guys wasn't the goal of this thread to start a new forum about some sort of 'art related topics' and that all the discussion about the perspective and so on should be a thread in this new forum instead of a discussion on this one?

After all the point of starting a specific forum was to avoid that this kind of discussion fall into the limbo, like all the other one there were until now, precisely because they weren't related to a specific forum...
So do we start the freaking forum or what?

Or may be I'm just missing the point :)
 
Ok, I don't want to be the party pooper but seriously you guys wasn't the goal of this thread to start a new forum about some sort of 'art related topics' and that all the discussion about the perspective and so on should be a thread in this new forum instead of a discussion on this one?

After all the point of starting a specific forum was to avoid that this kind of discussion fall into the limbo, like all the other one there were until now, precisely because they weren't related to a specific forum...
So do we start the freaking forum or what?

Or may be I'm just missing the point :)

Very artistically put....

Sorce
 
Ok, I don't want to be the party pooper but seriously you guys wasn't the goal of this thread to start a new forum about some sort of 'art related topics' and that all the discussion about the perspective and so on should be a thread in this new forum instead of a discussion on this one?

After all the point of starting a specific forum was to avoid that this kind of discussion fall into the limbo, like all the other one there were until now, precisely because they weren't related to a specific forum...
So do we start the freaking forum or what?

Or may be I'm just missing the point :)
Man... tuff crowd!

Yes, the idea was to start getting some threads going regarding different basic fundamentals of art in the hopes that we might be able to examine how they could be used in bonsai.

It is my personal feeling that when one is a student of any other type of Art, these fundamentals are taught in order to better understand as well as create the Art. There are whole curriculums based around them at major institutions, yet when it comes to Bonsai... other than some basics, and some horticulture, we have zip.

I think their could be a better way of learning... So, much so, that in fact I am actually considering writing a book upon the subject, in the hopes that perhaps their might be a more generalized approach to doing bonsai.

My own personal observation regarding how bonsai is often taught is to learn the basics, and then do the art. Often views of how to go about doing the art vary on so many levels from instructor to instructor... and even more often, these instructors will teach that this is how one should go about doing the process in order to make the good art... yet I feel their teachings have more to do with personal opinion, then actual foundations of what makes art good.

Would it not be nice to have more of a universal guideline to what is the requirements of establishing good art than a personal feeling?

In the rest of the Art world... these guidelines have been followed and understood and are universally excepted... one can look at a sculpture, a painting, a drawing and can go through a list of the basic fundamentals of art that I wish to discuss and write the book about, and see how an artist viewed or used them to their advantage... and we can critique them on these fundamentals... in Bonsai however... we have, well that's a cool tree. Ask one why? And you will get fifty different answers... none of them based much upon principals one can learn from.

So, it's coming, Lol!
Rome was not built in a day, and I am sure when the holidays came, it took even longer!
 
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The problem with a bonsai school of Art, so to speak, is determining who is going to run it, teach it, or control it? The Bonsai World in America today, near as I can tell, is pretty much driven or dominated by a few individuals. Not all of them get along very well and can be kind of territorial and clannish. To challenge what some of them say is to invite attack from their students in an organized manner. It's kind of like what is presented in the Karate Kidd movies portraying the dynamics between competing schools of Karate, each trying to chop the other into nonexistence. A bonsai version of a gang war. It can get pretty brutal.

I am not trying to discourage the effort just informing you of the as yet unseen obstacle.
 
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