Art & Artists

Introduction

Within this section the Federation of British Bonsai Societies aims to support and promote the art of bonsai and aspiring bonsai artists. In this endeavour it aims to educate those unfamilair with bonsai as an art form by providing a brief insight into the artistic concepts associated with its practice.

It should be remembered that the artisitic descriptions given here are not detailed and as such should be kept in context. If you are inspired to explore further then we can recommend seeking the guidance of the talented British artists mentioned here whose names have become so familiar to the clubs and societies that the Federation represents.

Bonsai Art for the 21 st Century

(click on thumbnails for larger image)

Historically the display of bonsai in UK has mostly been confined to horticultural shows where benches full of fine examples of a bonsai artists work are laid out regimentally for all to admire. This situation arises largely out of convenience or as a result of the venue limitations. Sometimes a display stand is decided by the exhibitor or at the discretion of the exhibition organisers who apply standard criteria for all floral exhibits in the belief that visual impact is better achieved by a mass display.

This approach has its merits to give the viewing public the opportunity to witness a broad cross section of species and styles.

Fig 1 . A typical award-winning stand at the Chelsea Flower Show

However, the artistic finesse is mostly lost in this type of environment and presentation style. FoBBS now hopes to look further afield for ways to exhibit bonsai and create provocative displays to inspire, engage and challenge so that the art can progress here in the UK.

Fig 3. The sculptural aspect of bonsai is currently receiving wide appeal here in the west.

The art form is taken a step further when individual subjects are presented for display. Here the artist creates a picture for the viewer by using subtle cues in the relationship between the accompanying objects. These relationships can be obvious like textures and colours or quite obscure and noticed only by the well informed such as the habitats and origins of accompanying plants and objects.

The Display Concept

Typical displays are usually variations on the arrangement of three objects; a tree, a wall hanging and an accent plant or object.

Fig 4. A leafless hawthorn helps create a moment in autumn. The hanging scroll displays an open chestnut; the accent is a combination of autumn seeds. The objects placement, dimensional and spatial ratios are relevant to the overall design. Artistic Innovation Although traditional displays have had a seasonal theme (Fig 4) more recently the boundaries are being explored by artists who create other types of display themes.

Fig 5. Symbolism is a fundamental element too. In this Italian display right, sand is used to imply a river meandering its way from mountain to a distant forest. An ornamental fisherman's punt helps fill the gap for the less imaginative viewer.

Fig 6. Left, an obvious but familiar scene. Birds feed at the base of a large elm ready to take refuge in its branches.

Fig 7. Here the relationships become less obvious. Only when it is known that the owner has more than one passion does the classic car and scroll translation become relevant.

Finally, some artists are exploring methods to develop a display that moves away from a static scene by adding movement in this case below in the form of seagulls attached to a mobile suspended above.

Fig 8. The scene depicts a girl sunbathing on a sandy beach below a windswept juniper.

Further explorations are investigating ways in which to stimulate moods, emotions and other senses by incorporating colour, sounds, smells or tactile plants and objects.

It is hoped that it is now recognised that there is a world of difference between the presentation of bonsai at the floral show in the first image (Fig 1) and the creative imagery above. The examples shown here are only a sample of many creations some of which have been finer in both quality and artistic interpretation.

Design Concepts Before concluding there needs to be some examination of the artistic merits within the design of an individual bonsai since it is these that have the leading role within a display. Fig 9. Right, the artist collected this cattle grazed hawthorn from a field with permission. With a change in orientation and appropriate styling techniques the artist achieved an internationally recognised bonsai of British origin.

Aesthetic Analysis

There are those within the bonsai art world who would have the expertise to analyse and describe the aesthetic principles of both bonsai design and their display in quite some detail. Terms typically used are depth, scale, perspective, movement, spatial application, triangulation, the golden section, colour, texture, harmony, presence, and personality. These are principally used to guide the artist rather than to act as a formula but certainly they need to be understood if a convincing image is to be achieved and the final result apparent to the audience.

Fig 10. Tree and pot combination also requires particular consideration. Note that the movement within the trunk is reflected in this carefully chosen, lava pot of Scottish origins. Most of the analytical terms mentioned above can be recognised in this composition.

One of the major design concepts is the appropriate use of space without which a bonsai merely becomes a shrub. Compare the two Japanese maples (Fig 11 & 12) below both of superior quality, similar in style (clump style) but at different stages of refinement. Within the first image (Fig 11) there is clearly a tree shape but the view beyond is mostly obscured by foliage. This tree would merit its own application within a display composition. Compare this to the second tree (Fig 12) where the canopy is more open and the graceful trunk and branch lines are clearly defined to take the viewers' eye to a point behind the tree where the imagination can fill in the missing detail. This is a crucial part of the art of bonsai.

It is widely accepted that it is early days for bonsai art here in the west having been known in the UK for merely a century and really only widely practiced during the past 40 years. Nevertheless, Britain boasts a number of home grown talented bonsai artists struggling to get recognition for their work while quietly accepting that some of their finest creations will be confined to being displayed at flower shows. It is hoped to seek more acknowledgement from the art establishment for this deeply rewarding art form which would certainly help boost bonsai artists morale.