Walter_Pall

Contemporary: The term “contemporary bonsai” was first used by Yuji Yoshimura. He called everything that was not included under the classical and neo-classical style since the latter half of the 19th century as contemporary. There is not just one contemporary style, but there are several, not yet defined really, but definitely existing and different. It is important to note here that the classical, neo-classical and contemporary styles coexist already since quite a while. One cannot say that one period, like the classical ended and the next, like the neo-classical or contemporary followed.

The style which is used by the most progressive artists at the moment could also be called modern style. A typical artist is Kimura. Ernie Kuo insists that Kimura is working in a classical manner, but only with modern techniques. Luis Fontanills makes it clear that Kimura himself has announced to be a contemporary artist with an avant-garde statement:
"But in the future, the bonsai art must be expressed in a new way, with a more expanded concept. We young bonsai artists must not be afraid to break with tradition, for the objectives are the same. If not, bonsai will evolve as a mere curiosity, but not an art. .... Because we are breaking with the tradition of many centuries, our bonsai may not even seem very attractive. Perhaps the critics do not realize that the break goes only to the form, but not the substance, since our spirit in cultivating bonsai continues to be the same: goodness, beauty and peace."

Some call Kimura the crown of classical bonsai, they say that he has created classic trees. Kimura has designed many classical bonsai in the seventies and eighties but can hardly be called a classical artist anymore. Many of his contemporary pieces are landmarks for the major part of contemporary bonsai that he has coined. These trees can be called classic (note: not classical), as they will be the leading pieces for this present period.

Luis Fontanills says:
"What attracted me most to Kimura's work …was his most exploratory sculptural work (he also works within the classical genre). I felt a connection to his living sculpture, and did not see it as strange; then again I have grown up with modern art since I was a child. He has pushed the limits of bonsai and has created an expressionistic/abstract style that has become popular (much deadwood and movement) because it is dynamic and powerful. He is part of the avant-garde movement in bonsai. This type of expression/style is here to stay. It does not mean that the traditional/classical style will disappear, but it will be enriched by it, as the avant-garde is enriched by the past.”

A good contemporary artist is seen as one who is creative and dares to break new grounds, who uses old rules only if he sees fit. The deliberate breaking of classical rules is getting widespread among many artists in Europe and also some in America, it is regarded as a matter of course. The trees are much more expressionistic or more impressionistic than they used to be, they have a tendency to become extreme according to old standards.

Contemporary does not mean one uniform style. History will tell which one of the many present trends will become a style by itself. The “Kimura Style” is best known: very powerful conifers, with enormous thick trunks compared to the height of the tree. A proportion of 1:3 (trunk width vs. height of the tree) has become normal, which used to be considered grotesque. These trees can be called “sumo bonsai” because of their forceful and somehow exaggerated appearance. The use of deadwood is dominating. Many trees seem to exist of 90 % deadwood. The forms are fantastic, unreal, although often naturally grown deadwood is used. The crowns are quite small, emphasizing the power of the trunk and the deadwood. The whole crown is stepping back in importance. It often seems to be there just to show that the tree is alive. The crown decorates the powerful trunk and the overwhelming deadwood and not the other way rond. In the classical style the crown was the most important part which was held by an impressive trunk and often decorated by deadwood. The crown is often styled according to silhouette. It is not so important anymore where the branches are exactly. If there is no branch where one should be, a branch is bent down, sometimes in awkward contortions which are covered by foliage. The number one branch becomes less important. It is more important that the foliage is in the right position. The crown often is shaped like a canopy in a mushroom-like form with layers being just suggested.

When slim trunks are used they have a strong tendency towards the driftwood form. The trunk forms go to extremely contorted and twisted shapes which used to be called grotesque before.
The usage of pots is going in new directions. All sorts of "weird" pots and plantings are being tried out. Traditionally trees planted on rocks are not even classified as bonsai. Now trees planted on rocks, on rusty iron constructions (Farrand Bloch) and even on statues and skulls (Nick Lenz) are considered bonsai. The trend is going away from display in tokonoma, and new ways are being found. Salvatore Liporace displayed an enormous larch sitting on a rusty oil drum. The classical accent objects are more and more often being replaced by other things.