Patrick Giacobbe was kind enough to send this along with some comments (my dream of a more interactive blog is slowly dawning). It’s his take on a photo that was submitted by John Romano that appears in an earlier post (Be A Fearless Bonsai Warrior – 9/24/09). To clarify, the tree is John’s and the superimposed lines and the comments that follow are Patrick’s (edited just a bit by yours truly – I had to key it in anyway as text was sent as part of the image).
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.
Hey there,
It is a pretty common comment that US bonsai artist are in a lower level than Japanese/Chinese, even European, because the restrictive laws about importing trees.
I just say, from Europe, that it is a great oportunity to develop your own style, adding some fresh breath to this art often “compressed” by traditional thoughts and rules.
Don´t give up John ;-)
Hi Al,
Yes, it’s pretty common. When it comes to Japan, I’d say it’s not that far off the mark (check out yesterday’s post if you want https://bonsaibark.com/2009/10/17/relatively-speaking/).
With Europe I think you are right, our restrictions on Asian imports puts us at a disadvantage. Still, I suspect there might be more to it than that.
Anyway, we don’t have to make comparisons, each tree can stand on its own.