Where do the materials for making bonsai come from? Pay attention to protecting natural plants
Since the day bonsai art was born, it has been inextricably bound to nature: first, the materials used in bonsai creation (tree stumps, stones, etc.) come from trees, flowers and grasses as well as mountain rocks in nature; second, what bonsai works display is the wonderful scenery of nature. The difference between bonsai art and nature lies in this: bonsai art is the bonsai creator's rational arrangement of various materials, using techniques such as wiring, pruning and assembling to condense a singular individual in nature (such as an ancient towering tree) or a partial natural beauty (such as island scenery, plateau scenery, etc.) into a pot, and in the creative process integrating the author's emotional attachment and the call of the times, thereby embodying the artistic characteristics of bonsai works that are “from nature, higher than nature” and “shrinking the dragon to an inch, expressing aspiration through objects”. Therefore, the development of bonsai art can never be separated from the nature on which it depends for survival, and bonsai art must coexist in harmony with nature.
In ancient times across successive dynasties, bonsai was only enjoyed as a luxury by official families and literati, so demand was not great. And because the forest planting industry at the time was underdeveloped and cultivation techniques were limited, directly digging up tree stumps and other bonsai materials from the wild was the only source channel. At that time, a small amount of digging did not cause obvious damage to the overall luxuriant natural vegetation. But today, with the development and popularization of bonsai art, the demand for bonsai has surged, and relying solely on the traditional channel of wild digging can no longer come close to meeting the demand for materials in bonsai creation. More seriously, excessive digging and indiscriminate reckless digging in recent years have caused natural vegetation in many areas to be destroyed, and some species resources are on the verge of extinction. This is a crazy plundering of nature. If effective solutions are not sought, not only will bonsai art lose the soil on which it depends for survival, but even humanity's own survival will face severe challenges. Therefore, strengthening the protection of natural vegetation and opening up new channels for bonsai materials is the bounden duty of bonsai practitioners and bonsai enthusiasts.
The key measure to strengthen the protection of natural vegetation is to actively cooperate with relevant national departments and governments at all levels in doing a good job of banning collection and digging of natural vegetation. In response to the indiscriminate and reckless digging caused by poverty among villagers in some areas, active policy publicity and increased poverty alleviation efforts should be adopted, which can solve the problem at its root. Of course, the most important thing is still to solve the problem of channels for bonsai material sources. With new source channels, bonsai creators can righteously say “No!” to materials dug from natural wild mountains.
According to the author's investigation and understanding, there are currently three new channels for obtaining bonsai materials———self-cultivated stump material, purchasing from nurseries, and requesting (or negotiating to purchase) from urban green space renovation sites.
Self-cultivated stump material means using branches, trunks and root sections pruned from trees or stump bonsai, selecting those with certain ornamental value for cutting propagation; one can also propagate stump material directly from mother trees or mother stumps through division and layering; in addition, for some tree species, seed sowing can also be used to cultivate stump material. In short, the advantage of self-cultivated stump material is that one can carry out purposeful and selective cultivation according to one's own needs, thereby obtaining relatively satisfactory stump bonsai material, while also saving the cost of purchasing stumps.
Purchasing from nurseries means going to nurseries that have been in operation for more than 5 years (new nurseries operating for less than 5 years generally have fewer varieties to choose from, younger seedlings, and even fewer surplus seedlings or defective seedlings suitable for bonsai), and selecting seedlings suitable as bonsai materials, with those “small old trees” and “defective seedlings” affected by natural storms and other disasters as well as damaged by human factors being the best. This is because such seedlings are waste to the nursery side, and nurseries short on land will mercilessly eradicate them completely. In this situation, choosing these seedlings as bonsai materials means the other party will sell them at extremely low prices, and some will even give them away for free. Why not do it?
Requesting (or negotiating to purchase) from urban green space renovation sites. As the pace of national urbanization construction accelerates, urban greening efforts everywhere are also flourishing, and urban green space renovation projects can be seen everywhere. At these project sites, the original green space retains only large trees, while the rest of the low shrubs, lawns, etc. are all replaced, and many of these low shrubs are suitable for making bonsai. Would it not be a pity to destroy and discard them? Many of them are over ten years old, and having often suffered human damage on the streets, they already display an ancient and rustic natural appearance, their forms no different from strange trees on cliff faces. To obtain these materials, one must first contact the person in charge of the project construction unit, first agree on the method of selection and the purchase price, and then enter the site to collect and select. This channel for obtaining materials is slightly more troublesome, but the materials obtained are of relatively high value, making it most suitable for bonsai enthusiasts at greening construction units and bonsai enthusiasts around the construction site.
In summary, bonsai art must develop, and natural vegetation must also be protected. How to ensure that the development of bonsai art does not come at the cost of sacrificing natural vegetation should be the common goal of people of insight in the bonsai world. May bonsai art forever coexist in harmony with nature!
The Making of Tree Bonsai
Tree bonsai is made by selecting young trees or old tree stumps of ornamental trees, and after cultivation, artistic processing and planting arrangement, placing them in exquisite pots. In its making art, the most important thing is to master the biological characteristics of various trees and give full play to their natural beauty of posture, beauty of charm and beauty of color. For example, the lush vigor of pines and cypresses, the antique elegance and quiet fragrance of plum stumps, the plainness and antiquity of elms and maples, the unrestrained elegance of green bamboo, and the neat branches and leaves of Japanese bush cherry and boxwood. The cultivation, making and management of tree bonsai is a meticulous work 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 master craftsmen, and it still requires careful maintenance and management to ensure its luxuriant growth and beautiful posture. The making and management techniques of tree bonsai generally include the following aspects: tree species selection, tree embryo cultivation, processing and shaping, potting and scene arrangement, and maintenance management. Maintenance management also includes: placement location, watering, fertilizing, pruning and shaping, repotting and soil changing, pest and disease control, etc.
1. Selection of Tree Species
There are many materials suitable for making tree bonsai. Generally, those with gnarled roots, dense branches and fine leaves, beautiful posture, and gorgeous flowers and fruits are best. At the same time, they are required to have biological characteristics such as strong sprouting ability, tolerance to pruning, and long lifespan.
The selection of materials for tree bonsai in our country has a long history and tradition. During the Jiaqing period of the Qing Dynasty (1796-1820), Su Ling of Wuxi wrote “Occasional Records of Bonsai”, which recorded many tree bonsai and divided bonsai plants into the Four Masters, Seven Sages, Eighteen Scholars, and Four Elegants of Flowers and Grasses.
Four Masters: Scotch broom, boxwood, winter jasmine, and savin juniper.
Seven Sages: Huangshan pine, Chinese weeping cypress, elm, maple, holly, ginkgo, and Japanese bush cherry.
Eighteen Scholars: plum, peach, porcupine tomato, kumquat, goji berry, azalea, Chinese incense cypress, Chinese quince, wintersweet, nandina, camellia, Buddhist pine, Midget crabapple, bamboo, crape myrtle, pomegranate, Japanese serissa, and gardenia.
Four Elegants of Flowers and Grasses: orchid, chrysanthemum, narcissus, and acorus.
Many of the tree species selected for ancient tree bonsai above are still commonly used materials for making bonsai today. However, with continuous introduction and discovery, there are already one to two hundred species suitable for tree bonsai, which can usually be divided into the following categories:
Pine and cypress category: Japanese white pine, Huangshan pine, Japanese black pine, Japanese white pine cultivar 'Nishiki', Japanese cedar, dawn redwood, Chinese swamp cypress, Chinese juniper, procumbent juniper, golden-leaf juniper, Chinese incense cypress, creeping juniper, moss cypress, thread cypress, Chinese weeping cypress, Chinese prickly juniper, Buddhist pine, yew, etc.
Deciduous and miscellaneous tree category: Chinese elm, boxwood, Japanese bush cherry, camphor tree, Chinese fringe flower, orange jasmine, Chinese hackberry, Fujian tea, tamarisk, small-leaf privet, etc. Foliage tree category: trident maple, red maple, ginkgo, Chinese holly, bamboo, black bamboo, Buddha belly bamboo, broadleaf lady palm, sago palm, etc.
Flowering tree category: camellia, sasanqua, Scotch broom, spectabilis, Japanese apricot, ornamental peach, crape myrtle, Malus halliana, Midget crabapple, winter jasmine, osmanthus, azalea, Japanese serissa, and Jasminum floridum, etc.
Fruiting tree category: fruiting pomegranate, firethorn, nandina, kumquat, Buddha's hand, hawthorn, Chinese holly, golden bullet tree, oleaster, Ardisia japonica, Japanese persimmon, persimmon, goji berry, Jerusalem cherry, etc. Vine category: Chinese trumpet creeper, ivy, star jasmine, wintercreeper, wisteria, honeysuckle, etc.
2. Collection and Cultivation of Tree Stumps
The materials for tree bonsai mainly come from two aspects: propagation and seedling raising, and collecting tree stumps. The former uses propagation methods such as sowing, cutting, layering, grafting and division to obtain saplings for cultivation from a young age, with relatively free shaping and relatively uniform thickness of branches and trunks, but it takes a long time; the latter digs up tree stumps that have grown for many years from the wild, and by processing according to the material and carrying out cultivation and processing, the time can be greatly shortened, and often old stumps with naturally beautiful, antique and rustic forms can also be selected to make fine bonsai works. 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.
Regarding propagation and seedling-raising techniques, these are introduced in many horticultural books, and this book will not repeat them. Here, the methods of collecting and cultivating tree stumps will be introduced.
Collecting tree stumps requires mastering certain scientific methods, otherwise it is difficult for them to survive, and even more difficult to become finished products, wasting time, manpower, and natural resources.
In selecting tree stumps to collect, comprehensive consideration should be given to tree species, tree age, form, and future prospects. Regarding the selection of tree species, this has been introduced earlier. As for tree age, older stumps are valued, but they must also grow vigorously. As for the form of the stump, do not blindly pursue the bizarre or the figurative (figurativeness is not a selection standard for bonsai art), but rather those with the characteristics of antiquity, singularity, strength and twists are best, and special attention should be paid to the form of the roots and trunk. Tree stumps generally should not be too tall or too large, so as to facilitate survival, processing, potting, and display. Although some tree stumps have certain defects, from the perspective of development, as long as they can be processed and compensated for, they can still be used.
The time for collecting tree stumps is generally after the trees enter dormancy, and it is best before the early spring thaw when the trees have not yet sprouted. Collection in late autumn or early winter is also possible, but winter maintenance is more troublesome, especially in the north, where greenhouse maintenance is required. 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 tree 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 side roots and fibrous roots should be retained. For pines and cypresses and some taproot tree species, it is advisable to retain a proper amount of the main root, otherwise survival is difficult. After the stump is dug up, a heavy pruning can be carried out. Pruning should be based on the form of the stump and with preliminary consideration of future shaping. Generally, a portion of the main branches and trunks is retained and shortened, and the rest are all cut off. For evergreen tree species with weak sprouting ability, such as pines and cypresses, the branches and leaves must not be completely cut off. For collected tree stumps, the roots need not carry soil; it is best to dip them in mud, place them in baskets, and fill in moss to protect the fibrous roots from withering due to loss of water. After bringing them back, they must be planted as soon as possible.
No matter how beautiful its natural form, a tree stump collected from the wild must still go through a certain period of cultivation before it can be made into bonsai, which is called "raising the embryo". Some bonsai enthusiasts, eager for quick success, plant freshly collected tree stumps into shallower glazed pots or purple clay pots, or even expose the roots, attempting to complete the bonsai in one go. As a result, most are difficult to keep alive, let alone shape. This is what is meant by haste makes waste.
For raising the embryo, it is best to choose a place with loose and fertile soil, good drainage, and sufficient sunlight for ground planting, or to use clay pots for planting, so as to facilitate shaping and processing. Planting should be appropriately deep, preferably leaving only the bud eyes above the soil. For taller tree stumps, moss can be wrapped around the trunk. After planting, water thoroughly once, and cover the stump with a little straw to maintain humidity. In high summer temperatures, build a shade shed 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 note that watering must not be excessive, to prevent root rot. In dry weather, it is best to spray water on the leaves frequently. To make the tree embryo take shape as quickly as possible, fertilizing is very important. Newly planted tree stumps have relatively tender roots, so it is advisable to apply thin fertilizer frequently. Fertilizer can be decomposed cake fertilizer or manure, diluted before use. During the embryo-raising period, work such as pruning, bud removal, and pest and disease control must also be done well.
Pruning mainly refers to cutting off branches and trunks not needed for future shaping, so as to avoid consuming nutrients. Dead branches, diseased branches, etc. must 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, the buds needed for future shaping are retained (including spare buds), and all other buds are removed, so as to avoid growing useless branches and trunks. When the retained buds grow into branches and trunks, further selection can be made, cutting off unused branches and trunks, and removing the terminal buds of the retained branches and trunks to promote axillary buds to sprout side branches, increasing the layers and density of branches and leaves.
3. Processing and Shaping of Tree Embryos
Saplings cultivated from a young age generally begin processing and shaping after 3 to 5 years; tree stumps collected from the wild can mostly be processed and shaped after one year of embryo raising.
Before processing, ground-planted tree embryos can be dug up and temporarily planted in pots of basically suitable size, so as to facilitate operation and shaping. Large tree embryos can also be processed and shaped on site.
Processing and making must follow a series of artistic techniques of bonsai creation. First carefully observe and ponder the tree embryo material, and decide what theme to express and how to shape it according to the characteristics of the material, that is, "processing according to the material". Arrange the skeleton of the tree embryo's roots, trunk and branches according to the rules of bonsai art, making it a living bonsai artwork with coordination and symmetry, beautiful lines, and profound artistic conception. If pine is selected as the material, it is suitable to express the vigor and uprightness of its main root, with branches and leaves spread flat in cloud-like layers; cypress is suitable to express its ancient and peculiar trunk, with branches and leaves in clustered form; plum shaping 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, consideration must also be given to the inherent shape of the stump. For example, some tree stumps have straight upright trunks and can follow their nature to be made into the straight-trunk style; some tree stumps have naturally curved trunks and are suitable for the curved-trunk style or the cliff style; some tree 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 while also having natural wild charm. If everything is left entirely to nature, then there is no such thing as bonsai art, but if the traces of artificiality are too excessive, then natural beauty is lost. Therefore, for the shaping of tree stumps, one must never stick to conventions and apply fixed patterns.
The shaping and processing methods also have a certain sequence, usually first the trunk and then the branches, wiring, pruning or carving from bottom to top, which can be determined according to the needs of the tree species and shaping. Different regions have different processing methods due to different customs. Generally, for pines and cypresses and tree species with weak sprouting ability, wiring is the main method. For tree species with strong sprouting ability such as Chinese elm, Japanese bush cherry, Fujian tea, and trident maple, pruning can be the main method. Tree stumps processed by wiring have free shaping, varied twists, and faster shaping; tree stumps processed by pruning are vigorous and natural, but shape more slowly. In southern regions, the climate is warm and trees grow quickly, making them suitable for wiring and shaping; in northern regions, the climate is cold and trees grow more slowly, also making them suitable for wiring and shaping. Of course, these are only general situations. The styles and schools of bonsai differ from place to place, and shaping methods are very different. For example, the Lingnan school adopts the pruning and shaping method of "storing branches and truncating trunks"; the Yangzhou school adopts the wiring and shaping method of "one inch, three bends"; the Suzhou school uses the "coarse wiring, fine pruning" shaping method; the Huizhou school adopts the "zigzag bending" shaping method; the Sichuan school adopts the "square bend" or "drooping bend" shaping method, etc. If we master the most basic methods of pruning and wiring and apply them flexibly according to specific circumstances, ideal results can often be produced.
(1) Wiring method: that is, through wiring materials such as palm fiber, hemp bark or metal wire, the branches and trunks of trees are bent into various shapes.
Metal wire wiring method: This method is simple and easy to carry out, with free bending, but removal is slightly troublesome. It is best to use wire that has been heated over fire, but usually the more economical galvanized iron wire is used. Choose wire of appropriate thickness according to the thickness of the branch or trunk being wired. Metal wire generally uses sizes 12 to 24, used according to matching. 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 1.5 mm
When wiring, 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 is wrapped in a clockwise direction; otherwise, wrap in a counterclockwise direction. Note that while twisting, bend at the same time, 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 some tree 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 the metal wire can be applied. If there are repeated wraps of metal wire on one branch, attention must be paid to the consistency of the wrapping direction, and crossing should be avoided as much as possible.
Palm fiber wiring method: This is a traditional shaping method of Chinese bonsai. Its advantages are: the palm fiber blends with the color of the branches and trunks, it can be appreciated immediately after processing, it is not easy to damage the bark, and removal is convenient, but wiring is relatively difficult. Generally, palm fiber is first twisted into palm ropes of different thicknesses. The middle section of the palm rope is tied to the lower end of the trunk to be bent (or a loop knot is made), the two ends are twisted together a few times, placed at the upper end of the branch or trunk to be bent, a slip knot is tied, then the branch or trunk is slowly bent to the required curvature, and the palm rope is tightened and tied into a firm knot, thus completing one bend. Generally, the bend should not be excessive, otherwise it is easy to lose the natural form. The key to palm fiber wiring lies in mastering the point of force. According to the needs of shaping, choose the position for applying the palm fiber and tying the knot.
The order of palm fiber wiring: at the beginning, first wire the trunk, then the branches and leaves; when wiring branches and leaves, first wire the top, then the lower part; when wiring each part, first wire the large branches, then the small branches; when wiring the trunk, proceed from the base to the top.
Veteran bonsai artists in various places, through long-term practice, have summarized many palm fiber wiring 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 tie the branches and trunks of trees 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 shaping 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 part to be bent to enhance the toughness of the trunk. If the branch or trunk is too thick and difficult to bend, the "knife-cutting method" can also be used, that is, use a sharp small knife to cut a 3 to 5 cm long deep opening at the bending point of the trunk, and then wrap the cut surface with hemp bark as above. This makes bending easier and breakage less likely. To help the cut heal, it is best to make the cut surface perpendicular to the plane in which the bend lies.
Whether metal wire or palm fiber wiring is used, generally after one year it can be removed and the shape will be set. If not removed in time, as the branches thicken, the metal wire or palm fiber will sink into the bark layer, affecting the growth and appearance of the tree. However, for slower-growing tree species and relatively thick branches or trunks, the time can be extended by about half a year to a year.
Wiring time for various tree species: attention should be paid to timely wiring, so that the branches are soft, bending is easy, and after wiring, development and growth are good. If wiring is not done at the right time, the branches are easy to break, and development and growth are also affected. Tree species wired in winter and spring include: Chinese prickly juniper, magnolia, Chinese snowball viburnum, butterfly tree, wintersweet, Japanese apricot, peach, cherry, dwarf flowering almond, flowering almond, Midget crabapple, Malus halliana, pomegranate, crape myrtle, Chinese elm, Chinese hackberry, negundo chastetree, etc. For the tree species from wintersweet onward, before they are fully shaped, a second wiring of newly lignified shoots should also be done in summer. Tree species wired in summer and autumn include: Buddhist pine, armand pine, golden bullet tree, oleaster, Japanese serissa, osmanthus, etc. Tree species wired in winter and autumn include: spectabilis, firethorn, Japanese bush cherry, boxwood, etc. Some tree species such as winged euonymus, winter jasmine, and goji berry can be wired at any time. Flower-viewing tree species such as camellia and azalea are all suitable for wiring before flowering.
(2) Pruning method: that is, through pruning of branches and trunks, removing excess parts and retaining their essence, so as to make the tree form beautiful. This is one of the main means of shaping tree bonsai. The functions of pruning include weakening, dwarfing, and changing the tree form. 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 severe pruning to shorten it and produce the second section branch; when the second section branch grows to a suitable thickness, cut it again, and do the same for the third and fourth section branches in turn. Generally, two small branches are retained on each section branch, one long and one short. After many years of pruning, the branches and trunks are shortened and thickened, vigorous and powerful, gradually forming the required tree form.
Pruning methods: there are measures such as pinching, cutting, thinning, and wounding. Pinching refers to pinching off the growing point and removing leaves. Removing the tip of new shoots during the growth period is called pinching off the growing point. Pinching off the growing point can promote axillary bud growth, produce more branches, inhibit height growth, and help make the bonsai shape beautiful. Removing leaves can promote the sprouting of new leaves. For example, if elm has its old leaves removed during the growth period, the new leaves will become smaller and more refined, which is good for viewing; if maple and pomegranate have old leaves removed, the sprouting new leaves are red, bright and pleasing to the eye. Cutting refers to shortening current-year branches. After shortening, medium and short branches increase, and the mother branch thickens. As the saying goes, when branches are sparse, cut; when cut, branches become dense, which is beneficial to branch-layer shaping. Retrenchment refers to shortening perennial branches, which is the main technique of the Lingnan school's "storing branches and truncating trunks" and is beneficial for renewing and rejuvenating old trees. In the process of raising embryos for wild tree stumps collected, the method of retrenchment and trunk truncation is often used, which is both a dwarfing measure for the stump and a means of renewing and rejuvenating the old stump. Thinning refers to thinning pruning, cutting away part of overly dense branches from the base, which helps improve ventilation and light conditions and promotes vigorous growth of the retained branches. Wounding refers to measures such as scoring, ring peeling, branch twisting, shoot twisting, and branch bending on tree branches and trunks. Flower-viewing and fruit-viewing bonsai often adopt 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 preferable; fast-growing tree species with strong sprouting ability such as tamarisk and elm can be pruned several times a year; for flower-viewing tree species, those that flower on current-year new branches, such as crabapple, apple, crape myrtle, and pomegranate, are suitable for pruning before sprouting; tree species that flower on one-year-old branches such as ornamental peach, Japanese apricot, and winter jasmine are suitable for pruning after flowering.
(3) Carving method: In order to show the antiquity of trees, sometimes a chisel or sharp carving knife can be used according to shaping techniques to carve the trunk, creating natural hollows and protrusions. Part of the bark can also be peeled off, or even half the trunk split away (such as the split-trunk style shaping of plum stumps), making the tree present a naturally withered and aged posture. But when carving, the traces of artificial knife and axe work must not be revealed. This method is mostly used for pines and cypresses and relatively large old tree stumps.
(4) Root-raising method: Tree stump bonsai values exposed roots and gnarled roots, and this is also one of the important contents of bonsai appreciation. The root-raising technique usually plants the tree first in a deep pot, and then year by year removes the mounded soil above, causing the thick roots to be raised above the soil surface. At the same time, the roots can also be artistically coiled and bent to make them appear more ancient, singular, plain and rustic. But when raising roots, moderation must be exercised, and too many roots must not be exposed all at once, so as not to affect the growth of the stump or even cause 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 form, but the coiling of the root system must be orderly and aesthetically pleasing, and must not be tangled randomly, losing naturalness and instead affecting the effect.
The forms of trees in nature are infinitely varied, and as a miniature of them, bonsai should of course also be diverse. Therefore, it is difficult to set down specific standards for the shaping of trees. But it must conform to nature and be full of pictorial quality. Arbitrary artificiality loses the natural form of the tree. But merely conforming to nature is also 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, accumulate perceptual knowledge, and especially 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 miscellaneous trees. At the same time, one should observe more the ways trees are painted in landscape paintings and learn techniques from them. In addition, artistic accomplishment should be improved from many aspects such as aesthetics and literature.
4. Planting of Trees
Tree embryos that have been processed and shaped, if they cannot yet be completed, can continue to be cultivated in the ground; if they are close to completion, they can be potted and arranged in a scene.
(1) Pot selection: Only when a beautifully shaped tree is matched with a pot of moderate size, appropriate depth, matching style, harmonious color, and suitable texture can it become a perfect bonsai artwork.
When selecting 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, which will retain too much water, causing the tree to grow excessively and affecting shaping in mild cases, or causing root rot in severe cases; if the pot is too small, the bonsai will appear top-heavy, lacking a sense of stability, and it is easy to cause insufficient water and nutrients, affecting tree growth. Generally speaking, for short and sturdy trees, when planted alone, the pot mouth surface must be smaller than the tree crown range, and the pot length must be greater than the height of the trunk; for tall and towering trees, when planted alone, the pot mouth surface must be larger than the tree crown range, and the pot length must be smaller than the height of the trunk; for combined planting style, it is suitable to be slightly larger to express a certain spatial environment. In addition, when using a shallow pot, the pot mouth surface should preferably be larger rather than smaller; when using a deep pot, it should preferably be smaller rather than larger.
The depth of the pot has a great influence on bonsai shaping and also a certain influence on plant growth. If the pot is too deep, the tree in the pot will appear low and short, and it is also not conducive to the growth of drought-loving plants; if the pot is too shallow, trees with relatively thick and tall trunks will have a sense of instability, and it will also be difficult to plant, and it is not conducive to the growth of moisture-loving plants and flowering and fruiting trees. Generally speaking, the combined planting style should use the shallowest pot; the straight-trunk style should use a relatively shallow pot; the slanting-trunk style, lying-trunk style, and curved-trunk style should use pots of moderate depth; the cliff style should use the deepest cylindrical pot, but the large cliff style sometimes instead uses a medium-deep pot to show by contrast the length of the drooping branches. In addition, for regular-style tree bonsai, a slightly deeper pot is customarily used; 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 they can be harmonious. 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 be firm and straight, using square, rectangular, and various angular pots to concentrate on expressing a masculine beauty; if the tree's posture is twisted and gentle, the outline of the pot should preferably be curved, 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 is also done. Straight and 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 of various mouth forms.
For trees with traditional regular-style shaping, square or round pots with little difference among length, width and height are suitable, and pots in the shape of crabapple, hexagonal, or plum blossom can also be used; trees with no obvious directionality should use relatively shallow pots such as round or square ones; the slanting-trunk style should use relatively shallow pots such as rectangular or oval ones; multi-trunk style, forest style, connected-root style, and stone-attached style bonsai have more complex content, so simple-shaped shallow pots such as rectangular or oval ones are suitable.
The texture of the pot has a certain influence on both viewing and planting plants. Pines and cypresses generally should use purple clay pottery pots; miscellaneous trees generally use glazed pottery pots; flower-viewing and fruit-viewing types should use clay pots for cultivation, which is beneficial for flowering and fruiting, and when viewing, an outer porcelain or glazed pottery pot can be added; miniature bonsai should use purple clay pottery pots or glazed pottery 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 matching them with deep-colored purple clay pottery pots such as red or purple makes them appear even more antique and plain; flower and fruit types are rich in color and should be matched with brightly colored glazed pottery pots, making the colors of flowers and fruits even more gorgeous. For example, red plum, spectabilis, wisteria, and firethorn can be matched with white, light blue, light green, or light yellow glazed pottery pots; yellow-flowered azalea, white plum, Scotch broom, and winter jasmine can be matched with darker-colored glazed pottery pots; for foliage and miscellaneous tree types, even more attention must be paid to the color of the pot, such as red maple suitable for light-colored pots and ginkgo suitable for dark-colored pots. In addition, pot matching must also take into account the color of the tree trunk.
The above introduces the main points to note in selecting and matching pots, which should not 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 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 soil. Some require acidic soil, such as azalea, camellia, Chinese fringe flower, and gardenia; some require neutral soil or calcareous soil, such as Chinese elm, zelkova, and Chinese hackberry; tamarisk and goji berry can tolerate alkaline soil. This shows that different bonsai trees should use 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, river sand, etc., 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 sieve. Fertilized culture soil is ordinary culture soil mixed with 1 to 2 parts cake fertilizer.
(3) Planting: When planting, first select the pot and soil well, and use broken tiles and wire mesh (plastic mesh is better) to plug the drainage holes at the bottom of the pot. Shallow pots mostly use wire mesh; deeper pots can use broken tiles, with two pieces overlapped to fill one hole; the deepest cylindrical pot needs more tiles and sand to pad the bottom of the pot to facilitate drainage. The work of filling the holes is very important, as it concerns the survival of the bonsai plant, and must not be done carelessly. If not handled carefully and the drainage holes are blocked, water will not drain out after watering, the potting soil will accumulate water, and the plant will suffer 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, pass the metal wire through the pot hole and tie it around the iron rod, so that the roots can be fixed during 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 previously sieved culture soil into the pot. If the potting soil is divided into coarse and fine, first place the coarse soil at the bottom of the pot, then place the fine soil to cover the roots and fill firmly. When mounding soil, put it in while using a bamboo stick to press the soil firmly against the roots, but do not press the soil too tightly; as long as there are no large gaps, it is fine, which is beneficial for air and water permeability. Put the soil until it is close to the pot mouth, leaving a little watering space to facilitate watering. If it is a shallow pot, then no watering space may be left, and sometimes soil must be mounded for planting. The depth of tree planting should also be based on shaping needs; generally, the roots can be slightly exposed above the soil surface.
After the tree is planted, it can be watered. Newly planted soil is relatively loose, so it is best to water with a fine spray pot. The first watering must be thorough. After watering, place it in a windless, semi-shaded place, pay attention to watering frequently, and keep the potting soil moist. After about half a month, new roots will grow, and only then can normal management be carried out.
For the planting of stone-attached style bonsai, there are roughly two situations: one is to plant the tree in a hole in the mountain stone, which is relatively simple, but care must be taken to use a bamboo pick to press the soil firmly against the tree roots; the other is to wrap the tree's root system around the stone, which is relatively difficult. The tree roots can be carefully embedded into the cracks of the selected mountain stone, the entire outside smeared with soil, then wrapped and tied with moss, and planted together with the stone into the soil. After two or three years, when the roots have grown fully and become tightly embedded in 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 scene-making technique of Chinese bonsai art. In a pot of pine and cypress bonsai, arranging some mountain stones will make a tree of just over a foot appear to have the momentum of reaching the sky. In a cliff-style bonsai, placing a pointed peak stone at the base of the roots makes it seem as if the tree is growing on a cliff face. 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 methods of setting off 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 peak stones; garden-style stone matching imitates the artificially arranged scene of trees and stones in gardens.
Accessories refer to small ceramic or stone models such as pavilions, terraces, towers, chambers, animals and figures. After tree bonsai is added with accessories, it can add a flavor of life. When using accessories, attention must be paid to conforming to the natural environment and scenic interest, and to the proportion of distance and size, as well as the harmony of colors. Accessories are usually placed on the soil surface of the bonsai or on matched stones. For temporary decorative treatment for display and viewing or exhibitions, accessories are generally not placed at ordinary times, so as not to affect management work such as watering and fertilizing the trees.
Techniques for Making Coiled Roots of Bonsai Tree Stumps
Techniques for Making Coiled Roots of Bonsai Tree Stumps
Bonsai is a living three-dimensional painting, a silent poem containing deep meaning, and an artistic miniature of famous mountains and great rivers, strange trees and bizarre woods in nature. Therefore, to make bonsai, in addition to having certain horticultural knowledge and making techniques, one must also carefully observe the postures of old trees, ancient woods, strange mountains, and bizarre stones in nature, absorb a great deal of artistic nourishment from ancient and modern landscape paintings, and experience more the creative artistic conception of others' successful bonsai works, so as to continuously open up new artistic realms and create artistic bonsai with exquisite composition and profound meaning and endless aftertaste. Lingnan bonsai can be divided into two major categories: first, tree stump bonsai making, and second, landscape bonsai making.
(1) Tree stump bonsai making.
The main material of tree stump bonsai is trees, and the key is to choose a tree form suitable for the making intention. First, one must know how to distinguish which are excellent tree forms and which are poor tree forms. Because various trees growing in wild mountains and ridges have different shapes and postures due to the influence of geographical environmental factors, the head, roots, trunk and branches of the tree stump must be comprehensively appraised, with the selection of the head, roots and trunk being the focus. If the tree form is poor, even if great effort is spent, it will be difficult to cultivate it into an artistic masterpiece. Therefore, in the process of making Lingnan bonsai, attention must be paid to appraising the tree form, conceiving the composition, selecting good trunks, thinning and arranging the root system, and cultivating carefully. The purpose is to express the unique merits of the tree stump, so that the bonsai made is vivid in spirit and charm, antique and picturesque, and does not fall into vulgarity.
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1. Appraising the Merits of Tree Forms.
(1) Excellent tree forms.
① Requirements for the trunk. The various forms of trees all come from natural shapes. The trunk should taper gradually from the base all the way upward, shaped like a bamboo shoot. The greatest taboo is a swollen middle, which loses natural proportion. As for the proportions of the whole tree, the base of the tree, the tree roots, and the shaping of the trunk must match appropriately. If the trunk is tall, straight and majestic, in the kapok shape, then the tree head is required to have buttress roots or roots exposed on three sides, and there must be no biased roots. If the trunk is in the cliff shape, then there must be biased roots growing naturally in the corresponding direction. Apart from the single-trunk kapok shape, the trunks of other tree forms should be selected as round and full yet spiraling and curved, with many pits and grooves near the head, an antique old trunk.
② Requirements for the tree roots. The base of the tree in stump bonsai should have roots growing on three or four sides, exposed above the soil surface. The size of the roots should preferably be about 1 cm in diameter; too small lacks natural beauty, too large is not easy to grow. The direction of the tree roots should be centripetal and radiating, forming a pinwheel shape, naturally extending in their respective directions and not overlapping one another. A tree root matching the tree head and trunk in this way is a superior-grade tree blank.
③ Requirements for the tree head. It is best to have connected heads and separate roots, that is, each tree has its own root system, but the trees are connected to the same mother body. This kind of tree head is called a forest-style tree head and is an extremely rare tree form.
(2) Poor tree forms
① A trunk that is bulging, snake-like, or dead-curved. For tree stump shaping, regardless of whether the selected tree form is curved-trunk, straight-trunk, slanting-trunk, lying-trunk, cliff-trunk, etc., the trunk is the main factor. There are three taboos for the trunk: first, taboo against a sudden bulge in the middle of the trunk. Once the middle is thick, like a tumor, it makes the tree form bloated and unnatural, ruining the shaping of the entire trunk. Second, taboo against a snake-shaped trunk. The posture of the trunk is valued for extending evenly and naturally according to the different forms of the trunk, whereas a snake-shaped trunk bends continuously left and right, and the bends are thick and large while the extending trunk is thin and small. Third, taboo against dead curves. The bending of the trunk should follow the momentum; the degree of curvature must not form a right angle. If the angle is sharp and there are no long branches, it is commonly called a dead curve. This kind of trunk is stiff and rigid, losing natural beauty, and cannot be used.
② A tree head that is biased, too large, or absent. The tree head refers to the base of the trunk. The phenomenon of a biased head in a tree occurs because the tree head, during growth, is squeezed by rocks and the like, causing incomplete development and slanting to one side, tottering and very unstable. This kind of tree head cannot be selected. A general tree head is slightly larger than the trunk, but if the head is too large and the trunk is small, the proportion is thrown off, forming what is commonly called the "fragrant chicken pecking taro" shape, which is very unsightly and also unusable. The heads of the vast majority of trees grow quickly and are relatively fat. But some grow with a thick upper trunk and a thin head, forming a top-heavy and unstable shape. Even if the trunk posture is very beautiful, it cannot be made into a finished product, so it is not suitable to take.
③ Tree roots that are biased or returning. Biased tree roots means the tree roots are concentrated growing on one side. If they grow on the right side, then the right base is fat, while the left base develops unevenly. This kind of tree head form is only suitable for use with cliff-shaped trunks; apart from that, other tree forms should not select it. If the root system of a tree grows normally, it extends in a regular and orderly manner, so some tree roots grow in a "V" shape, some in a "W" shape, and some have roots exposed on four sides. But some tree roots, during growth, due to the influence of objective factors, become returning, randomly upturned, and bloated, completely inconsistent with the natural form of trees, losing natural beauty, and cannot be used.
④ Branches that are biased. Tree branches growing concentrated on one side of the trunk mean that the side of the trunk with long branches will inevitably be fat and swollen, while the blank side of the trunk mostly becomes narrow and one-sided, lacking beauty. This kind of branch cannot be used.
2. Composition. Composition is the beginning of the artistic treatment of bonsai, and it is also the key to shaping the entire bonsai, so the composition must be based on the actual form of the material. Because tree stumps each have different essences and forms, and the vast majority of them grow naturally, when processing them you must also follow nature, strive for simplicity, and avoid forced remodelling. If making a kapok-style bonsai, the kapok tree is often used as the model to imitate. The kapok tree commonly seen in the Lingnan region is tall, sturdy, majestic and upright, displaying a spirited and elegant bearing. If, when making it, you do not base it on the characteristics of the tree form and insist on remaking tree material suitable for a kapok-style bonsai into a large-tree form, slanting form or twisted form bonsai, this not only violates the laws of nature but also makes it impossible to produce a fine piece. Therefore, for making stump bonsai, you must first distinguish the tree species, judge the tree form, observe repeatedly, ponder and study again and again, and draw a blueprint on paper, or sketch the general outline in your mind, to form a relatively complete conception, and then prune according to that conception. In this way you both preserve the tree's style and bring out its unique finer points.
3. Selecting the trunk
The size, slant, straightness and curvature of the trunk each have their own merits; what matters most is natural beauty and well-developed roots. Any trunk with ridges, knots, ruggedness, wrinkles and an aged, unusual look can be selected. The height and thickness of the trunk should conform to the overall proportions of the bonsai, striving for natural harmony. If the trunk is smooth, during the period of vigorous growth you may also carve and chisel the bark with a knife, artificially causing scars on the trunk to add an antique charm. The trunk should taper gradually from the base to the tip; the greatest taboo is a swollen middle, which loses natural proportion. If it is a curved trunk, the curves should run from bottom to top, from sparse to dense. When selecting the trunk, do not neglect the position of the branches on the trunk. If the trunk has branch claws and branches growing opposite each other at the upper and lower, front and back diagonal angles of the middle of the trunk, they must not all be pruned away; it is best to leave about one cun, in order to shorten the time needed to cultivate branch claws. Afterwards each branch layer should stack five to seven layers, and pruning should go from long to short and from sparse to dense; it is best to arrange the branches on the trunk in a triangular position. If all the branches on the trunk are too thick and out of proportion to the trunk, then cut them off together with the other miscellaneous branches, let the trunk sprout again, and then reposition them. This is something that cannot be neglected when selecting the trunk.
4. Root trimming
Roots are the organs that support the tree body and absorb nutrients from the soil. When pruning tree roots, first pay attention to preserving the original fibrous roots, but thick roots must be shortened, because after the stump survives, many fibrous roots grow newly from the saw-cut wounds; if the roots are too long, they will affect the potting of the shaped bonsai. Therefore, how long or short to saw the thick roots must be decided according to the shape of the stump. If the stump is intended for a round pot, then the thick roots on all four sides should be shortened accordingly; if it is intended for a rectangular pot, the thick roots extending to the left or right should be left slightly longer. The roots should grow exposed above the soil surface, showing gnarled roots standing out, vigorous and aged.
5. Branch trimming
Branch trimming, as introduced here, is the method of shaping the raw material tree, and is different from pruning in the normal management of a bonsai. Branches are an inseparable part of the bonsai tree and express its main posture. In particular, branches growing at one third of the way up the trunk measured from the pot surface play a role in balancing the form of the whole tree left and right, and such branches must be pruned carefully so as not to destroy the natural beauty of the material. In short, in a bonsai trained into shape, the density, thickness and length of the branches, and the distances between branches, must be well balanced. If the branches of the material do not meet this requirement, it is better to cut off all the original branches completely, leaving only the same trunk, so that it sprouts again, and only after growing branches prune as needed.
6. Cultivation
A new stump that has been pruned and shaped must be cultivated promptly before it sprouts, because at this time the tree is still in its dormant period, and absorption and transpiration are not great. For example, elms, pines and cypresses can be transplanted around Great Cold, while orange jasmine and Japanese bush cherry can be transplanted around the Beginning of Spring. Therefore, bonsai enthusiasts must master the sprouting and growth conditions of each plant to improve the survival rate of cultivation. When cultivating, the following work must be done well.
(1) Promoting rooting
To improve the survival rate of a new stump, the key is to make it root early and grow rapidly.
According to the physiological action of plants, whenever the organism is wounded, its cells are stimulated and divide faster to make up for the loss and achieve physiological balance; this is the effect of regeneration. To make the roots of a new stump form rapidly, be sure to cut the ends of the main roots evenly, so that new roots grow out from around the new cut surfaces. In addition, you can also lightly split several cuts with a sharp knife in different directions around thicker roots; generally young roots will grow from around the wounds, and even if no roots grow, it will not affect the growth or appearance of the stump. Roots grow faster in weak light than in strong light, and grow even faster in an environment without light. Based on this principle, the stump can be placed in a dark place or the soil surface can be darkened to promote rooting. Plant growth regulators can also be used to hasten rooting of the stump.
When hastening rooting, also pay attention to the following issues. First, control the amount of water supplied. Do not let the roots receive too much water; if too much is irrigated, before new roots have grown, too many buds will grow, and once water is insufficient or the air is dry, the plant will easily die. Second, choose a time with suitable temperature for cultivation. When the soil temperature is higher than the air temperature, the plant will root first and then sprout, or the roots will grow fast while growth is slow, because absorption exceeds transpiration, and the tree easily survives. Therefore, you must do your utmost to avoid cultivating new stumps when the temperature is high; generally 20 to 25 degrees Celsius and a relative humidity of 80 to 90 percent are most suitable. Finally, do not casually remove young buds. Never casually remove newly emerged young buds; even useless ones should be kept temporarily, because once young buds are removed, the rooting ability is weakened accordingly, or no roots grow at all, and even roots that have already grown may shrivel, because leaves and roots restrain each other. The leaves of plants have the function of evaporating water, and the evaporation of leaves urges the roots to restore their absorption function quickly; if leaves with evaporation function are lost, the water transport channels of the roots will be blocked, reducing the survival rate of the stump.
(2) Shortening the time the stump is out of soil
Generally, stumps are dug back from the mountains and fields, and the time out of soil is at least three or four days, or as much as eight or ten days. If left too long, the tree only transpires without water replenishment, and easily dehydrates and withers, so you must seize the opportunity to plant it as soon as possible and shorten the time the stump is out of soil.
Soil is the main source of plant nutrients. When covering the soil for planting a new stump, pay attention to air permeability and drainage, and gently firm the soil so that every root is in close contact with the soil, ensuring that roots cling to soil and soil clings to roots. First, according to the needs of the stump, break the soil into suitable small particles, then divide the soil into coarse, medium and small grades. Put the coarse and large particles at the bottom of the pot and around the area to be controlled, place some medium and small particles as a cushion for the tree stump; the tree roots must not touch the pot edge or pot bottom. Then cover generously with the small-particle soil, but do not fill the pot too full. Then insert a small bamboo skewer into the soil and move it left and right to tamp it firm, until the soil and roots are in close contact. Then place the pot in water so that water seeps in from the hole at the bottom of the pot and rises to the pot surface; you can also sprinkle water from the pot surface, but it must be sprinkled sufficiently, and then place it under a shade frame for cultivation.
(3) Sealing wounds
After a new stump has been pruned and trimmed, there are many wounds from knives, saws and chisels. These wounds are easily invaded by bacteria, harming only a local part in minor cases or affecting the whole tree in serious cases, so sealing the wounds is necessary. The simplest method is to smear the wounds with beeswax, paraffin wax or white latex, or wrap the wounds with strips of cloth. Note that any old wounds must all be freshly cut or trimmed again, and immediately sealed after cutting or trimming. Sealing wounds not only prevents bacterial invasion, but also has a certain effect in preventing water evaporation.
(4) Water transport
A newly planted stump has not yet grown new roots, and the original roots have been injured and cannot absorb water, so the branches and trunk easily dry up. On the one hand, you can use a watering can to spray mist in the morning and evening, moistening the branches and trunk so that the bark stays moist. On the other hand, you can wrap each wound with absorbent cotton (medicinal cotton) soaked in water to keep it from drying out; with this treatment, wax sealing is unnecessary. Newly planted stumps should not be watered too much, otherwise the stump will sprout too many buds while the roots grow slowly and cannot supply the evaporation needs of the buds, causing the stump to wither. Therefore, you must restrict the amount of water as much as possible, and after new roots and new buds have emerged, just water an appropriate amount according to the number of buds.
Plants easily root in dark places, so after a new stump is planted well, it should be placed in a dark place, and after budding gradually given moderate sunlight. When the branches and leaves are lush, you can give more water and more sunlight to benefit the plant's growth.
(5) Fertilizing
It is generally believed that newly planted stumps cannot be fertilized, and that especially fertilizing too early will cause the stump to suffer "indigestion." But practice has shown that this is not so; as long as you can grasp the development of the stump, especially after new roots have grown, striving to apply an appropriate dilute liquid fertilizer in good time can better promote the growth of fibrous roots and the vigorous growth of branches and leaves.