triotary

And this is from Amazon reader's review on Qingquan 'Brook' Zhao's book called:
Penjing: Worlds of Wonderment: A Journey Exploring an Ancient Chinese Art and Its History, Cultural Background, and Aesthetics

It is little known fact that the Chinese and not the Japanese invented "Bonsai" which in China is called Penjing. With a rich history dating back over 2000 years Penjing is one of China's most esteemed traditional art forms, along with Gongshi (scholar's rocks) and landscape gardens amongst others. It is an art form steeped in poetry and philosophy, a form of art borne of a deep and mystical love of the Chinese landscape. Long the exclusive domain of the literati and scholar classes, bureaucrats, monks and the aristocracy, Penjing sadly fell out of favour in its homeland during the tumultuous last quarter of the 19th century. As with much Chinese art and architecture of the period many prime and irreplaceable examples were tragically destroyed, by the beginning of the early 20th century it was a little known and practised art form, and it had languished that way in almost total obscurity for much of that century.

Thus in the West the limelight has mainly been focused - almost exclusively - on its younger and more famous Japanese cousin Bonsai. This is understandable since most western artists working in the field have been trained in the art of Bonsai and most if not all English language books, journals or magazines on the subject have been on Bonsai as well, until now. Unfortunately this enthrallment with Bonsai by the members of the vast majority of clubs or societies has resulted in many enthusiasts being shamefully ignorant of Penjing's very existence. And if some have been aware of this ancient art form it was viewed as a footnote to the historical development of Bonsai and arrogantly dismissed or belittled. Penjing in western countries at least was considered to be rather unimportant even an irrelevant curiosity. Much to my irritation most people still refer to Penjing as "Chinese Bonsai" this is inaccurate and ignorant, for they are markedly different in character.

All this misunderstanding is slowly changing... In the past few decades in China, Hong Kong and Taiwan Penjing has undergone something of a resurgence, a revival of interest from academics and aficionados alike. Penjing clubs and societies have sprung up like wildfire in these countries saving this noble form of art from extinction. Finally Bonsai lovers in western countries are beginning to take serious notice of this long neglected and refined art form. The National Bonsai Museum in Washington, for example, along with the purchase of a select collection of Penjing from an artist in Hong Kong has even in recent years changed it name to the National Bonsai and Penjing Museum. This is sure recognition of the highest order, and a positive sign that Penjing's fortunes have changed for the better.

With three different categories of Penjing (tree Penjing, landscape or rock Penjing and now land and water Penjing) and many regional schools and styles it is a fascinating art form. Qingquan Zhao is one of its most talented and creative exponents working today, having mastered all three categories as well as the sub-category of tree Penjing - Wenren Mu or literati style - probably the hardest and most rewarding style of tree Penjing. Mr Zhao however has a particular passion for creating aesthetically beautiful land and water Penjing that defy belief. A form of Penjing that he pioneered, at least in the modern sense for there are tantalizing records of its existence in Chinese art and literature going back centuries, as this wonderful book will show. Being a mixture of tree and rock Penjing the "Penjing stylist" tries to capture and distil the essence of a natural landscape (scenic lakes with islands, meandering streams or rivers for example) using dwarf trees, mosses for grass, rocks and occasionally water in a shui pen (a ceramic tray or pot). When this is done well and with skill as is the case with Mr Zhao, the effect is magical. This book is a portfolio of some of his most distinguished creations to date, with chapters that shed light on Penjing's important role in Chinese culture and literature.

The book also offers practical chapters on finding the right materials for creating a land and water Penjing, they show you how to select rocks and trees, how to place and combine the various elements in a pot so that they look natural and harmonious, and how to properly display, maintain and care for your Penjing. This comprehensive volume also discusses Penjing's interrelation to its larger counterpart - the classical landscape garden, and the related disciplines of landscape painting and Chinese nature poetry - which at intervals intersperses the text.

While the quality of many of the photographs in this long overdue book vary greatly (some are under or over exposed) this doesn't detract from the sheer beauty of the Penjing shown. For those who love and appreciate Bonsai, Penjing: Worlds of Wonderment will be a breath of fresh air, a revelation and a welcome glimpse into one of China's revered, but hidden and least known artistic legacies. This book is a milestone in the long and arduous journey to rehabilitate and revitalize this timeless natural art form, one that is hopefully the first of many such publications to come.