Book Review: "Vision of My Soul" by Robert Steven

[Smoke]

Being the youngest of 6 kids I have been teased all my life. I can take anything Al dishes out.

Yes...she can

 

[Chris Johnston]

Hmm,... teasing...my favorite pastime.
Careful guys, it can be dangerous, past a certain age..

Being the youngest of 6 kids I have been teased all my life. I can take anything Al dishes out.

Yes...she can

I think Attila may have been suggestig that it could be dangerous to Al!

 

[Yamadori]

Above you have capitilized LOVE as in you really mean it. You speak of permission to envision.

I would like to hear in your words what it was about this book that gave you this feeling and how you can use that in your work with trees. What was it that became more understandable and how will you use that when you work on a tree again.

I find that I have to understand this better. I feel that since I know you I can get an honest dialog about what someone fairly new to the hobby sees in this book that they couldn't have gotten in a lot of places.

Let us not comment on the pictures, I get that. I am more interested in the dialog of the book that made you want to read again.

Permission to envision....here are some quotes that inspired me to look past the dogmatic rules (not ignore them) and consider the artistic vision more, "If we always adhere to the textbook conventions, our results will always be the same---monotone, stereotyped and boring, like mass produced handicraft. The essence of bonsai art is a captured moment or place in nature. It is never perfect, yet presented as an artistic statement." "What is important in art is how an artist conveys his message while expressing his identity or viewpoint through the medium. Art is most effective when it communicates a clear message to the viewer." "A soulful bonsai creation embodies a harmony of the artist's identity and the character of the tree." And last but not least, “There is no absolute in art and beauty. For appreciation of artistic creation to occur there should be an emotional interaction between the art object and the viewer.”

Now you specifically said you wanted to hear in my words what it was about this book that gave me this feeling. But then you said let’s not comment on the pictures. The pictures are significant in understanding Robert’s soulful artistic expression. They really move me. I will leave my thoughts on the images till the end.

I can say that the section on the fundamental elements of ART helped me in a way no other bonsai book has. It is a fresh way of viewing the energy and emotion contained within a tree. Robert not only defined line, form, texture, color, dimension, composition, and perspective but he gave many emotive descriptors to accompany them. He used language in a different way. He talked about arousing feelings in viewers, expressing the inexpressible. He showed me how valuable it is to express feelings through the careful consideration of the elements. He took me beyond just making sure the pot texture, color, gender and scale fit the rules, but rather do they really communicate to the viewer how you, the artist, feel about the tree. Do they capture an emotional state of mind, a full compositional point in the lifetime of the tree? That is what I LOVE about the book. I look at my trees very differently now. I try to feel my trees, understand my trees. I want to develop the ability to capture the expressions of emotion, time, and place I see in Robert’s trees. I have a long journey ahead.

I also liked what he said about Value of Interest. It is that particular thing about a tree that makes it unique. It is about finding the aspects of the tree that capture the overall artistic expression. It is contained within the artistic elements. Sometimes it is an element that dogmatic rule followers would say is a fault because they fail to feel the composition but rather focus on isolated rules.

The last half of the book titled Studio really turns me on. Robert combines his amazing trees that are in development with explanations of styles such as literati, windswept, raft, cascade, etc. When he talks about a style he talks about the imaginary history the tree has endured or the elements it faces every day. In windswept He talks about a, “tangible representation of wind”. Not just wind but the intensity and duration, the habitat, and environmental struggles that shaped that tree; the emotional portrayal of survival, of motion, the wind moving through the composition. No other book has taken me to the places Robert’s book has.

When I look at his images I feel myself enter into them. I become part of the moment in the life of the trees. I hear the wind, I feel the sun, I know the temperature of the water, I smell the moss as if I am there. That is why I LOVE this book and want to read it again.

 

[Chris Johnston]

http://bonsainut.com/forums/showpost.php?p=43831&postcount=225



Surprised about what? And was anyone? Anyone? Bueller?

I was surprised. I was surprised that people still bought into the hype.

Lemmings I tell you....

I was just asking the question to find out exactly what kind of surprise Will was expecting or not, and whether he got it. I'm not big on that kind of veiled whatever.

 

[Klytus]

I'm so glad both horticulture and art are done so i can move on to living the 300 years it will take for my vision to find it's form.

 

[Attila Soos]

Permission to envision....here are some quotes that inspired me to look past the dogmatic rules (not ignore them) and consider the artistic vision more, "If we always adhere to the textbook conventions, our results will always be the same---monotone, stereotyped and boring, like mass produced handicraft. The essence of bonsai art is a captured moment or place in nature. It is never perfect, yet presented as an artistic statement." "What is important in art is how an artist conveys his message while expressing his identity or viewpoint through the medium. Art is most effective when it communicates a clear message to the viewer." "A soulful bonsai creation embodies a harmony of the artist's identity and the character of the tree." And last but not least, “There is no absolute in art and beauty. For appreciation of artistic creation to occur there should be an emotional interaction between the art object and the viewer.”

Now you specifically said you wanted to hear in my words what it was about this book that gave me this feeling. But then you said let’s not comment on the pictures. The pictures are significant in understanding Robert’s soulful artistic expression. They really move me. I will leave my thoughts on the images till the end.

I can say that the section on the fundamental elements of ART helped me in a way no other bonsai book has. It is a fresh way of viewing the energy and emotion contained within a tree. Robert not only defined line, form, texture, color, dimension, composition, and perspective but he gave many emotive descriptors to accompany them. He used language in a different way. He talked about arousing feelings in viewers, expressing the inexpressible. He showed me how valuable it is to express feelings through the careful consideration of the elements. He took me beyond just making sure the pot texture, color, gender and scale fit the rules, but rather do they really communicate to the viewer how you, the artist, feel about the tree. Do they capture an emotional state of mind, a full compositional point in the lifetime of the tree? That is what I LOVE about the book. I look at my trees very differently now. I try to feel my trees, understand my trees. I want to develop the ability to capture the expressions of emotion, time, and place I see in Robert’s trees. I have a long journey ahead.

I also liked what he said about Value of Interest. It is that particular thing about a tree that makes it unique. It is about finding the aspects of the tree that capture the overall artistic expression. It is contained within the artistic elements. Sometimes it is an element that dogmatic rule followers would say is a fault because they fail to feel the composition but rather focus on isolated rules.

The last half of the book titled Studio really turns me on. Robert combines his amazing trees that are in development with explanations of styles such as literati, windswept, raft, cascade, etc. When he talks about a style he talks about the imaginary history the tree has endured or the elements it faces every day. In windswept He talks about a, “tangible representation of wind”. Not just wind but the intensity and duration, the habitat, and environmental struggles that shaped that tree; the emotional portrayal of survival, of motion, the wind moving through the composition. No other book has taken me to the places Robert’s book has.

When I look at his images I feel myself enter into them. I become part of the moment in the life of the trees. I hear the wind, I feel the sun, I know the temperature of the water, I smell the moss as if I am there. That is why I LOVE this book and want to read it again.

I also remember a section where Robert is showing material that is hardly considered superior, and then he creates very charming and interesting bonsai out of them. I was really impressed by the simplicity and clarity of vison that those trees conveyed. Really great stuff. It made me look at bonsai material with a much improved mindset.

The thing with books, is that you can find in them useful things only if you are looking for them and listen. Preconcieved opinions can totally block any communication.

One may say "but I don't have any pre-conceived opinions, I am really trying to listen", but the nature of pre-conceived opinions is that they are mostly invisible to the person who has them. Others can notice from a mile, but the "owner" has no idea. It is really difficult to get rid of them. This is also the reason, why a bonsai always looks better to its owner then to everybody else. We are blinded by our own ideas. We often need help from outside, to step out of this shell.

 

[Smoke]

Permission to envision....here are some quotes that inspired me to look past the dogmatic rules (not ignore them) and consider the artistic vision more, "If we always adhere to the textbook conventions, our results will always be the same---monotone, stereotyped and boring, like mass produced handicraft. The essence of bonsai art is a captured moment or place in nature. It is never perfect, yet presented as an artistic statement." "What is important in art is how an artist conveys his message while expressing his identity or viewpoint through the medium. Art is most effective when it communicates a clear message to the viewer." "A soulful bonsai creation embodies a harmony of the artist's identity and the character of the tree." And last but not least, “There is no absolute in art and beauty. For appreciation of artistic creation to occur there should be an emotional interaction between the art object and the viewer.”

Absolutely stunning quotes and true to the core of each one written. The question is I understand you like them, as well as I, so how can we put that to use. What specifically can you take from those quotes and turn into useful bonsai technique to transform your bonsai into something more like Robert's?

Now you specifically said you wanted to hear in my words what it was about this book that gave me this feeling. But then you said let’s not comment on the pictures. The pictures are significant in understanding Robert’s soulful artistic expression. They really move me. I will leave my thoughts on the images till the end.

I wanted to work with the words because beautiful pictures abound everywhere. This book, to you, is more than just a picture book. You have also been moved by the words. If a blind person were to read this in braille, would he from words alone have the blueprint towards making bonsai like Robert?

I can say that the section on the fundamental elements of ART helped me in a way no other bonsai book has. It is a fresh way of viewing the energy and emotion contained within a tree. Robert not only defined line, form, texture, color, dimension, composition, and perspective but he gave many emotive descriptors to accompany them. He used language in a different way. He talked about arousing feelings in viewers, expressing the inexpressible. He showed me how valuable it is to express feelings through the careful consideration of the elements. He took me beyond just making sure the pot texture, color, gender and scale fit the rules, but rather do they really communicate to the viewer how you, the artist, feel about the tree. Do they capture an emotional state of mind, a full compositional point in the lifetime of the tree? That is what I LOVE about the book. I look at my trees very differently now. I try to feel my trees, understand my trees. I want to develop the ability to capture the expressions of emotion, time, and place I see in Robert’s trees. I have a long journey ahead.

Robert has shown you these elements on bonsai already styled. How can "you" use what he has shown to better style your own trees. How will you use the valuable insights to hlep communicate to a viewer what you are trying to convey? I am beginning to feel that a couple suger cubes of LSD might be able to better expand my mind into more meaningfull bonsai!

I also liked what he said about Value of Interest. It is that particular thing about a tree that makes it unique. It is about finding the aspects of the tree that capture the overall artistic expression. It is contained within the artistic elements. Sometimes it is an element that dogmatic rule followers would say is a fault because they fail to feel the composition but rather focus on isolated rules.

Quote by Rick Moquin on Bonsai Study Group:

In conclusion rules are made to be broken, what one needs is the knowledge and experience to know when, why and how they can be broken and why changing them makes sense. We don't change them just because we want to.

So both of you have given examples of moving away from conventional rules in favor of artistic ideals in bonsai. Dogmatic rules are made to be broken! I agree. I have been preaching this since I started on the forums 12 years ago. Let me explain my point of view here. This book came along in your bonsai carrer at just the right moment. You were starting, the internet was clicking, and this book comes along. This book blew you away. Probably bought it due to the interent in way or another. HYPE. Had the internet not existed you probably wouldn't even have know who Robert Steven was. Lets face it he is nothing to most American audiances. Probably 50 percent of the bonsai working community does not even know who he is. So books are good for that.

OK so I been doing bonsai for ging on 27 years now. I have either owned or borroed every bonsai book in America. All the way back to Yuji Yoshimura's book in 1957 where he speaks of many of the same things then as Robert does now. John Naka in 1989 finished Bonsai Techniques II and once again spoke of many of the same principles in plain english and very thouroughly. Andy Rutledge releases his Ezine on the Artistic Foundations of Bonsai Design in 2004, which Roberts book is almost a copy of Andy's book since he edited it. So for me, I still waiting for some new stuff not a rehash and pretty repackage of the same things.

The last half of the book titled Studio really turns me on. Robert combines his amazing trees that are in development with explanations of styles such as literati, windswept, raft, cascade, etc. When he talks about a style he talks about the imaginary history the tree has endured or the elements it faces every day. In windswept He talks about a, “tangible representation of wind”. Not just wind but the intensity and duration, the habitat, and environmental struggles that shaped that tree; the emotional portrayal of survival, of motion, the wind moving through the composition. No other book has taken me to the places Robert’s book has.

When I look at his images I feel myself enter into them. I become part of the moment in the life of the trees. I hear the wind, I feel the sun, I know the temperature of the water, I smell the moss as if I am there. That is why I LOVE this book and want to read it again

This is all well and good but people have been making up stories about harsh conditions of bonsai after the fact for decades. This gives absolutely no insight on how you can better use this information to transform your own work. If you could you would already be doing it. You don't need a book to tell you how because bonsai are styled from the heart, thats what gives them soul. Thats why you and Rick keep talking about moving away from the limitations of dogmatic rules. This give one artistic freedoms and not being kept to dogmatic rules make material work for you, simple as that.

This has helped because It is easy for me to understand that you and I read bonsai books for two different reasons. You allow yourself to be carried away with the emotinal writing which is good. I am there for a totaly different reason. You almost read his book as a fiction romance noval, while I read it as non-fiction instructional guide book. I can see why we have differing interpretations of the work.

Good book, hell yes. Best I have read in telling this kind of thing. Pretty package, oh yea. Anything new? Not by my stadards anyway.

Till Tomorrow, Al

 

[Attila Soos]

You almost read his book as a fiction romance noval, while I read it as non-fiction instructional guide book. I can see why we have differing interpretations of the work.

In that case, it is clear why this book doesn't appeal to you. I am sure that Robert is the first to admit, that this book was not meant to be an instructional book. It rather takes you into the thought process and his vision of bonsai, and not the technical details.

Does anybody believe that a book can be written on how to create art? I've never seen one in my life, and I am referring to any art, not just bonsai. If there was such a book, the world would be full of world-class artist, a dime a dozen.

No, there is no such thing, and never will be. After all, there was enough time during the last 500 years that someone could have done it by now.
One can talk about art - Just like Robert's book does - but it cannot make art for you. It cannot instruct you as to how to create it. That is yours to figure out, and that's the greatest thing about art.

 

[Martin Sweeney]

Al,

I am curious as to why you would look at a book call Vision of My Soul from the point of view of a "non-fiction instructional guide book".

Regards,
Martin

 

[Smoke]

In that case, it is clear why this book doesn't appeal to you. I am sure that Robert is the first to admit, that this book was not meant to be an instructional book. It rather takes you into the thought process and his vision of bonsai, and not the technical details.

Does anybody believe that a book can be written on how to create art? I've never seen one in my life, and I am referring to any art, not just bonsai. If there was such a book, the world would be full of world-class artist, a dime a dozen.

No, there is no such thing, and never will be. After all, there was enough time during the last 500 years that someone could have done it by now.
One can talk about art - Just like Robert's book does - but it cannot make art for you. It cannot instruct you as to how to create it. That is yours to figure out, and that's the greatest thing about art.

Yes I think we both agree on this. My point, which always gets overlooked, Is that art is always judged after the fact not while it is being made, so no matter how great a book about art is, it will never help you make art. That is my point.

Originally posted by Peter Warren:

As for the relevance of apprenticeship I think that for anybody in any manual profession, an apprenticeship is of absolute importance. You cannot learn Bonsai in a classroom, you cannot learn to read the grain of wood from any other means than working with a master carpenter who learnt his skills the hard way, through experience, and there is no way he will give that up for free. You have to earn it by whatever means necessary. The lack of apprenticeships in the trades and the obsession with modern governments and schools to throw all children into University education has turned the US/UK into nations dependent upon the stereotypical Mexican/Polish gardener/plumber.

but...they just keep on writin um.

 

[Smoke]

Al,

I am curious as to why you would look at a book call Vision of My Soul from the point of view of a "non-fiction instructional guide book".

Regards,
Martin

Because an apprenticeship has shown that a better understanding of art theory can be conveyed to a pupil through practical application while working on trees. Just looking for that Holy Grail of putting it on paper.

 

[Rick Moquin]

This book came along in your bonsai carrer at just the right moment.

Yup!

This book blew you away.

Yup!

Probably bought it due to the interent in way or another. HYPE.

Nope!

Had the internet not existed you probably wouldn't even have know who Robert Steven was.

Yup!

OK so I been doing bonsai for ging on 27 years now. I have either owned or borroed every bonsai book in America. All the way back to Yuji Yoshimura's book in 1957 where he speaks of many of the same things then as Robert does now. John Naka in 1989 finished Bonsai Techniques II and once again spoke of many of the same principles in plain english and very thouroughly. Andy Rutledge releases his Ezine on the Artistic Foundations of Bonsai Design in 2004, which Roberts book is almost a copy of Andy's book since he edited it. So for me, I still waiting for some new stuff not a rehash and pretty repackage of the same things.

I own those as well and close but definitely no cigar.

We got your point Al, you don't like him nor his book. Now go suck on a sugar pill

It was bought on the recommendation of someone I respected and still do. It summed up what the individual was trying to explain, in other words, his point got across. Maybe that doesn't work for you, but it works for others.

So please..... who are you Mr Keppler to condemn??? We are not asking you to condone, but at least do have the courtesy not to condemn those that got something out of it.

 

[Smoke]

Well the post was not for you but thanks for answering the questions anyway. You get it.

I guess the proof is only a few months away. I'll be eagerly awaiting the photographs

 

[Rick Moquin]

What photographs?

 

[Smoke]

Oh BTW thanks for thinking my feelings carry any weight what so ever. I don't buy anything on reccomendations. I buy books based on whats in them and what I am going to get out of it. I am very lucky to have a bonsai nursery in my town that carries probably every book that is currently in print. In fact I bought a copy of a first edition of Nick Lens first book and sold it to Candy Shirey. That book had been out of print for years. All I have done here is give my feelings on the subject. I have not told nor asked anyone to boycott the book nor refrain from buying it. Believe it or not there may be people out there that feel the way I do. As long as you continue to discuss this there will continue to be discussion. That is what this forum is about.

What I can reccomend is that someone look at all books before they purchase them and make sure they contain offereings that are commensurate with their cost. If it fits your needs buy it, then defend it, and be prepared to discuss it. Otherwise keep the reviews to yourself.

I do not know Robert Steven. This has nothing to do with the man.

 

[Smoke]

What photographs?

nice try..

 

[Rick Moquin]

Oh BTW thanks for thinking my feelings carry any weight what so ever. I don't buy anything on reccomendations. I buy books based on whats in them and what I am going to get out of it. I am very lucky to have a bonsai nursery in my town that carries probably every book that is currently in print.

... and that is the operative word. Not all as a matter of fact very few have that luxury if we look at the on line community.

In fact I bought a copy of a first edition of Nick Lens first book and sold it to Candy Shirey. That book had been out of print for years. All I have done here is give my feelings on the subject. I have not told nor asked anyone to boycott the book nor refrain from buying it. Believe it or not there may be people out there that feel the way I do. As long as you continue to discuss this there will continue to be discussion. That is what this forum is about.

Where are you getting the you out of this. I believe there are several more members than the two of us discussing the matter or are you just too conceited to see it.

What I can reccomend is that someone look at all books before they purchase them and make sure they contain offereings that are commensurate with their cost. If it fits your needs buy it, then defend it, and be prepared to discuss it. Otherwise keep the reviews to yourself.

... and haven't I done that or perhaps I don't speak Californian?

 

[Rick Moquin]

nice try..

You'll need to expand on that one, the reception is lousy here (going through Igloos) for us dumb Canucks.

 

[Smoke]

... and that is the operative word. Not all as a matter of fact very few have that luxury if we look at the on line community.



Where are you getting the you out of this. I believe there are several more members than the two of us discussing the matter or are you just too conceited to see it.



... and haven't I done that or perhaps I don't speak Californian?

The you is you, Rick Moquin. You seem to have a problem with me giving my interpretation of this book. There are many here that feel as you but have not made this hostile.

I recieved some PM's at Study group so am privy to it's goings on, I see now you are focusing your hostility with "ME" here where it is fairly unmoderated. Thats OK I can take care of myself.

 

[Rick Moquin]

Al,

You and I come from the same mold so yeah we are going to be hostile with each other. Tell you what, come off your podium and I'll be civil. This goes back a long way as you know. Either way it doesn't matter. Or do I need to grow breasts so you can be tactful