Page 48 - Tạp chí bonsai cây cảnh BCI 2014Q2

INSPIRED BY MASTERPIECES

By Danilo Scursatone, Italy

Translation by Danilo Scursatone and Joe Grande

“Goshin,” Juniperus chinensis n bonsai art, many masterpieces reflect the study and experimentation of great masters, according to the
‘Foemina’ by John Y. Naka. classical school that is rooted in the ancient history of this art. They were able to break the rules and free
North American Collec- their spirit to create a special relationship between the tree and the artist—an extraordinary communion
tion, National Bonsai and
Penjing Museum, US National of man and nature conveyed by the bonsai masterpiece when we observe it.
Arboretum, Washington, D.C. I A bonsai masterpiece, in many cases, is born from a chance meeting between starting material with great
Photo, 2013, courtesy U.S. potential, often hidden, and the bonsai artist with great experience: the master, who recognizes in that material
National Arboretum. Inspired the qualities needed to make a masterpiece. Here then, the master, with great wisdom and experience, begins
by a forest of Cryptomeria to evaluate all possible paths that lead to the soul of the tree with the aim of placing it on a proper bonsai path;
japonica near a shrine in Japan,
Goshin means “protector of the fully respecting the species and its potential and highlighting its features so that even the most inexperienced
spirit,” in reference to the forest observer can appreciate and take in the emotions conveyed.
shrine. The eleven-tree forest At this stage, even if it is of a long duration, comes the styling process, the creative act of the master who at
also represents Naka’s eleven this precise moment decides to distance himself from the rest of the world, to focus on the tree and apply all
grandchildren. his knowledge—technical and spiritual, to fuse his soul with that of a tree in an exclusive, timeless dialogue
between man and nature.
With confidence, the master guides the tree toward
a new life, revealing to everyone the vital force and
beauty contained in it. The masterpiece is visible from
the first styling, but time is essential for achieving the
right balance, attracting the observer, guiding him or
her in small steps to discover the micro universe that
is the bonsai tree.
Among many bonsai trees, a masterpiece is instantly
recognizable because it is able to attract anyone, expert
or novice, through its “perfect imperfection.” A play
on words but it describes concisely what the master-
piece is. Almost always, in styling a bonsai, we try to
force the refinement in search of perfection, but often,
with this approach, we fall into the error of depriv-
ing the tree its soul, the imperfection that allows the
tree to express itself and reveal its story that inevitably
evokes the environment to which it belongs and to
which we are deeply connected.
A sort of “fatal attraction” that predisposes us to
identify with the masterpiece tree, unequivocally,
without doubt, leaves us motionless in front of it, to
observe in beautiful and exclusive moments of inner
dialogue between us and a living entity permeated
with beauty, and just for one moment project our-
selves in nature, away from the modern world, far
away from man. It is an important emotional experi-
ence that will forever imprint that little masterpiece
tree in our minds, and sometimes makes us question
the meaning we give to the bonsai tree, that maybe
until now, was linked to some obscure stereotype.

46 | BCI | April/May/June 2014