Robert’s digital simulation of a Ficus nerifolia that was submitted by Tom Kreugl.

Tom’s original. The small stick marks the front Tom has chosen.

Robert’s critique

In spite of the tree itself, this is a photo that I do not like (sorry!). There’s a problem with appreciation of the art of bonsai because the photo cuts off part of the pot.

The very basic concept of bonsai art as quoted in Chinese “yi shu er pen san ji jia” . Yi = one,  shu = tree,  er = two,  pen = pot,  san = three,  ji jia = pedestal, these are the three elements considered as a must in bonsai art (tree, pot and stand). For our purposes at least, the first two elements (tree & pot) should be an inseparable unity. Otherwise, it is simply not a bonsai.

Now to the tree:

-       The overall design lacks a natural look. It also lacks a convincing connection between the root formation and the slant of the tree. In other words, the design does not follow the rules of plant physiology. As you may know, a tree’s movement always follows the direction of the roots. A one-sided root formation will never form a symmetrical, formal tree shape; the tree will always grow and flow to the side where the roots are growing.

-       You don’t always need to expose everything in the front view. When we try to show everything, we show nothing. Due to the over-exposed branches and the messy foliage, the tree does not look well refined.  The leaves are also too big. This gives the tree a young look.

-       The pot is too big and the soil surface is not natural looking.

Robert’s solution

-       Re-design the composition to create the flow to the left (see the simulation above).

-       Refine the foliage just enough to show the tree’s major branches (ramification) and the lower part of the trunk. Trim the the foliage around the tree’s edges so the leaves will look smaller.

-       Use a smaller oval pot and place the tree slightly off-center.

There is more than one way to design any bonsai and my critiques and recommended solutions might not always fit your taste because of personal preferences. But I always try to give my opinion based on artistic and horticultural principles.

To understand my concepts better, please read my books Vision of My Soul and Mission of Transformation which are available at Stone Lantern.

You can also visit my bonsai blog.

The winner. Patrick Giacobbe’s Bonsai Design. Graphite on Bristol board.

A closely bunched field (with one exception)
First place was no contest; Patrick won going away with 73 points. After that, things got much tighter. Second place (see below) received 34 points, and third was a two way tie with 27 points each.

How the judges voted
Altogether thirty one people decided to judge. Each judge assigned nine points. This means there were 279 total points assigned. If you do the math you’ll see that those who didn’t finish in the money received 118 points. Put another way, everyone was a winner; most entries received at least one first place vote and every entry received at least one second place vote.

Prizes
First place receives a $60 gift certificate to Stone Lantern. Second place receives a $30 gift cert, and each of the two third places receive $10 gift certs. If you are one of the winners contact me for details: wayne@stonelantern.com.

Second place. Ken To’s Valentine’s Day wire sclupture.

Third place (tie, see below). Bristlecone inspired teapot by Mike Viljak.

The other third place. Juniper sketch by Pongsatorn Kanthaboon.

Bonsai Design by Patrick Giacobbe. Graphite on bristol board.

It’s not too late for your entry!
Send us yours and we’ll show the world what you are up to, and you just might win a $60. (or $30. or $10.) Gift Certificate to Stone Lantern.

Contest details here

Take a look – it’s worth it
Artistic Foundations of Bonsai Design provides a wealth of material for anyone who wants to take their bonsai to the next level. Andy Rutledge approaches bonsai with respect for the depth and breath of the art, and it shows in this well thought out, well organized web book that just might be worth a few minutes (perhaps much more) of your time.

One of a series of simple and helpful illustrations that appear in Andy’s webbook in the chapter entitled ‘The Language of Artistry.’

Andy Rutledge
Andy Rutledge is a Lone Star bonsai maven (of no small accomplishment) who seems to be motivated by a sense of seriousness and of enjoyment, at least when it comes to bonsai. In addition to his web book, Andy has contributed to both of Robert Steven’s wonderful books (Mission of Transformation and Vision of My Soul) and has been involved in numerous other bonsai related project (we even worked together once on a Bonsai Today related project).

Dear John (from Patrick)
John, no need to apologize for the tree. It’s a given that a tree needs to recover after the stress of preparation (for) a show or photo contest. A big part of the recovery is to let the tree grow out. I appreciate the confidence and the stones you have to (present) it in its “shaggy” recovery stage. What we should be talking about is the high standard of artistic design the tree is projecting and why.

The tree is pleasing… because of the asymmetrical triangle of the canopy. A straight line that starts right and zig-zags to the apex gives direction to the viewer (a technique used by the master painters of the Renaissance). The deadwood gives just enough tension and flow to keep your interest and further gives the viewer direction back to the canopy.

The story it conveys is about the artist: he created a pleasing work of art the conveys his knowledge of horticulture, craftsmanship and creative talent. Make no mistake, these attributes should be the basis for experienced bonsai artists. Is this too high a standard? It better not be, if here in the USA, we want our due as great bonsai artists and we are… We just don’t know it.

A small exception
Thank you Patrick! I agree with most of you have to say. Especially the “no need to apologize” part. I also like your comments on the shape and movement of the tree and especially like the graphics you provides to illustrate your points.

Where I might take issue is about “our due as great bonsai artists.” Though I have seen some excellent North American bonsai and expect to see many more in the future, I would hesitate to make such a strong statement (no insult intended, but it almost sounds like bragging, though I’m sure that isn’t the intention). From where I stand, it looks like most of us still have a ways to go before we can talk about greatness. I would include the strong little tree above as a work in progress if greatness is the goal. I suspect John would agree.

Patrick Giacobbe’s art
Check out Patrick’s site. He’s got some interesting bonsai, but what really caught my eye are his drawings of bonsai and other subjects.

Your turn
Anyone else? Be a fearless bonsai warrior (like John and Patrick) and send your photos, or your comments, or both.