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...European. I draw a lot of inspiration from people such as Walter Pall. Not exclusively, mind you, but I really like the vision he has for his trees.
It's important to recognize the emergence of continental or regional styles. There is truly an "American" style, based on the trees we have here. Same with the Europeans, Australians, and everyone else. They're all great!" Craig Cowing
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I have to disagree with the Padre (Craig) in that I don't think there is such a thing as a "Western" or US style. BTW: nice to see you over here! I'd love to see one, but there is too much divisiveness. I agree, WALTER has his own style, but I'm not too sure that it represents anything nationalistic.
Here's my line of thought- both Chinese and Japanese "style" is recognizable or "pigeon-holeable". This is despite the fact that there are even significant regional differences in Chinese bonsai.
In most cases you see one or the other as a major influence...
If not, I don't think "c. None of the Above" means it is a Western Style...
I'm afraid that someone looking at a tree that might be considered a candidate for the "Western Style" (or perhaps a "School" or "movement" concept would be better?!?) would think that's bad attempt at Japanese or Chinese bonsai...
I don't believe that a style or school is a matter of one technique, tool, species, imagery style. It's more of an essence.
I think we've contributed many things to the art- new styles, inspirations, material, but, still we apply them over one of the existing models. I've met Vaughan Banting (ala "flat top cypress"). I also have met many of his students and worked under or with them. The whole crew works extensively within what would be considered a Japanese framework.
If I compared it to painting- the Impressionists developed a certain way of looking at things and painting. They tended to paint specific subject matter- typically inspiring outside natural scenes or social activities of their day. They used a certain palette- typically lighter pastel colors. They attempted to capture scintillating light effects with patterns of brushstrokes. To properly view an Impressionist painting one would have to stand back for best effect...
If I paint an Amtrack train, or a Hockey fight it can still be an Impressionistic painting even though it is not traditional subject matter of the school. I've not created a new school of painting.
I believe certain artists have gone beyond the two traditional schools- Banting, Pall, Lenz, C. Lewis, Adams, Robinson, spring immediately to mind... creating their own unique approaches to bonsai styling, and contributing to the art as a whole.
But I would contend that there is not a third school or style yet...
Any other thoughts, perhaps someone has a better idea as to what might constitute a unique school or style?
Jim
TX