The creation principle of bonsai

Bonsai is different from poetry and painting, they are living works of art, which determines the continuity of bonsai creation. The life process of bonsai is the continuous creative process of bonsai. As soon as the creation of a traditional Chinese painting is completed, it will not be changed. The plants in the bonsai are different in age and changeable at 04:00. After the initial completion of its conception and composition, the artistic value of bonsai works will change greatly, or become more and more perfect because of "reprocessing" and "re-creation", or it will be reduced and destroyed because of outrageous creation and poor management. or even completely lose its artistic value. The idea and composition of bonsai works often cannot be completed in three or five years.

The life process of bonsai changes with the alternation of spring, summer, autumn and winter, which has a realistic time; at the same time, because of its small volume, bonsai can manually control environmental conditions, or add pruning, picking leaves, delaying florescence, and other means. in summer or winter scenery, winter can show spring and so on, can create a specific artistic time, give people a specific artistic infection.

Bonsai is a living work of art, a combination of natural beauty and artistic beauty. Bonsai creation not only requires a certain degree of artistic accomplishment, but also through material selection and pruning, flat binding, carving and other artistic processing means to shape, but also must have a certain basic scientific knowledge of horticulture. Therefore, bonsai is the crystallization of art and technology.

Bonsai is a plastic work of art. It is an entity in three-dimensional space, unlike a picture, which is composed on plain paper. To study the spatial composition of bonsai creation, we should not only strive to create the composition of the best viewpoint, but also take into account the composition of different viewpoints and distance.

No matter Lingnan School, Shanghai School, Yang School and Su School, they all pay great attention to the composition of three-dimensional space, taking into account the viewing effect of looking up, overlooking, looking up, looking squarely and looking sideways. The ancient pile bonsai of Sichuan School is also ingenious in its three-dimensional composition. For example, the trunk of "falling turning method" is Qiu qu and changeable, which can be viewed from the front. One bend, two bends, three to five bends do not see a bend, like a straight setback, gradually to the side, the first and second bends are gradually hidden, and three to five bends gradually appear, forming different pictures, such as landscape bonsai is an entity, although it occupies three-dimensional space, but unlike gardens, it is necessary to meet the functional requirements of tourism rest. It requires that "the meaning of hiding heaven and earth is in the full grip room". The so-called peak is too China thousand fathom, one spoonful is thousands of miles. This peak, one spoon to show thousand fathom Wanli, so expensive in the small to see the big, attractive.

The first section comes from nature and exquisite workmanship.

Bonsai is the artistic reappearance of strange ancient trees and hilly forest springs in nature. To create bonsai, we must first collect materials so that there are hills and forest springs in the chest, and then there is "reproduction" to speak of. Therefore, learning is naturally the premise of creation. Since it is a creation, it is not a photographic "microcosm", nor is it copied or copied by nature. In the bonsai creation, we must use cutting, trade-off, rendering, exaggeration and other techniques in order to more concentrated and typical reproduction of nature. "how can the mountain of thousands of miles be strange, and the water of thousands of miles cannot be shown?" therefore, we should take its essence, discard its dross, and apply the combination of romanticism and realism in order to make the bonsai derived from nature higher than nature.

Only through careful observation and in-depth study of the scenery, can bonsai workers have confidence in their creation, such as searching for objects. Spring, summer, autumn and winter, sunny and rainy day and night, thousands of changes. Tree: or vigorous and bold, or chic and elegant, or old, or full of life, or graceful and charming; bamboo chic, loose vigor, cinnamon charm, begonia charm; mountain: or quiet, or show, or dangerous, or male, or strange. For each material, only by observing the details, grasping the features, expressions and situations, and searching Qifeng to make drafts, can we make the creative themes rich and colorful, and the image composition beautiful and moving. New ideas, in order to "pictographic, follow the color", so that the work is not only "similar" but also to achieve "spiritual resemblance", making it vivid and touching.

Section II create artistic Conception and highlight the theme

The most important feature of bonsai is to create artistic conception. The artistic conception is an important criterion for evaluating bonsai works. The artistic conception is elegant and novel, but the charm is vivid and intriguing. "there is no danger in the scene", stereotyped and stereotyped, is mediocre.

Chinese bonsai has paid great attention to the creation of artistic conception since the Tang and Song dynasties. Each new work is full of new ideas and makes a difference. This fine tradition should be well inherited and carried forward.

The creation of the artistic conception of bonsai should not only be ingenious, deliberate carefully, and brew the theme, that is, the so-called "intention is to write first". And the intention also runs through the bonsai creation all the time, taking meaning because of the material, that is, the so-called "pen to meaning". Because bonsai materials can not be like pen and ink, can be sprayed by painters at will, but must take care of the natural beauty of bonsai materials, therefore, the creation of artistic conception throughout the creation of bonsai in order to achieve a perfect situation.

Material selection is an important aspect of highlighting the theme. In terms of tree stump bonsai, attention should be paid not only to the biological characteristics of tree species, but also to the "appearance" and "posture" of individuals. For the selection of tree species, it is required to have the characteristics of strange tree stem (most of the expansion of the root neck), easy to expose the root, resistant to pruning, dense branches and leaves, fragrant flowers and fruits, strong adaptability, barren resistance, transplanting resistance and so on. However, different themes require different things. For example, if you use vines to show the magnificence of Cangu, and use the genus of pines and cypresses to show graceful charm, you will get twice the result with half the effort, even in vain. Similarly, in order to select materials for landscape bonsai, we should also grasp the characteristics of stone texture, color, shape, texture and so on. If the sharp sand sheet stone is used to make the Qianba Qifeng, it is just right to use the hollowed stalactite to make the tiger cave Longtan. On the contrary, using Taihu stone to show Bashan Shushui and Guangdong wax yellow stone to show Taihu Lake scenery will be self-defeating.

The form of bonsai is closely related to the theme of expression. Such as tree stumps, pitching, overhanging and twisting, or single, or double, or jungle, can create a different artistic conception. Bold, casual natural style, carefully carved, just like the regular shape of meticulous painting also has its own interest, can serve different themes. The performance of the landscape, whether to use dry basins, water basins, or flood and drought basins should also be considered around the theme. In short, it is necessary to make the form serve the content and achieve the unity of content and form.

The third section is skillful in layout and sees the big in the small.

The artistic conception of bonsai is reflected through layout. The so-called layout is the layout of the scene, that is, composition, modeling. Seeing the big in the small is the most distinctive artistic feature of bonsai. In order to express the scene of towering ancient trees and thousands of cliffs in a small pot scion, you need to rely on special artistic techniques:

1. Make use of the principles of near big and far small, near thick and far light, near clarity and far blur in perspective.

In the bonsai layout, appropriate levels are arranged in the vertical height and horizontal direction, and the narrow space at hand is divided into several levels to achieve the artistic effect of expanding the depth of field. Make corresponding artistic treatment to different levels of scenery. The mountain and stone corridors and textures should be delicate and summarized in the distance; the lower should be clear and the upper should be vague; the distant mountains should be represented by low rocks and the middle and near mountains by high and thin rocks; the stones should be dark near and far away; the near trees should be big and the distant trees should be small, or only moss should be used to show the distant mountain forest. Therefore, in the bonsai creation, the hierarchical arrangement is often summarized as "far, middle and near triple method". Such as the long-range mold, the mid-range is more vertical, and the close-up is used as the mold. Usually, the remote mountains lie in low rows, the mid-range is in the shape of towering and steep, and the close-up is in the form of waterscape, or the old trees lie horizontally, or the feet of the mountains are paved with lying stones. As the saying goes, "distant people have no eyes, distant trees have no branches, distant mountains have no stones."

2. Use contrast to set off

It is also an important way to achieve great artistic effect in small and medium-sized enterprises. Things are always distinguished by comparison. In the painting theory, "measuring mountains, measuring trees, dividing horses and dividing people" is about the scale proportion between them, which is the basis of contrastive techniques. Although the stone is as small as a fist, if a person is only as big as a bean, he can contrast the fist stone as a mountain, which is the contrast of shaping. "the cicada noise forest is quieter, the bird song mountain is more quiet" is about the contrast of the artistic conception, the bird song cicada noise of the mountain forest, but also set off the seclusion. Height, size, straightness, light and shade, shade, density, movement and so on all exist because of contrast, and color is generated by contrast.

The scenery in the bonsai is achieved by means of shrinking scenery, trees, mountains, rocks and other materials should be dealt with in an appropriate proportion. Therefore, in the bonsai creation, it is required not only to consider the appropriate proportion of different materials, but also to use different proportions to contrast each other in order to achieve the effect of seeing the big in the small. If used properly, the scenery can coordinate with each other and complement each other, otherwise they will be destroyed. with small bridge pavilions, boat characters can show the majesty and vastness of the landscapes, on the contrary, the mountains and rocks will pale in front of the too large characters and pavilions. The size and depth of the basin should be proportional to the size of trees and stones, while the use of shallow pots can set off the towering scenery. The steep pull of the main peak is set off by the low mountain, and the tall and straight of the ancient tree is supported by lying stone. Or use low ancient trees to set off the majesty of the mountains, which are commonly used in bonsai.

In order to make the tree old and vigorous, the thick embryo material is often selected, through truncation, pruning and changing the proportion of trunk, branch and leaf, resulting in the sturdy trunk and smaller branches of the old tree. Or through cutting flat tie to make the top of the tree, branches into pieces, the trunk twisted to create the shape of a natural old tree. In order to make the appearance more old and strange, we can also use the dilated and strange tree embryo or the technique of pulling a knot from an early age to cause an inflated false tree pocket, or to lift its roots year by year to show its claws, or through carving, chiseling and other means to cause stumps, tree holes and dry smoke spots to peel rugged. Only by using these techniques skillfully can we achieve the artistic effect of the mountains and forests close at hand.

3. Be good at hiding and showing

The more the scenery is hidden, the bigger the landscape is, and when you hide it well, you will feel that the mountain is infinitely vast on the left and right side of the mountain. The hidden scenery can be masked by mangosteen trees and sailbridge pavilions as the main means. Not only in the plane composition, we should hide and reveal each other, but also in the three-dimensional composition, there should be a layer above one layer, and there should be another layer in one layer. The brook lingers, the cave twists and turns, the road is hidden, the mountains are hidden, and the scenery is far-reaching. The use of mountains and rocks to cover each other to create a tortuous river, showing a strong sense of hierarchy in the limited space.

Section IV clear distinction between guest and host and unity of change

The so-called guest and host, is which part of the basin as the main body, as the center, which as the object, as the foil, strive to highlight the main scene, clear distinction between the host and the guest. Bonsai in general landscape trees and stones as the main body, pavilions, ships and bridges, characters only as foil. The main mountain should be solemn and dignified, the mountains should be respectful and obedient, and should not go their own way. The main mountain and the guest mountain are required to look at each other on the back of the trend, with a clear distinction between primary and secondary, in order to play the role of supporting the moon by all the stars. Mountains, forests and trees should also be primary and secondary. Such as three plants a clump, one mainly, the rest are guests. The mass and posture of the main tree should be higher than that of the guest tree in order to make the main body stand out.

Bonsai layout also requires change and unity. The so-called change means that the arrangement of a basin of scenery should be natural and changeable, each with different interests, and not rigid and identical. No matter the graceful appearance, the texture wheel corridor, the color light and dark, the density is virtual and solid, the front and back height can be varied. The natural scenery itself is that the peaks are uneven, the trees are uneven, the jungle is low and scattered, the solitary trees lean, the water is winding, the ground is steep, the color is light and dark, and the shape is dense and virtual. Therefore, in the arrangement of the scenery, no matter the plane facade is scrupulous and tidy, stiff and rigid. The configuration of rocks and trees requires uneven height before and after, to avoid neat symmetry and the formation of regular geometry. Most of the two trees that grow naturally together are high and low, pitching, and facing back. the so-called "looking forward to affectionate" clumps rarely form regular equidistant triangles, squares, diamonds, and plum blossoms, but each has its own distance. Sparse and dense, the size of the crown is also uneven, ever-changing, lively and colorful.

No matter landscape bonsai or tree stump bonsai, it should be "better empty than real". However, the artistic conception of bonsai is different, and the requirements of deficiency and reality are also different. Generally found to be far-reaching, far-reaching, the actual implementation can be slightly less than half, more than half, more bloated and forced. But less than 1/3 is monotonous and loose. It is usually easy to make the problem of looking squarely at the truth and looking sideways at the deficiency. A few pieces of bluestone stand in the basin, facing the jam squarely and looking thin on the side.

Of course, some of the above principles and techniques of bonsai creation should not become a framework that binds our hands and feet. It is necessary to master flexibly and have the courage to create "the ultimate law is impossible in the end." Practice makes perfect. At the beginning of heart-to-hand separation, the scene is not satisfactory, "familiar" can be handy, handy, just right.

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