News
Young Designers competition – National finals September 2007
Report compiled by Craig May
The National finals for the ‘Young Designers’ competition was held recently during the SABA convention hosted by Shibui Bonsai Kai (assisted by Southern Bonsai Society). Unfortunately out of the 5 regions, we only representatives from 2 regions, Gauteng (BRAT) and the Cape who were able to send a candidate to the finals.
The winner of the competition was Neels van Zyl from Pretoria Bonsai Kai, and runner up Andre de Kock from Boland Bonsai Kai. Both were supplied large Juniperus Procumbens Nana, untouched nursery stock, and were given 4 hours to style the respective tree. The trees were allocated by lucky draw.
Thank you to both participants, it takes a lot of courage to work on trees unassisted, while others walk around silently criticizing what you are doing. We encourage the other regions to try and finalize your ‘Young Designers’ (to be renamed ‘New Talent’ going forward) by July 2008 for next years competition. If you would like details regarding the competition, please contact you club committee and encourage them to enter the regional competitions in time for the cut off.
During the recent AGM, lack of communication seems to be a key factor in most problems. If you would like to be part of this exciting opportunity, and have your talents recognized (irrespective of your age), push your committee, that’s what they are there for. View SABA Young Designers 2007 Gallery
BCI Diplomatic Mailbag - The Ambassador’s newsletter
Communicating with BCI members around the World - 2007 December Edition (.pdf file)
Bonsai articles written by Gary English and published on this website with kind permission of The Gardener magazine
Article by Karin Albert
PENJING - ITS HISTORY, AESTHETICS, AND SPIRITUAL BACKGROUND
1. WHAT IS PENJING?
Penjing is the Chinese art of creating a miniature landscape in a container. The word consists of the two characters shown on the left: "pen" - "pot" or "container", and "jing" - "scenery". An artist may use plant material and natural stone to portray an idylllic mountain retreat with a murmuring brook or a waterscape with a lush tropical island. Or he or she may design a much simpler scene where one single tree makes up the entire composition.
Penjing and bonsai are closely related art forms. Penjing is the older form from which bonsai derived. While the similarities by far outweigh the differences, there is a significant variance in scope: "Bonsai" literally means a "tree in a pot" and therefore as an art form, bonsai is more narrowly defined than penjing, a "landscape in a pot". Many of the beautiful, elaborate tray sceneries created by Chinese artists clearly defy the parameters of bonsai.
While penjing can be found in many variations, the Chinese themselves recognize three distinct categories:
- Tree Penjing (shumu penjing)
- Landscape Penjing (shanshui penjing)
- Water-and-Land Penjing (shuihan penjing)
2. HISTORICAL DEVELOPMENT
Penjing as an art form spans over a thousand years. Our earliest historical records of a stone and a plant arranged in a container to form an artistic scenery date from the Tang Dynasty (618-907). By the Song Dynasty (960-1279 ), the Chinese already practiced the art at an advanced artistic level. Paintings from that period depict pieces that would be prized among seasoned collectors today.
Penjing artists have drawn much of their inspiration not only from nature, but from nature poetry and landscape painting. Similar aesthetic considerations have guided all three art forms. With landscape painting attaining unprecedented heights during the Song Dynasty (960-1279), penjing, too, was poised for vigorous artistic development. By the early years of the Qing Dynasty (1644-1911), the art had become very popular, and the first manuals appeared. With increasing popularity, however, more commercial, folkloristic, and regionally defined strands of penjing sprang up alongside the more sophisticated, artistic forms. In addition to aesthetically refined penjing, one could find trees styled by representatives of regional schools where trunks had been coiled to represent dragons or whose canopies were to depict cloud layers, or trees shaped to resemble the strokes of fortuitous characters. The variations were endless. However, this should not concern us too much. Any art has the potential for decline and degeneration. We should focus our interest on the way the art has been practiced at the highest level. In traditional China, penjing in its finest form was an art of the scholar, just like poetry, calligraphy, brush painting, and garden art.
In the later years of the Qing Dynasty (1644-1911), the 19th century, foreign aggression and domination led to a decline in penjing, and this development was exacerbated during the years of foreign occupation and humiliation, war, civil war, and revolutions that China experienced during much of the 20th century. Old collections were lost, artists struggled to survive and to pass on their wisdom and insights. Only in the last twenty-plus years have the conditions in China allowed for a renaissance of this ancient art form. Today, a quickly growing number of enthusiasts and collectors have discovered their own roots in penjing.
It is assumed that the art of creating miniature trees reached Japan by the 13th century. The exact time during which penjing reached Japanese shores is not known. In the 6th and 7th centuries, Japan sent envoys to China to study her arts and architecture, her language, literature and philosophy as well as her legal system. A second massive importation of Chinese culture and arts occurred during the Southern Song Dynasty (1127-1279 ). Chan, a form of Buddhism in which the original Indian teachings blended with Daoism (Taoism), a native Chinese philosophy, was introduced to Japan during that time and given the name "Zen" - the name by which it is known in the West today. The vast cultural transmission begun in the the 1200's would last for centuries as Japanese artists continued looking to China for guidance and inspiration and freely "borrowed" ideas, themes, motifs, as well as technical and horticultural knowledge.
3. AESTHETICS
The penjing artist's goal is not only to re-create a natural scenery in a container, but to capture its essence and spirit. To achieve this objective, a wide palette of artistic devices comes into play.
Like a Chinese landscape painting, a penjing is a study in contrasts. On a philosophical level, this presentation of opposites is evidence of the Chinese artist's conceptualization of the universe as being governed by two poles of cosmic energy, the yin and the yang. Artistically, the contrasts create rhythm and dramatic tension which then is resolved in a dynamic balance, a delicately tuned equilibrium.
The attainment of overall structural unity is critical, especially in a more complex composition like a water-and-land penjing where design elements such as trees, rocks, mosses, small grasses, and water all need to harmonize with each other and contribute to the design in a meaningful fashion. Careful selection is critical. In addition to deciding on a container and determining the tentative placement of the composition, the artist will consider the tree species, number of trees to be used, their sizes, trunk angles and the density of their foliage mass. He or she will choose rocks for their size, color, shape, surface details, and compatibility with the trees. In the end, each and every element in the design needs to relate to all the others so that the entire landscape appears as an all-embracing, encompassing entity.
Penjing artists do not seek to create perfection. As a matter of fact, trees trained into highly stylized forms where every angle and every root and branch placement has been meticulously calculated by a rigid formula do not suit their tastes. Apart from being beautiful, an outstanding penjing must look entirely natural. It should look as if Nature herself had spontaneously created it - like a marvellous accident of Nature.
4. SPIRITUAL BACKGROUND
Bonsai and penjing may be viewed as objects of meditation. The act of creating bonsai or penjing by itself is a contemplative, meditative exercise - a practice of Zen. The little trees and miniature landscapes can be seen as a celebration of Nature and the healing powers extended by an intact natural environment. Creating and taking care of bonsai and penjing will draw you closer to Nature, enabling you to experience her in a more direct, intimate way.
For a more in-depth understanding of bonsai and penjing, the practice of creating miniature trees and landscapes should be viewed against the backdrop of two of China's great philosophical traditions, Daoism (Taoism) and Zen Buddhism. Daoism has exerted a profound influence over Far Eastern arts for over two thousand years. It's a way of thinking and living that can liberate mind and body. Daoism proposes the return to a state of original spontaneity by discarding the rules of rigid conventional behavior and thinking. It suggests that by learning to go with the flow and allowing our minds to function naturally, tremendous creative power can be unleashed. Tuning into the rhythm of Nature and understanding the interrelatedness of all things around us are key components of Daoist teachings.
Zen Buddhism evolved as a new strand of Buddhism with unique Chinese features. After Indian monks had introduced the teachings of Buddha in China about two thousand years ago, the sutras were translated and interpreted by Chinese practitioners of the Dao (Tao). This resulted in a highly Sinicized form of Buddhism that retained many important elements of Daoism. Chinese-style sitting meditation ("zuo chan" in Chinese and "za zen" in Japanese) does not seek to bring the mind under rigid control as does traditional Indian Buddhism, but instead seeks to liberate, encouraging the mind to flow without impediment and to follow its own, intrinsically good, nature. Chan, popularized in the West under its Japanese name, Zen, teaches that the receptive mind can find enlightenment everywhere, at any time, in the form of "sudden awakening".
And so it is that a bonsai or penjing artist, working with natural materials and concentrating moment to moment, may come upon sudden insights, inspirations, and resolutions. This is the creative process. It finds the artist quietly absorbed in a state of active meditation. Arranging trees and placing rocks, he suddenly discovers something new, not pre-meditated - a composition that flows naturally and harmoniously, engendering great beauty and revealing universal, eternal truths with seemingly little effort.
© Karin Albert
Kimberley Bonsai Kai
The club was established on 16 September 1976 with seven members under the chairmanship of JR Tidbury. The other members who attended this first meeting were AN Fisher, AW Allin, P van der Berg, Mrs I Kokkinn, Mrs J Tregonning and Mrs L Parker.
Over the years members have come and gone. Currently the club has fourteen members. Meetings are held once a month, every second Saturday of the month. Office bearers for 2007 are:
- Chairman – Braam de Clerq
- Secretary – Dudley van Rensburg
- Treasurer – Eileen van der Merwe
In order to advertise our existence, exhibitions are held annually at a local nursery. During these exhibitions practical demonstrations are conducted on pruning, planting and wiring in order to stimulate public interest. Last year trees were taken from the nursery, pruned and sold to the public. This exercise generated a lot of interest.
In previous years some of our members’ trees were displayed in the William Humphreys Art Gallery during the Gariepfees – drawing many interested onlookers. The next exhibition is scheduled for November 2007 at the Pro Plant Nursery.
During our monthly meetings all members are encouraged to become actively involved in the practical work sessions. Dudley van Rensburg has, on a number of occasions, done presentations on “Bonsai as Art Form” to various organisations.
Digs
Annual digs have become a regular activity. This appears to be one activity that generates a lot of interest among members.
Visits to Bloemfontein
It is always a worthwhile exercise to visit the Bloemfontein Club during their workshops and exhibitions. Some of our members had the privilege to see the Bonsai Master Roy Nagatoshi in action at one of these workshops.
Over the years we have seen some of the top names in Bonsai visit Kimberley. In recent years we had the opportunity to see the likes of Charles Ceronio, Gijs Meboer and Johan Espag at work.
Programme for the rest of 2007
- July – Olives
- August – Visit to Bloemfontein
- September – Potting and Dig
- October – Guest speaker
- November – Exhibition
Dot Henegan's bonsai trees in Harrismith. Pic submitted by Vian Herbst - Bloemfontein Bonsai Kai.
SABA Magazine
The SABA Magazine is the official publication of the South African Bonsai association. Details for subscription, comments, articles and letters.
The opinions expressed in this newsletter do not necessarily reflect those of the editorial staff or publishers. The magazine may and must refuse material or contributions that may contain references that may be perceived as being racist, sexist or crude or contravene the Constitution of the Republic of South Africa or the Publications Act in any way.
Some articles published here are copyright protected and may not be reproduced electronically, stored in a retrieval system, or be transmitted in any form, electronic, mechanical, photocopying, recording or other means without the written permission of the copyright holder. It is a lengthy process to gain permission to publish these articles by this magazine and in some cases assurances must be provided or other preconditions are required. All requests for such permission must in the first instance be addressed to the editor.
A copyright waiver exists on the editorial, messages from the presidents of A.B.A. and S.A.B.A. and all club news and the events programme.
View SABA Magazine Summer Edition - 2006
View SABA Magazine Autumn Edition - 2006
View SABA Magazine Winter Edition - 2006
Bonsai in South Africa
Bonsai was first introduced to South Africa in the mid '50's by Bekky Lucas of Cape Town. She travelled to Japan to study the art. Her collection is now housed at the Stellenbosch Botanical Gardens and the Boland Bonsai Kai care for it there. I must say though, it was really only after John Naka's visit in the early 80's that bonsai really took off here. He was and is still, a real inspiration to most of us.
We are indeed very proud of our own authors, many of whom have published articles in European Bonsai Magazines and several books & booklets here. Probably the best known is Charles Ceronio who published his book - Bonsai Styles of the World in 1999.
With regard to material used for bonsai, I would have to say that we tend to use mostly our own indigenous trees such as the Olea Europeae: africana, Buddleja Saligna, Grewia Occidentalis, Commiphora Harveyii, Celtis Africana and of course the Acacias and Baobab's which make awesome bonsai's ! We do also use the more 'traditional' species such as Junipers & Elms, but it is extremely difficult to import any trees.
There are some 40 clubs who have annual or bi-annual shows and then there is an annual National Convention. Over the years we have invited many of the international Masters - John Naka, Roy Nagatoshi, Harry Tomlinson, Ben Oki, Deborah & Dorothy Koreshoff, Craig Coussins, Guy Guidry, Mr Cheng & Mr Su to name but a few.
In 2002, we hosted the 1st African International Bonsai & Suiseki Convention in Pretoria. We were very excited to have Salvatore Liporace and Walter Pall demonstrating and holding workshops at the convention. Delegates to the convention came from all over the world and African continent.
With regard to the administration of Bonsai in Africa, we are in the process of changing this organisation to meet with the requirements of the World Bonsai Friendship Federation as requested at the convention in Munich.
Heather Pfister
Secretary - African Bonsai Association.
Review of the Cape Region’s Young Designers’ Competition 2006
by Carl Morrow
The Cape leg of the Young Designers’ competition was held and Saturday 15 April 2006 at Óyama Bonsai Kai’s exhibition at Kirstenbosch.
There were six entrants from four clubs and they were given about three and a half hours to design a juniper that was randomly assigned to them.
Read more and view gallery.
Cape Town Mayor opens Oyama Bonsai Kai Show at Kirstenbosch
The Mayor of Cape Town, Ms Helen Zille opened the Oyama Bonsai Kai Show which was held over the easter weekend. Pic left - Thys Klem, Ms Zille and Faried Rahim. Pic right - Faried Rahim, Ms Zille and Thys Klem.
Gallery - Tommy Flaxman Memorial Photographic Competition
View gallery of
Tommy Flaxman Memorial Photographic Competition - 2004.
All images © of
respective artists as titled in gallery.
The South African Airways Cape Town Flower Show was held at Lourensford Estate from 27 to 30 October 2005. Congratulations go to Francois Voges for so ably tackling the design and organisation of the CRAB display. It was a beautiful garden with a bamboo backing, Koi pond, raked sand, wooden decking, refined stones and clipped coleonema bushes with a mondo grass understory. We were rewarded for all of his effort by many compliments from visitors along with a gold medal from the judges and a certificate of appreciation for our contribution to the educational side of the Flower Show. We thank Parel Vallei Nursery for the mondo grass, African Reeds for the supply of bamboo and Olive Grove Nursery for the supply of miniature mondo grass. The following members are also thanked for assisting Francois with the building of the display: Dorothy and Siggy Franz, Isabel Hofmeyr, Thys Klem, Carl Morrow, Neville Oliver and Wouter Smit. Well done to everyone that contributed trees and labour to make the display so successful. View gallery.
Isabel Hofmeyr of the Cape Bonsai Kai has kindly loaned some pictures Master John Naka's visits to South Africa. View gallery .
"How to Grow Miniature Trees" by Capel Hemy was issued as a supplement to the Farmers Weekly on January 25, 1967. View the supplement in pdf format (3Mb).
In August 2005, Rudi Adam (Olive Grove Bonsai Centre - Durbanville, Cape Town) repotted an Olea europaea ssp. Africana. The tree is estimated to be 180 years old and its informal upright style reflects 3 cultural viewing angles. Rudi collected the wild olive from a farm in the Oudtshoorn area 18 years ago. It took 4 hours to dig and the tree weighed 65kg. Rudi weighed 62kg at the time. It has taken 14 years to identify the correct pot. The tree is placed at the entrance to the Adam's family residence at the bonsai centre. Jim McKenna (a member of Rudi's workgroup) has had the sole responsibility of maintaining the tree for the last six years. View gallery of repotting process.
View gallery of Óyama Bonsai Kai Show Easter 2005. Held at Kirstenbosch Botanical Gardens.
All images © Óyama Bonsai Kai and respective artists as titled in gallery.
View gallery of Cape Bonsai Kai Show December 2004 held at Kirstenbosch Botanical Gardens.
All images © Cape Bonsai Kai and respective artists as titled in gallery.