Yesterday, while speaking with several bonsai enthusiasts, I was given a moment of pause. The very idea of an American style of bonsai has abounded on this forum, along with many others, and then I witnessed it in person at my lunch break.

I personally concluded that "American" bonsai is the proverbial "babe in the woods" and will eventually mature into a style that bridges both Japanese Traditional, more modern Naturalistic, and even Chinese Penjing. I think that this is what the United States does, in general. We seek out the best in the world and apply it to our own needs/wants. Why bonsai would be different is beyond me, and it appears that philosophy is subjectively dead-on.

Of three people (all U.S. citizens), one had a number of years of formal training/experience as an apprentice in Japan. He was unwaivering in his belief that it was Japanese or trash, no in-between. The second person has well over thirty years of bonsai experience and has taught both in the States and abroad. He has a completely different perspective that appreciates different approaches to bonsai and his collection is tangible evidence of that. Number three (me) is most likely the idiot of the group, but I find fine examples of specimen bonsai, in EVERY style. It's a matter of good, suitable material, and above all, proper execution. My experience is about fifteen years.

Now I'm trying to keep this readably short, but the point I'm trying to make is that I am witnessing what will shape the "American" bonsaist. I have not travelled abroad and taught or received training in other established styles in the environment where the style was CREATED. I have however, been exposed to these same teachings in MY environment, and had the benefit of no prior "biased" opinion for one style or another. Because of that, I have found attributes of different styles and can "see" the different directions a piece of raw material COULD take. I have options, and I can choose which style I prefer for that material.
Person #1 does not have that option. He is so opinionated that he will pass up good material because it will not produce, in his eyes, a good Japanese style bonsai. The very same material can produce an excellent naturalistic style. Still, he refuses to accept it as good bonsai. To me that is being stubborn and opinionated to a FAULT, and counter-productive to the endeavor. I cannot understand that. He is also extremely opinionated and insultive of several established American bonsai artists who, surprisingly, were also trained in Classical Japanese style.
Person #2 is much more open to styling options, even bold in trying different ways. I find his philosophy much more refreshing and enjoyable. He makes bonsai fun. There are guidelines with this individual make no mistake, but he brings a level of education to bonsai that is pleasant to undertake. He calls a spade a spade, but he will examine the "card" first. I consider #2 representative of the first generation of American bonsaists.
I brought up a subject I thought very pertinent to our conversation. Could a Japanese artist produce a better example of a flat-top bald cypress than say Vaughn Banting, Guy Guidry, or Gary Marchal? #1 said yes, and I completely disagree with that. Remember I said "a" Japanese artist, no one in particular. The three I mention are known American artists who have a known specialty in bald cypress, an indigenous American species. Flat-top styling is decidely "naturalistic" since and as person #2 said, if you leave a B.C. alone it will eventually become a flat-top on it's own. A natural growth habit. Traditional Japanese styling and flat-top bald cypress are NOT compatible. Hence an example of where I think American bonsai is heading. 2/3 of the tree height to the length of the pot ratio, depth of pot to buttress, etc., all can be used effectively, but the modern/naturalistic state of a flat-top bald cypress is unique. We Americans, specifically those in the Southeast U.S., are exposed to this because it is in our environment. To expect "a" Japanese artist to have that same viewpoint is not logical. The U.S. can bring this foresight to the bonsai world, not the other way around. That's just the way it is, no right or wrong attaches itself to it.

European naturalistic styling is very profound in my eye. Whereas a perceived fatal flaw in the eye of a strict Japanese interpretation, becomes a character builder in another style. If you argue that, look out in some nearby woods and see if you can't find an example of that perceived flaw there. I for one, will not accept a "flaw" out of laziness, but if the artist can portray the bonsai in a light where the feature is advantageous, it is very acceptable and proper. I'm not real big on figurines in the display, but I find many positive parallels between penjing and naturalistic style. I still like "room for the birds to fly through" but I also realize that aspect is not always the best choice in every situation.

We Americans are so lucky to have the ability to absorb all the previous efforts to raise bonsai to the pinnacle of the pursuit by other regions/cultures. If we can set aside pride, arrogance, and biased opinion long enough we could really raise the bar ourselves. I believe I am seeing evidence of that. Now it's our turn to succeed or fail. If we can even slightly keep "politics" out of bonsai, we have a fighting chance of making American bonsai accepted world-wide. I hope to see that in my lifetime.

I am curious how others feel the U.S. in progressing, good or bad.

John

__________________
John Dixon

Si vis pacem parabellum

Stay off the trails of others, that's where the booby-traps are.

I am curious how others feel the U.S. in progressing, good or bad.

John
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John Dixon
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Excellent post, John.
It could take me awhile to organize my thought around the questions you have raised and the observations you've made. I can say for sure that in my 30 years of exposure to the world of bonsai, American bonsai has made tremendous strides forward.
I think we need to accept the word "bonsai" as a generic term with worldwide applicability to all styles of trees in pots, and not as a Japanese specific word that locks the user into strict adherece to "rules". After all, as I understand it, the word "bonsai" was taken from the Chinese word for artistic potted trees, "pensai".
So, my thought is briefly, that "amersai", if I may coin a word, must continue to raise the standard of technical and artistic excellence that will place it on the same level with others that are ahead of us at this time, but to whom we are slowly but inexorably catching up to.

Regards

Mike

The question as I see it would be "When will we stop using the term Japanese artist or European artist and just go with the term BONSAI ARTISTS "
Bonsai no longer belongs to the orient. The Europeans have no claim to it either. It is now a world wide art. With that comes all kinds of styles. None better than the other. Just different.
The oldest paintings in the world are cave drawings found in France. But no one claims that all paintings are French. No, it has evolved well past that. Bonsai is on the same road.

In my opinion the Australians, and the Europeans are far ahead of North Americans in bonsai art development. They indeed have well developed native influences. A goal for bonsai artists and practioners in North America to shoot for.
And what about South America, bonsai is practiced on that continent, and also in the Carribean islands. Artists there are developing bonsai from native species, with native habits, will be intersting to see how this develops as well.
The internet has been the great bridge across the gaps of these regions, and clearly it is influencing bonsai development as artists worldwide share their ideas, and methods.

The rules for the pure Japanese tradition are wonderful guidelines, as observations of nature and the essence of beauty. Knowing them and being able to practice them makes for a full, rounded, and able bonsai practitioner. Odd numbers, the triangle form, division of the trunk height by percentage and the branches contained therein, all of these rules give a stable base upon which to work. Paired with the horticultural abilities that must accompany the strict growing of trees in small pots, and the training practices, the artform is open to all who wish to learn it.

"I stand on the shoulders of those who came before"....who said that? Tradition becomes meaningless when it becomes stale and mechanical. And, dare I say it, some of the wonderful Japanese trees look overly stylized to those whose eyes are unaccustomed to seeing them. Without the tradition of the Asian paintings, drawings, and philosophy, the more extreme of these trees seem rather odd.

Bonsai IS an international practice now, a hobby of which the essence is appreciation of nature, illusion of scale, storytelling, and suggestion of age. What can the people of South America, with their very different climate and culture, their different natural surroundings, and their eyes accustomed to seeing their native trees, have in common with Japanese Black Pines or delicate quinces? What of the Australians, whose continent is filled with divergent species uniquely their own?

It takes many delicate and nuanced flavors to make the most interesting and compelling food....chefs are crossing those boundaries all the time now. The flavor and nuance of different cultures and different native trees would bring new life and strength to the world of bonsai, if they remain true to the essence of the art. A good tree is a good tree, one that reaches out to our hearts. Within the broad guidelines of the rules, surely there is room to appreciate more than one or two culture's influences?

Joanie

http://www.bonsai-wbff.org/inspiration.shtml


Here are a few of the latest Kokufu-ten highlights.

For this example's sake, don't look at the pine tree. Look at the Hornbean, the Malus, and Prunus bonsai.

What is Japanese about these trees? The well developed ramification? No, that's not Japanese. The beautiful taper? No, that's universal. The feeling of naturalness? No, natural is not a Japanese brand. The perfect balance?..... bla, bla, bla.

These trees are as close to perfection as a bonsai will ever be. And there is NOTHING Japanese about them. They don't seem to follow any rules. Each of them is unique, there is no other in the world looking exactly like them. They are interesting and they touch our soul. When I look at them, I don't have the uneasy feeling of artificial, boring, rule-bound cookie-cutter bonsai.

They look fresh, spontaneous and natural. They could have been made anywhere in the world. It just happened that they are made by a Japanese artist.

Your friend who vigorously defends the so called "Japanese style" has no idea about it's true spirit. Therefore, he will never make a truely great bonsai, unless by mere accident.

I think the term "Japanese style" is greatly misunderstood as a rigid set of rules and as a requirement that every tree should be styled in the "pine tree style". It has nothing to do with the truth.

Again, just look at the deciduous trees in the Kokufu-ten link and somebody tell me what is Japanese about them. One single thing that is "Japanese". (I don't want to talk about the pine because that's a much more complex topic and it would only muddle the issue here).

John, I agree with a lot of things you've said. But I just wanted to address one issue that you raised. It would take a long time to write about all of them.


Best regards,
Attila

John,

When I tried to discuss a flat top cypress with several Japanese a few years ago they refused to consider it. Not even "good bonsai" or "bad bonsai" "NOT bonsai" and at least one had seen these growing naturally.

This is not a new idea- it's been a ragging subject for the last 10 years on the internet and for decades in print. I think the argument is a distraction. A BoonDoggle. A Holy Grail...

I think that there is only an achievable American style (a term I have come to find annnoying) in the sense of

1. ANY bonsai should reflect naturalness and a high regard and thoughtfullness to detail. You can't teach a pig to sing i.e., your japanese trained friend. But perhaps there is an in road for some respect...

2. That being said, what the hell is an "American Style"? If it is an excuse for bad material, bad cultivation, bad styling i.e., the way "Chinese Style" is bantered, then your friend's comments may have some limitted legitimacy. How often have we seen sub-standard material or soemoene who is too lazy to learn to wire properly offered up as "Chinese Style".

3. I would contend that it is the absorption and utiliztion of one's own repertoire of natural images. What I fear is that one day we'll be faced with imagery of immature looking broom styles because developers have completely raped our landscapes of all our truly ancient citizens of the forest in favor on a mono-culture landscape.

4. I tend to agree with Ron. Concentrate on being good bonsai artists and forget style. If Reiner Goebel and Nick Lenz both style a Larch similarly, is one "Canadian Style" and the other "American Style" simply because they reside on different sides of the St. Lawrence?!? (mental health stauses aside! ;^)) If I style an elm and Colin Lewis styles an elm what is it? Are all his old trees "Euro -style" and the ones post 2002 now "American".

5. "Style", in a personal sense, in most any endeavour is accepted as developing once one has mastered the basics, honed one's craft to the point of contemplation and attention to detail. When you start drawing on your own emotions and visual "catalog" it will show through. My wife comments that my trees don't look like anyone elses' with a quick qualifier- they're good as or better than others I have seen but "different". I attribute this to spending years in the Adirondacks looking at lakes and vegetation subject to heavy snowloads and acid rain. Follow up with equal time in the Deep South and all it's natural wonders... Put this against trees from folks enamoured of cookie cutter Japanese style and Kimura/Robinsonesque carving nuts, I would have to agree.

6. I guess my concluding argument is master the basics first, which then allows attention to minute detail - this in itself requires contemplation- and building your own influences. Use the material you have access to- whether it is "traditional" or "Japanese". Certain material will lend itself to certain styling- it will "talk" to you, tell you what it wants to be...

As for your "close-minded" friend, you may want to point out that a large proportion of the material they use for bonsai is not "native" to Japan - try "4 Seasons of Bonsai for good examples... There are more examples of "bad Japanese bonsai" than "good", which is true of anywhere. Additionally an examination of the changes in Japanese bonsai styles over the years is a good read on how just about anything can be "Japanese" bonsai- "naturalistic" or otherwise. How does he contend with the ghosts of Japanese style.

The zinger in my mind is that close-minded attitudes such as that exhibited will define the difference between a good "technically competent" artist and a true Master. While one does not have to integrate everything one encounters into one's own style respect and understanding can only enhance in what is supposed to be a meditative, patient, gentle and evolutionary art form.

j

Great thoughts Mr. John...I have stated before that I am now on my third effort in bonsai...The first beginning about 1957 was without any guidelines, no references save a few photos, and no books, tools, or formal instruction...Needless to say this was also not a very impressive collection...

With my second venture into the world of potted trees, I did have several books to read, and communication with a Korean bonsai artist, and a Cajun Master gardener...My collection and attitude were definately influenced by the 'Japanese bonsai guidelines', however, I was fortunate enough to experience some trees styled in a more 'naturalistic' style...These trees made a very definate impression on me and others that I was able to observe...

This time around I am approaching bonsai with an entirely different attitude...While the principals of artistic design are of utmost importance, I believe the most important thing is the overall impression a tree relates to the viewer...

I actually feel sorry for the type of person you have indicated as "person #1", that is unable to enjoy and relate to trees not styled within his/her narrowminded approach to bonsai design...My trees styled in the 'flat-top', 'live oak', 'california redwood', 'sycamore/popular/cottonwood', or 'crape myrtle', etc. styles will probably never be appreciated by a person with this mindset...This is fine by me...However, in the slightly less than 2 years I have once again been working with potted trees, I have experienced extreme pleasure in seeing the reactions of friends, family, and display viewers, as they looked at trees that reminded them of trees they are familiar with, trees they know the growing habits of, and trees they see every day...

I too have wittnessed great strides in the development of what we would probably consider 'American Bonsai'...I too, hope I live long enough to see a vast acceptance of a 'native bonsai style' regardless of the artist location, whether it be Europe, Asia, India, South America, Australia, Mid-East, Africa, or America...There are obvious differences in the way trees grow in different parts of the world, and different species in different climatic areas...Shouldn't the art of bonsai reflect this...I certainly am one of those that think so...I am fortunate enough to be able to appreciate a nice, well styled, healthy, tree regardless of the influences of the artist, thanks in part to the world-wide communication possibilities available to us today...

I really like what Mr. Ron said..."When will we stop using the term Japanese artist or European artist and just go with the term BONSAI ARTISTS "...That says a whole lot...

Regards
Behr

It would be a shame if all "Real" bonsai could only be created in the "Japanese" style, by Japanese (which is the ultimate end for your "friend's" argument that Japanese style is the only valid one. Heck to be completely valid, wouldn't it have to be created exclusively by a Japanese person. to be even more excruciating, it's really not bonsai unless it's P'entsai--after all the Japanese got it from the Chinese...The whole "got to be Japanese" authenticity thing is plain silly.)

For what it's worth, instead of arguing "American", "Australian" "European", Japanese Chinese, sub-Saharan African, etc. why not just leave it at "bonsai?" That term leaves room for all kinds of "styles"--provided they are competently and artistically created.

Also, I think bonsai, like politics, is local. The true artist interprets trees around him and doesn't simply ape another country's crafts and arts. This interpretive road is well-travelled in bonsai. The Japanese imitated the Chinese, but lent their own sensibilities to it. The same is happening on a local basis worldwide. People are using what they see around them as models.

The flat topped bald cypress is a great example of this. The BC is known as the "feather robed pine" in Japan, where it is apparently getting a following among bonsai enthsiaists. I saw an article on a Japanese BC a while back, it may have been in Four Seasons of Bonsai, or another book. The BC in the photos with the article is quite clumsily done. It is stiff and awkward. The text says "the foiliage of the Bald cypress is quite unmangeable." Hardly the truth. The same holds true for many other non-S.E. U.S. bonsaiists using this tree. Petra Engleke's BC (from the web photos I've seen) tries to get at the BC style, but doesn't quite "get there." The Lousianans, Texans and Floridians know this species intimately from the wild and know how to make it into astounding bonsai.

I think anyone that's lived with the BC as a native species (or English elm, austrian pine, or even eucalyptus for that matter) knows what the tree is "supposed" to look like. Others see photos of the same speces and can only do clumsy interpretations--which is basically what alot of people do when they do "Japanese bonsai."

Confused, but hopefully there's something in there that comes through...

Mike, Ron, Jim, Grampz, Attila, Joanie, Ralph,

I read every post between this reply and my original thread and I must say I am, as usual, very impressed with the answers. All of you have at the very least two things in common: The open-mindedness to consider styling based on merit of design....and....all in the U.S.
That is not meant as a slight to our fellow bonsaists around the world, but it is significant to my earlier findings that Americans seem to consider ALL styles worthy of consideration. This shows promise for a healthy increase of American involvement in bonsai design.

Great observations folks. And I certainly agree with Ron that the operative word is Artist and where they live is decidedly less important.

Thanks for taking the time to address the issue. Very inspiring.

John