Robert Steven’s simulation of a Japanese black pine that was submitted by Mike Liu (Mike’s original is immediately below).

Mike’s original photo that was submitted to Robert.

Robert’s Critique

The Five Schools of Chinese Penjing

The above black pine bonsai is sent by Mike Liu from China. Since Chinese bonsai is called penjing, I will offer a brief discussion of penjing.

The main difference between penjing (Chinese: pen = pot; jing = panorama) and bonsai (Japanese: bon = pot; sai = plant), despite the terminology, penjing is more about artistic nuance in portraying natural phenomena; and bonsai is more disciplined in technical skill with the objective of suggesting the physical perfection of an old tree. Penjing is more symbolic as well as a media for the artist in expressing his emotional ideas. To a certain extent, bonsai is rather bounded within its convention and rules; where penjing is more free as personal expression.

As the above bonsai was created in China, I will give my critique from the Chinese penjing’s perspective; and at the same time, give readers better understanding about Chinese penjing, especially of the different schools.

Due to the climate difference, local species, culture, interest, habit, history, value of appreciation and other local aspects, there are many distinguish styles of Chinese penjing from one area to the other. But in general, they can be divided into five main schools: Lingnan  (Lingnan Pai), Shuzhou (Shu Pai), Yangzhou (Yang Pai), Sichuan (Chuan Pai) and Shanghai (Hai Pai). Beside these, there are some other minor schools formed later as interest in penjing grew in China e.g. Nantong (Tong Pai), Zhejiang (Zhe Pai), Wei Pai etc. But these relatively new schools are not considered  among the main schools because they have neither strong historical background nor obvious distinction in concept and style.

A school is formed when a certain distinguished style is identified and recognized as being practiced by followers in a certain area or community, and after having gone through a long processing period before being admired by the national penjing community. Some schools keep developing through refining the technical aspect without losing their specific characters and identity; but some are transforming as the consequence of global cultural interaction.

The above penjing (I use “penjing” in this context) is a mixture of Lingnan Pai and Yang Pai. Beside the famous “clip-and-grow” form, the other most distinguished character of Lingnan penjing is the long lower branch as seen on the above tree. But normally such a branch in Lingnan is not so straight and flat, but rather will show curving lines to suggest a flowing image.

Such straight and flat foliage pads are only found in Yangzhou (Yang Pai) penjing and are called “clouds”.

This branch in this penjing is quite disturbing. It looks unnatural without suggesting any morphological reason. Long one-sided branches on pines (in nature) are normally formed on trees that grow on high mountain sides where branches grow away from the mountain towards the sun light. These pinse normally will not have a rounded crown because the heavy snow will disturb the apical meristem to form a flatter apex, and force flatter pads on the dominant branches. Understanding plant physiology and morphology helps with bonsai design; you can read more about this in Mission of Transformation.

Another reason why this penjing does not look good can be explained by an aesthetic principle. The line and form of this flat straight branch is not integrated to the line and form of other physical elements, so it looks like it doesn’t  belong to the same tree. For more on lack of consistency and unity you can read about about aesthetic principles in Vision of My Soul.

Typical shape of pines which grow on mountain sides in the Yellow Mountain in China

At the top of this post is my simulation without the long straight branch. This penjing is more of the Shanghai (Hai Pai) penjing which looks closer to what we understand as Japanese bonsai. The reason is that Shanghai was one of the first cities in China with more contact and interaction with the outside world and more influenced by foreign cultures including bonsai and other art forms.

There’s lots to talk about Chinese penjing. My third book The Five Schools of Chinese Penjing is in the works. It will describe all aspect of each schools, the history, concept, technique and styles.

General comments
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.

An old favorite is almost gone.

Only 3 or 4 left
Thought we’d give you a fair warning in case you’ve been meaning to procure your own copy. It’s a the only Penjing book in English and, in my opinion, belongs in that elite group we call classics.

Tying up a loose end
A while back, Robert Steven asked me to post an original picture that he used for a second critique of an Atlas cedar (the photo for the first critique was posted). Given that most people probably don’t bother to read comments on old posts, I thought more people might see it here.

The view of an Atlas cedar that Robert Steven used for his second (and best in my opinion) critique of the tree. Submitted by Mike Andrews. In case you are interested, here’s a link for the first critique of the tree.

Robert’s simulation. My apologies for the fuzzy. The original (below) was submitted by Leigh Taafe.

The original.

Robert’s critique
From the trunk’s feature (the jin & shari), we can tell that this tree (in nature) has gone through a transformation process, and the new crown is formed from what was originally a branch.

The initial form of this tree might be entirely different from the present. Due to some reason, a major part of the trunk died. When this happened, one of the branches grew dominant to form new shape. This is the story (the romance) that this bonsai conveys. Still, as always, any tree should be designed while keeping the harmony between the horticultural and the aesthetic in mind.

On this bonsai, there are too many jin; this creates a chaotic effect. Jin should be used as a simple accent (not the dominant feature).

Also, the crown is too round and heavy and the overall composition seems to lack visual balance.

Solution :

1.     Reduce and eliminate some of the jin.

2.     In order to improve the visual balance, lean the trunk slightly to the left to counter balance the heavy crown.

3.     Reduce the crown’s height and trim the foliage to create a more natural irregular shape with the tip of the lowest branch flowing out to the right.

Now the overall composition is improved and the result conveys a more natural and aesthetically pleasing effect.

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.

Robert Steven at work.

A very easy decision
I just received an email from Robert Steven suggesting that we offer his critiques of your trees on Bonsai Bark. Needless to say, I hesitated about 1/10th of second (maybe less) in accepting his offer.

About Robert
Robert Steven is one of the most innovative and prolific bonsai artists in the world. Robert possesses enough vision, daring, imagination and masterful control of technique to fuel dozens of us more ordinary bonsai lovers. If you don’t believe me (overstatement is not unknown around these parts) check out his books: Vision of My Soul, and Mission of Transformation.

Here’s what you do
Send us photos (wayne@stonelantern.com) of the tree or trees that you want critiqued. Though one simple front view photo will suffice, it might be helpful to send back and side shots as well. Try to make the photo as clear as possible and try to minimize clutter. 500 pixels (or larger) jpegs are best, though other formats will be accepted.

No guarantees
We cannot say for sure that your tree will be chosen to critique, but no harm trying. Send your offerings to wayne@stonelantern.com. We look forward to seeing what you have to offer.

This tree isn’t exactly eccentric. Just powerful, handsome and unique. It’s by Budi Sulistyo and graces the cover of his excellent tropical bonsai gallery book (you can see the whole cover below).

Such a contrast
I think this next tree (below), also by Budi, falls into the eccentric category.

This ficus microcarpa by Budi Sulisyo from an album entitled ‘Stone Pot’.

What’s with this tree?
This tree falls short of some of Budi’s other trees. I imagine he posted it to show trees in stone pots. Or just to break with convention or maybe to encourage those of us who aren’t big time bonsai artists to not be afraid to show our trees.

Redeeming features
First, it is eccentric and that’s what this series is about. Second, the trunk is heavy and has some movement and character. Third, the leaves are well developed, fairly small and healthy looking. Fourth, there looks to be a pretty good nebari, but it’s hard to tell in the photo.

Not so redeeming features
First, I think there are too many branches. They detract from the movement of the trunk and clutter up the tree. Second, there are too many visible scars and they look like sores. Third, you can see wire scars. Forth, the tree looks a little cramped in the pot and the pot looks a little unbalanced on the stand. That’s enough for now.

No criminal charges will be filed
The comments above are just a few quick impressions. I have too much respect for Budi to simply dismiss anything he does, let alone file criminal charges.

Here’s the whole cover of Budi’s book. It features some of best tropical bonsai anywhere by some serious bonsai heavy weights (including Budi and Robert Steven, author of Mission of Transformation and Vision of My Soul) from Asia and beyond.

Pirates
At least one blog has been pirating our posts, lock stock and barrel; but without our links and without any attribution to bonsai bark, or Stone Lantern. If you are reading this on any website or blog that is not ours, and is not attributed to us, then it has been pirated. Please visit us at bonsaibark.com. Thank you.

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).

Good tools and the price is right
A few months ago we introduced some of Robert Steven‘s new line of bonsai tools. Robert is the author of Mission of Transformation and Vision of My Soul, and is one of the world’s most innovative bonsai artists. Like many of us, Robert realized that Japanese tools are gradually being priced out for many people, while Chinese tools are coming up in quality. So Robert went to China and hand picked tools that he could stand behind. The result is his Bonsai Aesthetics line of bonsai tools.

More than meets the eye
So far your response to Bonsai Aesthetics tools has been excellent. Hundreds shipped and no complaints. So, we’ve decided to expand the selection. In addition to the ones shown above, the following tools have just arrived: a grafting knife, a draw knife, a folding saw, and a second, different extra large branch jack than the one shown above.

And, if you missed the first batch
The original batch of Bonsai Aesthetic tools that we brought in include a very popular five piece carving set, 8″ concave cutters, 11″ concave cutters, 8″ knob cutters, 11″ knob cutters, wire cutters, wire pliers, and inexpensive light weight, all purpose scissors.

That’s Robert Steven dangling from the rope ladder. I don’t know who his friend is, but he better have a pretty good grip. This photo is from Robert’s new book, Mission of Transformation. The location is in Java, one of the islands of Indonesia. The object of this and some other perilous climbs is the wild Premna (P. microphylla and P. serratifolia).

Life and limb
As the supply of magnificent wild potential bonsai dwindled in Japan, collectors risked life and limb hanging from remote mountain cliffs (like on Mount Ishizuchi below) to get at that last old shimpaku or pine. Now, sadly, even those are gone (fortunately, many survive in pots). These days, with the spread of bonsai, cliff scaling  and other dangerous undertakings have moved to places like the Alps, Rockies, and in Robert Steven’s case, Indonesia.

Numerous bonsai have been collected from the cliffs of Mount Ishizuchi, one of Japan’s wildest and most inhospitable mountains. This photo appears in The Magician, the Bonsai Art of Kimura 2 (one of Bonsai Today’s Masters’ Series books by Stone Lantern Publishing).

Here’s Robert and friend again, defying gravity for the sake of the perfect Premna bonsai. This photo is also from Robert’s new book, Mission of Transformation.

For more on Yamadori go to part one, Deadwood South Dakota.

More than just another beautiful bonsai book
Robert Steven wants to share what he knows about creating powerful bonsai. As evidence, here’s the table of contents in Mission of Transformation: Introduction, Bonsai and Nature, Transformation, Designing, Aging, The Principle of Good Bonsai Design (Balance, Movement and Rhythm, Emphasis, Simplicity, Contrast, Proportion, Space, Unity), Transformation Studio, Critique, Gallery, Chronicle of Premna’s Adventure.

An in depth look
For an in depth look at Mission of Transformation, visit Knowledge of Bonsai. Or better still, go to Stone Lantern and purchase it and take advantage of our site wide sale (up to 40% off-starts tomorrow Sept 10th) while you’re at it.

It’s on shore and on its way
A truck bearing Robert Steven’s new book, Mission of Transformation, will be ascending our long dirt driveway any day now (maybe today!).

Walter Pall
“Tradition is not the conservation of ashes but the propagation of fire. Robert Steven certainly is propagating the fire. What was started in his first book, Vision of My Soul… is put into practice here in this book. I dare to say that this book will become a classic. It is a must for every advanced student of bonsai… (and) beginners will profit vastly…” Walter Pall is one of the world’s most famous, prolific and outspoken bonsai artists. Walter is well known to readers of Bonsai Bark.

Bill Valavanis
“The bonsai community is fortunate to have Robert Steven as one of the leading bonsai artists who shares his enthusiasm, passion and love for the art… I am certain bonsai artists from around the globe will find Mission of Transformation a valuable addition to their reference library because it contains information not found anywhere so well presented and explained.” Bill Valavanis, Bonsai artist and educator, and publisher of International Bonsai magazine.

The Master at play. From Mission of Transformation.

Getting down to it
Even though no one has read this far, we might as well get down to the reason for this post: Order now (so that you can be next in line for shipment) and we will send you Robert’s unique, exciting, inspirational, masterful, brilliant, breath-taking, soulful, powerful, delightful, beautiful, creative, mind stopping new book. Really, it’s all of those things, and even though I long ago learned to dislike writing promotional copy (a nasty part of an otherwise pretty good job), I don’t mind it so much when it doesn’t stray too far from the truth.

The cover. Word has it that Leonardo was an avid bonsai enthusiast.

Vision of My Soul, Robert’s first book is one of the true bonsai classics.