$50 Bonsai Detective Art Contest

Illustration number 1

Win a $50 gift certificate to Stone Lantern
The first person to correctly identify the artist of each of the 10 bonsai illustrations in this post will win a 50$ gift certificate to Stone Lantern (see 3. below for exception).

Details
1. You must send your answers to me: wayne@stonelantern.com. Answers posted to comments (below) will be deleted and disregarded.

2. Contest ends October 10, 2011.

3. If no one has correctly identified all the artists by October 10th, then the person with the most correctly identified artists will win.

 

2

 

3

 

4

 

5

 

 

6

7

 

8

 

9

 

10

 

 

Why Our New Bonsai Aesthetics Wire Is Such A Great Deal

It’s mostly about price…
But it’s also about quality…

Have you tried our NEW BONSAI AESTHETICS WIRE? We started selling it in June, and about a half ton later the verdict is in: it goes on easily and it holds very well. So well that’s it’s hard to tell the difference with wire that costs twice as much.

Which brings us back to the price…
100 gram rolls

are only 2.95 each
with easy to achieve volume discounts of 10% to 30%
1 Kilo rolls

are only 21.00 each
also with easy to achieve volume discounts of 10% to 30%

We just unloaded a new shipment yesterday, so every size is now in stock

 

Here’s a photo of some Japanese wire (which we also offer at discounted prices) and some stainless tools (we’ve got those discounted too). The photo is by our friend Morten Albek (author of Shohin Bonsai). Note: Bonsai Aesthetics wire is much darker in color than the Japanese wire.

 

This is what a top notch wiring job looks like. It’s by Mario Komsta (see our previous post). The wire here looks like copper rather than aluminum. Copper is much more expensive and trickier to use. The vast majority of bonsai enthusiasts now use aluminum wire (that’s what our Aesthetics wire and our Koyo wire is), though some old pros and a few others, still use copper.

 

Mario & the Art of Bonsai

Bonsai calligraphy. Look familiar? We posted this wildly eccentric masterpiece right here on Bonsai Bark about a year ago. Maybe we’ll post it again next year. It belongs to Mario Komsta.

Mario Komsta
If you don’t know Mario’s bonsai, you’re in for a treat. If you do know Mario’s bonsai, you’re still in for a treat (exceptional bonsai bear repeated viewing). We’ve featured Mario’s trees several times now, and I suspect we’ll feature them again.

The Art of Bonsai Project
Without a doubt, the Art of Bonsai Project is one of the true quality bonsai spots on the web. Just like Mario’s bonsai, it bears repeated viewing. Here’s link to a feature on Mario.

Here’s one of Mario’s trees that also looks familiar. Have we featured it already (where’s Ferry when we need him?)? It’s called Snail. We found it this time on facebook.

One of Mario’s famous Hornbeams. This one appears on the Art of Bonsai Project. Here’s another one from an earlier Bark post.

 

Bunjin juniper by Mario. This one looks familiar too. I’m pretty sure it’s another Bark redundancy (it’s worth seeing again anyway). This iteration is from facebook.

 

 

 

Redwood Bonsai at the REBS

Coast Redwood at the Redwood Empire Bonsai Society 28th Annual Show. Photo is by Jonas Dupuich, Bonsai Tonight.

Stupendously magnificent
Two of the most fascinating trees in the world are the Coast Redwood (Sequoia sempervirens) and it’s mountain dwelling cousin the Giant Sequoia (Sequoiadendron giganteum). Both are fascinating for the same reason; their stupendously magnificent size. The coast redwood is the tallest tree in the world and the Giant Sequoia is the largest tree in the world. However, the Coast redwood is also very, very large and the Giant sequoia is also very, very tall.

Redwood bonsai
So far, the only Sequoia bonsai I’ve seen have been Coast redwoods. No Giant sequoia (maybe you have one or knows someone who does?). For years, the Redwood bonsai that I did see were still pretty primitive (as bonsai go). Lately, I’ve been seeing more developed Redwoods, including the ones in this post. All are from the 2011 Redwood Empire Bonsai Show (courtesy of Jonas at Bonsai Tonight).

Artists unknown
Jonas didn’t list the artist on the trees shown here and I wasn’t there, so, for now at least, the artists will remain anonymous.

Exploring Bonsai Subtleties Courtesy of Robert Steven

Robert’s simulation of a submission by Nyoman Agus (the original is below).

Getting down to the finer points
So much of what you see and read in bonsai books and elsewhere, just repeats the same old basic principles. Even some of the most experienced teachers seem to fall into this trap. It’s easy to understand, given that bonsai is still fairly young in much of the world and so many of us are still trying to learn those basic principles. But still, it’s a breath of fresh air when someone digs into subtleties that most of us would never think of. This is where Robert Steven comes in. I am repeatedly impressed by Robert’s grasp of, and ability to express, many of the finest points of bonsai. Things that are so easy to overlook unless they are pointed out.

Nyoman Agus’ submission.

Robert’s comments

There are several issues with this raft style bonsai

  1. A common mistake that is made all over the world, is training deciduous bonsai as though they are coniferous bonsai, with an apically dominant structure; a single line that forms an apical crown. Old deciduous trees are not supposed to have this type of structure; they should be wide open rather than featuring a single line that forms an apex. Only conifers or young deciduous tress do this.
  2. People tend to consider “front” in bonsai as the viewing angle that show everything clearly and openly; consequently, many bonsai have a flat front without much perspective. All three trunks in this bonsai are positioned in a horizontal straight-line, so there is little perspective in this composition.
  3. These three trunks are placed the same distance apart with their canopies clearly separated. As a consequence, they lack unity; they all seem to be standing alone, with no distinct focal point.
  4. From the lines of the trunks, we can be certain that the overall movement is suppose to flow to the left; but the potting position with the middle tree slightly to the left creates a contradiction. The trees seem to flow to the left, but the pot is pointing to the right, so there is a problem of visual balance.
  5. Last but not least, the pot is a little too deep.

Solution  (please see the simulation at the top of the post)

  1. Re-structure the branching (ramification) by changing the apical dominant form to an open structure with clip-and-grow technique. If we look at all the trunks’ movements, they are all bending to the left. Morphological speaking, there are certainly natural reasons why such features are formed. One logical reason is the wind blowing, so why not to create a wind-swept style bonsai? Pemphis might not be good for a wind-swept style that depicts an existing wind (because we cannot defoliated Pemphis), but we can create a style that is formed by a prevailing wind, but with that wind being still at the moment (for details about concepts and techniques for windswept bonsai, please read my book Vision of My Soul).
  2. In order to create better perspective, I would suggest changing the front to view slightly from the right. By doing so, we can also correct the distance issue to make the two trees on the right closer.
  3. Rearranging the individual crowns’ positions and overlapping their foliage improves the overall unity. When you do this on the two trees on the right, the focal point is enhanced and you have better foreground and background views. Another way to improve the perspective is the contour of the soil surface and the green moss placement. Make the right side contour higher to the front with lighter color moss and overlap the contour of the left side with darker moss. This small gap will create an illusion that the left tree is farther back.
  4. Use a shallower pot and place the trees slightly to the right to create more space on the left. This will enhance the movement and create better visual balance.

General comments
There is more than one way to design any bonsai and my critiques and recommended solutions might not always fit your taste and 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.

Selling Out: Bonsai Today & More

Bonsai Today issue 94. We’ve still got some of this one, but moment to moment they are disappearing.

America’s premier bonsai magazine is slowly disappearing
Every couple weeks or so we sell out of a back issue of Bonsai Today. Now we’ve decided to accelerate the process to make space for other new bonsai products (stay posted).

60% off and rising, but don’t wait
We’ll start at 60% off and increase that discount every few weeks. But don’t wait, some issues are almost gone.

Kenzans too
We’ve decided to do the same with our kenzans (flower frogs). We’ll start at 40% off. Same thing though, if you wait too long, you won’t get what you want.

The same goes for Netsuke
We’re going to liquidate these sweet little Japanese (made in China) figurines too. Right now they are 35% to 80% off. Again, don’t wait. When they’re gone, they’re gone.

A sampling of some of our kenzans. We have other sizes and shapes as well.

One of the 34 different Netsukes we offer. All are 35% to 80% off. Don’t wait, when they’re gone, they’re gone.

 

Whoops!

No sooner did I send out the notice about the winner of our $100 Mystery Bonsai Contest, than I got an email from Robert Steven saying he was mistaken when he identified the bonsai number 6 artist. In Robert’s own words: “it belong to Wayan Arthana from Bali….”

I wonder if it’s one of those trees that has changed hands a lot, and thus the confusion (I have now seen it attributed to four different people).

None of this changes our winner(s). I’m going to stick with Joe Rauscher (and Ferry Freriks in second place). So the only thing that has changed is that we now believe the Wayan Arthana is the artist (or do we….?).

One more time. Here’s the tree in question.

Another mystery tree just for the fun of it (this one should be easy).

 

We Have A Winner

This is the tree that gave people the most trouble. You can blame facebook if you’d like (unattributed and mis-attributed bonsai abound in that crazy free-for-all world). We have Robert Steven to thanks for setting us straight on this one. It’s a Pemphis acidula and the artist is Adjie Christian.

And the winner of our $100 Mystery Bonsai Contest is….
Master Bonsai Detective, Joe Rauscher. For his diligence, Joe will receive a $100 gift certificate to Stone Lantern (scroll down to the bottom for the correct answers).

A close second
Ferry Freriks was hot on Joe’s heels, so we’ve decided to give Ferry a $50.00 gift certificate for his equally impressive, but sadly a little slower detective work. There’s another egg-on-my-face story her: I missed Joe’s winning email and told Ferry he had won (in my defense I get about two trillion emails a day, but I won’t mention it because I’m no fan of lame excuses). So apologies to Ferry and I hope your second place gift helps with the disappointment.

 

Some one labeled this Bougainvillea (by Nacho Marin)  ‘Ficus’ on facebook, but both Joe and Ferry saw through that ruse.

Here’s a later shot of the tree at the top of this post. You can tell it’s later, because….?
BTW: it’s with this photo is (on facebook) that Robert Steven correctly identifies the real artist.

Joe (and Ferry’s) correct answers
1) Juniperus chinensis, Silvia Kadasch
2) Rhododendron Indicum (Satsuki azalea), Andres Alvarez Iglesias
3) Bougainvillea Glabra, Nacho Marin
4) Juniperus Chinensis “Itogawa”, Carlos Vandervaart
5) Rhododendron Indicum (Satsuki azalea), Suthin Sukosolvisit
6) Pemphis acidula, Adjie Christian

Celebrating Our Bonsai Heritage

Goshin by John Yoshio Naka. This famous tree resides at the National Bonsai and Penjing Museum in Washington DC. Photos will never do it justice. It is huge (about 1 meter tall – just over 3 feet) and is so dramatic in person that it almost seems to vibrate with power. This photo, by Peter Bloomer is originally from Timeless Trees by Peter and Mary Bloomer. It also appears on the cover of Bonsai Today issue 93, an issue that features a tribute to the life and works of John Naka.

A first
This is first time we’ve recycled a Bonsai Bark post (all but this paragraph appeared in a March 2010 post). The timing seems right, though it’s always a good time to celebrate our National Bonsai and Penjing Museum and John Naka’s legacy, and perhaps it’s an especially good time to remember that “There are no borders in bonsai.”

No borders in bonsai
Helen Searle recently sent me some photos that she took at the National Arboretum. I picked a few that I thought you might enjoy, including the plaque below by John Naka. The only photo in this post not by Helen is Goshin (above).