Page 49 - Tạp chí bonsai cây cảnh BCI 2014Q2

Top; “Drinking Horse,” Chinese elms, Ulmus parvifolia, 55 years
old, with turtle-shell rocks portray a horse drinking water from a
river. The “land” detail, with gentle slopes, features a vigorous tree
in early spring, contrasting with the open “water” part. Created
by Zhao Qingquan who describes his land and water penjing
as three-dimensional landscape paintings that are created with
media from nature.
Middle; Sargent Juniper, Juniperus Sargentii by Masahiko Kimura
(photo, Jonathan M. Singer/Abbeville Press). Kimura advanced
the art of bonsai by making the deadwood the focal point of his
creations resulting in an elaborate starkness not ordinarily found
in the wild, innovatively creative without historic models.
Bottom; “Bosco,” Pinus sylvestris by Giovanni Genotti. Photo, Studio
Bauducco, Italy. In the windswept alpine environment of Alpi
Graie in Italy, we can see scots pine forests, formed in small glades.
The shapes and forms of these trees have inspired the creation
of this bonsai forest planted on a slab of quartzite from Barge (a
small village in northern Italy famous for this type of stone) that
enhances the naturalness of the whole.

A bonsai masterpiece is never an end in itself. It
represents the maximum expression of this kind of art
and it is proposed as a universal and absolute model,
a reference for those who wish to walk the path of
bonsai, for both the author who has created it and
the technical and cultural attributes it possesses. This
model conveys many messages that help us find our
way—our bonsai path.
We often tend to imitate a masterpiece, as can be ob-
served in many exhibitions. How many bonsai artists
have tried to emulate the masterpieces of the Master
Kimura, proposing as a focal point the deadwood of
their bonsai, or have used starting material similar to
the masterpiece? Definitely a lot! How many have suc-
ceeded in creating a work of art? Surely very few let
alone masterpieces!
I believe that masterpieces are not to be imitated,
but should be an inspiration for future masterpieces.
In front of a masterpiece we need the humility to re-
alize how we can acquire the ability to create a mas-
terpiece. This is a good starting point on our bonsai
journey. The measure of our growth will be dictated
by our ability to learn from the messages inherent in
the masterpiece that are not limited to the aesthetic
expression or the architecture of the tree, but also
our ability to comprehend nature and capture those
special emotions that are fundamental to the bonsai
master.
While considering the absolute value of the mas-
terpiece, to better understand it, is important to know
the context in which it was created, its history and the
historical influences guiding its creator. It is useful for
a bonsai artist to understand the cultural background
that fostered its creation and on it, build his or her own
artistic growth—an approach that maybe one day will
lead to the creation of new masterpieces, masterpieces
of the places and the time in which the artist lives,
never forgetting that the tree is a living thing, just like
the artist and as such should be respected above all, for
it embodies the fundamental message of communion
with nature, not restricting the creative act to just the
artistic expression.

April/May/June 2014 | BCI | 47