Detailed production methods of landscape bonsai: material selection, layout, modeling and plant collocation

Mountain and stone material selection: landscape bonsai is a landscape formed by the arrangement and combination of mountains, stones, grass and trees in the bonsai. Mountain and stone materials are the main materials for the creation of landscape bonsai, and most of them are extracted from nature. Its texture, color and texturing patterns all have natural nature. When selecting materials, first of all, we should pay attention to determining that the stone is suitable for the shape of that kind of natural landscape according to the natural characteristics of the stone. if a group of sandy stones with vertical and simple textures, long shapes and natural contours are selected as materials for a basin of bonsai, it is affirmative that these materials are most suitable for the steep, towering and upright modeling landscape of Jianfeng, and we should pay attention to the texture, type and texturing pattern of the materials. It is best to use only one category of material, the color should not be too different.

(sawing and tapping of rocks)

The tapping of the mountain outline: when we are making a basin of landscape bonsai for material selection, we should first observe the top outline of the stone, trigger the idea, and ponder over and over again, regardless of the hard stone or soft stone, when the outline arrangement is not obvious, it should be tapped to make it ups and downs and full of rhythm.

Sawing and bonding: most of the time, a piece of stone can not form a complete picture of landscape bonsai, so it is necessary to combine multiple stones to form a landscape. The stone is generally natural and unprocessed, so the stone must be sawed, connected and bonded according to the landscape requirements, and the stone must be sawed with a cutting machine or hacksaw, or it can be broken by a hammer. Then use cement or cement to color, or other adhesives to form.

Pattern and straggling: generally speaking, a basin of landscape bonsai requires roughly the same texture on the stone body, so that the landscape picture is more unified. However, because of the difference of the stone itself, under the premise of selecting the natural lines with the same texture as far as possible, it is sometimes necessary to adjust the texture of some stone materials whose textures are not obvious or have great differences in textures. the texture is generally done by ticking, digging, tapping and sawing, depending on the soft and hard properties of the stone. if some textures cannot be sorted out, the stone with roughly the same color can be used for splicing. The formation of a large block surface of the obvious concave and convex phenomenon, to meet the requirements of a unified and vivid landscape.

The shape and style of landscape bonsai

Creative idea is an important part of bonsai creation. The creative idea of bonsai is actually a process of determining, conceiving and expressing the artistic conception. Generally speaking, there are two ways of expression:

① first and according to this idea, through the idea to select the appropriate trees, stones, mountains. Grass and other materials are arranged and combined in the pot space to complete this idea.

② gives birth to a certain idea according to the shape characteristics of specific mountains, grass, trees and stones, and then conceives and uses the shape characteristics of these mountains, stones, grass and trees to complete the composition of a certain landscape and artistic conception. As the composition of bonsai landscape is limited by shaped materials, this conceptual conception method is widely used in bonsai modeling of rocks and various combinations.

Because the landscape bonsai is the arrangement and combination of mountains, stones, grass and trees in the urn space, there is a law of mountain topography or structural combination.

Landscape bonsai generally has the theory of landscape modeling opening and closing, and mountains constitute complex landscape bonsai generally have a meeting or two opening and closing or three opening and closing methods. Opening and closing is a complete landscape composed of subject, guest, scattered stones and other complete mountains in the landscape bonsai. When the mountain is placed in the Bonsai, it can form a visual unit with spatial position in the bonsai. Due to the role of "tension" in the sense of composition (omni-directional two-way radiation), people's visual psychology creates a sense of expansion (that is, "potential"), which has the efficiency of occupying space. At the same time, because it has the orientation of the three-dimensional space (such as the orientation of the mountain in the pot scion), and occupies space asymmetrically, it forms a sense of motion in people's visual psychology and picture. The cause of motion is actually the imbalance caused by the radiation of the unfolding lines of visual units such as points or blocks in the picture, which is related to the position of the mountain surface in the "cloze space".

On Chinese Landscape painting

(a landscape bonsai with an open and closed layout) when talking about the mountain layout of the picture, he said: "if you want to make it right, you must first its left, if you want to make it left, you must first its right, if you want to make it up, you must first make it under, and if you want to make it down, you must first go up." It brilliantly discusses the characteristics of the dynamic tension formed by the picture. Therefore, the so-called "potential" is when the rock face occupies the space asymmetrically and directionally in the urn. A sense of visual tension and expansion in people's visual psychology. It is this sense of tension and expansion that makes us feel that in the bonsai landscape modeling, the static mountain has a sense of movement and a rhythmic and rhythmic trend of the mountain.

Since the "potential" in the landscape bonsai is obtained through "Chen" ("Chen" means that the arrangement and combination is like an array), then when arranging and combining the mountain block surface, the mountain tension is bound to form a varied mountain tension, that is, a different "potential". Generally speaking, the "potential" of landscape bonsai includes several aspects, such as "rise", "inherit", "turn", "close", "fall", "knot" and so on.

In an open and closed landscape bonsai landscape, we put the main mountain in the bonsai, which is actually the positioning of the main potential in the picture space, which we call the "rising" potential.

The guest mountain, which is second only to the main mountain, is placed on the left or right side of the main mountain, so that there is a transition and inheritance between the potential of the main mountain and the potential of other mountains, which we call "inheritance". There are two kinds of "inheritance" potentials, that is, "positive inheritance" and "negative inheritance".

The guest mountain is generally opposite to the main mountain and has a unity of opposites with the trend of the main mountain, which forms a general opening and closing with the "main" potential in the overall picture of the landscape, and its trend is opposite to the main trend, so it is called "turning" potential.

When the momentum of the main mountain falls, sometimes there is a transition, sometimes there is no transition, and if there is a transition, you have to find the landing point of the transitional mountain, and this landing point is the "falling" potential. In general, the foil mountain next to the main mountain in the landscape bonsai is the landing point of the main mountain.

The combination of the main mountain potential and the guest mountain potential in the bonsai space is the opening and closing node of the landscape bonsai, which is called the "knot" potential, which is usually represented by the scattered stones in the bonsai picture.

Sometimes, we will decorate or plant plants or embellishments flying across the main mountain or guest mountain, which is bound to break the balance of the situation formed by the main mountain and other mountains in the picture, which we generally call "walking" or "breaking". Because "walking" or "breaking" increases or changes the tension of the whole relatively balanced picture, and when people watch bonsai, the visual psychological tension connection appears the phenomenon of outward running.

Contrast and contrast are also very important in the modeling of mountain and rock panoramic scenery, and the meaning of contrast and contrast is relatively broad. For example, the foil and contrast between big and small, subject and object, sparse and dense, Tibetan and exposed, virtual and real, front and back, stone and tree, all these must be embodied according to the creative theme and techniques. Only by mastering the rules of creation, can we be of one mind.

Application of scattered Stone in Landscape

The position of the subject and object of the landscape bonsai is very important in the bonsai, and their charm, volume and situation are directly related to the artistic conception of the works. However, whether their function is outstanding or not is related to the use of scattered stone, which is usually neglected.

Scattered stone is a kind of scattered and unique foil placed in the blank space of landscape bonsai in the form of groups. it itself has the nature of "point" in the sense, and it is a kind of visual unit with spatial position. When people's line of sight is focused on it, it produces a sense of expansion in people's visual psychology, so it can occupy and divide the space.

The function of scattered stone is mainly shown in the following aspects:

As the foil of the main and guest mountains in the bonsai, the bonsai is characterized by seeing the big in the small, but no matter how big the bonsai is, the volume of the main and guest peaks is limited. In order to make people feel psychologically that "one peak is too flamboyant and spirited", we must use some low and small foil to highlight the main peak and guest bees, so as to make it look much larger than the actual existence and increase its sense of volume. Scattered stones play an excellent foil role in this respect.

(scattered stones serve as a foil to the main mountain)

As a division of the blank space on the water surface of the foot of the mountain: bonsai is a three-dimensional shape, it is impossible to float the mountain in mid-air like landscape painting, and the following is omitted by clouds or something else. The mountain stone in the basin must take root. When we set the rocks of the subject and object in the urn, the remaining blank space needs to be dealt with carefully. Bonsai jargon says, "the peak is easy to stand, but the foot is difficult to deal with" refers to this process. The manipulation of scattered stones is the treatment and division of the blank space on the water surface of the mountain foot. As mentioned earlier, scattered stones should have a sense of expansion and tension in people's visual psychology, so that they can play the role of occupying space in the blank space, so if the scattered stones are arranged properly, the water surface of the mountain foot can be divided reasonably. Rich in variety.

(division of scattered stones in blank space)

In landscape bonsai, especially in bonsai with an opening and closing pattern, it plays the role of "knot": we know that in bonsai, especially in bonsai where both the subject and the guest exist at the same time, and in the bonsai with an opening and closing pattern, their direction arrangement generally contains four links: "rise, inherit, turn, knot". The so-called "layers of potential" refers to the organic combination of these four links, and "knot" is the completion point of these four links. The scattered stone is precisely such a "node", which ends in a vivid picture and plays a final role in the development of the mountain situation.

(scattered stones act as nodes in an opening and closing pattern)

When using the scattered stone layout, we should pay attention to the following aspects:

① bonsai is not a series of products in production, but a variety of works of art. Even if each bonsai has the same opening and closing layout format, the manipulation and situation of their host and guest mountains are different, which requires us to have a certain degree of flexibility no matter whether we use scattered stones to divide the blank space or "knot", but we must obey the development of the whole picture. The treatment of the blank space on the water surface of the mountain foot needs to be compatible with the whole picture, that is to say, "the shape is scattered but the spirit is not scattered".

The use of scattered stones in ② should be different in size. Because the size of the scattered spot five is different, the visual psychological expansion they produce is different. For large scattered stones, the visual tension is greater, and the efficiency of occupying space is larger, while small scattered stones are the opposite. Therefore, if you put a large scattered stone, the "white space" of the blank space will be reduced, and the small scattered stone will be placed, while the "blank space" of the blank space will be relatively more. the combination of the two can result in an organic combination of the scattered stone and the blank space. as the painting theory says: "plan black when white, plan white when black". And break the dull and monotonous blank space, resulting in a specific artistic effect.

The space occupied by ③ scattered stones is different, and the space can also be divided unevenly. In the water surface blank of the same mountain foot, the positions of scattered stones are different (even if they have the same volume and equal visual expansion), they may unevenly divide the space and break the equilibrium and monotony of the blank. But it should be noted that if the scattered stones of the same size are evenly arranged in the blank of the water surface of the mountain foot, it will not play this artistic role, because it is actually a form of geometric arrangement. At the same time, when the scattered point stone acts as a foil to the host and guest mountain, it should be planted according to the face, and the change should be appropriate, so as to make it coordinate with the proportion of the host and guest mountain. For example, one or a group of sharp and thin scattered stones cannot be used as a foil to a round subject or object, nor should it be lined with a piece or a group of scattered stones with a similar or equal volume under a relatively small host and guest mountain body. This not only does not play the due role of scattered stones, but also ignores the difference between "body, noodle" and "point" in art.

The plant configuration of ④ scattered stone is mainly moss grass, such as Cangpu, Saxifraga, star grass and so on, which is also in line with the expression method of "sparse grass moss". At the same time, pavilions, platforms and other decorations can be placed on it to deepen the bonsai theme.

Selection of landscape bonsai

Landscape bonsai because of its landscape has a large number of water surface, dotted with low scattered stones and raft pavilions, so generally choose a very shallow marble basin along the basin, the shape of the basin depends on the shape and color of the stone, shape, etc., you can choose oval, round, rectangular, etc., the color is generally white. Purple sand water basin and clay water basin can also be used for mountain and stone bonsai modeling, but they are usually only used for more special stone or modeling because of their color and depth limitations. No matter what kind of pot scion is chosen, the main purpose should be whether the modeling landscape effect is highlighted or not.

(the selection of landscape bonsai should be shallow and the water surface is wide)

Planting of plants and embellishment of accessories

After the completion of the mountain and stone combination modeling of the landscape bonsai, plants should be planted and accessories embellished. The painting theory says: "the body of the mountain, the stone is the bone, the tree is the clothing, and the pavilion bridge is the embellishment." Stone is an inanimate solid, while a tree is the symbol of its landscape life. As the jargon says, "the stone is easy to stand, but it is difficult to plant plants." this shows the importance of plants in mountain and stone bonsai. Experts all have such a feeling that after the formation of the rocks, the bonsai landscape is actually only half finished, and it can only be counted as complete after the plant has been planted. Often, the energy and time spent on plant planting exceeds the time spent on the combination of stone materials.

(embellishment of plants and accessories)

It is better to plant plants with short leaves and twigs, with different plants in different landscapes. Such as solitary peak landscape, you can choose old and sturdy plants; groups of peaks stand on the wall, you can choose the combination of luxuriant jungle planting; gentle hillsides, embellished with dwarf plants. At the same time, we can use the methods of setting off, embellishing, interspersing, flying, overlapping and close planting, but we should pay attention to the law of "Zhangshan ruler tree" in the proportion of general planting law. generally speaking, it is better to plant according to the composition principle of "rising, inheriting, turning, knot and closing".

Accessories are the starting point or foil in the landscape bonsai, but it should be noted that the creation of landscape bonsai should not be based on embellishment accessories, but should be based on landscape modeling. Accessories can not be stacked, misplaced, to be hidden, dense and appropriate, to pay attention to the "near big, far small" rule and perspective relationship.

Flood and drought bonsai material selection and modeling production program flood and drought bonsai is a kind of combination of landscape bonsai and tree bonsai. With plants, rocks, soil, water and other materials, after processing and layout, it shows the natural landscape of water surface, dry land, trees, rocks and rocks in the basin. Flood and drought bonsai is a combination of trees and landscapes, and its production technology is also based on these two types of bonsai. 1. The production procedure of flood and drought bonsai 1. Select materials (1) before making flood and drought bonsai, you must choose the appropriate material. These materials mainly include pots, plants, extra-large flood and drought basins and cement basins. The color of the basin is usually grayish white, light blue, light green, light yellow, and the shape is simple and lively, it is not advisable to have tedious patterns or complex lines. The water basin made of natural slate is irregular and changeable in shape, and it is also good for flood and drought bonsai. Although this kind of basin has no vent and cannot store water, it can make a "dry basin water meaning". The ratio of length to width of spray is mainly selected according to the depth of the scene. It's usually around 2:1. Sometimes in order to show particularly far-reaching scenery, 1:1 can be used, that is, square, round, and sometimes in order to show a long picture effect, a very narrow rectangular basin or boat basin can be used. As for the size of the basin and the height of the scene, there is no fixed proportion, which can be determined according to the needs of artistic expression. Because the water basin is very shallow, sometimes the drainage hole can not be opened. However, if a slightly deeper basin is used, one or two drainage holes must be drilled in the place where the trees are to be planted to facilitate drainage. (2) plants with heavy flood and drought bonsai are mainly in number, including some small herbs and moss. Trees are the main scenery of flood and drought bonsai, and its choice is very important. Generally, it must have the characteristics of small leaves, resistance to pruning, easy modeling and high ornamental value. The following tree species can be used: ① pine species: Cryptomeria fortunei, yew, five-needle pine, round cypress, lobular Luohan pine, ground cypress, black pine, juniper, real cypress, spruce, gold pine, etc.; ② miscellaneous trees: Jiuli incense, Fujian tea, Tamarix, elm, lobular privet, yellow poplar, sparrow plum, park tree, banyan tree, etc. ③ leaf wood: Acer triangulatum, purple bamboo, Phoenix tail bamboo, red maple, chicken claw maple, feather maple, etc.; ④ flowers and trees: June snow, stick stem begonia, rhododendron, Shouxing peach, crape myrtle, etc.; ⑤ fruit trees: Tiger thorn, pomegranate, golden marble, firethorn and so on. Most of the tree materials used in flood and drought bonsai are cultivated freely and can also be extracted from the mountains, but after a certain period of cultivation and processing, the trunk and main branches are initially formed, and meet the following special requirements. ① must be natural: if there can be some regular or decorative shapes in tree bonsai, then in flood and drought bonsai, the tree material must be based entirely on the natural tree scene, and then make the necessary trade-offs. In pruning techniques, it is generally suitable for pruning mainly and banding as a supplement. Any obvious artificial marks, or excessive deformation, will cause disharmony with other parts, and affect the overall effect. ② has conventional tree shape: there can be all kinds of tree shape in tree bonsai, but the number shape in flood and drought bonsai should not be too strange, but should have conventional tree shape. Most of them are straight dry, oblique dry and facing water. Cliffs, flat trunks (referring to the large degree of bending of the trunk) and other tree shapes are not suitable. ③ root system mature and no downward thick roots: flood and drought bonsai are used in shallow pots, and the dryland part of planted trees is generally small, so when selecting tree materials, we should pay attention to both mature roots and no downward coarse roots, preferably trees cultivated in shallow pots, so that after making cold bonsai, it is not only easy to survive, but also can maintain a good growth situation. In addition, the root system exposed to the soil should be spread in all directions to show a sense of stability. Coordination and change of ④ jungle trees: most of the numbers in water-cold bonsai are jungle-style. In the same basin, the same tree species are usually used, and sometimes more than two tree species can be used. The style of trees in the same basin must be unified, the personality of each tree should not be too obvious, should cooperate with tacit understanding, pay attention to the overall effect. In the co-planting of different tree species, more attention should be paid to the unity of style, with one of the tree species as the main and other tree species as the auxiliary. Trees in the same basin must be divided into primary and secondary, among which there must be the tallest and thickest main tree. Make sure that all the trees are too close in height and thickness, otherwise they cannot be laid out. (3) the role of stone in flood and drought bonsai is second only to trees. There are many kinds of stone, the choice of stone is to select the shape, texture and color are in line with the creative idea of the material, as far as possible to apply in accordance with their aptitude, to maintain the natural characteristics of the stone. The stones used in flood and drought bonsai are tortoise stone, Yingde stone, pebble, Xuan stone, stalagmite and other hard stone. Its choice mainly has the following basic requirements: ① has a "stone shape" in the flood and drought bonsai, the stone is mainly used as a slope bank and point cloth, rarely showing a complete mountain landscape, so when selecting stone, we should pay attention to having a "stone shape", that is, the shape of the stone, rather than the shape of the mountain, hard stone is generally inconvenient to process, so it has higher requirements for natural shape and texturing patterns. ② pays attention to the "stone feeling", that is, the texture of the stone. The contrast of rigidity and softness in flood and drought basins mainly depends on stone to reflect rigidity, so the hard texture of stone is very important. Generally speaking, hard stone has a strong sense of stone, while cancellous stone lacks it. But some hard stones do not look hard from the surface, that is, the sense of stone is not strong. ③ coordination and unification generally use the same kind of stone in a flood and drought bonsai, and strive to achieve coordination and unity in shape, texture, texturing pattern, color and so on. However, coordination and unity does not mean that it is exactly the same, and there should be some changes, such as the size of the block surface, the density of the textured lines, the shape of the round square and so on. (4) furnishings refer to buildings, people, animals, boats and other embellishments placed in the basin. Flood and drought bonsai show a wide range of scenery, a strong flavor of life theme, so the appropriate embellishment can enrich the content, increase the flavor of life, and sometimes show the season, region, and even the times, and so on. Furnishings can also play the role of scale and perspective. However, any artificial facilities are always opposed to natural landscapes, and not all flood and drought bonsai works need to be arranged, let alone the more the better. It should be determined according to the artistic expression needs of the work. The texture of the furnishings are ceramic, porcelain, stone, metal and so on, of which one is the best, that is, fired with clay, not afraid of dampness, sun and color, and the texture is easy to coordinate with pots and rocks. (5) the use of soil for flood and drought bonsai must not only meet the needs of plant growth, but also facilitate the shaping of the terrain and maintain the relative stability of the terrain. The production of flood and drought bonsai in different areas can be based on local materials and prepared by yourself. two。 Processing materials (1) the wood used for processing flood and drought bonsai must be nurtured for a certain period of time to achieve preliminary shape. In the production, it needs to be further processed. Before shaping, we should first examine the wood repeatedly, including examining its overall shape and the local structure of roots, stems and branches, etc., to find out the essence and defects of the wood, and to enhance its strengths and avoid weaknesses. It is very important to determine the front of the wood. Generally speaking, from the front, the trunk should not stand forward, the main branches and exposed roots should extend longer to both sides and shorter to the front and back. There are no long branches sticking out in front of the trunk, nor should they be completely exposed. The angle of wood planting is also very important. After the front of the wood is determined, the angle of the trunk can be changed from front to back, left and right, until the ideal effect is achieved. After the front and angle of the wood are determined, we can further consider the length, density, accumulation and dispersion, hidden dew, rigidity and softness, momentum, balance and other problems of the main branch, and then adjust the internal structure and overall shape. The combination of climbing and pruning should be used in the posture. In general, pine and cypress species are mainly climbing, while other tree species are mainly pruning. The method is basically the same as that of bonsai trees, which will not be described in detail here. When a number of trees are co-planted, it is often necessary to cut off the big branches of some of the trees for overall co-ordination. At this time, the overall situation should be given priority, and the cut should be cut. (2) the stone used for processing stone flood and drought bonsai must be processed before it can be arranged. The processing of stone mainly includes cutting method, carving method, splicing method and so on, which is the same as the processing method of landscape bonsai. 3. Try to do the layout of flood and drought bonsai, there are several common styles: (1) the waterside basin is water surface on one side and dry land on the other, separating soil and water with mountains and rocks. Part of the dry land is planted with trees and rocks. The area of water surface is generally different from that of dry land, and the part of dry land is slightly larger. The separation line between the water surface and the dry land is zigzag and inclined, rich in variety. The part of the water surface is often lit with a few small stones or boats. (2) the water surface in the island basin surrounds the dry land to form a small island (it is not required to be surrounded by water on all sides), but there can also be two or three small islands with small stones in the water. The shape of the island is irregular, the coastline is tortuous and changeable, and the terrain has ups and downs. Second, the layout of the three small islands should be primary and secondary, sparse and dense. (3) there are trees, stones and dry land on both sides of the stream basin, and a narrow water surface is formed in the middle. The dry land on both sides is of different size, avoiding symmetry and fluctuating greatly at the same time. The shape of the stream is open and closed, twists and turns. There are often large and small stones in the water. (4) there are trees, stones and dry land on both sides of the river-lake basin, with a wide water surface in the middle, and sometimes there are distant mountains and low rows behind it. Some trees in dry land are made of jungle type, the slope bank is generally gentle, the waterfront is tortuous and soft, the water surface is open, and small bridges or boats are often placed. (5) the scenery of comprehensive nature is diverse. In the creation of flood and drought bonsai, two or three of the above basic forms are often combined according to the theme of expression to form some more complex layout. This is the comprehensive type. After the stone and tree have been processed, the layout can be carried out. Generally, the location of trees is determined first, and the position of rocks and water surface is also taken into account. When the location of the trees is generally determined, some soil can be put in first, and then stones can be placed to separate the water surface from the dry land. The placement of trees and stones can also be interspersed, which is the trial layout. The layout of one or two trees is relatively simple and can be placed on one side of the basin. The two trees lean against each other, one high and one low, all the time. The jungle layout, no matter how many trees there are, starts with three. These three trees are the main tree, the auxiliary tree and the lining tree. The main tree must be the tallest and thickest, the subsidiary tree must be short and thin relative to the main tree, and the lining tree must be the shortest and thinnest, of course, all relatively speaking. The position of the main tree, seen from the front of the basin, should not be in the center of the basin, nor on the edge of the basin, but should be placed on the left or right side of the basin; from the side of the basin, it is appropriate to be slightly forward or backward in the middle of the basin. The position of the auxiliary tree is usually at the other half of the basin. The lining tree should be close to the main tree, but should not stand side by side. The most basic layout of this matter can be adjusted to a certain extent on this basis. However, it should be noted that the planting points of the three trees must be unequilateral triangles after connection, and the overall crown of colleagues should also be unequilateral triangles. As for the co-planting of more trees, it can be gradually increased on the basis of three trees. If five trees are co-planted, one can be added near the main tree and one tree near the auxiliary tree, and one tree can be added to each of the five trees on the basis of co-planting. The rest follow this and so on. In fact, the above practice is to turn the original three trees into three groups of trees, but the basic principle remains unchanged: the connection between the planting points should be one or more unequal triangles as far as possible; more than three trees should not be planted in a straight line as far as possible. in particular, it is not allowed to stand parallel to the edge of the basin; the distance between the planting points is not equal, it should be dense and elegant, showing a rhythm and rhythm. The overall crown had better be one or more unequilateral triangles, but the outline should not be too straight and should be undulating. Jungle layout must leave some space, do not fill the basin, at the same time, do not show all the scenery. It is necessary to hide in the dew, but when there are few trees, each tree should be visible from the front. To do everything possible to make all the trees in the basin stable and harmonious to form an organic whole, it must be diverse and unified, not only natural, but also rich in human thought, so as to make the viewer feel carefree and immersive. When configuring stones, first make sloping banks, then light stones on dry land, and finally light stones on the surface of the water. Attention should be paid to perspective in the layout of stones. On the whole, it is generally near high and far low, but it can not be ladder-like, and there should be ups and downs and the collocation of large and small surfaces in order to show nature and vividness. The layout of the stones must also be coordinated with the trees. Spot stones play an important role in terrain treatment and water surface changes, and sometimes can make up for the root defects of some trees. Dry land stone should echo with slope bank, set off with trees, combine with soil surface naturally; stone spot on water surface, should pay attention to size alternation, gather and disperse properly. When trying to make a layout, it is best to prepare the placement, initially determine the position and direction, and can be replaced or cancelled if it is not appropriate. The placement of the parts should pay attention to the unknown rationality and the perspective principle of the proportion to other scenery. Trial layout is the key to the success or failure of the work, must be very serious, often after repeated adjustments, some of the materials may have to be processed many times, or even replaced, in order to achieve the desired results. Try to pay attention to the overall effect of the layout, and the details of each part can be dealt with later. 4. Planting trees in the trial layout, the trees are temporarily placed in the basin, generally do not meet the requirements of planting. After the initial determination, the trees need to be carefully planted in the basin (if time permits, you can also glue the stones in the basin and wait for the cement to dry before planting trees). Before planting, use a pencil to mark the location of the trees on the basin, pay attention to the location of the waterline, draw on the basin as accurately as possible, and some can be numbered quickly so as not to make a mistake when gluing stones. After marking, remove the trees and stones (or the stones that do not affect the planting of trees), and then plant the trees. When planting trees, first carefully arrange the roots of the trees to make them suitable for the planting position, and make the distance between each tree meet the layout requirements. This should not be done carelessly, otherwise it will affect the overall effect. Put a layer of soil (if there are drainage holes, a gauze net) on the place where the trees are planted, and then put on the trees. Pay attention to maintain the previously set position and height. If the height is not enough, you can put more soil under the root, otherwise cut off some more roots. After the location is determined, fill the soil into the gap, while filling the soil and the root with a bamboo stick, until the root is buried in the soil, be careful not to let the soil exceed the range of dry land, preferably a little smaller, in order to glue rocks. After cementing with mountains and rocks, the soil can still be filled. 5. After the glued stone has been planted, the stone can then be glued, that is, the stone made of the slope bank and the spot stone in the water will be glued together with cement in the original position in the basin. Cement should be selected with faster solidification speed, and can be used after mixing water evenly. In order to increase the bonding strength, the mixed cement can be mixed with 107 glue (a kind of admixture to increase the cement strength), or all can be mixed with 107 glue. In order to coordinate the cement with the stone, water-soluble pigments can be put into the cement and the color of the cement can be adjusted to a color close to that of the stone. Glued stone should be close, not only to combine the stone with the basin, but also to combine the stone with each other so that there is no leakage and no excess cement exposed. You can use a brush or a small brush to clean the cement glued to the outside of the stone. If the use of cancellous stone as a slope, one side of the soil can be covered with a thick layer of cement to avoid the infiltration of water. 6. After the landform stone is glued, the soil can be filled in the part of the dry land, which means that the slope stone is integrated with the soil surface, and the undulating terrain is made by piling soil and spot stone. When dealing with the terrain, it should be natural according to the characteristics of the scenery. After making the terrain, sprinkle a layer of finely crushed "decorative soil" on the soil surface to facilitate the planting of moss and grass. 7. The furnishings such as boat boat and arch bridge can be directly fixed on the basin surface; the furnishings such as slate bridge are mostly set up on the slopes on both sides; pavilions, platforms, houses, figures and animals should be fixed on the spot stones in the part of stone slope or dry land; sometimes flat stones are buried in dry land to fix the furnishings. The fixing parts must be machined and leveled first. Ceramic and stone furnishings can be glued to stone or basin with cement (preferably mixed with 107 glue), while metal furnishings should be glued with a water-resistant adhesive. For bridges, boats and other furnishings can not be bonded with the basin surface, only for viewing on the basin surface. 8. Laying moss is an indispensable part of flood and drought bonsai. It can preserve soil and water, enrich colors, connect trees, stones and soil, and represent grasslands or shrubs. There are many kinds of moss. In a work, it is best to give priority to one kind, and then match it with other kinds, which has both unity and change. When laying moss, first spray the soil with a sprayer, and then tear the moss into small pieces and spread it carefully, which cannot overlap or spread to the edge of the basin. The combination of moss and stone should be staggered rather than straight. After all the planting is finished, you can spray water again with a sprayer and press gently with your hand to make the moss combine closely with the soil. After all the above work has been completed, you can make the best arrangement of the work: check for omissions, make some small adjustments, make another meticulous pruning of the trees, wash all the branches, stones and pots of the trees, and spray water thoroughly with a sprayer, but do not spray too much (after all the cement is dry, spray through part of the dry land). In this way, a work of flood and drought basin is initially completed. After 1-2 years of maintenance and management, the work will be more perfect and natural. Production and Management of Landscape Bonsai

Production and Management of Landscape Bonsai

The production of landscape bonsai is actually a special artistic creation of Chinese landscape painting. Its creative process is usually divided into five parts: idea, material selection, layout (composition), processing and landscape. First of all, the idea is to establish the theme and creative theme, and then choose the material according to the author's intention, but sometimes it is possible to obtain some materials first, and then conceive the material according to the obtained materials. determine the theme to be expressed, and then compose, process and point the scene according to the needs of the theme. This is also a special aspect of landscape bonsai creation.

1. Intention

"idea" is not only a process of artistic conception, but also a very necessary process of gestation and thinking before creation. The ancients said, "every landscape painting is intended to be written first." this is the truth. To create bonsai, you should first have ideas, ideas, sketches, and good manuscripts. Whether it is the performance of the landscape of Guilin or the scenery of Huangshan; the performance of the beautiful mountains and rivers, or the magnificent and majestic famous mountains and rivers; the overlapping peaks and rocks, or the leisurely serenity, magnanimity and openness; whether it is strange or dangerous, tough or strong, steep or quiet. What form of expression to adopt, what stone material to choose, what pot to use, what kind of plant to choose, etc., should be thought over and over again. Ancient painters once said: "the meaning is strange, the meaning is high, the meaning is far away, the meaning is deep, the meaning is ancient, the mediocrity is the mediocrity, and the vulgarity is vulgar." This is the important significance of intentional conception, so as a landscape bonsai writer, we must have high artistic accomplishment and rich cultural knowledge.

"within a short distance and looking thousands of miles away, the square inch is to distinguish the steepness of thousand fathom." Every peak, every stone, every mountain, every valley, every grass and every tree in the basin should be carefully considered and should not be set up at will. As someone pointed out: "the peaks are steep, the mountains are round, the mountains are razed, the cliffs are dangerous, the valleys are deep, and the distant mountains are cascading." In the production of landscape bonsai, the idea is sometimes affected by the limitation of stone materials. Therefore, we should adjust measures to the stone conditions, apply colors according to the class, and determine the theme according to the natural shape of the stone. Such as white Xuan stone, sea mother stone should be used to show the snow and so on. In addition, there should be new ideas and creativity.

2. Material selection

The main material selection is to choose stone and basin.

① Stone selection: the main landscape of landscape bonsai is composed of many mountains, and the mountains are composed of many stones. There are many kinds of stone, each of which has its own natural texture, shape, color and strong natural flavor. This is not found in other works of art, and it is also a major feature of landscape bonsai.

The stone for making landscape bonsai can generally be divided into two categories: hard stone and cancellous stone. Hard stone is generally not suitable for carving and chiseling processing, because the wrinkles after processing are not natural enough and there is no natural flavor. Because the new section of hard stone is relatively flat and smooth, but not textured, hard stone is usually not suitable for carving and percussion, but only for sawing and splicing. Therefore, the choice of hard stone has a high demand for shape. Because the new section of most cancellous stone is rough, convex and uneven, and has a relatively natural texture, the cancellous stone can be carved and struck, and the shape can be adjusted freely. when selecting cancellous stone, the natural shape can be less demanding, and the author can adjust it freely.

The shape of stone requires nature, with the image of peaks and slopes. Hard stones must be selected with good peak shape, and soft stone with better peak image is better, because the natural image is always more natural than the artificial adjustment. If the soft stone does not have the image of natural peaks, it is necessary to take certain measures to adjust it. In the adjustment, it is necessary to prevent the artificial trace from being too heavy, resulting in the loss of nature, which requires the author to have high artistic accomplishment and skilled skills.

The texture of stone is distributed on the surface of stone, which is a very natural and regular stripe formed by the impact, leaching and corrosion of Rain Water for thousands of years. The combination of these stripes makes the peak image of the stone more realistic and natural. Some stone surface texture and Chinese painting wrinkles are similar or the same, made of landscape bonsai is very easy to enter the picture effect is very good. Therefore, the selection of stone texture is also very important.

The color of the stone should also have a natural flavor, not too deep and too shallow, not too strange, otherwise it is easy to be distorted. Color, shape and texture are a unified whole that set off and influence each other. The color of the stone is also related to the theme, such as the white stone is the good material of the landscape bonsai with snow as the theme, and the gray stone is the majestic and majestic mountain. Therefore, stone selection should be considered comprehensively and comprehensively.

There are usually two different situations of stone selection. One is "material selection by reason". Before creation, the theme is first determined, and then the stone type, shape, texture, color and luster are selected according to the intention of the creation. If the performance of tall and straight towering peaks, it is appropriate to choose shape, texture straight and slender stone; performance of the Jiangnan Pingyuan landscape, it is appropriate to choose low-level peak round cancellous stone; to show the snow scenery, white Xuan stone, Heimu stone is a very good material. Material selection based on intention first determines a specific theme and artistic conception, but due to the limitations of materials, sometimes suitable materials may not be selected. Only in the process of processing, make appropriate adjustments, but to achieve no or few artificial traces, just like Tiankai, sometimes it is very difficult. Therefore, there is also a kind of "material-based idea", which determines the creative theme according to the type, shape, texture, color and luster of the materials obtained. If the obtained peak is a tall and straight stone, it is appropriate to show the steep landscape; if the peak is round, it can be used to show the Jiangnan Pingyuan landscape. According to the talent idea, can give full play to its natural flavor, the creation of bonsai style is very high, but in some cases, in the expression of the author's thoughts and feelings, sometimes there may be a little influence.

② basin selection: the composition of bonsai is one landscape, two pots and more than three frames, so the basin occupies the second place in bonsai. When enjoying bonsai, enjoying the scenery is as important as enjoying the basin. The basin is the foil to the scene, which is like the relationship between people and clothes. Beautiful people wear appropriate clothes, they can better set off people's beauty, so some people say: "people are clothes, horses are saddle clothes". This is the function of "clothes". The same is true of the basin, which is lined with the scenery, which is the "clothes" of the scene. Some people say: "the landscape bonsai is beautifully shaped and set off by exquisite bowls, which can complement each other." But the basin is a foil to the scene, so the whole picture should not highlight the role of the basin, to avoid focusing people's attention on the basin. This is the point of view of using the basin correctly.

Most of the pots used in landscape bonsai are shallow basins without drainage holes, in order to store water and show the vastness of rivers and lakes. In the past, the shallow basin was deeper than it is now, in order to store more water. However, the edge of the deep basin is high, the shape size is not very beautiful, and hinders the line of sight at the same time, so it is not as easy as the shallow basin to watch the twists and turns of the foot of the foothills and the beauty of water surface accessories, such as ships and rafts. The edge of the deep basin is about 2 cm high, the proportional size is not coordinated, and the shape is not beautiful. The height of the shallow basin is generally between 0.5 cm and 1 cm, and the appearance is particularly elegant and soft. From the current situation, the shallow basin is mostly made of white marble, followed by glaze basin, generally less purple sand pottery basin, and extra-large landscape bonsai is also made of cement basin or stone basin. The color of the basin is generally white is better, if you use other colors, light color is better. The use of the basin depends on the content of the landscape bonsai and the color of the stone. If the performance of the ocean landscape, the basin floor can be used similar to the sea light sky blue, water storage basin bottom color can dye the water into sky blue, very similar to the ocean waves. The performance of the lake basin bottom can be light green, the lake water is dyed light green. The color of the bottom of the basin should not be similar or similar to that of stone. Such as white Xuan stone, seaweed stone with colored basins can stand out. Of course, there are exceptions, such as white Xuan stone, sea mother stone with white basin, it is a way to show the snow scene. Dark stone with dark basin, the performance of the night scene, darker color of the stone, the basin or white basin is better. This is like painting on a self-colored basin, the scene is more conspicuous, and the picture is clearer and softer.

The shape of the shallow basin is generally rectangular, oval or long oval, and it is also widely used. There are also square, round, mostly used for isolated peak-style landscape bonsai. Others, such as hexagonal, octagonal, fan-shaped, begonia-shaped, ship-shaped and irregular planes, are mostly suitable for special forms of landscape bonsai. Generally speaking, the shape of the basin should not be too complicated. Rectangular basin is more neat and generous, often used for overweight, opening and closing, overlapping and other forms of landscape bonsai, mainly the performance of majestic tall and straight peaks. The line of the oval basin is more beautiful, which is suitable for the content of beautiful scenery and open picture. Generally speaking, the ratio of length to width of rectangular and oval basins is about 2.515, and the specific ratio also depends on the content of the picture. The use of long flake stone, the basin should be narrow and long; thicker stones such as Yingde stone, sand stone, etc., the basin should be a little wider; the performance of towering peaks, the basin should also be narrow; the performance of wide water, the basin should be wider. If the basin used in the landscape bonsai is too large, the mountain peak will appear relatively small; if the basin is too small, it will make the scenery crowded and blocked.

3. The layout of landscape bonsai

Layout is the artistic conception, that is, composition design, is based on the idea to determine the theme and artistic conception and the selected stone or other materials, comprehensive thinking and design. Layout is a complex artistic conception work, which should be comprehensively considered according to the law of composition. Such as the determination of modeling form, the selection and processing method of the main peak stone, the location of the main peak in the basin, the selection of the texture form and size of the basin, the selection and processing method and location of the secondary peak and slope foot stone, and the treatment of water surface (blank). Selection and arrangement of plants and various accessories, etc. So the layout is the process of determining the processing method of the stone and arranging the processed peak stone into the basin according to the principle of composition.

The main peak is the center of gravity of landscape bonsai, which should be in the most prominent and conspicuous position. First of all, the material selected as the main peak in the stone is the best among the peaks in terms of volume, texture, shape, color and lustre. Then determine the processing plan. The main peak should not be placed in the middle of the basin or at the edge, usually at 2pm 3 (or 1pm 3) of the basin length. The main peak has obvious directionality and should leave some space in its direction.

After the layout of the main peak is completed, it is how to arrange all levels of sub-peak and slope foot. The secondary peak and the foot of the slope must be consistent with the main peak in terms of texture, shape, grain (that is, texture), color and direction, and the secondary peak should echo with the main peak, and all levels of secondary peak should be around the front and left of the main peak to form a very complete mountain system. It should not be a base stone, and we must not go our separate ways and have no organic connection. Because the secondary peak sets off the main peak, so the secondary peak itself can not be prominent, such as the volume should be significantly smaller than the main peak, to achieve "the guest does not deceive the main, the guest follows the main line". Each peak is not the same height and short, and there must be a primary and secondary distinction, that is, there must be one primary and one adjacent peak, and the general trend of the height of each secondary peak from the main peak to the outside is gradually decreasing, so as to form the situation of the mountain from high to low. The similar secondary peaks or the foot of the slope must be rich in variety, with twists and turns and uneven treatment. As the painting theory says: "the size is different, the height is different, the gathering and dispersion is suitable, and the variety is varied."

Peak stone layout, there must be exposed and hidden, do not have a panoramic view, the more hidden the scene, the higher the realm. About half of each peak stone has to be hidden in order to show the heavy mountains and rivers and the mountain held by the peaks. If the cave, water, road and pavilion are hidden, there will be a scene of twists and turns, water lingering and pavilion looming. If the scenery is exposed and hidden, it is unfathomable, not only "thought-provoking" and "endless aftertaste", but also can create unlimited scenery in the limited basin. This is what people often say, "the elegance of the room should not be big, but the fragrance of flowers is not much." A few small rocks are arranged in overlap, and as long as they are properly laid out, they can form a situation of towering mountains and clouds and clouds. This is the so-called "win more with less." the truth that simplicity prevails over complexity.

The layout should also pay attention to the density in the sparse, the sparse in the dense, not evenly set, the layout is too scattered, and can not be filled everywhere, bloated and blocked. The layout of the stone of guest and host should be arranged in the way of unequilateral triangle. We should pay attention to the interaction between deficiency and reality. There is deficiency in reality and reality in emptiness. In the landscape bonsai, the mountain is solid and the water surface is empty. As the ancients said, "if the picture is empty, you will be angry with it." therefore, the blank treatment of the picture must be appropriate. It is true that there must be a certain amount of water on the surface. The vast water makes people open-minded and relaxed, with little white sails on the water and islands and reefs that make people unaware of their emptiness. The mountains overlap and the mountains confront each other. If you occasionally use Yi Xian Tian (One-Line-Sky), you can get a "bright one and show thousands" effect, so that there will not be a sense of blockage.

4. The processing of landscape bonsai

① tools and materials

Stone cutter: used for cutting stone, a kind of machine for circular saw blade driven by electric motor, which has high production efficiency and can cut stone for large bonsai.

Chisel: made of hard steel, there are sharp mouth, flat mouth and different sizes. It is used for carving stone or planting holes in stone, and it is also used to repair the texture of stone.

Hacksaw: a tool for sawing stone. Due to manual operation, it is only suitable for sawing loose stone, and a small number of medium-hard axe-splitting stones can also be sawed directly with a hacksaw. However, it is necessary to add water when sawing, which is inefficient and not suitable for use by production departments.

Hammer: there are two kinds of hammers, one is an ordinary hammer, which is used for striking steel chisels, and the other is a stone processing hammer, with a flat end and a pointed end, with a flat head carving the outline and texture of stone, and the pointed head is used for carving caves and gullies. The hammer can be processed into three specifications: large, medium and small, which can be used for processing stones of different sizes.

Carving knife: used to carve wrinkles on cancellous stone, which can be converted from broken saw blades.

Scraper: a knife used to mix cement, hook seams, scrape off moss and scrape paint.

Sieve: to sift stone shavings and yellow sand.

Brush: wash the sludge on the stone body before processing, and you can also scrub the processed stone chips and cement. Use a paint brush.

Steel wire brush: used to clean the dirt on the rock surface and remove debris from the cracks in the stone.

Sprayer: used for spraying rocks and plants.

Cement and resin glue: use cement mixed with 107 glue to glue rocks when splicing.

Pigments: mix in cement and adjust to a color similar to that of stone, such as Yingde stone, axe split, Bacardi black juice.

Yellow sand: used to mix cement and increase the strength of cement.

② stone processing

Washing: wash the soil or other sundries on the stone surface before processing, so that the texture and color are revealed correctly. Tools with paint brushes or wire brushes.

Marking: on the selected stone, according to the height of each peak stone determined by the composition, draw sawing lines and outline lines according to the composition, or the location and size of the cave, etc. When cutting the line, first draw the main peak and the main secondary peak, put the main peak stone flat on the table, and then lay the main secondary peak stone next to it, which is equivalent to a group of flat rocks, and then move the stone up and down. According to the height, texture and shape of the main peak, the best cutting position and the best contour position of the main peak and secondary peak are determined. If a peak stone is found to have an unmodifiable defect when marking, the stone should be corrected, adjusted or re-selected at any time. After the main peak and the main secondary peak are drawn, use the same method to draw the rest of the peak stone. Think carefully when marking, not carelessly.

Sawing: after the sawing line is drawn, sawing can be carried out. First, the height of the peak stone is determined to remain unchanged after sawing. Second, saw the bottom of the stone flat in order to stand in the basin and facilitate gluing. Third, go to waste and preserve essence, because most stones can not be perfect, sawing can remove all the parts that are not good in texture or shape. Fourth, the slender stone species have peaks at both ends, such as a section in the middle, which can be divided into two peaks, with the high as the main peak and the low as the secondary peak or foot of the slope. Fifth, if the stone is too long, the excess part can be sawed off according to the composition. Sixth, if the stone is cut from the thin part in the middle, the stone is divided into two, and each peak stone can have a cave.

Carving: stone can be carved after sawing, the purpose of carving is to carve on the surface of the stone, adjust, modify or process a new texture. Hard stone is usually not suitable for carving, because the stone is hard, the texture carved out is not natural, and cancellous stone can be carved into a variety of textures. When carving, first use the flat end of the hammer to chisel out a large outline of the stone surface, and then chisel out the coarse texture, and then use the knife to carve out fine lines, so that there is a mountain-shaped mountain from a distance, and a close look at the delicate texture. The sand and stone is uneven, the force should be light when carving, not too heavy, if the force is too strong, it is very easy to peel off where there is a lot of mud and sand, and attention should be paid to prevent the artificial traces from losing nature when carving. The peaks in the same bonsai are basically the same as the wrinkles of the stone. The close-range texture arranged in the picture should be clear and delicate, while the long-range texture should be slightly blurred. Another purpose of carving is to dig caves and gullies on the surface of stone according to the requirements of composition. Use the sharp end of the hammer to dig holes or gullies, be very careful not to be too heavy and too hasty, so as to avoid fragmentation.

Percussion: some kinds of stone can be changed from large materials into small materials by percussion, or the texture or poor shape of the stone can be removed by percussion. Axe split stone large material into small material, after hitting into several pieces, usually each new section still has a good texture, can become a better peak stone. If there is a defect in the outline of the axe split stone, it can also be removed by hammering.

Hard stone after striking, how sharp edges and corners, when showing artificial traces, so the need for grinding wheel grinding, sometimes for the outline of the need, hard stone can also be properly carved.

Stone connection: when selecting materials, sometimes the shape and texture of the main peak are quite ideal, but the height is not high enough, so a stone is connected under it, and its interface is covered with a secondary peak, which can also receive a better artistic effect. Sometimes the selected main peak is long and slim, and a suitable stone can be attached in the upper middle of it to make the peak stone protruding into a cliff shape, and the interface is still covered by other peak stones. In this way, a cliff-like main peak is formed.

Cushion height: means that the height of the selected main peak and secondary peak is a little lower, usually about 1-2 cm, with a stone on the lower part of the main peak to raise it.

Gluing: after sawing, carving and percussion, the stone can be arranged in the basin. At this time, the main peak, secondary peak and slope foot should be glued together to form a group. One basin and one group is solitary peak type, one basin and two groups are partial weight type, and so on. Each group of stone should have a certain amount, to ensure that the peak body is not easy to overturn in the basin, the distribution of peak stone in the basin should not be too scattered, too scattered does not conform to the principle of composition, but also easy to overturn.

If the cancellous stone (absorbent stone) adopts the joining stone technique, the resin glue and cement at the interface may block the upward infiltration of water, thus affecting the water absorption of the upper part of the peak stone and making the upper and lower colors of the connected peak stone different. Therefore, it is necessary to stick another stone next to the stone to form a channel to infiltrate water upward. If you can't stick stones, you should avoid using cancellous stone splicing or cushioning methods.

When gluing, you can also use the hiding technique to cover up the defects of the peak stone, and at the same time achieve the hiding effect, making the painting far-reaching. The gluing process is as follows:

First, cleaning, cleaning the impurities, dust and other things on the peak stone before gluing, wash and dry.

The second is gluing, there are two methods, one is to smear the bottom of the peak stone with the cement slurry made of 107 glue and cement, which is directly bonded on the basin surface, and the stone and the basin are bonded into a whole. This method is suitable for small bonsai gluing. The weight of large peak stone is too heavy for handling and daily cleaning and maintenance, so this method is not used. The other is to spread a piece of paper (newspaper) equal to the size of the basin on the basin surface. Then apply a cement paste (paste) made of 107 glue and cement to the bottom of each peak stone, apply a little cement paste where the two stones are attached, grind it up and down to make it come into closer contact, and bond each group of peak stones to the basin surface covered with newspapers according to the composition. then use a scraper to scrape off the cement outside the crevice. In order to make the color of the cement slurry at the joint consistent with that of the stone, brush a layer on the outer layer of the joint and mix in the stone powder ground by the stone or the cement slurry of the pigment with the same color as the stone, so that the mountain body has a more holistic feeling. When the stone body is contaminated by cement slurry, it should be cleaned in time when the cement slurry is not dry. After the cement is dry, turn the mountain over and check the bottom. If it is uneven, fill it with cement. Then put it straight, stand in the distance, and observe whether the mountain is skewed or not. if it is found that the mountain is biased to one side, it will be corrected by a piece of cement at the bottom of the mountain. This is also the last hurdle, can not make the mountain stagger, so that the mountain glue is complete. During gluing, it is sometimes found that a selected peak stone has some defects that must be reprocessed or adjusted. Therefore, layout and processing are sometimes carried out alternately and cannot be separated.

5. Arranging plants

After the peak stone is glued, it is necessary to plant trees, flowers and plants and spread moss on the mountain. The ancients said: "the stone is stubborn, the tree lives is the spirit"; "the mountain borrows the tree for the clothing, the tree borrows the mountain for the bone"; "the body of the mountain, the stone is the bone, the tree is the clothing, the grass is the hair, and the water is the blood." The natural landscape is inseparable from plants, and so is the bonsai. Planting trees on the mountain gives life vitality and appears to be full of vitality.

The plants planted in landscape bonsai are both herbaceous and woody, with thin leaves and short plants as the best. Hong Kong (Guangdong) half-branch lotus is the best herb, which has strong sprouting power, small leaves and a natural sense of big tree. Coriander is also very good, with round leaves, vine-like stems, hanging in the mountains, quite elegant and interesting. Sorrel and Acorus calamus can also be used. Wood to five-needle pine, lobular Luohan pine, gold pine, real cypress, rice cypress, yellow poplar, June snow, lobular Nuzhen, rhododendron, tiger thorn, sparrow plum, tortoise shell holly, pomegranate, broom, Fujian tea and so on. Woody is mostly planted on larger landscape bonsai.

The arrangement of plants in the landscape bonsai should be comprehensively considered according to the theme, artistic conception and mountain shape, as well as the principle of perspective and the law of natural growth and development of plants. If you show the content of Huangshan Mountain, you should plant pines; show the scenery of Jiangnan and be covered with moss and small plants; for towering peaks, you should plant cliff trees on the hillside to show the towering and precipitous; gentle slopes, you should plant short jungle trees to show elegance; trees with solitary peaks and bonsai should be old and stout, while bonsai should be small; on hard rocks, drought-tolerant plants, such as pines, should be planted. In the mountains with good water absorption, moss should be cultivated and wet-loving plants, such as Acorus calamus, can also be planted. When arranging plants, we should pay attention to the perspective relationship, so that the proportion of plants should be coordinated, and the proportion of plants should be coordinated, otherwise it will affect the momentum of the mountain. The layout of plants should be coordinated with the layout of mountains and rocks. mountains should not be chaotic and trees should not be multiplicated. we should consider them as a whole and pay attention to the effect of the picture. Planting herbs, the roots are wrapped in mud, embedded in stone seams, and often sprayed with water, they can grow well. When planting woody plants, you can dig holes on the back of the peak stone, hold the soil, plant trees, and adjust the shape. The first is to plant moss on the attached stone taken outdoors, and this method is mostly used to set moss at the foot of the foothills. Also add water to mash moss into juice, with a brush on the peak stone, maintain a certain humidity, moss can grow in a short time. Bonsai made of absorbent stone often use this method.

6. Spot scenery

After the arrangement of the plants is over, the scenery is started. Chinese landscape paintings often paint some houses, boat bridges, figures, birds and other accessories, embellished in the mountains and forests, to increase the interest of the picture, this method is called spot scenery. The same is true of landscape bonsai, accessories are small but play a big role, often make the meaning of the picture more far-reaching. But accessories are not the more the better, nor the more miscellaneous the better, more can not be placed at will, according to the theme, artistic conception and other comprehensive factors to decide. Pay attention to primary and secondary, echo, density, exposure, movement and other relations, pay attention to perspective relations.

In general, pictures with famous mountains and rivers as the subject matter should use classical pavilions, platforms, buildings, pavilions, stone arch bridges, pagodas and so on. For those who show mountain and pastoral scenery, it is appropriate to use thatched huts, thatched pavilions, board bridges, reading aloud, blowing flutes, games, grazing, fishing and other accessories. From the point of view of the principle of composition, the pagoda should be placed on the muddy peak of the mountain, while the pavilion and pavilion should be placed on the platform on the side of the hillside or on the waterside of the foothills, those with wide water should be equipped with boats, if there is windy weather, they should sail, and if there is no wind, the narrow water surface and fast current should represent the streams in the mountains in the south of the Yangtze River, and it is appropriate to install bamboo rafts. Accessories can not be isolated, scenery, accessories must set off each other in order to fully express the theme.

Spot scenery should also pay attention to the proportional size, the proportion of peak rocks, trees, houses, boats, bridges and characters should be reasonable, and also pay attention to the perspective relationship between far and near. For example, in the open-closed landscape bonsai, the distant mountains should not be clear, should be low and fuzzy, and should not be equipped with accessories. If there is a pavilion or tower on the distant mountain, the accessories are clearly visible, which brings the vision closer, and the distant mountain becomes a near mountain, which destroys the original composition, so it can be seen that the accessories should only be arranged in the close range. When arranging pavilions, platforms and other buildings, half or part of them can be covered, so that people can not have a panoramic view, and the scenery will be even deeper.

There are also the use of sound, light and electronics and other modern technology, in the landscape bonsai installation of light sources, fog, waterfalls and other scenery, in order to increase the realism of the landscape. As long as it is handled properly, it is still desirable.

7. Management of landscape bonsai

Landscape bonsai should also be managed during the period of display or exhibition. Landscape bonsai planted with plants should also be managed in terms of water, fertilizer and soil, just like bonsai trees. There are usually the following points in management.

① spraying and watering

Water spraying and watering usually serve three purposes: first, to flush dust or other dirt that falls on the surface of the peak; second, to provide water for plants to survive (grow and develop); and third, to store a shallow layer of water in a basin, indicating an environment in which there is water. Landscape bonsai due to very little soil, easy to dry, if watering a little carelessly, the plant will die, but not too wet, otherwise the plant is also vulnerable to waterlogging.

② fertilization

During the growing season, apply some compound fertilizer or urea to plants once or twice a month. Only by changing the soil regularly and removing weeds in time can the growth be "luxuriant".

③ sunshade and cold protection

Usually the plants planted by landscape bonsai use little soil and are vulnerable to drought in hot summer. Therefore, it is not suitable to be exposed to the sun, it needs proper shading. And because the root system is shallow and vulnerable to frost damage, it is necessary to prevent the cold in winter and can also be placed indoors, but it is appropriate to be in a place with sufficient light.

④ replacement

Plants used in basin-type landscape bonsai should not be too expensive in general. Because it has to be changed frequently to keep Aoyama alive. Even if the plant used has died, because it is a general plant material, it is easy to obtain and does not cost much, so bryophytes can be used more in order to save.