Bonsai Northwest Exhibition and Sale – 5 & 6 November 2016

This month we’ll be having a demonstration on Azaleas as bonsai by our very own Barry and Ted. I’m sure everyone enjoys the beautiful flowers on azaleas and how great they can look as bonsai. Bring in your azaleas for the display table. The Library will be open from 7.00pm and will close at 8.00pm. The Sales table will be open and hoping the new tools ordered from Japan will

arrive in time after last month’s rush and sell out of tools.

Our Show is only 5 weeks away now and hopefully you all have picked out some of your trees to put into the display!!! This is EXTREMELY important to have all members display their trees as this is a club exhibition. Thank you to all the members who have volunteered their time to helping out at the show. Please review the roster attached to confirm your spot and we still need more people to help, so please volunteer your time. Also please make sure to put up the flyers and hand out the postcards wherever you can. Important information about timings for the show are listed below: FRIDAY 4 November Setup

- Volunteers to help setup at the FCAC to arrive after 3pm - Display trees to arrive after 4pm and before by 6pm - Sales trees, with sales sheet filled out, to be delivered after 4pm and before by 6pm - Sales area will be open to members ONLY for the opportunity to buy items, around 6pm and no selling

beforehand - Please NO Buying/Selling in the car park as this behaviour does not support the Club. Sales commission

paid to the Club helps to cover costs associated with putting on the Exhibition. Saturday 5 and Sunday 6 November Start times

- Helpers to arrive at 9.45am for 10am start. Sunday 6 November Clean up

- All hands on deck to help pack-up from 4pm.

Contact David 0418 127 262 or Barry 0422 619 641 for more details. If you are intending to sell any bonsai related items then please use the sales sheet attached or pick up a copy from David at the meeting night. Please note ALL ITEMS MUST BE CLEARLY LABELLED. Please label items in the following way: eg. If you name is John Smith, then label should be JNS01. Use 3 alphabet prefix for your name and

then follow with 2 digits for the number. Hope that helps.

Sponsored by:

178 Forrest St. Ardeer, VIC 3022

Melway ref. 26 A12

Tel: (03) 8390 0942 Mob: 0425 795 352

Open: 9am – 5pm, 7 days

After hours please contact by phone

Established:1973 A-19332L

Sponsored by:

President: David Nassar

Phone: Barry 0422 619 641

Find us on Facebook.

Twitter: #BonsaiNorthwest

Next meeting at 7.30pm, Monday 3 October 2016.

OLOGY

Supplying specialist potting mix components for Bonsai growers.

Currently in stock. Mount Sylvia Diatomite, Zeolite, 5-7mm Pine nuggets, Pumice and Sphagnum moss.

Our aim is to save you time and money.

Ology.net.au Damian 0412 698 259

Bonsai Northwest Inc.

Sponsored by:

CLUB DETAILS

www.bonsainorthwest.com.au

178 Forrest St. Ardeer, VIC 3022

Melway ref. 26 A12

Tel: (03) 8390 0942 Mob: 0425 795 352

Open: 9am – 5pm, 7 days

After hours please contact by phone

PO Box 1091, Niddrie Victoria 3042

Meetings are held at The Aberfeldie

Community Club, Batman St Essendon,

7:30pm on the first Monday of the month

(no meeting in January)

Electronic Newsletter To receive your newsletter electronically email

bonsainorthwest@hotmail.com

‘Like us’ on Facebook If you have a Facebook account, go to our new Facebook site and

‘Like Us’. http://www.facebook.com/bonsainorthwest

Ology.net.au - Damian 0412 698 259

Newsletter October 2016

Important points to remember when displaying bonsai: Health: The tree must be in excellent health and free from pests and diseases. Fertilise properly several weeks before the Show so that the foliage is a healthy green colour and showing no signs of nutrient deficiency. Treat for any disease or insect attacks as necessary well in advance of the Show. (Keep your bugs at home!) The day before the Show, water the tree thoroughly as it is in for a dry spell during the

exhibition.

Preparing Bonsai for Display Ian Barnes

Foliage and Branches: Groom foliage. Remove any damaged, dead, discoloured or oversized leaves or needles. Define foliage masses by trimming downward growth. Carefully pull out downward pointing needles. Trim off shoots or branches that extend outside of the designed silhouette. Wire and position branches that are not correctly positioned, (wiring should be neat and as unobtrusive as possible). Remove any unnecessary wires. Trunk: Clean trunk of any moss or lichens that are growing on it. Clean jin and shari and treat with lime sulphur, (far enough in advance of the Show that they have time to bleach out properly). Do any touch-up carving or shaping of deadwood prior to treatment with lime sulphur. Soil: Ensure that the soil surface is neat and free from weeds, dead leaves and other debris. Clean rocks if used in the bonsai. Trim any visible root hairs that may be sticking up out of the soil. Underplant with moss, but do not completely cover the soil. Moss placement should be done far enough in advance of the Show that the moss will have a chance to become established. Dress between moss islands with “iron stone” of a suitable colour. This will create a natural landscaped feeling. Figurines should not be placed on the soil. Normally the only accepted item that can be placed in the pot with the tree, other than moss, would be a stone that is used to camouflage a root or trunk defect. A good bonsai should not need figures or animals to provide the illusion of scale and they can be distracting, taking focus away from the tree. Pot: Make sure that the tree is completely stable in its pot and that any tying wires are not visible. Clean the pot to remove any dirt or stains. Wipe unglazed or dull pots with a small amount of mineral oil to improve the appearance. (This should be done at least 2 days before the Show so that it has time to soak in). Stand: Bonsai are customarily displayed on a stand to set them off from the surface of the display table. A stand can be a small wooden table, a slab of wood, or a simple mat of bamboo or some other material. (Bamboo mats are usually used in spring and summer while wood slabs are used for autumn and winter). The stand or mat should be larger than the bonsai pot, (generally about a third larger than the pot in length and depth). Select the stand on which the tree is to be displayed, check it for any damage, dust and apply a light coat of wax. Accessories: It is customary to include one or two other elements in addition to the bonsai in a display. A small accent planting, a rock (suiseki), or a figurine displayed on the table next to the bonsai, or a scroll hanging behind the bonsai, are all items that can be used to enhance the display. (Scrolls are rarely used in bonsai exhibitions, however. A row of 20 or more scrolls along a section of exhibition tables could become a visual mess!) Whatever is used should harmonise with the bonsai and reflect the character and mood of the tree and the feeling that one is trying to create. Accessory items should not overshadow the bonsai. Everything else in the display (pot, stand and accent) should be subordinate to the tree.

Identification: Ensure the pot and the stand are legibly identified with details of the owner.

v

Last Meeting – Hanh from Baloc Bonsai

Upcoming Shows

Our very own member Hanh, owner of Baloc Bonsai, shared his unique and highly researched and implemented techniques for bending any size branches on Japanese Black Pine. He made it look so easy the way he could manipulate large branches, even trunks, by preparing the tree for the work. “Massaging” the branch, twisting while bending and timing of the work all factored into the success Hanh has had. Ably supported by Barry, the demonstration was a real eye opener on new techniques. A video of the demonstration can be found on YouTube at https://www.youtube.com/watch?v=qyZk3resvis

Also all future demos will be recorded and uploaded here as well, so subscribe to the channel for updates.

BSV Bonsai Exhibition 8 & 9 October 2016, Box Hill Town Hall, 1022 Whitehorse Rd Box Hill

Ballarat Bonsai Exhibition 29 & 30 October 2016, Robert Clark Centre, Botanical Gardens Lake Wendouree

Goldfields Bonsai Exhibition 29 & 30 October 2016, 10am – 4.30pm Old Tea rooms, Downes Rd, Castlemaine

Geelong Bonsai Exhibition 12 & 13 November 2016, Geelong Masonic Centre, Regent Street, Belmont

Library News

Mission of Transformation by Robert Steven. Hardcover, 250 pages with 600 photos. This book is an excellent addendum to his first. Vision of My Soul explained the design elements utilised for bonsai creation. Mission of Transformation continues on with his study of bonsai design. The technical and horticultural aspects are again not discussed, but Robert thoroughly explains the principles of good bonsai design and how they are applied when creating bonsai from both collected stock and nursery grown plant material. What was started in his first book Vision of My Soul in describing artistic principles and aesthetic considerations is put into practice in this book. A must for intermediate to advanced bonsai artists and a finger that points the way to the future for daring beginners.

Satsuki Azalea Bonsai Exhibition 5 & 6 November 2016, Bonsai Art Nursery, 236 Old Dandenong Rd, Heatherton.

Penjing vs Bonsai by Ian Barnes

In recent articles we have looked at the rules of art and the rules of bonsai. They define what works and what

doesn’t work in the creation of a bonsai. (Of course, good bonsai still depends upon talent, experience and inspiration, as well as a general conformity to the rules).

The rules of bonsai are derived from fundamental concepts of artistry and aesthetic principles of visual art. A working knowledge of these concepts should allow us to readily create bonsai works of art because we understand the

essence of the art and what these rules refer to. However, the rules should be used in the context of our artistic aims as applied to an individual bonsai effort, rather than thoughtlessly applied to all bonsai. The way one rule suits a

certain situation may not be applicable to other situations. An artistic convention can be applied in various ways to

account for different physical conditions and styles.

The rules are there to guide us and there is reason for them. Unfortunately, the Western approach to bonsai tends to focus more on the “how”, and less on the “why”. All too often we become so trapped by the rules in our quest to

create the “perfect” tree that we lose sight of the experience of creation. The constraints of the rules become the measure of our efforts, with little regard being given to the reason for them being there at all.

Sometimes, you may feel the need to go beyond, over or around the rules, to incorporate your own personal touches as a signature of your personality. If you’re starting to feel this way, maybe you should give Penjing a try. To a

certain extent, bonsai can be seen as rather bound by its conventions and rules; whereas penjing is freer as a form of personal expression. It might allow you to pursue a greater level of artistic experimentation.

Penjing is more about artistic nuance in portraying natural phenomena; 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 medium

for the artist to express his emotional ideas. Also, the more intuitive and free-flowing styling methods of Chinese penjing artists may suit our Australian climate and natural environment better than many classical Japanese methods,

(eg, the innate properties of tropical species, such as Ficus, call for a less formal approach).

What exactly is penjing, and how does it differ from Japanese bonsai?

There is a major difference in the scope of these two related art forms and the materials used. Penjing is a much

wider concept and encompasses what the Japanese call bonsai. Penjing is the much older art form from which bonsai derived.

There are three forms of penjing - shumu penjing (Tree Penjing), shanshui penjing (Landscape Penjing) and shuihan penjing (Water-and-Land Penjing). Within these three categories, there are many identifiable styles of Chinese

penjing, due to climate differences, local tree species, culture, interest, habit, history, and other local aspects. 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). They are mainly classified by the most representative (dominant) plants used, and named after the regions of their origin.

The basic philosophy of penjing is “Yuan yu je zan, Gao yu je zan,” which means “Inspired by nature, admired as superior to nature.”

The ideograms for the word pronounced “bon-sai” in Japanese.

“Bon” denotes a pot or container; “sai” means a plant or tree.

Therefore, “bonsai” in Japanese means “planted in a pot”.

In Chinese, this word is “pen-zai”.

The ideograms for the word pronounced “pen-jing” in Chinese.

The character for “pen” is identical to the one for “bon” and

also refers to a pot or container. “Jing” translates as a scene

or panorama; a view or landscape. Therefore, “penjing”

means “landscape in a pot”.

The following 3 drawings represent the 3 forms of penjing:

Tree penjing differs from bonsai by allowing a wider range of tree shapes (more “wild-looking”) and by planting them in bright-coloured and creatively shaped pots. Penjing designs appear bolder, livelier, and more playful, sometimes

even bizarre. In contrast, bonsai are more simplified in shape (more “refined” in appearance) with larger-in-proportion trunks, and are planted in unobtrusive, shallow containers with simple lines and muted colours. You feel

that Japanese artists have a strong tendency to impose order on their creations whereas Chinese artists appear willing to embrace a measure of chaos, seeking to capture and convey sentiment and mood in their work. They seem less

concerned with rules and the pursuit of perfection.

Japanese saikei depicts living landscapes in containers, like water-and-land penjing, but it does not use miniatures to

decorate the living landscape.

The essence of penjing is “Hua jong you se, se jong you yu; Jin jong you dong, dong jong you diao,” meaning “Inside

the picture, there is poetry, inside the poem, there is meaning; in the silence, there is movement, in the movement, there is rhythm.”

With penjing one tries to recreate the beauty of nature without eliminating the imperfections of nature. There is a

great deal of creative and natural freedom in how the artist may do this with penjing. The soul of penjing is revealed more in the whole presentation; the thematic message, the symbolism and poetry. The presentation is natural,

without too much of the aesthetics depending on the details of the tree. Penjing is involved more with a subjective

expression, with very strong individual emotional references. The technical skills important to bonsai are not so important in penjing. Instead, the application of skill should be relevant to the tree only in order to successfully

convey the thematic message to viewers.

Also, penjing artists often give quirky names to their works and compose a short poem, to add a thematic or soulful

element to the composition. Naming a work of art is like “bringing the painted dragon to life by putting in the pupils of its eyes”. Names and poems evoke the sentiment expressed by the work.

So, as an “artist” wanting to make your own statement of character and identity, why not give penjing a go? You

may find an affinity for the subjective aspect of penjing, the inner beauty of the symbolic presentation. You could

find new, innovative possibilities based on your own applications of the aesthetic concepts. There is no absolute in art and beauty. For appreciation of artistic creation to occur there should be an emotional interaction between the art

object and the viewer. This requires communication between the art object and the viewer.

Make your work a reflection of your personal feelings and attitude. In making your art, don’t be too concerned with the final destination, but rather with the joyful process.

Tree Penjing (shumu penjing):

This form is most similar to the Japanese

concept of bonsai. The composition

consists of one, two or several trees; rocks

may or may not be used as supportive

design element.

Landscape Penjing

(shanshui penjing):

In this form, an idealised

landscape is created using

rock as the main artistic

medium, usually placed in a

container in contact with

water. Small trees or

accent plants may or may

not be incorporated in the

design.

Water-and-Land Penjing (shuihan penjing):

This form combines the first two types of penjing and

uses both trees and rocks and optionally miniature

figures and structures to portray a landscape. The

design typically also incorporates a water feature, which

could be a river, creek, or the shoreline of a lake.

In poetry, words are carefully selected for meaning, sound and associations. In Penjing, the artist carefully perceives

a landscape’s original features, but he does not reproduce them in every detail. Instead, he chooses those elements which best convey the essence of the scenery. Penjing may be thought of as wordless poems.

Penjing Poem by Ding Henian, in Yuan Dynasty (1279 – 1368):

The small container filled with water is placed in front of the winding balustrade. The old Zen master, placid, relishes the creation of forests and springs. The energy held by two cupped hands swallows the Bohai Sea. The momentum of a fist-sized rock quells the Himalayan Mountains. Apparently mist and clouds are generated by this tiny space. Certainly Sun and Moon are in the sky framed by this pot.

Do not utter amazement at this absence of aspiration.

A single hair can represent the universe.

Some of the aesthetic principles inherent in penjing are:

1. Do not imitate nature, but capture its essence. Implicitness and suggestiveness evoke associations, which cannot

be seen in reproductions of nature. The penjing artist does not seek to recreate nature in a realistic manner. Outward resemblance is not a major objective. A superior piece of art possesses the quality to transmit life, to

convey the very spirit inherent in nature. In pursuit of this goal, the artist concentrates on the essential, leaves out all superfluous detail, eliminates anything that would distract the viewer's attention.

2. Opposites. Since ancient times, the Chinese have conceptualised the universe as consisting of two poles of cosmic energy, the yang (positive) and the yin (negative). The two are opposites yet interdependent; denying one would

entail a negation of the other. Yang and yin are mutually generative and mutually supportive, and the key to ultimate wisdom is held by those who know how to keep both principles in their proper balance. Yang and yin are associated,

among other elements, with heaven and earth, the masculine and the feminine, the light and the dark, the solid and

the liquid, the firm and the yielding. Mountains and water form such an ideal yang-yin pair. They are polar principles joining to constitute one entity, contrasts uniting to form perfection.

For example:

Major and minor. Highlight the prominent feature but harmonically include minor components.

Dense and sparse. Balance the two. It is in the placement of some trees closer together (dense), and others further apart (sparse), which shows the experience of an entire forest.

Refinement and roughness. Blend both. If rough only, it will not be interesting. If consisting only of minute detail (refinement), it will lack strength and spirit. A balance is needed.

Firm and soft. Strong masculine (straight and square) and soft feminine (curved) shapes should co-exist.

3. Solid and void (emptiness and presence). It is said that 30% emptiness creates liveliness. Qi (Chi) is created in

the void, and complemented in the solid.

4. Interconnectedness (eying and echoing). What really matters is the way everything blends together into one harmonious, united landscape. No one part exists in isolation. A sense of inter-relatedness is known as “gupan” or

looking at one another. Each design element appears to eye all the other parts and perceive its relationship to them.

How do you do this? Direction of trunks, contour, texture, colour, slope, are all echoed in each other.

5. Balance and Harmony (light and heavy). A balance through asymmetry gives visual weight. A stone is heavier than a tree; a near object is heavier than a far object. This produces equilibrium in profound harmony.

Sometimes I step down into the ravine mirrored by the green rivulet, then again I sit at the ridge on a mighty rock. My mind resembles a lonely cloud no place where it pauses, in a far distance the dealings of the world – what else would I have to search for? - Hanshan

If you would like to do further reading on the subject, look out for these books:

Penjing: Worlds of Wonderment: Penjing: the Chinese Art of Bonsai: A Journey Exploring an Ancient Chinese Art and Its History, A Pictorial Exploration of Its History, Aesthetics, Cultural Background, and Aesthetics. Styles and Preservation. by Qingquan Zhao (Author) & Karin Albert (Translator) by Zhao Qingquan & Rob Kempinski Hardcover – September, 1997 Hardcover – May, 2012 ISBN: 0965529703 ISBN: 1602200092

If you had been at the 2014 AABC Convention on the Gold Coast, Queensland, you would have seen Qingquan “Brook” Zhao create a water-and-land penjing:

At the Convention, I acquired a large picture book of the work of three Chinese penjing masters, titled An Artistic Conception Beyond the Image of Bonsai: Bonsai Masterpieces of Lignan School by Ng Shing Fat, Chen Chang & Huang Jiuwel, which I have donated to the Club library. It has many full page colour plates of penjing and should be available for reference on club meeting nights (ask at the library).

In his book, Vision of My Soul, (pp103-106) Indonesian bonsai artist Robert Steven shows step-by-step instructions to create a water-and-land penjing: