WP: Tradition in bonsai

I just found this. I must have written it in 2002.

Walter Pall

I have an ambiguous relationship with bonsai tradition.

First, it is the foundation on which we all build. It is where bonsai as we see it today comes from. To many it is bonsai; there just is no other way to do bonsai for them. We owe it to tradition that we can see bonsai as fine art which is spread all over the world now.

I believe that every bonsai enthusiast must learn as much about the bonsai tradition as possible, it is indispensable. I think what is called "classical bonsai" is by and large what shows our tradition. There are traditional, classical forms (usually called styles) which are designed in the classical style. It is a style that works toward building the ideal tree; an abstraction that shows the ultimate tree. Every bonsai designer must learn how to style trees in the traditional forms with the classical spirit.

Besides the styling of trees there is a whole bundle of other traditions in bonsai. It is the pots and the way of potting, the display in a tokonoma, with stand, accent object and scroll and a lot more. In the spirit of Asian art it is absolutely acceptable and expected that others try to copy the well known masterpieces and all aspects of the tradition. Every divergence from this path is questionable.

The other side of the coin is that this is just not my tradition. It is an Asian tradition, mainly a Japanese tradition. While I have the highest respect for it, I wonder whether bonsai in my part of the world is about rigidly following a foreign tradition and, if it is, whether it is then worth my time. Well, I don't really wonder, I just refuse to accept this. I believe that the Asian tradition can be used as a great starting point, and then we go from there. As long as westerners try to copy Japanese masterpieces, bonsai is not a universal art form at all. Copying is not considered art in the western tradition. An artist must be creative and that goes beyond copying. We must find our own ways, which might become tradition eventually. One starting point would be to question the underlying philosophy of traditional bonsai; of creating and ideal tree. I am well aware that this opens the door for all sorts of nonsense and atrocious creations. I am also well aware that this notion is not helpful for the average bonsai enthusiast who looks for help and reassurance. But it opens the door at least and enables us to create art and not just copies. One must, however, always keep the deep respect for one's teachers.

shohin display

I was asked to provide 15 to 20 shohin for an upcoming shohin exhibit in Bavaria, Germany. They just wanted the trees with stands. Now how many small stands does one have? Anyway, since quite a while I was contemplating the possibility to show shohin in a modern way. I am just not smart enough for these rules and regulations that one reads about exhibiting shohin. And I don't have the tables nor scrolls. But I think I have a feeling how I would exhibit small artifacts in general without any reference to bonsai tadition. So I had a couple dozen of these acrylic blocks made. They are very well done, look professional and are water proof.

These are my first tries. One set for broadleaved trees and the other one for conifers. I am sure traditionalists will tear me to pieces. Well, this is my first try and I possibly will improve this. But I will certainly not change it to traditional.

The conifer one does not please me really, while I like the broadleaved one. So we will have to try a bit more.

mugo pine #11

Recently I have cleaned this mugo pine, Pinus mugo. Then I have plucked all the old needles. The needles have become very short and almost all of equal size. I am happy with this. But now someone will have to wire the whole tree again. It is becoming too dense looking, too much like a round ball. We need structure and some negative spaces here. So there is something to do within the next weeks.
The last image is as of summer 1995.

hornbeam #1

European hornbeam, Carpinus betulus. lat image as of 1995. This one will be exhibited at BMW soon.

field maple #2

Field maple, Acer campestre. Last image as of spring 1993.

Ezo spruce show ready

Ezo spruce, Picea jezoensis. This is one of three trees that I will bring to the "30 best bonsai in in Europe" in October to Mulhouse in France. When I chose this one I thought that i would exhibit it with all the wire on. Well, It would not have been as nice as it could be but I thought that the wire could still stay on until September 2011. Then the branches would be fixed for quite a few years. You can leave wire on old spruces for two or three years. When you take it off hey will go back a bit and ignore the new shape. Anyway, this was my thinking. But then I thought that if it really should be exhibited as one of '30 best bonsai in Europe' I must do a bit more. So I took off the wire and thought that I would have had to partially rewire it again. But now it looks great without wire and I will show it just like this in France Before it will go into the BMW exhibit which starts next week again.
Last image as of May 2008.

plum with fruits

Wild plum, Prunus spec.. This one gives em a lot of joy.

Scots pine #3

Scots pine, Pius sylvestris.I have plucked the old needles and edited the tree a bit, took off some guy wires. Now I feel it is show ready again. I am contemplating of bringing this to bonsaiautumn in Switzerland in October. Last image as of July 1995.

Cembra forest

This forest has come a long way. Now it starts to look decent. Cembra pine, Pinus cembra, all collected trees from 5 to 80 years old. The highest one is 90 cm. So it's HUGE.

IBC thread

Read this Pots by Mateusz Grobelny and say what you think.