Category Bonsai – General

Master, Apprentice, Enthusiast – Bonsai Education.

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It is generally accepted and published on various websites that an apprenticeship can take capbetween 2,000 and 12,000 hours to complete. The same websites mention that it will take between two and four years to complete an apprenticeship. It is also common knowledge that Bonsai cultivation apprenticeships can take many more years to complete than an apprenticeship for an electrician or a plumber. In my field of work, it takes four years to be trained as a teacher. This normally includes a three year degree programme as well as a one year professional Diploma in Education.

What do we get for all of this? You normally walk away with a piece of paper that announces that you are a qualified professional, a person that can do a good job to a good standard in your chosen area of studies. You also earn a salary. I have read somewhere that a Bonsai apprenticeship could involve 10,000 hours of work and study, mainly hands-on work under the supervision of a master. We usually find that apprentices in other fields of work also work under the supervision of a specialist or a master, at least a qualified person with ample experience. Let us break 10,000 hours down to get some perspective on the time factor.

I have found all over the internet that an apprentice should not work for more than 40 hours per week. We also anecdotally know that Bonsai apprentices work for much longer hours, especially those who complete their apprenticeships in Japan. Michael Hagedorn mh-bookhas written about this in his book which discusses his experiences as an apprentice in Japan. If we take a normal working week as a 40 hour work week, 10,000 hours will equate to 250 weeks and if we work for 50 weeks per year, this equates to 5 years. This is hard, physical work and one wonders why it takes so much longer than other apprenticeships. The only thing that I can think of is that it is so much more than just the technical aspects of Horticulture that must be mastered. The artistic and cultural side of things probably takes a lot longer to master than the mere application of wire, watering, pruning, fertilizing and a whole host of other things that are needed to keep a tree alive.

I assume that it takes many years of cultivating Bonsai before one can be considered to be a Master Bonsai Practitioner. How many years? I have no idea. Must you go through an official apprenticeship to work towards Master status? Anecdotally, yes, but again, I do not know, but can guess that it is not necessary. In Japan these things are controlled by the Nippon Society and I can understand why. There is nothing like that in other areas of the World. Does an apprenticeship in Europe or the USA, under a practitioner who knows his business and has a proven track record, carry the same status as an apprenticeship done in Japan? A Bachelors or Masters degree from a well recognized university anywhere in the world do carry the same status. Most countries now have a Qualifications Authority which assess these things and recognize similar qualifications across the globe. Is it time that the same happens for Bonsai studies? In the mean time, where does this leave an enthusiast who just engages in his Bonsai as a hobby? Does it matter? No, I do not think so as these people (I am one of them with a little business on the side) cultivate Bonsai for reasons that have nothing to do with the commercialization of Bonsai. And that brings me to my summary.

Does the proliferation of Bonsai “courses”, both in residence as well as online, show us that Bonsai and the educational opportunities that do arise from the wider commercialization of Bonsai across the world is maturing into a world-wide commercial empire? If this is the case, then the management or control of what these courses look like, minimum requirements as well as qualifications achieved, will need a good look at and probably needs to be standardized. Out of these educational encounters, titles come to the fore. Who then is a Master, an Apprentice, a Technologist or a Hobbyist / Enthusiast?

Chamaecyparis progression

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What to do on a wintry day with the wind howling outside, rain bucketing down and more to come judging by the Ruahine Ranges covered in dark, ominous looking clouds? One idea is to cuddle up and get a good book out, another to get a hearty soup on the go, but the one that I gravitated towards, was to work on a nursery stock, small Chamaecyparis obtusa standing on my Bonsai bench. It has been there for more than a year now, just waiting for a day like today.

The Chamaecyparis, also known as the Hinoki False Cypress, is native to Japan. It is a very slow growing tree and the nursery label on this little one states that it will grow to 60 cm high by 50 cm wide in 10 years. It has whorled branches of lovely dark green foliage and an upright habit with character and charm. Obviously not for long.

Before I start, here is some more information on the Hinoki Cypress. The foliage consists of evergreen, fine scale-like leaves, dark and shiny green above (adaxial) with glaucous margins between scales which form a distinct “x” shaped pattern beneath (abaxial). This species is monocious with small male reddish brown cones and slightly larger female flowers which are round and yellow-green in color. It bears fruit in late summer, but these are quite small. The bark is gray and scaly with long furrows of reddish brown inner bark which peels in long, narrow strips.

With this wind howling outside, I am going to let it influence my thinking and create a windswept (Fukinagashi) style shohin. I am sure that other styles will come to mind as I progress with this little tree.

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This is what I thought the front of the tree should be based on the Nebari.

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This is the view from the other side after a quick clean-up of the lower branches.

 

 

 

 

 

 

 

 

 

Chaemocyperus progression and Bonsai 017

The Nebari shows more prominent growth on the left hand side. This means that the tree could slant towards the right.

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With that in mind the leaves are removed from the smaller branch.

 

 

 

 

 

 

 

 

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The rest of the tree is cleaned-up by thinning out some of the foliage.

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At a slight slant to the right.

 

 

 

 

 

 

 

 

 

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This looks like a nice little tree already with the bark stripped off the smaller branch (Jinned) as well as a back branch and some other smaller branches.

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I could have stopped with the previous photo’s style, but wanted to style this in a Windswept style. Slightly more pronounced slant, more thinning and wired.

 

 

 

 

 

 

 

 

 

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The final product, all potted up and kept in a sheltered place.

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The size is 16 cm by 10 cm by 10 cm. Now it will be fertilized and watered regularly.

Inspiration – where to get it from.

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It is said that a creative spirit needs inspiration. As Bonsai design is a creative activity, it is IMG_0265therefore important to be in touch with the sources of our inspiration. I have recently returned from a conference relating to Education where I was exposed to a variety of speakers. I was very aware that during and immediately after the conference, I was definitely more motivated to work on certain things in my main job. This came from listening to these powerful speakers and becoming aware of the latest trends in my vocation. This is the same for my Bonsai activities.

IMG_0269Exposure to other Bonsai people will lead to higher levels of inspiration and motivation. I live in an area in New Zealand where there are not that many other Bonsai enthusiasts and you sometimes do feel isolated. To overcome this, I have to make an effort to meet up with other Bonsai people. The local club, although very small, serves as a source of inspiration. I am the teacher here and other people rely on me for the advancement of their skills and knowledge. This places me in a position where I have to stay on top of my game. Through this I have also realised that I only know about the tip of the iceberg and that I need to learn as well. Again it comes back to people, as I can only get this knowledge and skills from others who are more advanced than me, or have produced resources that I can learn from. So, first of all people.

It is important that as a Bonsai artist, you realise that there will always be something new IMG_0271to learn or practice. I like the way that a lot of martial arts movements are set up. There is a clear line to follow from beginner level through to a very advanced level. I am not saying that we have to start different colour belts to show our proficiency in Bonsai, but the levels of training can be copied. A sensei at one dojo always learns from a more advanced practitioner somewhere else. This means you either have to go places or you have to get the masters to your place. This is already happening in Bonsai throughout the world and this has opened up many more opportunities for Bonsai professionals. As a side note, I do use the term Bonsai professional in a different context to Bonsai master. Not all professionals are masters and not all masters are professionals. More on this in later blogs. Back to the main thread of this blog. Where do we get inspiration from to excell in Bonsai activities? I have already established that it is mainly through the exposure to other people and preferably to more advanced practitioners. That means that you have to be a regular club member, be active in this club and teach at that level. The next step is to align yourself to an organisation or club where more advanced teaching takes place. From there it is important to attend shows, regional and national and even international teaching opportunities. Displaying your own trees is a big part of this. Immense growth takes place when you receive feedback from visiting judges once you get over the fact that you might get some negative input as well. Good teachers will make sure that this feedback is constructive and you can learn much from that. Just leave your ego at the door when you go into this type of situation, after-all, there is no ego in Bonsai as an art form.

IMG_0257Other forms of inspiration comes from man made resources. I find a lot of inspiration in my very large Bonsai library (wonder what the total cost of this is), which consists of books and many magazines. I currently hold a subscription to two international magazines and also receive our national production on a regular basis. Books come through online bookshops and I am now also in the fortunate position that I receive books from publishers and authors to review. Magazines keep me up to date with what is happening in the Bonsai world and brings the latest shows into my living room.

My next source of inspiration comes through good blogs. I follow about 25 blogs and find them informative and a major part of my everyday learning. My own education has increased immensely once I started my own blog (this one) up. I have to research every topic as there are always people out there who will catch you out if you talk nonsense. Try it, not the catching out bit or the talking nonsense bit, but the blogging bit. I also regularly visit websites dedicated to Bonsai activities and other related topics (suiseki and general horticulture).

Then there is You Tube. What a great learning tool. Here I am subscribed to at least thirty IMG_3432-0good quality channels and people who regularly post new material and from which I learn heaps. Just type Bonsai in the search area and you will find a great resources at your fingertips. While I am on internet based things, Facebook is exploding around Bonsai matters (probably lots of other things as well). One needs to be disciplined when you venture into this mosh pit of activity. Not everyone who has a presence here are noteworthy, but most of the “big” names in Bonsai are represented here.

I am very sure that there are many more sources of inspiration for Bonsai activities and I also know that what works for one person, does not necessarily work for everyone. The bottom line is that you cannot venture on this Bonsai journey on your own. You need other dedicated people around you and always be aware of the one-up principle, you need to learn and be inspired by people or a person who knows more than what you do.

Then there are my own trees. The moment I start to spend time with my trees (and the trees of other people), my motivation levels rise and there is no substitute for it. Yes, it can lead to frustration if you do not get it right, but overall it is invigorating and inspiring when you work with trees and realise the progress. Surrounding you with good people, good resources and good trees will always expose you to enough resources to keep going and to keep going at a high level.

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Plant Kingdom Table – Conifers

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In a previous blog, I had an attempt at giving a basic description of the different conifer type classifications. This led to a few questions and I realised that I could have given an overall view of the classification as well. Here is a table setting out where the different types of conifers fit in. In no way does this contain every conifer type that is out there.

Click on the link for the PDF document.

Plant Kingdom Conifers

 

Basic Identification of Conifers

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Conifers make up a large percentage of most Bonsai collections across the world. To me, one of the difficult things with conifers, is to identify the tree to the correct species level. The reason for this could be that my early Bonsai education was on broadleaves and not so much on conifers. Conifers as a large group are identified by the fact that they do not flower, but in the place of this, they produce cones that contain the seeds. This makes them part of the Gymnosperm taxa, along with ginkgo and cycads. These are some of the oldest known plants in nature.

It is not that difficult to identify conifers to genus level, as this can be done mainly on leaf type and shape. Here follows my take on what this looks like (An arrow points to the next table for that category).

Conifers

Cupressaceae

Have scale-like or awl-like shaped leaves.

 Pinaceae

Have needle-like leaves

 

Taxus

Have leaves that are flat and feather-like in arrangement and shape.
Junipers and Thuja Pines, Spruce, Fir and Douglas fir

Yews

 

Cupressaceae family

Leaves are scale-like or awl-like.

Fruit is a berry-like cone with scales fused together
Leaves are scale-like or awl-shaped. The foliage is arranged around the branch, rather than flattened and cones are berry-like with scales pressed together.

Juniper (Juniperus)

 The leaves are small, scale-like and pressed to the stem. The foliage is flattened and plate-like in appearance. The cones are berry-like with thick scales.

Thuja (Arborvitae)

 

Pinaceae family

Leaves are needle-like
Single needles.

 ↓

 Needles sheathed at the base in bundles of two to five. Cones have thick scales and are woody with swollen tips.

Pine (Pinus)

 Short needles in tufts of ten or more and could be deciduous.

 

Larch (Larix)
Needles are flat in cross-section and quite flexible.

↓

 The needles are square in cross-section and quite stiff.

Spruce (Picea)
Norway_Spruce_foliage,_Fågelmara,_Sweden

Spruce

The needles leave an oval leaf scar and the bud tips are pointed. The cones have a three-pronged lobed tongue-like bract that extend out beyond the scales.

Douglas Fir (Pseudotsuga menziesii)

 The needles leave a round leave-scar and the bud tips are roundish. The cones grow upright on the branch and usually breaks apart before falling off completely.

Fir (Abies)

 

 

From here the classification can be further refined to identify the specific conifer to species level. This will come in a future blog.

 

 

 

 

Seed Germination

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During a conversation with Noel Plowman at the National Bonsai Convention and Show in New Zealand towards the end of 2015, Noel made the statement that it is hard to get good Pine genetic material in New Zealand. Most of the seedlings propagated for the forestry industry is genetically engineered to grow straight trunks with no bark. Both of these factors are not really what Bonsai growers want. We then talked about the thousands of very old Pine trees all over New Zealand, mostly growing on farmland. The photo below shows such a scene, complete with good old New Zealand dairy cows.

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This made me look at these trees in a different light and it did not take me long to go and scavenge on a farm (with the farmers permission) to find these original genetic material in seeds for propagation purposes. This I did knowing full well that I am germinating these seeds for the next generation and not myself. The main idea was to collect the cones from trees that show thick bark.

Cones collected, the next job was to get the seeds out of the cones. This basically ended up being a good solid shake of the cone and the seeds fell out. Quite a few seeds were harvested from each cone. The wings were removed from the seeds.

The next step was to find the viable seed. This is done by placing the seeds in a container with water. The seeds that sink are more viable and the ones that float, are discarded.

Top view of the seeds after placed in the water.
Side-view of the container.
The sunken seeds are shown.

I left the seeds overnight and planted the viable seeds the following day. The seeds do have a pointy end and the seed is planted with this pointy end facing downwards. Now the long wait begins as it is known that these seeds can take a long time to germinate and that they do so in a haphazard way. I will update this post as the process unfolds.

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Planted and labelled. The long waiting game now starts.

 

The waiting is over. This was quick. Only three weeks from planting to germination.

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Defoliation

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tri

It is a well-known fact that defoliating a Bonsai tree will enhance the growth of smaller leaves. I have also read that it allows more enhanced ramification as well. I have never tried this technique before, but am also in the process of designing and babying a small Zelkova Zelkova leavesinto something resembling a Shohin Bonsai. This tree was carved and repeatedly pruned until where it is today. A lot of time and work still lies ahead. One of the things that must be done now is to reduce the size of the leaves.

 

MatchesOut comes the researcher in me and I start to do what researchers do. First step is to Google the term “defoliation”. An interesting phenomenon is that a lot of information is available on the defoliation of Cannabis plants. I have not tried to “Bonsai” one of those, but it makes sense that people who do grow these plants, do. I have also found information on the defoliation of other “forage” plants. This is done to stimulate the growth of more leaves as it is used to either feed animals or people or in the first mentioned case, smoke it (maybe it is for medicinal purposes). It is also mentioned that it stimulates overall growth of the plant.

Back to Bonsai. As said, the main purpose of defoliation is to decrease the size of the new leaves. The definition is self explanatory. It is the stripping of leaves from the plant. As leaves are the main centre for photosynthesis (producing food for the plant), one must be careful that it is done at the right time of the year as well as on some deciduous trees only. Please take note, not all deciduous trees can be defoliated safely. The best time to carry this process out is after the new spring growth has hardened off. Mid-summer is good for this. This allows the plant enough time before autumn and winter to grow the new smaller leaves. One theory of why the  new leaves are smaller, is that due to the lack of food (less photosynthesis), less energy is available for the new growth. Another theory is that plant hormones (auxins) come into play and inhibit the growth rate of the new leaves. What better example do we have than some plants that can be grown from leaf cuttings for the actions of auxins in leaves and leaf stalks in evidence.

It is also mentioned that it is better to leave as much of the leaf stalk as you can when defoliating a tree. This also has to do with the action of auxins, but to me a more pressing reason would be that the bud at the base of the stalk is protected if the stalk is still in place. I found it easier to lift the leaf up and to cut it from underneath as the stalk is more visible from that angle on especially deeply indented leaves at the base.

It is also mentioned that defoliating a tree will lead to more intense autumn colours of the leaves. This is probably due to the fact that a much smaller space of time is left to produce food for the plant and that an accumulation of sugars in the leaves lead to these more intense colour changes.

Another positive addition could be that this process will also lead to good budding closer to the trunk as these areas will now also be exposed to more sunlight.

I have now done the deed. By the way, make sure that you have a lot of time available as this is a very time consuming task. This small tree took about an hour and a half to defoliate. Other Bonsai Blogs also have more information on this process. My intention with this blog is to start a photograph trail of the process. I will post new pictures as soon as the new leaves emerge until we get to Autumn.

Deadwood inspiration from Driftwood

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In a recent Blog post by Harry Harrington (Bonsai4me), I was amazed by this artist’s technique in creating deadwood. His carvings are superb. On the same day, I happened to be at a beach on the west coast of the North Island of New Zealand (Paraparaumu). The beach was filled with driftwood and I could not resist studying them to find inspiration to style dead wood when I get back home. Fortunately I had my iPhone with me and took the following photos. There is nothing like nature (and Harry Harrington) to create the ultimate natural deadwood designs. In studying these photos I did get a few ideas and now have to get the practice in to recreate this on trees.

Pohutukawa as Bonsai

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pohut

Root over rock as Bonsai

Metrosidorus excelsa, also known as the New Zealand Christmas tree and in Maori, Pohutukawa, is an interesting tree to style as Bonsai.

Pohut1

This looks like two smaller trees, simulating a clump style Bonsai.


   
I have recently had the opportunity to photograph a few very old Pohutukawa trees in Mt Maunganui in New Zealand. I have no idea how old they are, but their form is quite distinctive when you study the trees in nature. From this I came to the conclusion that they are best suited for informal upright, clump style or root over rock style. They naturally grow aerial roots and form good bark on exposed roots. The red coloured flowers add to the spectacle. The three Bonsai photos are mainly from the http://www.nzbonsai.co.nz website and the http://www.bonsaiforbeginners.com site.

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Masses of aerial roots makes it perfect for a root over rock style.

The photos following from there are the photos of the trees growing in Mt Maunganui, New Zealand. The first group is typical of the clump style growth that a lot of these trees show.

The next group of trees shows why I think the Pohutukawa is excellent material for root over rock style.

Some of these trees are also seen in nature as examples of an informal upright style.

I have also noticed some branches hanging very low, almost to the point of being a cascade or a semi-cascade.

I have been growing cuttings of another form of Meterosidorus, namely the Metrosideros kermadecensis. This tree has smaller leaves than the excelsa which is great for Bonsai. All these varieties are frost sensitive and needs protection in cold climates.

 

 

 

Promoting Bonsai in the Tararua District, New Zealand.

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Trestle table, table cover, stands, Bonsai trees, tools, wire, water, brochures – all packed in the trusty Bonsai wagon and off to Kildrummie nusery I go. Quickly set the display table up. Walk through the nursery to see what is available just in case somebody asks about using nursery stock to get a Bonsai going. 

One of the local club guys arrive and set a table up for the demonstrations. He brought a few starter trees for us to work on while we entertain the public. It is a small, independent nursery and I was quite surprised to see quite a number of customers visiting the nursery in what is a small town. Being in a rural area means that everybody knows everybody else and soon a few conversations start up. One person accused us of murdering the trees, but the majority was quite interested in what we do and asked very good questions. Three trees were styled during the time there. We will have to do this again as it was a great day out and more people now know a little bit more about Bonsai compared to what they knew when they woke up this morning.

Thank you Roger, Kildrummie Nursery in Dannevirke, for allowing us to take over your nursery. At least you sold a Bonsai pot!

   
    
     
  

Boon Manaktivipart visits New Zealand

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The guest artist at the recently held New Zealand National Bonsai Convention in Christchurch was Boon Manaktivipart. Boon is one of those professionals who shares his very wide and in-depth knowledge freely. Some of the seasoned veterans of Bonsai in New Zealand were glued to his words over the just more than two days in Christchurch.

New Zealand National Bonsai Convention and Show (1)

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The New Zealand National Convention and National Show recently took place in Christchurch, the city which was badly shaken by large earthquakes a few years ago. It was wonderful to see the convention hosted there and to me personally, a great occasion, as it was the first time I have been there after the earthquakes. The rebuild is in full swing, but the devastation is still clearly visible.

The Friday saw the New Talent competition with five competitors and later that night a wonderful performance by Chinese performers preceded the official opening. Boon Manakitivipart was also introduced to the crowd. The following two days were filled with demonstrations by Boon and other local artists with the prizegiving ceremony and dinner on the Saturday night. Below are a few of the trees on display at the convention. New Zealand trees have come a long way and is progressing rapidly. For a very young Bonsai country and no real Bonsai market to speak of, we can be proud of what was on display here and especially the great organisation behind this convention. Next year we will meet in Auckland with Peter Warren our headliner.

Another blog post will have more photos and also the demonstration trees that Boon worked on.

Fibonacci and Bonsai

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golden1In my previous blog, which focused on the seven Da Vinci principles, I started to think a bit more about Da Vinci’s use of mathematical proportions in Art and especially Bonsai.

Leonardo Da Vinci has long been associated with the goldleonardo_fibonaccien
ratio. Da Vinci created the illustrations for the book, The Divine Proportion, by Luca Pacioli. It was written in about 1497 and first published in 1509. Pacioli was a contemporary of Da Vinci’s. In the book, Pacioli writes of mathematical and artistic proportion, especially the mathematics of the golden ratio and its application in art and architecture. The golden ratio and the Fibonacci numbers or series, comes from the work of Leonardo Bonacci, also known as Fibonacci, an Italian mathematician. Many writings exist about Fibonacci, Da Vinci and the applications of the mathematical ratios and numbers in art, nature and a few other areas as well. I will focus a bit more on Bonsai design and am hoping to bring some of this “divine proportions” to Bonsai design. First a bit more about the Mathematics involved.

As said, much has been written about the Fibonacci numbers and its appearance in various patterns of spirals in especially leaves and seeds. The Fibonacci series is a series of numbers formed by adding the previous two numbers together to get the next number.

0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, etc.

In Bonsai, the theory is that when you cut a stem, tfib01he stem puts
out two growing shoots during one growth period. This could be more (pines or where whorls are formed), but the theory is that we keep two stems. If you keep on cutting these shoots as per the illustration, you will increase the number of smaller shoots over time. This is called increasing the ramification of your Bonsai tree. The theory is that if it is done according to the numbers as found in the Fibonacci series, that you will have a visually more pleasing appearance.

Further to this, the ratio of two successive numbers in the Fibonacci series can be calculated by dividing each number by the number before it. The ratio seems to be settling down to a particular value, which is called the golden ratio or the golden number. The value of this ratio is approximately 1.618034. This is often represented by the Greek letter Phi.

The arrangement of stems around the trunk could also be of interest here. When the golden ratio is used in a mathematical equation in relation to circles, it is found that stems / branches could be in a visually ideal position if they are 137.5 degrees or 222.5 degrees (make up 360 degrees in a circle) apart from each other.

phiplnt1phiplnt2

For completeness sake, I will also try to explain the Fibonacci rectangles and spirals here. If we start with two small squares of size 1 next to each other and we then place on top of these two squares a square of size 2 (1 + 1) and then carry on like that as illustrated in the diagram, rectangles of various sizes can be drawn. These are the Fibonacci rectangles.

golden-rectangle

A spiral can also be drawn in the squares, a quarter of a circle in each square. These spirals are seen in the shape of shells and also in the arrangement of seeds in flowering plants. The spiral in the squares makes a line from the centre of the spiral increase by a factor of the golden number in each square. Points in the spiral are 1.618 times as far from the centre after a quarter turn. In a whole turn the points on a radius out from the centre are 1.6184 (6.854) times further out than when the curve last crossed the same radial line.

Am I the only one seeing spirals in these examples of deadwood?

bonsai_huntington_library_2bonsai_huntington_library_1

Where does this all fit in? That depends on you and how far you want to take this. For me it is just interesting and something that can be kept in the back of the mind while styling Bonsai trees. I will be looking a bit closer at the shape of curves / spirals in future and I will also be looking at where I place especially the first two branches. Maybe that 137.5 degrees angle is not so silly after all?

Leonardo Da Vinci and Bonsai

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Yesda-vinci-profile, you are correct. Da Vinci never designed Bonsai, as a
matter of fact, there is no evidence to indicate that he even saw a Bonsai. What is this article about then, you may ask. In my quest to understand more about the creative process and trying to better myself as a creative person, I explore a lot of different theories and principles and try to open my mind to as many influences as possible to find my own rightful place within the creative space. My chosen field is that of Bonsai creation. We all know that the roots of Bonsai are firmly established in Chinese and Japanese culture. We also know that Bonsai as a creative activity has now spread to all corners of the world and it is clear that other influences are being incorporated into the creative concepts serving as foundations for Bonsai. The recent Artisans Cup in the USA is an example of this, but there are many others spread throughout Europe. A very distinctive style is emerging out of Africa as well. Why not look at the seven Da Vincian principles as a source of inspiration or direction in relation to Bonsai design?

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There are seven Da Vincian principles that can be used to give direction to a person’s life in exploring creativity. These are:

  • Curiosity – An insatiably curious approach to life and an unrelenting quest for continuous learning.
    • This principle can directly be implemented in the life of any Bonsai artist. Being curious about life in general and then also the creative process surrounding Bonsai cultivation, is very important in establishing the next steps for growth. Asking questions, exploring concepts, trying new designs on the creative side, but also being curious about the horticultural process underlying Bonsai are all part and parcel of the Bonsai artist’s grounding. I encourage artists to make notes, read often, watch videos, talk to other Bonsai artists, attend conferences and to never stop asking questions. Leonardo da Vinci’s notebooks amount to over 7000 pages.
  • Demonstration / Independent Thinking – A commitment to test knowledge through experience, persistence and willingness to learn from mistakes.
    • As Bonsai artists we are involved in a practical application of centuries of knowledge and techniques. The last few decades saw an explosion of information and it is our job as artists to make sense of all of this and to apply what suits your own philosophy and style to your own designs. Yes, you can copy other people, but I am convinced that real satisfaction and personal growth comes when you use all of your knowledge and skill and create something new. This can be applied in a very practical way in Bonsai as each plant is unique.
  • Sensation – The continual refinement of the senses, especially sight, as the means to enhance experience.
    • According to Da Vinci, experience is delivered through the senses: sight, sound, touch, taste and smell. Bonsai creation is all about using your senses, especially sight, touch and smell. The more sense you can incorporate into your interaction with your trees, the more fulfilling the experience. You learn and experience through your senses. One of the problems that I experience is that modern day living is too noisy and very visual. So much so that it leads to sensory overload. Something that I need to work on more is to refine my sensory experiences by deliberately focussing on those sensory stimuli that matters during the creative process and to block or filter the “noise” out.
  • Smoke (Sfumato) / Embrace uncertainty – Becoming open to the unknown. A willingness to embrace ambiguity, paradox and uncertainty.
    • In her blog, Andrea Balt mentions that we cannot “make use of our full creative potential without the ability to embrace uncertainty. An open, always questioning mind is our creativity’s best ally.” In Bonsai there are many uncertainties, especially when it comes to severe styling processes. Will a tree flourish after severe root pruning, how will it react to wiring, did I cut too much, etc.? There are many different thoughts and ideas around when things should and should not be done when it comes to repotting, lifting yamadori, using chemicals, etc. Embrace the unknown.
  • Art and Science – Whole-brain thinking. The development of the balance between science and art, logic and imagination.
    • Your brain operates as a whole organ. Society has been telling us for a long time that one half is more dominant than the other. As an artist you are using both halves. You are programmed to be creative, it is just a case of exploring and finding your creative roots. The capacity is already there. This principle can also relate to the two parts of Bonsai creation. There is the creative / art side and then there is the science / horticulture side. Both are equally important. Embrace both. It could be that one of these attracted you more to Bonsai than the other. It is your task as a creative Bonsai artist to get yourself up to speed with both aspects. A beautifully created dead Bonsai is as unappealing as an ugly, living Bonsai. Study the art of science and study the science of art. Da Vinci was ambidextrous, something you can try to help with the development of the motor functions of both halves of your brain.
  • The body (mind-body care) – The cultivation of grace, ambidexterity, fitness and poise. Balancing the body and mind.
    • This one is self-explanatory. A healthy body is needed to dig trees, cultivate the trees, carry them around, etc. There is more to it than just being fit enough to do what you have to do around your trees. There is also the healthy body – healthy mind concept that is so important in the creative process. This principle was taken very seriously by Da Vinci in his day-t-day life. Mild exercise and good nutrition with ample rest serve as foundations for what is needed.
  • Connection – A recognition of and appreciation for the interconnectedness of all things and phenomena. Systems thinking.
    • Da Vinci said: “Learn how to see. Realize that everything connects to everything else.” The growing medium that you plant your Bonsai in, the aesthetic effect of pot and tree, the light that all leaves get, the link between water and nutrition, your interaction with the tree, everything is connected. You are connected to the tree and everything the tree is connected to.

For you to be a better Bonsai artist and based on the Da Vinci principles, in summary: Be curious and never stop learning. Test yourself and be independent in a practical way. Use all of your senses when interaction with your creativity. Embrace the unknown and explore. Use your logical and creative powers. Look after yourself and realise that everything in life is connected.

References

Gelb, Michael. J. 2014. Creativity on Demand. How to ignite and sustain the fire of genius. Colorado: Sounds True

www.davinci.ac.za/

www.andreabalt.com/7-ways-to-think-like-leonardo-da-vinci/

Sphagnum Moss and Bonsai

Bonsaiplace 8 Comments

Sphagnum moss is used in a variety of ways in conjunction with growing Bonsai. The main characteristic of Sphagnum that makes it useful to Bonsai growing is its ability to hold a lot of water. Sphagnum moss plants can hold 16–26 times as much water as their dry weight.sphagnum

Sphagnum also does not decay easily as it contains phenolic compounds in its cell walls. It therefore can be used in applications that can take a long time to complete. It does not break down as easily as other growing mediums. Sphagnum originating from peat bogs is known to aid in preservation of substances due to the phenols, but also due to the fact that it grows in an anaerobic environment. Less oxygen means less decay. It is a well-known fact that bones and the remains of living organisms that end up in peat bogs tend to be quite well-preserved after a long period of time.

These mosses can also acidify its surroundings. This is something to keep in mind when the moss is used as a growing medium or part of a growing medium. It is therefore advised that sphagnum moss is not used with plants that prefer a more alkaline environment.

It is also a natural antiseptic. Sphagnum Moss was used extensively during the World Wars in field dressings to pack out wounds and under bandages to keep wounds clean.

Harvesting these mosses is hard work. It also comes from areas that could be ecologically very sensitive. These facts can contribute to the fact that good quality sphagnum moss can be quite costly. There are environmental concerns about the sustainability of moss harvesting.

In Bonsai cultivation, Sphagnum moss is mostly used in conjunction with roots and root growing. It is a well-known fact that when trees are harvested from nature (Yamadori) that it is a good idea to pack wet sphagnum moss amongst the roots. The reason for this is obvious due to the water holding abilities of the moss. During a recent dig, I not only packed the moss amongst the roots, but also wrapped it in hessian before it went into a plastic bag for the trip home. This not only held the moss in place, but aided in keeping the moisture in. I am also at the moment experimenting with two similar trees, one with Sphagnum in the soil mix and the other with normal soil mix. The question to be answered is whether the one shows more and better root growth than the other one. More on the results in a future blog.

Two Olives

Sphagnum moss is also used for air-layering. Again the moss is tightly packed around the wound created for the purpose of providing a medium for root growth. The water-holding capacity is again the main reason for using the moss. In this case it also helps to allow air flow through the medium which will aid in root growth as well.

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The Bonsai Curriculum.

Bonsaiplace 1 Comment

In the Bonsai Focus of September / October 2015 (136), Louis Bourdeau in an article titled “Silent communication”, mentions that the essence of Art is the use of raw material and the modification of it with the proper techniques to create an aesthetic creation. This is one of the better definitions or descriptions that I have come across thus far. My journey continues, but it will take take a lot to improve on Louis’ definition of the essence of srt.

As Bonsai artists, our raw material will always be the plant material that we work with. This is very different to any other art form where the raw material is not necessarily a living organism. Maybe body painting falls into this category as well. Other aspects of our raw material include the soil medium that is used as well as the pot. All of these aspects have their own dimensions and issues that must be thought about to bring about the desired aesthetic creation.

The next part of the definition is the reference to the proper techniques. This is where things become interesting. In all my years of teaching students the art of Bonsai, it is this part that for most, is the most intriguing. Maybe it is the use of tools or just the problem solving aspect, but I have yet to meet the student who does not want to learn more about the different techniques. These include things like wiring, potting or re-potting, bending branches, creating foliage pads, etc. Usually these are categorised as beginner techniques through to that of advanced or master techniques. It is interesting that it is done in this way as it probably fits the structure of apprenticeship quite well. 

I would like to argue that all techniques are equally important. It depends on the material that is in front of the artist. If bending of thicker branches are called for, then the artist will need to have mastered the correct technique for this. If we want to place techniques in a system of hierarchies from beginner to advanced levels, we will have to classify raw material as beginner to advanced as well. Seems a bit unfair on the beginner artist as he or she might be in posession of advanced material and will have no clue to proceed. How do we deal with this? This is probably where clubs come in. 

The next question then is whether we need a recognised curriculum to take club members through all the techniques, starting with the basics and going through to the advanced techniques. What happens when a club member joins three quarters through the curriculum and missed the early parts of the curriculum. Although this sounds like me just rambling along, I do think some thought needs to go into how we structure our teachings. Most Bonsai schools run different levels of classes to cater for the different expertise levels. These are run by professionals with the aim of making a living. This normally does not happen at club level.

In education there is a concept known as Differentiated Instruction. Roughly defined it means teaching towards meeting the needs of individual students. It means that you could have many different levels of expertise in your class, all with different needs, and you have to cater for that. What does this look like in a Bonsai Club or even a Bonsai School? The Japanese apprenticeship system is great, but it mostly relies on verbal communication or demonstrations to teach techniques. As said, nothing wrong with that and probably the best way to do it. Modern education do ask for structure and do ask for solid planning and execution during the teaching and learning process. This means curriculum. What would a Bonsai Curriculum look like? Food for thought.

Back to Louis’ description – the end result is the creation of something that is aesthetically pleasing. What is needed to get to this point? That journey from starting with raw material to the end product, inclusive of all the techniques necessary to get there, is the Bonsai Curriculum. Techniques are not that difficult to describe, demonstarte and teach. What will have to be included in the Curriculum to teach the aesthetic part of our Art form? Much has been written about the aesthetics of Bonsai, but how is this taught and incorporated in a Curriculum?