nedelja, 08. junij 2014

NAPREDEK ALI NE

Comments by an anonymous reader of my blog (is it really so difficult to sign with the name ... ;-)) from the previous post encouraged me to write about my views on the origin of bonsai material. Dear anonymous emphasized the fact that bonsai in Slovenia didn't develop at all, because most of the trees at the 6th International exhibition were imported anyway. So:
There are two types of bonsaist - those who swear that the "right" way  is only that one must find suitable material in nature, collect it, and style it to the exhibition level; and those who think that it is not important where the material comes from, if you can afford it is also OK to buy it, as long as it is good and provides good results. Among the latter I consider myself too, but, for example, I've also never heard  that Kimura ever worked on material which he collect himself  :-). I work with the same pleasure on trees that I collect myself and those I have imported or bought from a friend. As long as they are good :-) Anyway, it is logical to me that the imported material will not look very good, if a person who is dealing with it does not have enough knowledge. It dosen't matter if it is a juniper from import, or yamadori from the Slovenian Alps - to successfully deal with bonsai art knowledge and talent are necessary. Anyone who has a little experience with trees knows that after a few months or even years every bonsai let alone completely loses shape and it is necessary to restate exactly the same techniques as with a fresh yamadori. Below I will show two examples from my collection, which was presented at the last exhibition:
 
Komentarji anonimnega bralca mojega bloga (a se je res tako težko podpisat z imenom ... ;-) ) iz prejšnjega posta so me vzpodbudili k pisanju, ki ga ravnokar berete: o mojih pogledih na izvor bonsajskega materiala. Spoštovani anonimni se je namreč pridušal, da bonsajizem v Sloveniji ni nič napredoval, saj je bila večina dreves na 6. Mednarodni razstavi tako ali tako uvožena. Torej:
Poznamo dve vrsti bonsajistov - tiste, ki prisegajo na to, da je "prava" pot edino ta, da sam najdeš primeren materijal v naravi, ga izkoplješ, oblikuješ in dodelaš do razstavnega nivoja; in tiste, ki menijo, da ni pomembno, od kod materijal prihaja, če si ga lahko privoščijo, ga tudi z veseljem kupijo, le da je dober in omogoča dobre rezultate. Med slednje se prištevam tudi sam, pa tudi recimo za Kimuro še nisem slišal, da bi kdaj delal na materijalu, ki ga je sam izkopal in oblikoval :-). Z enakim veseljem delam na drevesih, ki sem jih izkopal sam ali pa sem jih uvozil ali odkupil od prijatelja. Samo da so dobri :-) Tako ali tako se mi zdi logično, da tudi uvožen materijal ne bo zgledal ravno dobro, če človek, ki se ukvarja z njim nima dovolj znanja. Naj si gre za kitajski brin iz uvoza, ali jamadori iz slovenskih Alp - za uspešno ukvarjanje z bonsajizmom je potrebno znanje in talent. Kdor ima vsaj malo izkušenj z drevesi ve, da vsak bonsaj že po nekaj mesecih, kaj šele letih povsem izgubi obliko in ga je potrebno na novo oblikovati s povsem enakimi tehnikami, kot bi oblikovali jamadori. Spodaj bom navedel dva primera iz moje zbirke, ki sta bila predstavljena tudi na zadnji razstavi:
 
Ficus retusa, material imported from Taiwan, in autumn of 2007 I bought the tree at Crespi's and started working on it. In seven years I have reached the high level of ramification, narrowing of the branches and ultimately the entire form. That is why I also exhibited it without leaves:
 
Fikus retusa, materijal uvožen iz Tajvana, jeseni 2007 sem ga kupil pri Crespiju in začel z delom. V sedmih letih sem dosegel zavidljivo stopnjo ramifikacije, ožanja vej in nenazadnje tudi celotne forme. Zato sem ga tudi razstavil brez listov:
 
Ficus as it was imported in December 2007

Ficus in spring 2013

Ficus at VI. International bonsai exhibiton in May 2014
 
 
Chinese juniper, imported from Japan in December 2011. I started with the work in the spring of 2012. During two seasons I've created the crown folowing my ideas, I also changed the commercial container with a superior Tokoname pot. I also improved some jins.
 
Kitajski brin, uvožen decembra 2011 iz Japonske, z delom sem začel spomladi 2012. V dveh sezonah sem krošnjo oblikoval po svoji zamisli, zamenjal komercialno z vrhunsko posodo tokoname. Izboljšal sem tudi nekaj džinov.
 
Juinper as arrived in my atelier in April 2012

Juniper and author in Jun 2013

Juniper at VI. International bonsai exhibition, May 2014 (Photo: Roland Petek)
 
 
Are these cases evidence of knowledge and progress, or should this knowledge be used on the yamadori with Slovenian origin to convince the Anonymous that bonsai in Slovenia is progressing :-)? Everyone knows the answer and everyone goes his own way. For me, not one nor the other way is not "right" and the only one. Just choose any way that suits you best and enjoy it. But the fact is that the two trees showed here progressed in the past years, if anyone likes it or not! :-)
 
So taki primeri dokaz znanja in napredka, ali bi moral to isto znanje uporabiti na jamadorijih slovenskega izvora, da bi tudi Anonimnega prepričal, da bonsajizem v Sloveniji napreduje :-) ? Vsak zase ve odgovor in tudi gre svojo pot. Zame ne ena ne druga pot nista "pravi" in edino zveličavni. Vsak pač izbere pot, ki mu najbolj ustreza in v njej uživa. Dejstvo pa je, da sta obe drevesi v teh letih napredovali, pa če je to komu všeč ali pa ne! :-) 
 
PS: At the next meeting of the Central group of Tora bonsai school we will talk about pinching and cutting tips at pine and spruce. When, how, and especially why. All students are welcome!
 
P.S.: Na naslednjem srečanju centralne skupine šole Tora bomo govorili o vršičkanju in rezanju vršičkov pri borih in smrekah. Kdaj, koliko in predvsem zakaj. Vsi študenti vabljeni!

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