The Art of Bonsai

By Geoff Smiley

What an ambitious title! I thought it may be helpful to members new to our hobby to provide an overview of bonsai. People attracted to do bonsai are keen to be involved immediately but the actual creation of bonsai can be a confusing and at first, slow process. Everyone doing bonsai was once a beginner and so we understand how long it takes to develop some proficiency. I don't want to deter anyone but it is an ongoing process and we are all learning.

This article tries to provide some understanding of bonsai so at least the beginner has a road map to start with. The beginner, to be successful, must immerse themselves in bonsai, practice with their own trees, read a lot and get support from others. A number of bonsai enthusiasts report spending a lot of time thinking about bonsai. Becoming competent at our hobby will happen over time. Patience is one of the gifts that bonsai gives us. One writer (Julian Adams) has said that bonsai is 50% horticulture; 50% art; and 50% philosophy! Of course this is bad maths but it does explain what bonsai involves. I have decided to discuss these three elements in reverse. Philosophy Philosophy has been defined as (in part) “...a set of ideas or beliefs relating to a particular activity”. Bonsai having commenced in the Orient, has been strongly influenced by Eastern thought and religion and in particular Buddhism. Buddhism emphasizes “..repudiation of ego (self) and a search for enlightenment through meditation”. Zen Buddhism regarded life “as a unity of which man, art and nature form harmonious parts. Through this understanding … we can know something of life's mystery, and see the eternal in even the smallest manifestation of nature (eg a bonsai tree)”. The Zen masters were seeking, through meditation, “a kind of oneness with nature and with the universe”. The monastic life chosen by these early bonsai artists (and they at first were the only practitioners) who used bonsai, among other pursuits, as a discipline to aid enlightenment. Doing bonsai was used as a means to meditate. Contemporary bonsai does not involve for we Westerners, a search for enlightenment such as motivated the early Japanese Zen masters. Current ideas about bonsai (still influenced by its Eastern roots) are presented below. They strike a chord in those of us who practice bonsai; and they are part of what bonsai can be. *  “Bonsai truly represents the fusion of nature and human wisdom; it is an art that at once pursues the spirit of both nature and beauty” (Amy  Laing). *  “Bonsai...is about beauty, peace and tranquillity” (Peter Chan). *  “It is not what we do to these plants that is important, but what they do to us...we can find a greater measure of faith, courage and  understanding” (Claude Chidamian). In bonsai we tend to focus on technique and not discuss what it means to us. There is the joy of the annual seasons (yes they happen in Qld) and being involved in the life cycle of a tree that may outlive yourself – if you the guardian care well for it. There is the change and beauty in the tree as it ages; even engagement with the broader idea of the cycle of life. The soul of the bonsai artist responds in an emotional way to a tree. Appreciating the philosophical gives us an overview (something beyond ourselves) and meaning that take us further than just shaping a tree. These matters influence the commitment we make to bonsai; and the choices we make about the trees we work with. It gives each of us our individual approach to our hobby. For me it guides my preference for Australian native trees (I am Australian) and for flowering trees (I love the flowering cycle). It keeps me engaged with bonsai even with its, at times, inconvenient demands. Only engagement with matters beyond the technical will keep a person involved long term in bonsai. In summary the philosophy of bonsai can involve a connection with nature and life itself; the development of patience through the rhythms of the life cycle when working long term with trees; the pursuit of beauty and artistic expression; and self understanding through the rigours of creating living art. Of course there is also the deep satisfaction of sharing the interest in bonsai with other like minded people. Art The artistic elements in bonsai are central to a satisfying practice of our hobby. Our goal is to create a tree in miniature, with the tree subject to our creative shaping and care. Bonsai offers the joy of creating in a discipline that has room for the person with even ordinary talent. Art is central to good bonsai and fortunately our ability grows as we become more involved. The Indonesian bonsai artist Robert Steven says that artistic creation involves “...harmony of the artist's identity and the character of the tree”. It follows then that we as Australians working on our native trees will do work differently, but in a way related to, for example, the Japanese on their own trees. Working with Australian native trees is in my view, an urgent need for Australian bonsai. Only by doing this will we develop an independent Australian style. The practice of bonsai brings out our artistic ability over time. True, this is partly because we are exposed to trees as bonsai but also partly because we become aware of the “rules” that guide us in good bonsai design. Of course a focus on the basics is necessary before we can be fully artistically expressive. The rules are but a codification of what pleasing forms should look like. They really only define the elements of a mature tree – which we are trying to create in miniature. These rules include: 1.  The trunk must have taper and the thicker the base the better. 2.  The trunk should have "movement" eg. bend and if possible, these      start at soil level. 3.  There should, as the tree ages, be exposed roots. 4.  Branches should be on the outside of the trunk beds and alternate      up the tree. 5.  There should be two or more back branches to give the tree "depth". 6.  The overall profile of the tree should form an approximate triangle. 7.  An apex should be developed at the top of the tree. 8.  Branches should be inclined downward and become smaller from base      to apex. 9.  Branches should taper and exposed wood on branches denotes age. 10. Use trees with small leaf or reduce leaf size as this enhances      the illusion. The rules are guides only but if used can help you do good bonsai. Variation to the rules comes with experience and can be used to create a unique bonsai specimen. If one begins with a very young tree, it is possible to create a trunk (the first priority in bonsai) that will meet the above rules. A further support in starting out is the list of styles used in bonsai design eg informal upright; cascade etc. These provide a template for beginners to follow. They give a structure on which to shape any tree on which you are working. These are presented in the many books on bonsai in our library and you must become very familiar with them. We learn the rules and styles so as to acquire the skills to be a thinking bonsai artist. Satisfaction in bonsai comes from confidence in our technique and artistic ability. It may be tempting to compare yourself with more experienced members, but it is better to compare your own work over time. Photographs of your trees at purchase and at each re-pot will give good feedback on your development as well as that of your trees. It is you the individual who is seeking “enlightenment”. The techniques used in bonsai support your artistic development – they are a means to an end. There is no mystique to them and they are the most practical part of our hobby. Learning to wire, to re-pot or prune a tree is not really difficult. They should become second nature so we can confidently do them as we decide what to do with a tree. What is the most difficult part of bonsai for the beginner (and the experienced hobbyist) is the artistic or design element. That is, knowing how to apply the techniques. Horticulture The horticultural aspects of bonsai are also central to our hobby. They are the third 50%! We must keep the tree alive and healthy in a small container and know the limits of what we can do to the tree. This involves the skills of watering, feeding and pest management. It also involves understanding whether the tree grows shoots on old wood (so you know where to cut on a branch), when to repot etc. These are basic. Again experience is our teacher. Next is choosing the right tree to bonsai. As beginners be guided by more experienced members' recommendations. Remember too that only by having a number of trees will knowledge of the tree's needs become apparent. My first trees were figs and azaleas. For me they were easy and grabbed my interest. I would advise purchase of an (easy) mature tree as part of your collection. It encourages you while you work on smaller trees to create a bonsai collection. Get to know your trees' needs intimately and their annual cycle. I keep a diary of what needs to be done and the times to do it - and follow this (usually) during the year. This involves a schedule of defoliation, when to re-pot, preventative spraying, fertilizing etc for each variety of tree in my collection. It helps to be a bit obsessive! It may sound silly but in time you become “attached” to some of your trees – usually the ones you best understand in my experience. Bonsai artistry requires us to shape a tree, but horticultural knowledge teaches us that we need to prune it and re-pot it to keep it small. We need horticultural knowledge also to understand our trees and the limits of what we can do. For example, an azalea is difficult to wire (unless young) because they are brittle. Figs bend easily with wire but if you don't prune often figs quickly elongate and lose their compact shape. Quickly growing trees need an annual re-pot, especially when young. Pruning is used to shape a tree but learn how to do this for each type of tree. I can't overemphasize the need to intimately know the horticultural needs of each tree in your collection; as well as the needs of bonsai generally. Conclusion Early in our bonsai journey it is very helpful to consult with experienced practitioners. Use their knowledge and identify one or two whom you can relate to well. This is a real benefit of club membership. You should however move as quickly as you can to greater independence. This is where the real satisfaction is. Most of us benefit from ongoing consultation with experienced bonsai artists as it helps us further develop our bonsai skills. But the competent bonsai artist is one who is confident most of the time, in their own skills. In time you will be giving help to others and in that there is learning for yourself. Accept that we are always learning and that our trees are always changing as they (like us) mature. Competence takes a different period of time for each of us. I started bonsai in 2004 but it was two to three years before I felt I was not “bumbling around” and unsure of what to do. What saved me was learning from Maida on a regular basis. Remember, if bonsai is going to be a lifetime hobby, then you have the time to learn to do it well. Books, club meetings and our shows have examples of bonsai to inspire us. I hope you will soon be good at bonsai.