June 16-19, 2011. This looks like a good one. If you are thinking about it, but not sure, check out the impressive list of visiting bonsai instructors.
List of instructors with profiles
Enrique Castano, Jim Doyle, Robert Kempinski, Min Hsuan Lo, Boon Manakitivipart, Jonathan Maples, Ryan Neil, Chiara Padrini, Doug Philips, Martin Schmalenberg, Andy Smith, John Thompson, Ed Trout, William Valavanis
List your event here
Just send us the information with a good image or two (72 dpi, 680 pixels wide). <wayne@stonelantern.com>
Celtis (Hackberry) in fall color. By Min Hsuan Lo, one of the symposium’s headliners. Min has been featured on Bonsai Bark several times.
I like how Min Husan Lo’s hackberry doesn’t offer a neat little triangle or even an oval. It looks very much like a venerable, old spreading tree—an oak, for instance.
Agreed Al (I usually agree with you). How about all the stuff hanging down and sticking out on the left? Would you be tempted to remove part or all of it?
There is something going on in there that I can’t discern. I would want to see a side view at least before I guessed at that. Preferably a defoliated side view.
Hi Zack, Min has a defoliated view on his blog, but no side view: http://min-hsuan-lo.ofbonsai.org/
Wayne,
Thank you for posting this remarkable tree. I have had long conversations with Lo Min Hsuan about this and other Celtis (Mao Pu) bonsai in general.
Per the comments listed, it seems to me that there is a general agreement that this tree is representative of an old venerable giant. Some mention Oak as a comparison; a species quite common in the american landscape and revered as a symbol of age, strength and vitality.
Taiwanese bonsai masters have been known to search for natural examples of old trees (Lao Shu) to use as models in their bonsai creations. As each particular species has distinct characteristics, certain features are incorporated in the design to further validate and mimic these Old Giants. That “signature branch” (the one in the left) is both, a testament of how these Celtis (Mao Pu) trees grow in north Taiwan and how Mr. Lo incorporates elements of Chinese calligraphy and Chinese Pholosophy into his bonsai creations.
In Chinese painting, curved branches are usually an accompanying element to strengthen the composition and the significance of the surface. They add texture and life to the composition. Whenever creating these type of branches, like a chinese scholar and painter, the artist should emulate flexible and powerful strokes, very much like the type seen in Chinese ideograms (characters). They should resemble calligraphic images, thus adding variation to the bonsai design.
Over 20 years ago, when Mr. Lo was in the early stages of finding his own voice in the bonsai world, he incorporated his Ancient Chinese Philosophy, Art and Calligraphy studies in his bonsai designs. His “Bonsai Journey”, at first, was a lonely one. By trial and error, his designs reached “perfection”. Using evolution and self crticism as a north, Mr. Lo always managed to find a way to make his artistic expression reach higher levels. In the beginning, many bonsai coleagues mocked his style. Today, many follow his brach arrangements and design style in their own work. In my opinion, his works are a true testament of a characteristic a bonsai artist should always strive for: finding our own voice in bonsai creation.
Warm regards,
Jose Luis
As always, thanks for your insights Jose. It’s a great story and one worth telling. It’s interesting how those old Chinese hermit/artist/calligrapher/poets have had so much influence on bonsai and other art forms over time.
Wayne,
It is my pleasure to help. In an effort to continue to dialogue and using old powerful oaks as an example, whenever a conversation about old trees happens, almost everyone recals the image of an old oak tree. Perhaps, one might even recall that image of a twisted willow tree or a giant ficus (in my case). We all have to admit that we often wish that we had a bonsai that was an exact replica of these “childhood images”.
Recently and throughout most of the bonsai forums, there seems to be a heated debate about the quality of American bonsai and how it compares to the rest of the bonsai world. A touchy subject indeed!!!! Perhaps, by developing that childhood oak, willow or creepy tree we always remember and bringing those elements particular to that same oak, willow or other miscellaneous tree into our bonsai designs, we can also help American bonsai to find its own voice in the bonsai world. Just a thought……
Great Hackberry………………Bonsai are supposed to look like mature trees in miniature aren’t they ? There are too many short trees with fat trunks out there in bonsailand that look like artificial trees in Disney’s back lot. More bonsai growers should strive for the look of this Hackberry.
Lee Squires
Bonsai in the Bluegrass Raffle/Auction Chair
Thanks Lee,
Yeah, I more or less agree with your sentiments. However, I wouldn’t say bonsai are supposed to look like anything, though I know I’m swimming upstream here, at least in the eyes of some.
There are two views of bonsai that I like. One that bonsai is primarily for enjoyment, and the other is that bonsai is an art. Neither of these views dictate what a bonsai is supposed to like like.
BTW: Good luck with Bonsai in the Bluegrass. It looks like it’s going to be a great symposiu,