Page 32 - Tạp chí bonsai cây cảnh BCI 2015Q1

To assemble a forest that is credible and able to pro- and in practice, creating many bonsai forests, and who
vide the sensations described, it is useful for bonsai certainly is among the best in the world, proposes a
artist to visit the wild forest that he or she intends to method that is of interest, because mistakes in per-
copy or from which to draw inspiration. The views spective can be avoided resulting in a forest composi-
of the forest as seen from a distance and then upon tion with natural character.
entering, are important to consider in recreating the Following is a summary of the presentation of-
forest in miniature. As you immerse yourself in the fered to participants during the demonstration held
Master Genotti, Danilo forest, make note of all the little details typical to the at the World Congress BCI - IBS held in Saint Vincent
Scursatone and the completed environment and keep them in your mind, in order (Aosta, Italy): “Art and teaching on the top of Europe.”
forest grouping of Pinus to have them at hand when styling your forest. Take Here we will go through the steps for styling a for-
sylvestris at the World Congress photos make notes or drawings. est of hornbeams that I made, inspired by the regions
BCI - IBS held in Saint Vincent
(Aosta, Italy): “Art and teaching My teacher Giovanni Genotti, based on studies car- typical of Marche, an Italian province with a coast on
on the top of Europe” in 2008. ried out on the forest style, observing them in the wild the Adriatic Sea, that are colonized by small forests of
Carpinus orientalis.
The forest according to the method
of master Genotti
The trees that form the forest are almost always of
the same species, and in odd number, and if arranged
in groups, the groups are also in odd number.
In the forest, the focal points are different from
those of a single bonsai, they are not arranged on a
vertical plane (base, trunk, branches, apex) but on a
horizontal plane that corresponds to the ground. The
focal points and the essential perspective of depth,
play a fundamental role.
The base (or nebari) of the trees must be placed in
sight, even placing them at the top of small mounds
of soil as in Figure 1.
By undulating the surface of the soil in a pot or slab
which holds the forest, hills and valleys are created
to enhance the perspective, favor the area for water-
ing, and attract the eye to the raised areas from which
emerge the base of the trees.
The “reading” of the forest is not made from the
bottom to top but from left to right and results funda-
mentally in three points that are located in the scalene
triangle shown in Figure 2.
Draw lines that divide the container, usually a very
shallow oval tray or a stone slab, into four quadrants.
Figure 1
Choose one of the two rear quadrants, generally to
the left, as point A, more or less close to the vertical
center line and from it, make two non-symmetrical,
A
converging lines from points A to B, and A to C, to
each of the two front quadrants.
B C So doing will form the scalene triangle, ABC.
Choose the area near point B, internally or externally
to the scalene triangle ABC, to place the most inter-
esting plants as the foundation of the composition,
and repeat at point C. The area at point A of the sca-
lene triangle is fixed and there, place small trees with
Figure 2 branches directed mostly outwards.
Point A, the perspective connecting focal points B
and C, is the beginning and end of the forest.
The model described above can be repeated several
times. The other trees are positioned in an alternating
manner along the lines forming the sides of the tri-
angle so that the distances between them are unequal.
Position branches to provide unrestricted sight lines
Figure 3 through the trees, not hiding or crossing other trunks.

30 | BCI | January/February/March 2015