With the last thread on the subject of art getting tedious in its length and breadth, I thought I would introduce a new one along similar lines. I see the cultivation of bonsai as still a predominantly eastern art, and would place it in an eastern context in any effort to define its bounderies. A recent perusal of "the analects of confucius" put me in mind of this very topic.

From chapter four:

"The Master said: 'at fifteen I set my mind upon wisdom. At thirty I stood firm. At forty I was free from doubts. At fifty I understood the laws of heaven. At sixty my ear was docile. At seventy I coudl follow the desires of my heart without transgressing the right."

This cultivation of oneness with the natural order bears a strong resemblance to the journey of a bonsai enthusiest to mastery of the art. We start out with a desire to learn the art. We stick with it long enough to understand the "rules." We then own the rules to such an extent that their distilled nature becomes effortless in our creations. Its not that we cannot do something contrary to them, but that we wouldn't. Its no longer natural to make those mistakes.

Right from the start, I feel it is important to clarify what I mean by rules. The rules that we see written of are only a few generalizations of teh actual rules of bonsai. The actual rules are more of a catalog of what works and what has worked. As with any art, the form requires a collective cultural understanding of what the perameters of the art are. This understanding, in bonsai, is acheived through a study of the existing specimins of note, and an attemps to distill their most definitive characteristics. In short the rules are written by the collective group that has given itself over to the study of the art. As with any art, these rules are dynamic based on teh individual makeup of its culture, but in this case the rate of change is slowed by the eastern focus on traditional forms and methods. Bonsai has changed and will continue to change, but individuals rebelling against the established order are not likely to be the instrument of that change. The slow progression introduced by respected and accepted experts within the established bonsai culture is far more likely to be the instrument of that change.

It is fine for individuals to practice bonsai for whatever reasons, and by whatever conventions they wish, but they must be prepared for the potential consequences of going against the established ideas related to the common practice. If other artistic persuits are relevant, these will vary from ridicule, to judgement, to condemnation, to simple shunning.

I don't personally study bonsai to make up my own new art form. I study it for its culture and fullfillment of my creative urges. To think that I could define the art as a raw beginner is the worst kind of arrogance. I will learn from the masters, and only when I understand the art will I "own" it. When its eventually mine, I'll then be free to do what I wish with it, though I can't Imagine I would do much to change it.

Drunken Stone