Page 52 - Tạp chí bonsai cây cảnh BCI 2015Q4

chapter provides a discussion of penjing aesthetics
similar to that provided in previous works. Similar
but different. The principles are the same but they
are applied exclusively to literati. Somehow, this
sharpens the focus. Figure 8 depicts a Chinese red
pine designed by Han Xuenian that Brook uses to
illustrate the use of space in literati. He describes
a “proud loneliness” and points out that the
simplicity of the style has nothing to do with the
lack of sophistication as is patent from the example
provided.
The tightness of the perspective provides a very
nuanced and sensitive discussion of aesthetic
criteria that was beyond expectation. I expected
overlap, however, the shared elements were greatly
overshadowed by the focus. The familiar aesthetic
criteria were distilled in a way that revealed their
true essence. This is a valuable chapter indeed.
I shall skip over the second chapter until the end
of the review. The remaining chapters are practical,
dealing with Basic Techniques, Projects, Display
Techniques, and Care and Maintenance. I typically
find chapters similar to these to be of lesser interest,
as there is substantial redundancy with other works.
However, with the present work the tight focus on
literati offers significant insight into methods and
issues most pertinent to this style. Some of these
techniques are not part of the “standard curriculum”
I find myself eager to collect some specimens and
to begin learning some of the techniques presented.
These chapters also allow Brook the opportunity
to demonstrate his astonishing artistry as his trees
are often used to illustrate didactic points. See, for
11 example, Figures 9, 10, and 11. I believe two things
Figure 11, “Dancer” Five of which is seen in Figure 5. He counts as a favorite that stand out in these chapters, beyond the focus on
needle pine. Designed by the painting of Ma Yuan presented in Figure 6. a single style, deserve comment. Brook has provided
Zhao Qingquan. Poetry is part of the equation too. Brook provided an an extremely useful species guide for tree species
Figure 12, example that I found particularly evocative, actually suitable for the literati style. This had me thinking of
A. 2006. B. 2013. C. 2014. spiritual. It involves a short poem that he translates some species in ways that were novel to me. Secondly,
“Heaven Ascent” Sargent’s “Tens of thousands flowers come into my eyesight; I particularly benefitted from the fourth chapter—
juniper, Designed by Zhao
Qingquan. Presented at three two or three pieces only touch my heart.” (Ode to Projects. It offers a chronicle of the development and
times. the Plum, by Li Fangyin, Qing Dynasty (1644-1911) styling of twelve different trees. I recall when I first
Brook remarks that although the poem is attributed encountered the progressions presented by Walter
to the flower, it carries transcendent meanings that Pall. They offered such insight. I spent countless
go well beyond the plant. The aesthetic of simplicity hours pouring over these progressions. The twelve
in this poem applies to all literati style penjing— progressions that Brook provides are beautifully
especially with the plum that Brook offered as an illustrated and fully described. Figures 12 a, b,
illustration of how poetry inspires his art Figure 7. and c present three stages in the development and
The intimate relationship between the poem and refinement of “Heaven’s Ascent.” There is something
the tree compellingly illustrates how penjing derive of the concept of critical mass here. Most books that
from a cultural tradition and are transformed from present progression seek variety. The presentation
the representational to the evocative and original by of progressions for twelve trees—all literati—has
the artistry of the master. a powerful yet refined impact. This is a chapter to
Literati Penjing: Chinese Bonsai Masterworks is study.
a remarkable work within the bonsai literature in Chapter 2 is a tour de force. My career has largely
that it deals with a single style or genre. It illustrates been as a professor. This chapter on the Cultural
surpassingly well the cultural foundation supporting Origins of literati penjing would be at the top of
artistic transformation. It is copiously illustrated and my required readings list. Many of us who are in
the reader/viewer receives an astutely constructed the thrall of bonsai know that they originate in
immersion course in the literati style. The first particular cultures and that cultural influences are

50 | BCI | October/November/December 2015