Page 46 - Tạp chí bonsai cây cảnh BCI 2014Q4

For Daniel, the focus of the tree is the trunk. He is Deadwood is an essential part of the story of long
fond of saying, “Show me a great trunk, I can grow a life and struggle. Even as we humans bear the marks
top.” But to bring it all together, to make it work in the of our lives, so should trees speaking of mature and
magical way which sets apart his work from so many venerable life. The willingness of trees to forsake all,
others, he keeps some simple principles in mind to back to the root itself if need be, is a story of constancy
guide his work. in a changeable world. Deadwood shouldn’t be added
carelessly, but with thoughtful consideration to
portraying the story of the tree’s life.
Opportunities should never be wasted when
designing a tree. For trees in nature, losing a limb
would rarely be sheared off clean. The usual result
would be a stub of the lost branch remaining to
become what we call jin. Even better, if the wound
is severe, a tear would likely result causing hollows
over the slow course of time that we call uro. But the
clean sawn and callused marks so often used would
not be a common occurrence in the natural life of a
tree and so should be avoided. Instead, leaving stubs
from unwanted branches leaves opportunity of jin and
uro to further bespeak tales of age and survival.
There is an almost wild dance to the forms that
Daniel’s trees can take. That movement translates
itself to the very tips of branches. Crooked, gnarly,
undulating branches are a hallmark of his hand.
Someone familiar with his work can walk into a

Top; Ponderosa Pine, Pinus
ponderosa
Bottom; Sierra Juniper,
Juniperus occidentalis

44 | BCI | October/November/December 2014