An Exploration of the Relationship Between Theme, Degree and Quantity in Bonsai Creation

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A Brief Discussion of the Relationship Between Bonsai Theme, Degree and Quantity

Luo Qinglin

The illustrations in this article are for appreciation only and have no necessary connection with the text!

In the process of bonsai creation, besides technique, what we must grasp is the qualitative determination that establishes the positioning of the theme. Next, what we must grasp well is the degree and quantity suited to the theme. This is because quantity is the variable and self-variable, the fixed amount, of how things change. It is mainly the basic element that serves the theme. Degree is the realm that a thing attains, and quantity is the node that satisfies the theme, that is, the critical point. What we call grasping the degree well is ensuring that the corresponding theme remains unchanged. If, in bonsai art creation, the variable and self-variable of quantity and the degree control of quantity are not handled well, and the degree of quantity fails to reach the node of the theme, then quantity cannot satisfy the theme, and the central idea will also fail to be fully conveyed; this is what we mean by "not mature enough." If, in bonsai art creation, the degree of quantity surpasses the node of the theme, then the central idea also deviates, and the theme changes accordingly; this is what we mean by not understanding control, by having gone too far.

Li Jiantang: "Born of the Same Root", Fujian tea (Carmona retusa), 70x80cm.

Huang Zhenyu: "March in the Southland", Liangmianzhen (Zanthoxylum nitidum), 85x95.

In the creation of bonsai art, no matter the school or the style, if one departs from the relationship between quantity and degree described above, or fails to grasp it well, it is very difficult to create an ideal work of bonsai art. Trunk chopping and branch growing, cutting, pulling and tying, tying left and yanking right, jumping down and leaping up, and so on are all part of a creative layout that revolves around the theme as a whole in the relationship between quantity and degree. Therefore, in creation, no matter who it is, whoever can comprehensively grasp well the degree and quantity revolving around the theme, apply more of the comprehensive theories of bonsai creation art, and through the practice of skilled creative technique, will inevitably create better or relatively more on-theme bonsai works.

Jian Maode's work "Drunkenly Inviting the Bright Moon" (Mountain Pine).

We can look across different platforms in various places at bonsai exhibitions; all the award-winning works make full use of various techniques around the theme to control degree and quantity very precisely, and can fully express the author's thinking. As for those works that do not win awards, is it because the technique is poor? No. Then why do they not win? Of course there are many factors, but the especially obvious one is that in creation the relationship between degree and quantity was not grasped, and the thematic idea was not expressed relatively perfectly. Apart from the great differences in the problems that arise, the overall presentation is also not as good as others', which inevitably creates a gap. To be honest, there really are some with quite good technique that did not win, and that is not surprising. Because the overall evaluation is a comprehensive overall assessment of the whole. Therefore, many people may overlook this point and thus misunderstand it, finding fault with the judges.

Jian Maode's work "Singing and Dancing in Prosperity" (Liangmianzhen).

Good technique, good branch method, but the created work has no theme, no thought, or is far removed from the thematic idea, and the overall relationship between degree and quantity is unbalanced, with disorderly and chaotic matching -- how would you judge and comment on it? Therefore, the creation of bonsai art requires not only correspondingly skilled technique, but also a multifaceted, comprehensive quality for creating thematic ideas. This quality is infinite; whatever quality you possess, that is the level of work you create. This perhaps is what we call the gap. And these gaps are not innate; they are things acquired through continuous hard study and long-term creative practice. As the old saying goes: a boat sailing against the current, if it does not advance, it retreats. As bonsai art and culture develop forward, only by continuous learning and practice, and by continuous innovation on the basis of inheritance, can one adapt to the ever-growing needs of social culture.

Huang Aoxun: "Spirit Galloping", Five-needle pine, 80x85cm.

The most practical reality is how to make one's own works better, how to use skilled technique in creation, to make the quantity suited to the theme of the work one creates come closer to the node of the theme's degree, to grasp well the relationship between theme, degree and quantity, and to make the work appear more perfect; this should be the goal and direction pursued in common by every creator.

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