show some dead wood effect.

John Naka famous Goshin bonsai, show some dead wood effect.
  A Blue Atlas Cedar (Cedrus libani Atlantica var.) Bonsai on display at the National Bonsai & Penjing Museum in the United States National Arboretum.Over the centuries the practice, aesthetics of Japanese bonsai has encoded several important methods and aesthetic guidelines. Like the kind of aesthetic rules that govern, for example, common practice period of Western music, bonsai's guidelines help practitioners work within an established tradition with some guarantee of success. Guidelines alone do not guarantee a successful outcome. However, the design rules rarely can rupture without reducing the impact of bonsai specimens.
The main purpose of the aesthetic practices of bonsai is to create miniature trees by the air age in the overall shape, proportion, and detail. Classical bonsai is a tree, a single dwarf in a small container. He has the appearance of mature trees, but no one really natural. Conversely, a designer or artist has manipulated the form and surface trees to enhance or exaggerate the obvious age of the tree, and also to provide a "front" which is defined from which are intended to be viewed. Anyone questioning the result of bonsai designer can test the quality of design with the view from the rear, where exactly the same trunk and branches generally will look awkward, messy, or unattractive.
At the same time, a touch of designers do not have to clear to the viewer. If the branch is removed in forming the tree, the scar will be placed in the "back" of the tree where not viewable. Or, a tree will not appear until the scars have been covered by years of skin grows over it, or branch stub will still be cleaned and formed into looks like it has been damaged by wind or lightning. Similarly, the cable must be removed or at least hidden when the bonsai is displayed, and must not leave a permanent mark on the branch or skin. [1]
Other guidelines address the balance of visual weight of stems, roots, leaves and branches. Extensive catalog-style tree is recognized as part of a series of guidelines. The "balance" term here may refer to:• static visual balance, where the careful application of symmetry leads to a stable and quiet (such as formal upright, or Chokkan, style), or• dynamic visual balance, which may arise from the asymmetric shape or implying instability and movement (such as cascade, or Kengai, style).Tree trunks, roots, leaves, and branch offices be manipulated through a variety of techniques to meet the objectives designer visual balance. negative space ("empty space" between the solid elements such as branches or leaves) was also formed and proportioned to appear balanced. In almost all designs, the audience can see completely through the negative space against the background of trees. In a combination of positive and negative, bonsai aesthetics overlap to some extent by an aesthetic sculpture.
 The proportion between the elementsOther touches the general guidelines on the proportion of various elements of bonsai it. The proportion of the most valuable mimic those of an adult tree as close as possible. slender branches heavy with leaves or needles that are not proportional avoided, like a thin trunk with thick branches. One of the few exceptions to this guideline is that the flower and fruit (on trees that produce them) are not considered defects if they appear too big for the tree.
One or more of the rules of acceptable forms of bonsai can be bent or broken for a particular tree without damaging the fundamental aesthetic and artistic impact. In fact, beyond the prescribed rules allow the growth of aesthetics in the art of bonsai, as seen in many works made by Masahiko Kimura [2] and Kunio Kobayashi [3].
General guidelines for aestheticThe following characteristics are desirable in Japanese bonsai and many other style container-grown tree, whatever the style:
This is a trait that all the remaining points of aesthetic endeavor to create. It is the sense of physical weight, the mass illusion, the appearance of maturity or old age, and the elusive quality of dignity. Many of the formal rules of bonsai trees that help growers make express or Sabi wabi, or describe an aspect of mono no aware.
By definition, bonsai is a tree that is stored is small enough to be container-grown while otherwise be nurtured to have a mature appearance. Bonsai can be classified by size. Mame ideally less than 10 cm (4 inches) high and can be held in the palm of the hand. Shohin about 25 centimeters (10 inches) tall, while the other bonsai larger and can not be easily removed [4] For both practical and aesthetic reasons., Guidelines outlined here are generally most effective and most commonly used for larger bonsai, while the smallest bonsai specimens can stick to any rules other than "miniature tree" and "grow in containers."
This refers to promoting a "wooden-ness" of the bonsai trunk and branches so they have a mature appearance. This usually means that the surface of the skin is encouraged to become rough and dark. In some cases aesthetic techniques will vary, such as bonsai trees and white birch achieve exfoliation adult specimens.

Bonsai Aesthetics

Bonsai Aesthetics
A bald cypress in the formal upright style.
Bonsai aesthetics aesthetic purposes and characteristics of Japanese tradition in the art of growing miniature trees in a container. Many characteristics of Japanese culture, especially the influence of Zen Buddhism and the expression of wabi or Sabi, [1] informs bonsai tradition in that culture. A number of other cultures around the world have adopted the Japanese approach to bonsai, and while some variations had begun to emerge, at least cut down tightly with the rules and traditions of Japanese design philosophy.
Aesthetics penjing, Chinese container grown tree form, which differ from those of bonsai and discussed elsewhere. Aesthetics saikei, the multi-Japanese views of the tree in a container

Root Grafting Pines

Root Grafting Pines

Japanese White Pine, Pinus parviflora, make particularly bad grafts, especially the dwarf cultivars since the understock soon outgrows the scion portion and necks down abruptly. Sometimes they are grafted onto Japanese Black Pine, P. thunbergii which of course has totally different bark. If this is done for effect it is usually grafted about four inches up and the trunk bent at the union. It gives the appearance of great age but the abrupt transition of bark types has always bothered me.
Other than this style, the grafts should always be low. It is very difficult to obtain low grafts. 99% of the pine grafts are made for landscape and not bonsai, so it takes a nursery dedicated to bonsai or one which is sensitive to the needs of bonsai enthusiasts to produce good bonsai grafts. A few large nurseries that produce the bulk of grafted pines in this country have been persuaded to produce some grafts for bonsai, so things are beginning to change.
The very best grafts are 'root grafts'. The scion is not actually grafted to the roots, but rather to the stem tissue below the 'crown' that forms when the seed emerges from the shell. This is a small ring of tissue on the stem that clearly marks the division of root type tissue (was the radicle of the seed) and the true stem which is capable of producing foliage. On pines and cedars this 'root' portion of the stem can be very long, as much as six inches or more before actual roots appear.
For bonsai the seedling understock is potted up high so that the root portion of the stem stands several inches above the pot. This makes is easy to do a low graft. The graft can be placed just below the crown ring and after the graft takes, about a year later, the whole thing buried so that the graft sits right at the soil line. Since the buried stem portion is root tissue it can stand this procedure and has the possibility of forming roots. Grafted in this fashion the union will blend perfectly into the nebari (crown and surface roots). Also, since there is usually a bulge for dwarf cultivars, what was once a liability now becomes an asset since the swelling will be right at the crown.

If your graft is below this ring of tissue, you may bury it up to the graft. If it is above the crown ring you can still bury it, but you must be much more careful. It is akin to air layering. Bury the stem section in sand after making some vertical slices in the stem where you want roots and treating with hormone. This will work for all pines that are 'low grafted', that is have a graft only an inch or so above the crown ring. If the pine is 'high grafted' it will have to be air layered.
I recently went to a local bonsai nursery and checked out the potted up White pines and the grafts were hideous. Very nice little styled trees, a dwarf cultivar, grafted onto white pine with the understock about twice the diameter of the scion with no effort to conceal the graft.
This procedure also applies to Japanese Black Pine cultivars, Pinus thunbergii, as well, and is especially important for the rough bark ones. There is nothing more ludicrous than a nicely styled Nishiki Kuromatsu with two inch bark wings floating above a relatively smooth lower understock section. To get really picky, the very best rough or cork bark black pines will be grown from cuttings so even the surface roots will show the corking. I have a rough bark Japanese Maple, Acer palmatum 'Arakawa' that has such corked surface roots (cutting grown). It is quite amazing.

Creating a Forest Bonsai

 

Introduction
From a beginner point of view, this is an excellent early style, if not first tree, because the material involved is inexpensive, and usually readily available. In winter, bare root seedlings for forest plantings can be purchased in bulk for about $.35 to $.50 each. These trees usually come in bundles of 50 to 100. One could share an order with a friend or club members and obtain enough material for several group plantings and specimen trees alike.
Most of these bare root tree seedlings are field grown and will require the removal of the tap root and one year of pre-training prior to use as bonsai. I have described this process in the article on bare root pruning at our website.
Tree Arrangement
I spend a lot time thinking about tree placement to get the most natural looking arrangement, and have come up with some guidelines that I think work. First, it helps to have a concept of the scalene triangle outline used so much in bonsai. This is a triangle that often defines the outline of the foliage canopy. The elements of the triangle are three unequal length sides and no right (90 degree) angles. This will make a triangle which when viewed from the 'front' or main perspective that will have three levels defined by the corners. The points of the triangle can represent the position of elements, either trees in a forest, the three levels of the canopy, or the position of stones in a garden.
This group of three can be also be thought of as a group of two and one. A group of five can be envisioned as a group of three and two, or two groups of two and a group of one. Seeing the placement in groups three, or two and one can help one find pleasing positions for all the trees.
Another guideline I use is to never place a tree on the center line (through the front) or the mid line (that divides the front and back) of the pot. Trees placed in these positions will create a perfect symmetry that does not work as well as dynamic balance. I describe this as taking the visual mystery out of the space. Our eyes are very good at spotting whole number intervals, especial halves and quarters. We can actually do this with a high degree of precision. I think that what we do subconsciously is to dismiss these intervals when we detect them. Spaces that do not fall into easily easily defined intervals have more interest to us and 'move' as our brain tries to define the interval.
Trees should not fall directly behind one another when viewed from the front, and three or more trees should not fall on a single line. They may be placed tightly together at the middle of the pot with a rather large empty perimeter creating a 'knoll' look as found on hilltops, or be distributed in the pot giving more of a forest look.
Creating Perspective

The trees at the edges of the group can be placed leaning slightly outward to create perspective effects. This is almost a 'fish eye' lens image and tends to enhance and enrich the compactness of the forest. It also helps light to penetrate the center. This can be very subtle or exaggerated, each will give a very different look.
If the larger trees are placed in the front and the smaller ones in the back, this will also create perspective, with the view fading away as the eye goes through the forest.
The number one, two, and three trees are very important and must be placed carefully. They should diminish in height and caliper, and be positioned in a group of three. This works most easily if the number two and three trees are placed to the left and right of the number one tree. The remainder of the trees can be similarly small, but reserving the tiniest for the back.
Securing the Trees
Securing trees to the pot can be very challenging. In general, there must be some way of holding the trees in place until the roots knit together as one pad. From a styling perspective, anchoring makes the work a lot easier. For larger trees the general placement can be decided upon before the trees go in the pot and wires expoxyed to the bottom. A loop of wire can hold one root ball, or used to wire the trunks of two trees which will also hold them in place. For smaller pots I wire a large piece of stiff plastic mesh to cover the entire bottom instead of just the drain holes. Before securing it, I tentatively decide where the trees will go and loop wire through the holes to secure the trunks of two trees with one piece of wire.
Exploring Your Options
I find groups of three to be very challenging, for me it is easier to work with larger numbers. Even in small six inch pots I prefer to work with seven trees.
I have seen some very handsome groups where there are massive numbers of trees without clearly defined main trees, but I prefer the above approach. This is merely a matter of taste.
Placing the trees in groups as above should create unequal spaces between the trees for the 'birds to fly through' and often a space or shelter near the center of the pot near the number one tree. This is a resting place for the eye. I position the branches to invite the eye into this space.
Species Influence
Different species can create very different looking group plantings. For example, here I have compared Trident Maple, Acer buergerianum to Chinese Cork Bark Elm, Ulmus parvifolia 'Corticosa'. The example works for most maples and Chinese elms
Tridents, when planted in groves, have a very upright, soaring quality which is very pleasing. They will really give you the feeling of a natural forest mono culture typical of temperate hardwood regions. Getting spaces below the canopy will be very easy because they tend to bud break just below the cut when pruned.
Cork Bark Elm looks best, and is naturally inclined to be a round headed tree. As a grove, I would give them more space so that the character of each tree could develop. This look is typical of the open oak forests of California. The dome of each tree in these natural groves is usually clearly visible, even though they are grouped. The dark green canopies of these oaks against the golden dry grass of late summer is one of my very favorite sights in the whole world, and some day I hope to make a representation of this in bonsai.
The elms treated in this fashion would require larger trunks and shorter trees than Tridents, and more space between the trees to allow for the round headedness. It seems to me that this would be an appropriate situation for a large slab.
And finally
The scalene outline of the foliage is created by the entire canopy of all the trees instead of the main branches and apex of a single specimen bonsai. The highest point, of course, created by the number one tree, and the other two by the farthest left and right trees. To me, it is not too important to have either the left lower than the right or vice versa in a group planting. Many flattened dome outlines are perfectly satisfactory. My favorite view of forests is without the leaves anyway. The intricate branching of so many trees in a small pot is the real treat for me.

the difference between penjing and bonsai

the difference between penjing and bonsai

In the picture, there is poetry
In the poem, there is meaning
In the silence, there is movemen
In the movement, there is rhythm-

Robert Steven opinions about penjing and bonsai

Some people say that my bonsai are contaminated penjing, and that my penjing are not authentic. Before going further, I would like to explain the difference between penjing and bonsai. Are penjing the same as bonsai? Is there a difference in concept and philosophy?
The answer is: Yes- and No! It depends on the context we are discussing. This has long been a controversial issue since there are few articles written about penjing by competent sources from China. Confusion on this matter can be seen in books, articles, and in online discussion forum threads. In these instances the two arts are considered to be the same — simply a matter of translation — but at other times they are referred to as two different art forms. So what is the truth?
Let’s start from the basic understanding of the words, “bonsai,” (Japanese) and “penjing” (Mandarin). Pen = pot, jing = view or landscape. penjing means “landscape in a pot”. Bonsai in Japanese means ” planted in a pot,” which if translated into Chinese is penjai or penzai. This simply means “plant in a pot.” Any plant that is in a pot is called penjai. So penjing does not have the same meaning as bonsai, as we understand it today. What we call bonsai, in Mandarin is called shujuang penjing. In articles and discussion, the word shujuang is usually left off, leaving just the word penjing. So, in a very general context, bonsai is the same as penjing because we all know what we are talking about – by eliminating the word shujuang. But in a specific context, penjing is different from bonsai.
Penjing has a broader context in this art form with its own specific nuance. Shujuang penjing (bonsai) is just one of the styles in the broader penjing art. There are shanshui penjing (rock penjing), bigua penjing (wall-hanging penjing), shuihan penjing (water and land penjing), shushe penjing (tree and stone penjing)-etc-The basic philosophy of penjing is “Yuan yu je zan, Gao yu je zan,” which means “Inspired by nature, admired as superior to nature.”
With penjing we try and recreate the beauty of nature without eliminating the imperfections of nature. There is a great deal of creative and natural freedom in how the artist may do this with penjing. The soul of penjing is revealed more in the whole presentation; the thematic message, the symbolism and poetry. The presentation is natural, without too much of the aesthetic depending on the anatomical details of the tree. Penjing is involved more with a subjective expression, with very strong individual emotional references. Anatomical perfection is not a main requirement in penjing because nature is imperfect. The technical engineering skill important to bonsai is not so important in penjing. Instead, the application of skill should be relevant to the tree only in order to successfully convey the thematic message to viewers. The essence of the whole principal in Penjing is “Hua jong you se, se jong you yu; Jin jong you dong, dong jong you diao,” meaning “Inside the picture, there is poetry, inside the poem, there is meaning; in the silence, there is movement, in the movement, there is rhythm.” The objective aspect of penjing is to follow the phenomena of natural imperfection. The subjective aspect is based on balancing the presentation of the captured moment from nature with the implicit message of the theme. In the presentation of the message, nuance and symbolism should be used to accent the overall presentation. This fact requires imaginative interpretation by the artist and viewer.
What I am doing with my own work is to combine the objective aspect of bonsai with the subjective aspect of penjing, the beauty of the structural refinement of bonsai with the inner beauty of the symbolic presentation of penjing, all to lend a unique nuance to the result. In my opinion, the term “authentic” has no relevance to art. An artist should be able to make his own statement of character and identity. I am not trying to create my own style, but rather trying to find new, innovative possibilities based on my own applications of aesthetic concepts. There is no absolute in art and beauty. For appreciation of artistic creation to occur there should be an emotional interaction between the art object and the viewer. This requires communication between the art object and the viewer.

Root Grafts for Bonsai

Grafted plants for bonsai often present problems in the training stages, or later as the plants get older due to differing rates of growth between the root stock and scion and because of differing bark characteristics. This can be overcome by using cutting grown material whenever possible, or by using special types of grafts that will minimize the problems.
Avoiding Grafts
I try to avoid grafts for bonsai whenever possible. It is almost always better to have a plant on its own roots than grafted to a rootstock. Cutting grown material is becoming much more common for bonsai suitable species and you should look for it to avoid the problems of suckering and rootstock scion mismatch.
Suckering problems occur in such genera as Liquidambar, Malus (apple), Pyrus (pear), and Prunus ( cherry, plum, apricot), Crataegus (hawthorn), and others deciduous woody plants. Profuse suckering leads to endless pruning and bud rubbing to keep the suckers from overrunning your cultivar. The problem is particularly bad after major pruning, for example, after a trunk chop to get a low curve and taper to the trunk. Sometimes the scion will actually die and the understock will take over the plant after such drastic pruning.

In addition, there is often an unsightly graft union in these plants. The differing bark characteristics can make the union stand out dramatically and detract from the trunk, and the illusion of an ancient rugged tree. Growth rate mismatches can often lead to a 'necked down' appearance for smaller dwarf cultivars on standard rootstocks, exactly the kind of plants we are looking for in bonsai. Even worse is the problem of the scion growing faster, resulting in REVERSE taper. Prunus species often form a burl at the graft union that is prone to insect damage and completely unusable for bonsai purposes.
Most of these species can be grown from cuttings without too much difficulty. Some are extremely difficult, such as cultivars of Crataegus (hawthorn). Crataegus laevigata 'Paul's Scarlet' cuttings will sometimes take three years to root. It is also possible to air layer many of these species to get them on their own roots.
Conifers present the larger challenge. While most Juniperus, Chamaecyparis, and the broad leaf evergreens can be grown from cuttings, it is the pines that pose the greatest problems. Some pines can be grown from cuttings, but it is almost always easier to graft them.

Pygmy Bonsai Plants

Bonsai few moments ago had a boom and became everybody's favorite ornamental plants. The form is unique and both pygmy idol celebrities and ordinary citizens or even politicians. Bonsai plant symbolizes the high level of patience and creativity of the owner. Not a bit of time it takes to care for a bonsai, you can spend months or even dozens of dozens of years to treat these dwarf plants. A unique and increasingly more and dwarf plants, the more expensive the price of bonsai, but the owners admitted that caring for bonsai bonsai is not only chasing the money, but creating a certain satisfaction when they successfully created a unique form of pride in their bonsai.
History and distribution
Bonsai originated in China believed the original name which in 200an Penjing AD became the main hobby of the nobles of China, which was also popularized by Taoist monks. Bonsai himself became popular after becoming a symbol of the emperor to maintain peace Zhuge Liang and Liu Bei after successfully conquering keraan-Cao Cao in 207 AD War is peace renowned Red Hill War. Own bonsai pruning technique brought to Japan by the monk of China who wish to broaden their religion in the Heian era of empire in the year 794 AD until the late Edo led Tokugawa era in 1876 AD Bonsai quickly won the hearts of the Japanese aristocracy as a class of plants that can show the identity of these nobles. Even bonsai also became the plant kingdom. Bonsai became known among ordinary people after a Japanese nobleman who teaches bonsai-making techniques to one of his students who come from ordinary people to help care for her beloved bonsai because he was already too old. With the rapid manufacture of bonsai care and techniques are spread by word of mouth and a favorite in all circles.
Bonsai start-known in the western world since the U.S. resolve to the world war 2 in Japan., And in Europe bonsai known since exhibited at the Paris Exhibition in 1987. Although at first many of the protest because the making of bonsai plants is considered torture by eliminating the growth genes, but with further review, everyone believes that the bonsai is a priceless art on an ornamental plant. After a lot of people are anesthetized and fascinated by the unique art of bonsai making, the people who came from America and Europe is much to learn to Japan to learn more about the creation and maintenance of bonsai.
Bonsai Planting

To grow bonsai is not complicated, you can buy at the store would bonsai plants or take your favorite plants in your yard. Choose plants with the main stem that is strong enough and move them to the pot with extreme caution so as not to damage the plants. Then the form of grooves in accordance with the plant you like to wear a wire. Check the twigs and branches that grew on a regular basis to form a bonsai in accordance with what we want. Other things that are not less important is the selection of land, for there the formation of the stem, twigs and branches are determined. A good soil for bonsai is not a land full of humus, but every type of bonsai has a particular soil needs different to one another. We recommend that you consult with experts plants. Select a soil with little humus content of soil moisture and keep it but do not let too much water or until the soil aggregation, because it can threaten plant life.

Caring for Bonsai

You can care for your bonsai in a simple way, but rose to its own knowledge so that you can live a long bonsai. When making a first measurement of irrigation water and soil pH levels to enable us to give dosing water on bonsai. Provide water when first planted in bonsai, and do not forget to provide more water during dry weather and increased air temperature. Select a pot that can flatten the sprinkling of water to various parts of the direction. To choose a fertilizer nitrogen, phosphorus and potassium to balance the level of oxygen in the soil and plant health. Give vitamin to add gloss leaf, twig and limb strengthening and so forth. Trim the twigs, leaves, branches that grow beyond the routine form that we want, also disrupt the shape of wild roots. We try not to cut the lead to cuts in the stem trimmed. Put the bonsai in the affected area, morning sun, but protected from the scorching afternoon sun. To prevent pests, give an anti-pest which you can buy at the plant store. Consult with experts to provide an anti-crop pest that is suitable for your bonsai plants.