A Detailed Guide to the Price and Growth Habits of Ginkgo Bonsai
Ginkgo can actually be grown as bonsai indoors, not only for decoration but also to purify the air and beautify the environment. However, many friends have questions about the price and habits of ginkgo bonsai, so let us introduce the price and habit characteristics of ginkgo for you. Interested friends may as well take a look.
Ginkgo Bonsai
I. Price
Because the size of the trees varies greatly, the prices of ginkgo also differ widely. However, the ginkgo bonsai we grow indoors are relatively small, and the prices are not too expensive. If they are not large, generally they can be had for under 100 yuan. If you need a relatively large one to plant in the yard, the price can reach over a thousand yuan, so you need to choose according to your own needs.
II. Habits
Ginkgo is a sun-loving plant and needs long periods of sunlight, so it should be placed in a sunny spot to receive enough light. Ginkgo has low water requirements and is relatively drought-tolerant, so there is no need to water it frequently; just keep the bonsai dry. As for the soil, neutral soil is sufficient; soil that is too acidic or too alkaline is not suitable for ginkgo's growth.
Ginkgo's growth habits, ginkgo's geographical distribution, and an introduction to ginkgo cultivation methods!
The fruit of the ginkgo tree is commonly known as white fruit, so ginkgo is also called the white fruit tree. The ginkgo tree grows relatively slowly and has an extremely long lifespan. Under natural conditions, it takes more than 20 years from planting to bearing ginkgo fruit, and only after 40 years can it bear fruit in large quantities. Therefore, some people also call it the "grandfather-grandson tree," meaning "the grandfather plants it and the grandson gets to eat." It is the long-lived elder among trees, with ornamental, economic and medicinal value. Today let us briefly introduce ginkgo's growth habits, geographical distribution and cultivation methods.
Ginkgo's Growth Habits
Ginkgo is a rare relict tree species from the Mesozoic era and is native to China. Only in the Tianmu Mountain area of Zhejiang are there trees in a wild state, growing in natural forests at an altitude of 500—1000 m on acidic (pH 5—5.5) yellow soil in well-drained areas, often mixed with coniferous and broad-leaved tree species such as Japanese cedar and Torreya grandis, and growing vigorously.
Ginkgo is a sun-loving tree that prefers deep, fertile loam that is appropriately moist but well drained, and is suitable for growing in subtropical monsoon regions with relatively favorable water and heat conditions. It can grow well in both acidic soil (pH 4.5) and calcareous soil (pH 8.0), but neutral or slightly acidic soil is most suitable. It is not tolerant of waterlogged sites and is relatively drought-tolerant.
In the early stage, the ginkgo tree grows relatively slowly and has strong sprouting ability. Generally, female plants begin to bear fruit at around 20 years, and 500-year-old large trees can still bear fruit normally. Generally, buds swell and leaves unfold from late March to early April, flowering occurs from early to mid-April, seeds mature from late September to early October, and leaves fall from late October to November.
Ginkgo's Growth Habits
Ginkgo first appeared in the Carboniferous Period 345 million years ago. It was once widely distributed in Europe, Asia and the Americas in the Northern Hemisphere. During the Jurassic Period of the Mesozoic era, ginkgo was widely distributed in the Northern Hemisphere, and it began to decline in the late Cretaceous. By 500,000 years ago, it had become extinct in most of Europe, North America and Asia, and only the populations in China survived.
The distribution of ginkgo mostly belongs to artificial cultivation areas, with large-scale cultivation mainly in China, France and the U.S. state of South Carolina. There is no doubt that ginkgo abroad was introduced directly or indirectly from China. Ginkgo has large distributions in countries and regions such as China, Japan, Korea, South Korea, Canada, New Zealand, Australia, the United States, France and Russia.
Ginkgo's natural geographical distribution range is very wide. From the perspective of horizontal natural distribution, ginkgo near the 30°N latitude line has the longest east-west distribution distance. In China, ginkgo's cultivation area is very broad, mainly distributed in temperate and subtropical climate zones, covering 22 provinces (autonomous regions) and 3 municipalities directly under the Central Government.
Ginkgo Cultivation Methods
The commonly used cultivation method for ginkgo trees is propagation by cuttings. Generally, around March—April in spring, take scions from a mature nursery or select high-quality 1—2-year-old branches from large trees, cut them into 15 cm—20 cm long cuttings, with the top cut smooth and round and the bottom cut into an oblique arc shape.
After cutting, tie every 50 cuttings into a bundle, clean them with clear water, then soak them in 100 ppm ABT rooting powder for about 1 hour and insert them into fine yellow sand or loose seedbed soil. After insertion, water thoroughly and keep the soil moist. After about 40 days, roots can grow.
After surviving, carry out normal management without special care, and they can be transplanted in the spring of the following year. Of course, division propagation, grafting propagation and seed propagation can also be used. Division propagation is generally used to cultivate rootstocks and landscaping seedlings, grafting propagation is mostly used in fruit production, and seed propagation is mostly used for large-scale landscaping seedlings or for making clump-style bonsai.
When planting ginkgo trees, first consider the choice of soil. Ginkgo is a sun-loving plant, so a sunny slope with a gentle gradient should be chosen as the afforestation site. It is not very strict about soil conditions, but neutral or slightly acidic soil with a thick upper layer, moist and fertile soil, and good drainage is best. Then choose male plants with the same flowering period as the female varieties and plant them alternately.
Generally, a row spacing of 2.5×3 m or 3×3.5 m is used, planting 63 or 88 trees per mu. After the canopy closes, transplant them, first moving every other row from the plant spacing to become a 5×3 m or 6×3 m row spacing, with 44 or 31 trees per mu. After a few years, transplant every other row again from the original row spacing to form a 5×6 m or 6×7 m plant-row spacing, with a final planting density of 22 or 16 trees per mu.
Making Tree Bonsai
Tree bonsai is made by selecting young trees or old stumps of ornamental trees and, after cultivation, artistic processing and planting arrangement in exquisite pots, forming the finished product. In its production art, the most important thing is to master the biological characteristics of various trees and fully bring out their natural beauty of posture, charm and color. For example, the lush vigor of pines and cypresses, the antique elegance and quiet fragrance of plum stumps, the plain and ancient simplicity of elm and maple, the unrestrained elegance of green bamboo, and the clear branches and leaves of Sageretia and boxwood. The cultivation, production and management of tree bonsai is a meticulous task that is both highly artistic and highly scientific. A good bonsai with a beautiful shape and lasting appeal is formed through the aesthetic conception and superb artistic techniques of skilled craftsmen, and it still needs careful maintenance and management to ensure vigorous growth and graceful posture. The production and management techniques of tree bonsai generally include the following aspects: tree species selection, sapling cultivation, shaping and styling, potting and landscape arrangement, and maintenance management. Maintenance management also includes: placement location, watering, fertilizing, pruning and posture adjustment, repotting and soil replacement, and pest and disease control.
1. Selection of Tree Species
There are many materials suitable for making tree bonsai. Generally, those with twisted roots, dense branches and fine leaves, beautiful posture, and brilliant flowers and fruits are best. At the same time, they are required to have biological characteristics such as strong budding ability, tolerance to pruning and long lifespan.
The selection of materials for tree bonsai in China has a long history and tradition. During the Jiaqing period of the Qing Dynasty (1796-1820), Su Ling of Wuxi wrote "Random Records of Bonsai," which recorded many tree bonsai and divided bonsai plants into the Four Great Masters, Seven Worthies, Eighteen Scholars and the Four Elegants of Flowers and Grasses.
Four Great Masters: Caragana, boxwood, winter jasmine, and juniper.
Seven Worthies: Huangshan pine, Sabina chinensis, elm, maple, holly, ginkgo, and Sageretia.
Eighteen Scholars: plum, peach, Damnacanthus, kumquat, goji, rhododendron, emerald cypress, papaya, wintersweet, nandina, camellia, Podocarpus, Malus spectabilis, bamboo, crape myrtle, pomegranate, Serissa, and gardenia.
Four Elegants of Flowers and Grasses: orchid, chrysanthemum, narcissus, and acorus.
Many of the tree species used in ancient tree bonsai listed above are still commonly used materials for making bonsai today. However, with continuous introduction and discovery, there are now as many as one to two hundred materials suitable for tree bonsai, generally divided into the following categories:
Pine and cypress category: Japanese white pine, Huangshan pine, black pine, Thunberg pine, Japanese cedar, dawn redwood, Chinese swamp cypress, Chinese juniper, prostrate juniper, golden-leaf juniper, emerald cypress, shore juniper, moss cypress, thread cypress, Sabina chinensis, Chinese juniper, Podocarpus, yew, etc.
Mixed wood category: Chinese elm, boxwood, Sageretia, Syzygium buxifolium, Loropetalum, orange jasmine, Chinese hackberry, Fujian tea, tamarisk, small-leaf privet, etc. Leaf-ornamental category: trident maple, red maple, ginkgo, horned holly, bamboo, bamboo, Buddha belly bamboo, palm bamboo, sago palm, etc.
Flowering wood category: camellia, sasanqua, Caragana, Chaenomeles speciosa, plum, ornamental peach, crape myrtle, Malus halliana, Malus spectabilis, winter jasmine, osmanthus, rhododendron, Serissa, Jasminum floridum, etc.
Fruiting wood category: ornamental pomegranate, pyracantha, nandina, kumquat, finger citron, hawthorn, Chinese holly, Diospyros cathayensis, Elaeagnus, Ardisia, Diospyros rhombifolia, persimmon, goji, coral cherry, etc. Vine category: trumpet creeper, ivy, star jasmine, Euonymus fortunei, wisteria, honeysuckle, etc.
2. Collection and Cultivation of Tree Stumps
The materials for tree bonsai mainly come from two sources: propagation and seedling raising, and collecting tree stumps. The former uses propagation methods such as sowing, cuttings, layering, grafting and division to obtain saplings, which are cultivated from a young age. The styling is relatively free, and the thickness of the branches and trunk is relatively uniform, but it takes a long time. The latter involves digging up tree stumps that have grown in the wild for many years, processing them according to the material, and cultivating and processing them, which can greatly shorten the time and often allows the selection of old stumps with natural, beautiful, antique and simple forms to make excellent bonsai. The disadvantage is that it is limited by the inherent form of the stump, and the thickness ratio between the trunk and side branches is not easy to make uniform. In addition, some precious tree species such as Japanese white pine, Sassafras, and red maple cannot be collected in the wild, so saplings can only be obtained through artificial propagation.
Techniques for propagation and seedling raising are introduced in many horticultural books, so this book will not repeat them. Here, the methods of collecting and cultivating tree stumps will be introduced.
Collecting tree stumps must follow certain scientific methods; otherwise, it is difficult for them to survive, let alone become finished products, wasting time, manpower and natural resources.
When selecting tree stumps to collect, one should comprehensively consider aspects such as tree species, tree age, form and future potential. The selection of tree species has been introduced earlier. As for tree age, older stumps are more valuable, but they must also be growing vigorously. As for the form of the stump, do not blindly pursue the bizarre or likeness to objects (likeness is not a selection standard for bonsai art). It is best to have the characteristics of ancient simplicity, unusualness, strength and twists and turns, with special attention to the form of the roots and trunk. Generally, tree stumps should not be too tall or too large, so as to favor survival, facilitate processing, and be suitable for potting and display. Although some stumps have certain defects, from a developmental perspective, as long as they can be improved through processing, they can still be used.
The time for collecting tree stumps is generally after the trees enter dormancy and before the trees sprout, when the ground has thawed in early spring. Collection in late autumn or early winter is also possible, but winter maintenance is more troublesome, especially in the north, where they must be kept in a greenhouse. As for the deep winter months, because the soil layer is frozen, collection is difficult and roots are easily damaged, so it is not very suitable. The time for collecting tree stumps must also be adapted to local conditions and determined according to the habits of the tree species. For species that are not cold-tolerant, collection should be done between March and April to avoid frost damage.
When collecting, the main root can generally be cut off, but more lateral roots and fibrous roots should be retained. For pines and cypresses and some species with taproots, it is advisable to retain more of the main root; otherwise, they are not easy to keep alive. After the stump is dug up, a heavy pruning can be carried out once. The pruning should be based on the form of the stump and with preliminary consideration of future styling. Generally, retain a portion of the main branches and trunk and shorten them, and cut off all the rest. For weak-sprouting evergreen tree species such as pines and cypresses, the branches and leaves must not be cut completely bare. The collected stump does not need to have soil around the roots; it is best to dip it in mud slurry, put it in a basket, and stuff it with moss to protect the fibrous roots from drying out and wilting. After bringing it back, it must be planted as soon as possible.
No matter how beautiful the natural form of a tree stump collected in the wild, it must still undergo a certain period of cultivation before it can be made into bonsai, called "nurturing the sapling." Some bonsai enthusiasts, eager for quick success, plant newly collected stumps into relatively shallow glazed pots or purple clay pots, or even expose the roots and claws, attempting to complete the bonsai in one go. As a result, most have difficulty surviving, let alone taking shape. This is what is meant by haste makes waste.
For nurturing the sapling, it is best to choose a place with loose, fertile soil, good drainage and sufficient sunlight for ground planting, or use clay pots for planting, so as to facilitate combined shaping and processing. When planting, bury it appropriately deeply, preferably leaving only the bud eyes above the soil. For stumps with relatively tall trunks, moss can be wrapped around the trunk. After planting, water thoroughly once, and cover the stump with a little straw to maintain moisture. In high summer temperatures, build a shade frame and spray water frequently. In winter, surround it with straw curtains to prevent freezing. Usually pay attention to replenishing water; during the vigorous growth period of the tree, water must not be lacking, but also be careful not to overwater, to prevent root rot. In dry weather, it is best to spray water on the leaves often. To make the sapling take shape as quickly as possible, fertilizing is very important. Newly planted stumps have relatively tender roots, so it is advisable to apply light fertilizer frequently. Fertilizer can be decomposed cake fertilizer or manure, diluted before use. During the sapling-nurturing period, work such as pruning, bud removal and pest and disease control should also be done well.
Pruning mainly refers to cutting off branches and trunk that will not be needed in future styling, so as to avoid consuming nutrients. Dead branches and diseased branches should also be cut off; otherwise, they will affect the sprouting of new buds or lead to the spread of pests and diseases.
Bud removal mainly refers to removing excess buds. Generally, retain the buds needed for future styling (including spare buds) and remove all the rest, so as to avoid growing useless branches and trunk. When the retained buds grow into branches and trunk, further selection can be made, cutting off unused branches and trunk and removing the terminal buds of the retained branches and trunk to encourage axillary buds to sprout side branches and increase the layers and density of branches and leaves.
3. Processing and Styling of the Sapling
For saplings cultivated from a young age, processing and styling generally begin after 3-5 years; for tree stumps collected in the wild, processing and styling can mostly be carried out after one year of sapling nurturing.
Before processing, ground-planted saplings can be dug up and temporarily planted in pots of basically suitable size, to facilitate operation and styling. Large saplings can also be processed and styled on site.
Processing and production must follow a series of artistic techniques of bonsai creation. First carefully observe and deliberate on the sapling material, and determine what theme to express and how to style it according to the characteristics of the material, that is, "processing according to the material." Arrange the framework of the sapling's roots, trunk and branches according to the rules of bonsai art, so that it becomes a living bonsai artwork with coordination and symmetry, beautiful lines and profound artistic conception. For example, if pine is chosen as the material, it is suitable to express the strength and uprightness of its main root, with branches and leaves spread flat in cloud-like layers; cypress is suitable to express its ancient and unusual trunk, with branches and leaves in clustered form; plum styling is suitable for sparse branches slanting across; winter jasmine is suitable for drooping branches and arched curves; ... This is considered from the natural characteristics of the tree species. In addition, the inherent shape of the stump should also be considered. For example, some stumps have straight trunks and can follow their nature to be made into the straight-trunk style; some stumps have naturally curved trunks and are suitable for the curved-trunk style or cliff style; some stumps have withered and bare trunks and are suitable for the withered-peak style; ... Processing according to the material can save labor in bonsai making and also give a natural wild charm. If everything is left completely natural, then there is no such thing as bonsai art, but if the traces of artificial work are too strong, then natural beauty is lost. Therefore, for the styling of tree stumps, one must not rigidly adhere to convention or apply fixed patterns.
The methods of shaping and processing also have a certain sequence. Usually the trunk is done first and then the branches, from bottom to top, by bending, pruning or carving, and this can be determined according to the tree species and the needs of styling. Different regions have different processing methods due to different customs. Generally, for pines and cypresses and weak-sprouting tree species, bending is the main method. For strong-sprouting species such as Chinese elm, Sageretia, Fujian tea and trident maple, pruning can be the main method. Stumps processed by bending can be styled freely, with many twists and turns, and take shape relatively quickly; stumps processed by pruning are vigorous and natural, but take shape relatively slowly. In southern regions, the climate is warm and trees grow quickly, so bending and styling are suitable; in northern regions, the climate is cold and trees grow slowly, so bending and styling are suitable. Of course, these are only general statements. The styles and schools of bonsai in different places are different, and the styling methods are quite distinct. For example, the Lingnan school uses the pruning and styling method of "storing branches and truncating the trunk"; the Yang school uses the bending and styling method of "one inch, three bends"; the Su school uses the styling method of "coarse bending and fine pruning"; the Hui school uses the styling method of "zigzag bending"; the Chuan school uses the "square bend" or "dropped bend" styling method, etc. If we master the most basic methods of pruning and bending and apply them flexibly according to specific circumstances, ideal results can often be produced.
(1) Bending method: that is, by using binding materials such as palm fiber, hemp bark or metal wire, the branches and trunk of the tree are bent into various shapes.
Metal wire binding method: This method is simple and easy to perform, and allows free bending, but removal is a little troublesome. It is best to use fire-treated iron wire, but usually the more economical galvanized wire is used. Choose wire of appropriate thickness according to the thickness of the branch or trunk being bent. Metal wire is generally selected from sizes 12-24 and used accordingly. Wire thickness selection table
Wire No. 12 No. 12 No. 16 No. 18 No. 20 No. 22 No. 24
Branch/trunk diameter 15 mm 10 mm 6 mm 4 mm 3 mm 2 mm 1 A5 mm
When bending, first fix one end of the metal wire at the base or crossing point of the branch or trunk, then slowly wrap it tightly against the bark, making the metal wire form about a 45° angle with the branch or trunk. If the branch or trunk is to be twisted downward to the right, the metal wire should be wrapped clockwise; otherwise, wrap it counterclockwise. Note that you must twist while bending so that the metal wire stays close to the bark and the branch or trunk is less likely to break. Do not use too much force, to prevent damaging the bark or breaking the branch or trunk. For species with thin bark that are easily damaged, such as pomegranate and red maple, the branch or trunk can first be wrapped with hemp bark and then bound with metal wire. If repeated metal wire wrapping is used on one branch, attention must be paid to keeping the wrapping direction consistent and avoiding crossings as much as possible.
Palm fiber binding method: This is a traditional styling method of Chinese bonsai. Its advantages are: the palm fiber blends with the color of the branch or trunk, it can be appreciated immediately after processing, it is not easy to damage the bark, and it is convenient to remove, but binding is relatively difficult. Generally, first twist palm fiber into palm ropes of different thicknesses. Bind the middle section of the palm rope around the lower end of the trunk to be bent (or tie a loop knot), twist the two ends together a few times, place them at the upper end of the branch or trunk to be bent, tie a slip knot, then slowly bend the branch or trunk to the required curvature, tighten the palm rope and tie a dead knot, thus completing one bend. Generally, the bend should not be too extreme; otherwise, it is easy to lose the natural form. The key to palm fiber binding lies in controlling the force points; according to the needs of styling, choose the positions for applying the palm fiber and tying the knots.
The order of palm fiber binding: at the beginning, bind the trunk first and then the branches and leaves; when binding branches and leaves, bind the top first and then the lower part; when binding each part, bind the large branches first and then the small branches; when binding the trunk, proceed from the base to the top.
Through long-term practice, veteran bonsai artists in various places have summarized many palm fiber binding methods, called palm methods. These palm methods differ slightly by region or school, but the basic principles are the same, and the purpose is to use palm fiber to bind the tree's branches and trunk into the required form. The palm method is a means, not an end. After mastering the basic principles, it can be handled flexibly according to styling needs.
For bending relatively thick branches or trunks, they can first be wrapped with hemp bark, and a strip of hemp fiber can be placed on the outer side of the bend to increase the toughness of the trunk. If the branch or trunk is too thick and difficult to bend, the "knife-opening method" can also be used, that is, use a sharp small knife to cut a deep opening 3-5 cm long at the bend of the trunk, and then wrap the cut surface with hemp bark as above. This makes bending easier and less likely to break. To help the cut heal, it is best to make the cut surface perpendicular to the plane of the bend.
Whether metal wire or palm fiber is used for binding, it can generally be removed after one year to set the shape. If not removed in time, as the branch grows thicker, the metal wire or palm fiber will sink into the bark layer, affecting the tree's growth and appearance. However, for slow-growing tree species and relatively thick branches or trunks, the time can be extended by about half a year to a year.
Binding time for various tree species: pay attention to binding at the right time, so that the branches are soft, easy to bend, and grow well after binding. If binding is not done at the right time, the branches are likely to break and growth will also be affected. Tree species bound in winter and spring include: Chinese juniper, magnolia, Hydrangea paniculata, butterfly tree, wintersweet, plum, peach, cherry, Prunus glandulosa, Prunus triloba, Malus spectabilis, Malus halliana, pomegranate, crape myrtle, Chinese elm, Chinese hackberry, Vitex negundo, etc. For the species listed after wintersweet, before they take shape, newly lignified shoots should also be bound once in summer. Tree species bound in summer and autumn include: Podocarpus, Pinus armandii, Diospyros cathayensis, Elaeagnus, Serissa, osmanthus, etc. Tree species bound in winter and autumn include: Chaenomeles speciosa, pyracantha, Sageretia, boxwood, etc. Some tree species such as Euonymus alatus, winter jasmine and goji can be bound at any time. Flower-viewing tree species such as camellia and rhododendron are all suitable for binding before flowering.
(2) Pruning method: that is, through pruning of branches and trunk, removing excess parts and retaining the essence, so as to make the tree shape beautiful. This is one of the main means of styling tree bonsai. The functions of pruning include weakening, dwarfing and changing the tree shape. When pruning, adjust and cut off messy crossing branches, overlapping branches, parallel branches and opposite branches. For the retained branches, nutrients are concentrated and they grow thick and strong. When the cultivated branch grows to a suitable thickness, carry out strong pruning to shorten it and produce the second section of branch; when the second section of branch grows to a suitable thickness, cut it again, and do the same for the third and fourth sections in turn. Generally, retain two small branches on each section of branch, one long and one short. After many years of pruning, the branches and trunk become shortened, thick and strong, vigorous and powerful, gradually forming the required tree shape.
Pruning methods: there are measures such as pinching, cutting, thinning and wounding. Pinching means pinching off the growing point and removing leaves. Removing the tip of new shoots during the growing period is called pinching. Pinching can promote axillary bud growth, produce more branches, inhibit height growth, and help make the bonsai shape beautiful. Leaf removal can promote the sprouting of new leaves. For example, removing old leaves from elm during the growing period will make the new leaves smaller and more delicate, which is beneficial for viewing; removing old leaves from maple and pomegranate will make the new leaves red, bright and pleasing to the eye. Cutting means shortening the current year's branches. After shortening, medium and short branches increase and the parent branch thickens. This is what is meant by sparse branches being cut, and cutting making branches dense, which is beneficial for shaping branch pads. Retrenchment means shortening perennial branches, and is the main technique of the Lingnan school's "storing branches and truncating the trunk," which is beneficial for renewing and rejuvenating old trees. When collecting wild tree stumps, in the process of sapling nurturing, the method of retrenchment and trunk truncation is often used, which is both a measure to dwarf the stump and a means to renew and rejuvenate old stumps. Thinning means thinning pruning, cutting off part of the overly dense branches from the base, which helps improve ventilation and light transmission conditions and promotes vigorous growth of the retained branches. Wounding refers to measures such as scoring, girdling, twisting branches, twisting shoots and bending branches on the tree's branches and trunk. Flower-viewing and fruit-viewing bonsai often use this method to promote flowering and fruiting.
The pruning period should be timely and suited to the tree. Generally, deciduous tree species can be pruned in all four seasons, but pruning after leaf fall and before bud break is preferable. Pines and cypresses tend to bleed resin after pruning, so winter pruning is suitable; fast-growing, strongly sprouting species such as tamarisk and elm can be pruned several times a year; for flower-viewing species, those that flower on new current-year branches, such as crabapple, apple, crape myrtle and pomegranate, should be pruned before sprouting; species that flower on one-year-old branches, such as ornamental peach, plum and winter jasmine, should be pruned after flowering.
(3) Carving method: In order to show that the tree is ancient, sometimes a chisel or sharp carving knife can be used according to styling techniques to carve the trunk, creating natural uneven changes. Part of the bark can also be peeled off, or even half the trunk can be split away (such as the split-trunk style styling of plum stumps), so that the tree presents a naturally withered and aged posture. However, when carving, the traces of artificial knife and axe work must not be exposed. This method is mostly used for pines and cypresses and relatively large old stumps.
(4) Root-raising method: Tree stump bonsai emphasizes suspended roots and exposed claws, and twisted and interlocking roots. This is also one of the important contents of bonsai appreciation. The root-raising technique usually involves first planting the tree in a deep pot, then year by year removing the soil piled above, so that the thick roots are raised above the soil surface. At the same time, the roots can also be artistically coiled and bent to make them appear more ancient, unusual, simple and wild. However, when raising roots, moderation must be exercised; too many roots must not be exposed all at once, to avoid affecting the stump's growth or even causing death. The root systems of tree species such as elm and Caragana are slender and soft. When raising roots, the long roots can be coiled into an antique shape, but the coiling of the root system must be orderly and aesthetic, and must not be tangled randomly, losing naturalness and instead affecting the effect.
The forms of trees in nature are ever-changing, and as a miniature of them, bonsai should of course also be diverse. Therefore, it is difficult to set down specific standards for tree styling. However, it must conform to nature and be full of pictorial quality. Arbitrary contrivance loses the natural form of the tree. But merely conforming to nature is not enough; artistic processing must also be carried out on the basis of nature. This is the same principle as painting. To reach a certain artistic realm, one must usually observe various trees in nature more and accumulate perceptual knowledge. In particular, one should be good at mastering the typical postures of trees commonly used in bonsai, such as the natural form characteristics of pine, cypress, willow, plum and common mixed trees. At the same time, observe more tree painting methods in landscape paintings and learn techniques from them. In addition, improve artistic accomplishment from aspects such as aesthetics and literature.
4. Planting of Trees
For saplings that have been processed and shaped, if they cannot yet take shape temporarily, they can continue to be cultivated in the ground; if they are close to taking shape, they can be potted and arranged in a landscape.
(1) Pot selection: A beautifully shaped tree can only become a perfect bonsai artwork when matched with a pot of moderate size, appropriate depth, matching style, harmonious color and suitable texture.
When choosing a pot, first pay attention to moderate size. If the pot is too large, the inside of the pot appears empty, the tree appears short, and at the same time a large pot holds more soil, so it stores too much water, which at best causes excessive vegetative growth and affects styling, and at worst causes root rot. If the pot is too small, the bonsai appears top-heavy, lacking stability, and easily causes insufficient water and nutrients, affecting the tree's growth. Generally speaking, for short and sturdy trees grown as a single specimen, the pot mouth must be smaller than the crown spread, and the pot length must be greater than the trunk height; for tall and towering trees grown as a single specimen, the pot mouth must be larger than the crown spread, and the pot length must be smaller than the trunk height; for combined planting styles, it is suitable to use a slightly larger pot to express a certain spatial environment. In addition, when using a shallow pot, the pot mouth should preferably be large rather than small; when using a deep pot, it should preferably be small rather than large.
The depth of the pot has a great influence on bonsai styling and also has a certain influence on plant growth. If the pot is too deep, the tree in the pot appears low and short, and at the same time it is not conducive to the growth of drought-loving plants; if the pot is too shallow, trees with relatively thick and tall trunks appear unstable, and it is difficult to plant them, and it is not conducive to the growth of moisture-loving plants and flowering and fruiting trees. Generally speaking, combined planting styles should use the shallowest pots; straight-trunk style should use relatively shallow pots; slanting-trunk, lying-trunk and curved-trunk styles should use pots of moderate depth; cliff style should use the deepest cylindrical pots, but large cliff style sometimes instead uses medium-deep pots to contrast and show the length of the drooping branches. In addition, for regular-style tree bonsai, it is customary to use slightly deeper pots; for natural-style tree bonsai, especially those with accessories placed in the pot, the pot must not be deep.
When selecting and matching pots, the style must be consistent with the content of the scene in tone so that harmony is achieved. At the same time, consideration must also be given to benefiting plant growth. If the tree's posture is vigorous and upright, the lines of the pot should also preferably be rigid and straight, using square, rectangular and various angular pots to concentrate the expression of a masculine beauty; if the tree's posture is twisted and gentle, the outline of the pot should preferably use curved lines, using round, oval and various rounded pots to display a feminine beauty. It must be explained that this method of pot selection is not absolute. Sometimes, in order to create a contrast, the opposite approach is also used. Upright trees use low-footed pots; elegant and slanting trees use high-footed pots.
Fast-growing trees with well-developed root systems should use pots with flared or straight mouths to facilitate repotting; slow-growing trees with less developed root systems can use pots with various mouth forms.
For trees in traditional regular-style styling, it is suitable to use square or round pots whose length, width and height differ not too much, and pots in styles such as begonia shape, hexagonal shape and plum blossom shape can also be used; trees with no obvious directionality should use relatively shallow pots of round or square type; slanting-trunk style should use relatively shallow pots of rectangular or oval type; multi-trunk style, forest style, connected-root style and stone-attached style bonsai have more complex content and should use shallow pots of simple shapes such as rectangular or oval.
The texture of the pot has a certain influence on both appreciation and plant cultivation. Pines and cypresses generally should use purple clay ceramic pots; mixed wood types generally mostly use glazed ceramic pots; flower-viewing and fruit-viewing types should be cultivated in earthenware pots to favor flowering and fruiting, and when viewing, an outer porcelain pot or glazed ceramic pot can be added; miniature bonsai should use purple clay ceramic pots or glazed ceramic pots; extra-large bonsai can use carved stone pots or cement pots.
The colors of the pot and the tree scene should both contrast and harmonize. Pines and cypresses are verdant in all four seasons, and when matched with dark-colored purple clay ceramic pots such as red or purple, they appear even more antique and simple; flowering and fruiting types are rich in color and should be matched with brightly colored glazed ceramic pots to make the colors of flowers and fruits even more brilliant. For example, red plum, Chaenomeles speciosa, wisteria and pyracantha can be matched with white, light blue, light green or light yellow glazed ceramic pots; yellow-flowered rhododendron, white plum, Caragana and winter jasmine can be matched with relatively dark-colored glazed ceramic pots; for foliage-viewing and mixed wood types, even more attention must be paid to the color of the pot, such as red maple suitable for a light-colored pot and ginkgo suitable for a dark-colored pot. In addition, when matching a pot, the color of the tree's trunk must also be considered.
The above introduces the main points to note in selecting and matching pots. They cannot be regarded as absolute rules and should be applied flexibly according to specific circumstances. Selecting and matching pots is an important step in bonsai artistic creation and has a great bearing on the success or failure of a bonsai work. Serious exploration and research are needed, and only through extensive practice can one become highly proficient.
(2) Soil: The potting soil for tree bonsai should be selected according to the biological characteristics of each tree species. Different tree species have different requirements for the physical and chemical properties of the soil. Some require acidic soil, such as rhododendron, camellia, Loropetalum and gardenia; some require neutral soil or calcareous soil, such as Chinese elm, zelkova and Chinese hackberry; tamarisk and goji can tolerate alkaline soil. This shows that different bonsai trees require different potting soils. But generally, bonsai plants all need fertile, loose sandy loam rich in humus.
There are many types of potting soil, such as humus soil, paddy field soil, mountain soil, leaf mold, pond mud and river sand, all suitable for bonsai soil. Culture soil can also be prepared according to different situations. Ordinary culture soil is usually prepared from the following materials: 4 parts fertile field soil (garden soil), 4 parts leaf mold (soil formed by piling up and decomposing large amounts of leaves and weeds), 2 parts coarse sand, then mix evenly with a small amount of rice husk ash and sift. Fertilized culture soil is made by adding 1-2 parts cake fertilizer to ordinary culture soil.
(3) Planting: When planting, first select the pot and soil well, and use broken tiles and wire mesh (plastic mesh is even better) to block the drainage hole at the bottom of the pot. Shallow pots mostly use wire mesh, and deeper pots can use broken tiles, with two pieces overlapped to fill one hole. The deepest cylindrical pots need more tiles and sand soil placed at the bottom of the pot to facilitate drainage. The work of filling the holes is very important and is related to the survival of the bonsai plant, so it must not be done carelessly. If not handled properly, the water hole will be blocked, and after watering the water cannot drain out, causing water accumulation in the potting soil and root rot. When using a shallow pot to plant a relatively large tree, metal wire must be used to tie the roots firmly to the bottom of the pot. First place an iron rod at the bottom of the pot, thread the metal wire through the pot hole and tie it around the iron rod, so that the roots can be fixed when planting and will not shake because the potting soil is shallow, affecting root development and growth.
After the position of the tree is determined, put the pre-sifted culture soil into the pot. If the potting soil is divided into coarse and fine, first place the coarse-grained soil at the bottom of the pot, then place the fine-grained soil to cover the roots and fill firmly. When adding soil, while putting it in, use a bamboo stick to press the soil and roots together firmly, but do not press the soil too tightly; as long as there are no large gaps, it is fine, as this is beneficial for air and water permeability. Add soil until it is close to the pot mouth, leaving a little water space to facilitate watering. If it is a shallow pot, then no water space is left, and sometimes soil must be mounded for planting. The depth of planting the tree should also be based on the needs of styling, and generally the roots can be slightly exposed above the soil surface.
After the tree is planted, water it. Newly planted soil is relatively loose, so it is best to use a fine watering can to spray water. The first watering must be thorough. After watering, place it in a windless, semi-shaded place, pay attention to frequent watering, and keep the potting soil moist. After about half a month, new roots will grow, and only then can normal management begin.
The planting of stone-attached style bonsai generally has two situations: one is to plant the tree in a hole in the mountain stone, which is relatively simple, but attention must be paid to using a bamboo stick to press the soil and roots firmly together; the other is to wrap the tree's root system around the stone, which is relatively difficult. The roots can be carefully inserted into the cracks of the selected mountain stone, then the outside is entirely coated with mud, wrapped with moss and tied up, and planted together with the stone into the soil. After two or three years, when the roots have grown fully and become tightly wedged into the stone cracks, it can be taken out and planted in a shallow pot.
5. Stone Matching and Accessories for Tree Bonsai
In tree bonsai, mountain stones or accessories are often used in combination with trees for arrangement. This is a unique landscape-creating technique of Chinese bonsai art. Placing some mountain stones in a pine and cypress bonsai will make a tree of only a foot appear to tower into the sky. In a cliff-style bonsai, placing a sharp peak stone at the base of the roots makes it seem as if the tree is growing on a cliff precipice. When tree bonsai is dotted with mountain stones, it adds poetic and pictorial charm and natural interest. Pine-stone bonsai and bamboo-stone bonsai are both techniques of foil and contrast.
Stone matching can be divided into natural style and garden style: natural-style stone matching imitates the natural combination of wild trees and strange peaks and rocks; garden-style stone matching imitates the artificial arrangement of trees and stones in gardens.
Accessories refer to small ceramic or stone models such as pavilions, terraces, towers, chambers, animals and figures. After adding accessories to tree bonsai, a flavor of daily life can be added. When using accessories, attention must be paid to conforming to the natural environment and the interest of the scene, to the proportions of distance and size, and to the harmony of colors. Accessories are usually placed on the soil surface of the bonsai or on the matching stones. For temporary decorative treatment for display or exhibition, accessories are generally not placed in normal times, so as not to affect management work such as watering and fertilizing the trees.