Behr
Yamadori
Mr. Andy,
First and foremost, I want to express my appreciation to you for placing this question here for open discussion...I doubt any one person has a definitive answer to this...I know I certainly do not, but I have enjoyed the discussion to this point, and do look forward to reading the thoughts of others...I have no doubt we can all learn much from this...Ok, enough 'atta-boys' on to the question and my thoughts...
I believe Mr. Tom has hit on a couple good points here...Those being “ practice, practice, practice”, and “the willingness to learn at every opportunity”, which includes, “Exposing yourself, in person, to high quality trees from artists that you would like to emulate or respect”...I would add to this the careful study and examination of trees in nature, and include the study of photos, both of trees in nature, and of bonsai...The more exposure to these things one has, and the more analysis one is able to acquire, the more 'ideas' you will have at your disposal to achieve a design plan for ANY particular tree you are working with...You can be governed by the so-called 'rules', and choose to only work with the perfect piece of material, and you will likely achieve a respectable bonsai...However, if your desire is to create a more outstanding 'work of art', the best means, in my opinion, is to create something unique and memorable...This can best be achieved through the study of nature and the work of other artists, after one masters technique and understands the 'artistic principals' involved in creating a pleasing work...
Having much more time involved in the study, teaching, and performance of music, I would like to use this art form as an analogy to illustrate the things mentioned...When I first began to learn to play the trumpet I studied the fingerings required and the embrochure [lip pressure and position] needed to play each note of the scale, one note at a time...I would practice each day until I finally reached a point where I no longer needed to think about what valves needed to be depressed to play an F#...It just came naturally...At this point in my life I could be a part of most organized groups making music by reading a pre-determined score...I could be in a band or orchestra and be comfortable, but I was involved in the craft of bringing to life the art of the composer...I was not creating art...With several years of additional daily practice I reached a point where it was no longer necessary to even see the notes written on the page...If I heard it, or created it in my own mind, it would come out automatically in the fingerings and embrochure...I no longer had to think about the mechanics of playing the instrument but could concentrate on the details of making it my own...I had accomplished the basics of playing the trumpet...At this stage I believe I was on the threshold of creating art...I knew the 'rules', I had developed a certain amount of technique, and was comfortable with my horn...It was only when I began to truly study and analyze other artist that I started forming a group of studied techniques, 'bag of tricks', or as many Jazz musicians call it “chops”, which would make my playing unique and memorable...I studied carefully the works of my favorite trumpet man Mr. Louis Armstrong...I discovered one of the things which made his music different was his manner of attacking the notes, being just ahead of the beat on faster pieces, yet just behind the beat on more mellow works...The ability to make some notes somewhat 'garbled' rather than all notes having the smooth texture normally associated with orchestra playing, and his use of vibrato on the higher register notes...From listening to the recordings of Mr. Al Hirt I learned how to start the final note of a passage with a smooth tone, then gradually evolve into a vibrato as the tone faded...I carefully listened to and analyzed horn players such as Harry James, Dizzy Gillispie, Miles Davis, and others, and I learned a few different techniques from each...I did not limit my study to only Jazz, nor to trumpet only, but tried to learn as many different 'riffs' from as many different sources as possible...All of these things became a part of my personal “chops” or 'bag of tricks', and their use allowed me to create my own unique 'style' of trumpet playing...I did not try to copy the work of any particular artist but instead 'borrowed' from each, those things which appealed to my sensitivity...One should also not overlook sources which you do not find to your own taste, for example, I did not like the later works of Mr. Charlie Parker due to the lack of a defined melody, [sometimes referred to as a “cutter”] but by analyzing his later works, I discovered a 'trick' that has been useful to me on numerous occasions...That being, music follows a chord progression moving from one chord to another with the melody using notes from the scale of the chord in progress, however if one only uses the notes of the 'pentatonic' [first five notes of the scale] scale of that chord there are no wrong notes...This discovery was phenomenal for me, and I learned it by listening to music I did not really like...One should also look to sources which are not among the 'well known'...For example, Country Music artist Mr. Willie Nelson uses and is well recognized for his ability to start a 'phrase' several beats behind the rest of the band, yet he will 'rush' his timing so that by the end of the phrase he is in 'sink' with the other musicians...He uses this in both his vocals and his guitar work...Many years ago at an “after the bars close” party in Nashville, I had the opportunity to discuss this with him, and learned he acquired the technique from a lesser known [he didn't even remember the man's name] saxophonist in a 'Blues bar' in Memphis...Mr. Willie related to me the hours he devoted to practicing this technique until it became 'natural' for him, and indeed has become his 'trademark'...Once I attained enough 'chops' in my 'bag of tricks', most of which were borrowed or stolen from others, I became able to play a reasonable 'break', even on songs which I had never before heard...Songs which did not even follow patterns I had learned, I now had the ability to 'own' them, or make them my own by using a variety of different 'chops'...
Now I shall attempt to relate all this 'gibberish' to bonsai, and the question posed...When we first become interested and decide to 'give it a go' we must of necessity begin with the basics...Regardless of the amount of “talent” or “inherent characteristic” we have, we can not create a good bonsai until we learn the means to do so, nor can we keep it alive...The basics would include the horticultural aspects, but would also involve the 'artistic' principals which are often referred to as 'rules or guidelines'...For some this process will require much more time than it does for others...That time depends much on dedication and practice...It should become a 'natural' occurrence, almost happening without serious thought...It is only after these are learned are we able to build our 'bag of tricks'...Your 'bag of tricks' or 'chops' will contain techniques such as branch bending and pruning, pot selection, trunk and branch chops for taper, creating deadwood, wiring for movement or placement, etc. to achieve your desired goal...It should also contain 'design elements' which you have gained by the analysis of works by other artist and trees from nature...As we have discussed previously, I believe this time came for both of us after we discovered bonsai on the internet and forums...Although we both had a few 'chops' to our credit the internet began adding exponentially to our experiences...Just the fact of increased exposure to photos, and explanations of various techniques we are exposed to through the internet, adds greatly to our 'chops'...We can increase this quickly by carefully analyzing those characteristics of a tree or of bonsai which we find draws our attention...We need to develop the ability to not only see the whole tree, but to also find small details or characteristics of that tree which make it work...Things such as a dead branch, a hollow trunk or the manner in which the deadwood partially covers the hollow of a trunk or branch, the grain configuration of deadwood, the curvature of a branch or trunk, a really ugly knot or protrusion which indicates age, the shape of a canopy, the inclination of a particular tree, all contribute to our ability in the future to adapt these 'chops' to a particular situation...Careful study of trees by your favorite artist is a great place to begin, but also study other works...Even if you don't find the work as a whole appealing, there will be one or two things in that tree which you can use on a tree in the future...As you and many others are aware I am not particularly fond of most of the “over-worked/green helmet” [my opinion] bonsai of the Japanese culture, however I have been able to add to my 'chops' many 'detail items' which I find useful from these same trees...One should study and analyze trees from all cultures and disciplines in order to have a wider availability of choices in your 'bag of tricks' for working on your own trees...I am of the opinion that most of the truly outstanding bonsai are not those which follow the generally accepted styling practices, but those which are perceptibly unique...For example, in viewing photos from the collection of Mr. Walter Pall, he has some trees which are certainly 'good' trees and follow traditional forms...However the most outstanding and memorable trees for me are those which if one were choosing material according to the 'guidelines' would probably be passed up...With his vast 'bag of tricks' he has been able to make these trees into a true work of art, not necessarily conforming to the 'standards', but certainly using 'artistic principals' and a 'good eye' for trees in nature...I am thankful that when he travels he takes photos and shares them with the internet community...Have you noticed he posts not only bonsai he has the opportunity to view, but also the trees in nature?...I believe both are equally important to creating works of art...
When we view our own trees with styling in mind, it is extremely important to have as many ideas and details as possible to choose from...It is also just as important to have the techniques needed to achieve the design we have in mind...
Yes I do believe “talent” is an inherent characteristic, but it is a characteristic we must develop by dedication and practice...I also believe “vision” is a necessity for creating outstanding bonsai, but this too must be developed by expanding our 'bag of tricks' to have a wider number of choices for the given material, regardless of whether it is ideal material, or something others have discarded because it does not conform to their experience and knowledge...
Regards
Behr
First and foremost, I want to express my appreciation to you for placing this question here for open discussion...I doubt any one person has a definitive answer to this...I know I certainly do not, but I have enjoyed the discussion to this point, and do look forward to reading the thoughts of others...I have no doubt we can all learn much from this...Ok, enough 'atta-boys' on to the question and my thoughts...
I believe Mr. Tom has hit on a couple good points here...Those being “ practice, practice, practice”, and “the willingness to learn at every opportunity”, which includes, “Exposing yourself, in person, to high quality trees from artists that you would like to emulate or respect”...I would add to this the careful study and examination of trees in nature, and include the study of photos, both of trees in nature, and of bonsai...The more exposure to these things one has, and the more analysis one is able to acquire, the more 'ideas' you will have at your disposal to achieve a design plan for ANY particular tree you are working with...You can be governed by the so-called 'rules', and choose to only work with the perfect piece of material, and you will likely achieve a respectable bonsai...However, if your desire is to create a more outstanding 'work of art', the best means, in my opinion, is to create something unique and memorable...This can best be achieved through the study of nature and the work of other artists, after one masters technique and understands the 'artistic principals' involved in creating a pleasing work...
Having much more time involved in the study, teaching, and performance of music, I would like to use this art form as an analogy to illustrate the things mentioned...When I first began to learn to play the trumpet I studied the fingerings required and the embrochure [lip pressure and position] needed to play each note of the scale, one note at a time...I would practice each day until I finally reached a point where I no longer needed to think about what valves needed to be depressed to play an F#...It just came naturally...At this point in my life I could be a part of most organized groups making music by reading a pre-determined score...I could be in a band or orchestra and be comfortable, but I was involved in the craft of bringing to life the art of the composer...I was not creating art...With several years of additional daily practice I reached a point where it was no longer necessary to even see the notes written on the page...If I heard it, or created it in my own mind, it would come out automatically in the fingerings and embrochure...I no longer had to think about the mechanics of playing the instrument but could concentrate on the details of making it my own...I had accomplished the basics of playing the trumpet...At this stage I believe I was on the threshold of creating art...I knew the 'rules', I had developed a certain amount of technique, and was comfortable with my horn...It was only when I began to truly study and analyze other artist that I started forming a group of studied techniques, 'bag of tricks', or as many Jazz musicians call it “chops”, which would make my playing unique and memorable...I studied carefully the works of my favorite trumpet man Mr. Louis Armstrong...I discovered one of the things which made his music different was his manner of attacking the notes, being just ahead of the beat on faster pieces, yet just behind the beat on more mellow works...The ability to make some notes somewhat 'garbled' rather than all notes having the smooth texture normally associated with orchestra playing, and his use of vibrato on the higher register notes...From listening to the recordings of Mr. Al Hirt I learned how to start the final note of a passage with a smooth tone, then gradually evolve into a vibrato as the tone faded...I carefully listened to and analyzed horn players such as Harry James, Dizzy Gillispie, Miles Davis, and others, and I learned a few different techniques from each...I did not limit my study to only Jazz, nor to trumpet only, but tried to learn as many different 'riffs' from as many different sources as possible...All of these things became a part of my personal “chops” or 'bag of tricks', and their use allowed me to create my own unique 'style' of trumpet playing...I did not try to copy the work of any particular artist but instead 'borrowed' from each, those things which appealed to my sensitivity...One should also not overlook sources which you do not find to your own taste, for example, I did not like the later works of Mr. Charlie Parker due to the lack of a defined melody, [sometimes referred to as a “cutter”] but by analyzing his later works, I discovered a 'trick' that has been useful to me on numerous occasions...That being, music follows a chord progression moving from one chord to another with the melody using notes from the scale of the chord in progress, however if one only uses the notes of the 'pentatonic' [first five notes of the scale] scale of that chord there are no wrong notes...This discovery was phenomenal for me, and I learned it by listening to music I did not really like...One should also look to sources which are not among the 'well known'...For example, Country Music artist Mr. Willie Nelson uses and is well recognized for his ability to start a 'phrase' several beats behind the rest of the band, yet he will 'rush' his timing so that by the end of the phrase he is in 'sink' with the other musicians...He uses this in both his vocals and his guitar work...Many years ago at an “after the bars close” party in Nashville, I had the opportunity to discuss this with him, and learned he acquired the technique from a lesser known [he didn't even remember the man's name] saxophonist in a 'Blues bar' in Memphis...Mr. Willie related to me the hours he devoted to practicing this technique until it became 'natural' for him, and indeed has become his 'trademark'...Once I attained enough 'chops' in my 'bag of tricks', most of which were borrowed or stolen from others, I became able to play a reasonable 'break', even on songs which I had never before heard...Songs which did not even follow patterns I had learned, I now had the ability to 'own' them, or make them my own by using a variety of different 'chops'...
Now I shall attempt to relate all this 'gibberish' to bonsai, and the question posed...When we first become interested and decide to 'give it a go' we must of necessity begin with the basics...Regardless of the amount of “talent” or “inherent characteristic” we have, we can not create a good bonsai until we learn the means to do so, nor can we keep it alive...The basics would include the horticultural aspects, but would also involve the 'artistic' principals which are often referred to as 'rules or guidelines'...For some this process will require much more time than it does for others...That time depends much on dedication and practice...It should become a 'natural' occurrence, almost happening without serious thought...It is only after these are learned are we able to build our 'bag of tricks'...Your 'bag of tricks' or 'chops' will contain techniques such as branch bending and pruning, pot selection, trunk and branch chops for taper, creating deadwood, wiring for movement or placement, etc. to achieve your desired goal...It should also contain 'design elements' which you have gained by the analysis of works by other artist and trees from nature...As we have discussed previously, I believe this time came for both of us after we discovered bonsai on the internet and forums...Although we both had a few 'chops' to our credit the internet began adding exponentially to our experiences...Just the fact of increased exposure to photos, and explanations of various techniques we are exposed to through the internet, adds greatly to our 'chops'...We can increase this quickly by carefully analyzing those characteristics of a tree or of bonsai which we find draws our attention...We need to develop the ability to not only see the whole tree, but to also find small details or characteristics of that tree which make it work...Things such as a dead branch, a hollow trunk or the manner in which the deadwood partially covers the hollow of a trunk or branch, the grain configuration of deadwood, the curvature of a branch or trunk, a really ugly knot or protrusion which indicates age, the shape of a canopy, the inclination of a particular tree, all contribute to our ability in the future to adapt these 'chops' to a particular situation...Careful study of trees by your favorite artist is a great place to begin, but also study other works...Even if you don't find the work as a whole appealing, there will be one or two things in that tree which you can use on a tree in the future...As you and many others are aware I am not particularly fond of most of the “over-worked/green helmet” [my opinion] bonsai of the Japanese culture, however I have been able to add to my 'chops' many 'detail items' which I find useful from these same trees...One should study and analyze trees from all cultures and disciplines in order to have a wider availability of choices in your 'bag of tricks' for working on your own trees...I am of the opinion that most of the truly outstanding bonsai are not those which follow the generally accepted styling practices, but those which are perceptibly unique...For example, in viewing photos from the collection of Mr. Walter Pall, he has some trees which are certainly 'good' trees and follow traditional forms...However the most outstanding and memorable trees for me are those which if one were choosing material according to the 'guidelines' would probably be passed up...With his vast 'bag of tricks' he has been able to make these trees into a true work of art, not necessarily conforming to the 'standards', but certainly using 'artistic principals' and a 'good eye' for trees in nature...I am thankful that when he travels he takes photos and shares them with the internet community...Have you noticed he posts not only bonsai he has the opportunity to view, but also the trees in nature?...I believe both are equally important to creating works of art...
When we view our own trees with styling in mind, it is extremely important to have as many ideas and details as possible to choose from...It is also just as important to have the techniques needed to achieve the design we have in mind...
Yes I do believe “talent” is an inherent characteristic, but it is a characteristic we must develop by dedication and practice...I also believe “vision” is a necessity for creating outstanding bonsai, but this too must be developed by expanding our 'bag of tricks' to have a wider number of choices for the given material, regardless of whether it is ideal material, or something others have discarded because it does not conform to their experience and knowledge...
Regards
Behr
