A Detailed Guide to Shaping, Pruning and Styling Methods for Tree Bonsai
Tree bonsai can be said to be a living art, and the creation and making of tree bonsai cannot be separated from shaping and pruning. The shaping and pruning of trees must be determined according to the plant's growth habits, soil structure and possible styling, combining the relevant techniques, styling concepts and compositional ideas into the "cut." This is also a concrete expression of human aesthetic characteristics based on the laws of plant growth and development. Next, the editor will explain the shaping, pruning and styling methods for tree bonsai.
In order to better carry out bonsai pruning, the pruning method proposed by the editor is that tree bonsai adopt the technique of "coarse wiring and fine pruning," with pruning as the main method and wiring as the auxiliary method. It should be noted that when pruning, the existing styling must be adjusted so as to perfect the existing parts and to seek out and cultivate new points of interest. Branches that affect the beauty of the bonsai, old and weak branches, and diseased and pest-infested branches should be removed in good time. It is necessary to ensure that the bonsai trees can still grow and develop normally and bloom and bear fruit even when conditions such as soil, fertilizer and water in the pot are limited.
[Main Methods for Shaping, Pruning and Styling Tree Bonsai]
1. For the trunks and branches of tree stumps of species such as Chinese elm (Ulmus pumila), Sageretia thea (Chinese sweet plum) and trident maple (Acer buergerianum), use palm fiber to wire them into flat, slightly inclined two-and-a-half-bend S-shaped pads, then later trim them with scissors into oval shapes, with the middle part slightly raised, so as to maintain a cloud-like form. According to the growth habits of the bonsai tree, form a "crown" for each tree stump, keep the side branches extended, and make it more beautiful. For slow-growing and evergreen species such as pomegranate (Punica granatum), boxwood (Buxus), pine and cypress, when making the bonsai, one should work on the premise of maintaining the natural form, wiring some branches so that the foliage is evenly distributed, with pleasing heights and an elegant, flowing appearance.
2. For broadleaf plants with relatively strong sprouting ability, such as Chinese elm (Ulmus parvifolia), Sageretia thea and firethorn (Pyracantha), use the method of pinching to maintain the original layers and posture of the bonsai. For coniferous species such as five-needle pine (Pinus parviflora), Huashan pine (Pinus armandii), black pine (Pinus thunbergii) and Huangshan pine (Pinus hwangshanensis), control branch growth through short pruning and bud removal to prevent the foliage clusters from growing too densely and affecting the beauty of the bonsai tree. This method not only benefits the healthy growth of the bonsai plant, but also gives the tree bonsai a graceful outline and high ornamental value.
A Brief Discussion of the Production and Care Methods for Hornbeam Bonsai - Experience Edition
Hornbeam (Carpinus) is a tree of the genus Carpinus in the birch family. In the Beijing area, hornbeam mostly grows on relatively high hillsides. The plants are not tall, the branches and trunks curve naturally, and the roots are exposed and knotted. Hornbeam is cold-resistant, drought-resistant and highly adaptable. Its new branches are soft and can be wired into many shapes, making it a good tree species for making bonsai. Our country has only about ten years of history in using hornbeam to make bonsai, so it still awaits further development. This article focuses on introducing the production and care methods for hornbeam bonsai for the reference and study of flower lovers.
1. Tree Form Production
Hornbeam is widely distributed in the Beijing area. To use it for bonsai, old stumps can be dug from the mountains and fields before spring sprouting. They must be dug before sprouting; if dug after they have sprouted, it is very difficult for them to survive. Because hornbeam grows on mountains where the soil is poor and thin and the climate is relatively cold, and after many years of artificial cutting, unusually varied and unusual tree stumps can often be found. The styling of hornbeam should be carried out after leaf fall in autumn and before sprouting in spring. The styling method is mainly pruning, with wiring as a supplement. By combining pruning and wiring, bonsai of many styles can be made, such as curved-trunk style, slanting-trunk style, lying-trunk style, raised-root style and double-trunk style, and the branches and foliage are mostly made into the natural style.
2. Planting and Pot Selection
After the hornbeam stumps collected from the wild are pruned, first plant them in plain sandy soil in pots or in the ground. Those planted in the ground should be shaded with reed blinds or similar materials, while those in pots should be placed in a shaded place, and clear water should be sprayed on the stumps and the ground several times a day to maintain the humidity of the microclimate so as to help the stumps survive. For hornbeam that has already been potted in a fine pot, repotting should be carried out before spring sprouting. The soil should be mainly humus soil with an appropriate amount of sand added; if some soil from its original growing site can be added, so much the better. Hornbeam bonsai mostly use purple clay pots. The shape of the pot is determined by the tree's style. For upright-trunk, slanting-trunk, lying-trunk and double-trunk styles, rectangular or oval pots of medium depth are mostly used, while for cascade style, tall cylindrical pots are commonly used.
3. Care and Management
(1) Location. Hornbeam likes light. Potted tree stumps that have already survived should be kept in a place with ample sunlight and good ventilation, but they should be properly shaded when the weather is hot. Hornbeam planted in the ground can overwinter outdoors; potted ones should be moved into a low-temperature indoor room in early winter, and they can overwinter safely at a room temperature of about 5°C.
(2) Watering. For potted hornbeam, watering should follow the principle of "water when dry, stop when wet," and keeping the pot soil moist is sufficient. If watered too much, root rot often occurs, but if the pot soil is too dry, the plant will dehydrate and die. Excessive watering will also promote excessive growth of new branches, which not only consumes nutrients but also affects the tree's shape. After winter begins, watering should be reduced.
(3) Fertilizing. When planting hornbeam, place a small amount of decomposed cake fertilizer at the bottom of the pot as a base fertilizer. After the spring buds stop growing, apply a diluted, thinly decomposed organic liquid fertilizer about once every half a month, for 3-4 consecutive applications. If fertilizer is applied when the new buds are sprouting, it will promote excessively rapid growth of new branches and affect the tree's shape.
(4) Shaping. Hornbeam has relatively strong sprouting ability. For buds sprouting in spring, any that are not needed for the styling should be cut off in good time to avoid consuming nutrients. After leaf fall in autumn or before sprouting in spring, the tree stump should be pruned once to promote the growth of side branches and make the tree shape more beautiful.
(5) Pest and disease prevention. Hornbeam has few pests and diseases. Occasionally leaf-eating pests occur, and once discovered they should be removed in good time.
Summary: The above is an introduction to the production and care methods for hornbeam bonsai. I hope everyone will exchange more experience in caring for hornbeam bonsai.
The Production 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 production art, the most important thing is to master the biological characteristics of various trees and give full play to their natural beauty of posture, charm and color. For example, the lushness and vigor of pine and cypress, the antique elegance and quiet fragrance of plum stumps, the plainness and ancient simplicity of elm and maple, the elegant beauty of green bamboo, and the clear branches and leaves of Sageretia thea 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 beautiful styling and enduring appeal is formed through the aesthetic ideas and superb artistic techniques of skilled craftsmen, and it must also be ensured to grow luxuriantly and maintain a beautiful posture through careful care and management. The production and management techniques of tree bonsai roughly include the following aspects: selection of tree species, cultivation of tree material, processing and styling, potting and scene arrangement, and care and management. Care and management also includes: placement location, watering, fertilizing, pruning and posture adjustment, repotting and soil changing, and pest and disease prevention.
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 gorgeous flowers and fruit are considered best. At the same time, they are required to have biological characteristics such as strong sprouting ability, tolerance to pruning, and long life.
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), Wu Xi Su Ling wrote "Occasional Records of Bonsai," which recorded many tree bonsai and divided bonsai plants into the Four Great Masters, the Seven Sages, the Eighteen Scholars, and the Four Elegant Flowers and Plants.
Four Great Masters: Caragana sinica, boxwood, winter jasmine, and Juniperus chinensis var. sargentii.
Seven Sages: Huangshan pine, Juniperus formosana, elm, maple, holly, ginkgo, and Sageretia thea.
Eighteen Scholars: plum, peach, Damnacanthus indicus, Daphne genkwa, goji berry, azalea, Sabina chinensis, Chinese quince, wintersweet, nandina, camellia, Buddhist pine (Podocarpus macrophyllus), Malus spectabilis, bamboo (Bambusa multiplex), crape myrtle, pomegranate, Serissa japonica, and gardenia.
Four Elegant Flowers and Plants: orchid, chrysanthemum, narcissus, and acorus.
Many of the tree species selected for 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 species suitable for tree bonsai, which can generally be divided into the following categories:
Pine and cypress category: Japanese five-needle pine, Huangshan pine, black pine, Pinus densiflora 'Umbraculifera', Japanese cedar, dawn redwood, Chinese swamp cypress, Chinese juniper, Sabina procumbens, Juniperus chinensis 'Aurea', Sabina chinensis, Juniperus procumbens, Juniperus chinensis 'Pfitzeriana', Juniperus virginiana 'Canaertii', Juniperus formosana, Juniperus rigida, Buddhist pine (Podocarpus macrophyllus), and yew.
Mixed wood category: Chinese elm (Ulmus parvifolia), boxwood, Sageretia thea, Syzygium buxifolium, Chinese loropetalum, orange jasmine, Chinese hackberry, Fujian tea (Carmona retusa), tamarisk, and small-leaf privet. Foliage tree category: trident maple, red maple, ginkgo, Ilex cornuta, bamboo (Bambusa multiplex), bamboo (Bambusa ventricosa), Buddha belly bamboo, palm bamboo, and sago palm.
Flowering tree category: camellia, sasanqua camellia, Caragana sinica, Chaenomeles speciosa, plum, ornamental peach, crape myrtle, Malus halliana, Malus spectabilis, winter jasmine, osmanthus, azalea, Serissa japonica, and Jasminum floridum.
Fruiting tree category: fruiting pomegranate, firethorn, nandina, kumquat, finger citron, hawthorn, Ilex cornuta, Diospyros cathayensis, Elaeagnus pungens, Ardisia japonica, Diospyros rhombifolia, persimmon, goji berry, and coral cherry. Vine category: Chinese trumpet creeper, ivy, star jasmine, Euonymus fortunei, wisteria, and honeysuckle.
2. Collection and Cultivation of Tree Stumps
The materials for tree bonsai mainly come from two sources: propagation and seedling raising, and collection of tree stumps. The former uses propagation methods such as sowing, cuttings, layering, grafting and division to obtain saplings for cultivation from an early age. The styling is relatively free, and the thickness of the tree branches and trunks is relatively uniform, but it takes a long time. The latter involves digging up tree stumps that have grown for many years from the mountains and fields, then processing them according to the material and cultivating and processing them, which can greatly shorten the time. Often, old stumps with naturally beautiful, quaint and simple forms can also be selected and made into fine bonsai. The disadvantage is that it is limited by the inherent form of the stump, and the thickness ratio between the main trunk and side branches is not easy to make uniform. In addition, some precious tree species such as five-needle pine, Sassafras tzumu and red maple cannot be collected in the mountains and fields, so saplings have to be obtained through artificial propagation.
Techniques for propagation and seedling raising are introduced in many gardening books, so this book will not repeat them. Here, the methods for collecting and cultivating tree stumps will be introduced.
Certain scientific methods must be mastered when collecting tree stumps; otherwise it is difficult for them to survive, let alone become finished products. This wastes time, manpower and natural resources.
In selecting tree stumps to collect, one should consider tree species, tree age, form and future prospects comprehensively. The selection of tree species has been introduced earlier. As for tree age, older stumps that have grown for many years are more valuable, but they must also grow vigorously. As for the form of the tree stump, one should not blindly pursue the bizarre or the pictorial (pictorial resemblance is not a selection standard for bonsai art); rather, those with ancient, unusual, vigorous and twisting characteristics are best, and special attention should be paid to the form of the roots and the main 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 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 best after the trees enter dormancy and before the trees sprout, when the ground thaws in early spring. Collection in late autumn and early winter is also possible, but winter care is more troublesome, especially in the north, where greenhouse care is required. As for the cold winter months, because the soil layer is frozen, collection is difficult and the 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-resistant, 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 pine and cypress and certain taproot species, an appropriate amount of the main root should be retained, otherwise survival is difficult. After the stump is dug up, a heavy pruning can be carried out once, and the pruning should be based on the form of the stump and with preliminary consideration of future styling. Generally, a portion of the main branches and trunk is retained and shortened, and all the rest is cut off. For evergreen species with weak sprouting ability, such as pine and cypress, the branches and foliage must not be completely cut off. The collected stump does not need to have soil around its roots; it is best to dip it in mud once, put it into a basket, and stuff moss in it to protect the fibrous roots from withering due to water loss. After bringing it back, it must be planted as soon as possible.
No matter how beautiful its natural form, a tree stump collected from the mountains and fields must still go through a certain period of cultivation before it can be made into bonsai, which is called "raising the material." Some bonsai enthusiasts, eager for quick success, plant newly collected tree stumps into relatively shallow glazed pots or purple clay pots, or even expose the roots and claws, trying to complete the bonsai in one go. As a result, most find it difficult to survive, let alone take shape. This is what is meant by "haste makes waste."
For raising the material, it is best to plant it in the ground in a place with loose, fertile soil, good drainage and ample sunlight, or to plant it in clay pots so as to facilitate later styling and processing. When planting, it should be buried appropriately deep, preferably leaving only the bud eyes above the soil. For stumps with relatively tall main trunks, moss can be wrapped around the main trunk. After planting, water thoroughly once, and cover the stump with a little straw to maintain humidity. In hot summer, shade sheds should be built, and water should be sprayed frequently. In winter, straw curtains should be placed around it to prevent freezing. Usually, attention should be paid to replenishing water; during the vigorous growth period of the tree, water must not be lacking, but care should also be taken not to water too much in order to prevent root rot. In dry weather, it is best to spray water on the leaf surface frequently. To make the tree material take shape as quickly as possible, fertilizing is very important. Newly planted stumps have relatively tender roots, so thin fertilizer should be applied frequently. Fertilizer can be decomposed cake fertilizer or manure, diluted before use. During the material-raising period, work such as pruning, bud removal, and pest and disease prevention must also be done well.
Pruning mainly refers to cutting off branches and trunks that will not be needed for 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, the buds needed for future styling are retained (including spare buds), and all the rest 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 the sprouting of side branches from axillary buds and increase the layers and density of branches and foliage.
3. Processing and Styling of Tree Material
Saplings cultivated from an early age generally begin processing and styling after 3-5 years; tree stumps collected from the mountains and fields can mostly be processed and styled after about one year of material raising.
Before processing, tree material planted in the ground can be dug up and temporarily planted in a pot of basically suitable size to facilitate handling and styling. Large tree material can also be processed and styled on site.
Processing and production must follow a series of artistic techniques of bonsai creation. The tree material should first be carefully observed and considered, and the theme to be expressed and the styling method should be determined according to the characteristics of the material, which is "processing according to the material." The skeleton of the roots, trunk and branches of the tree material is arranged according to the rules of bonsai art, making it 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 for expressing the vigor and uprightness of its main root, with branches and foliage spread flat in cloud-like pads; cypress is suitable for expressing its ancient, unusual main trunk, with branches and foliage in clustered form; plum styling is suitable for sparse branches extending sideways; winter jasmine is suitable for drooping branches and arching curves; ... This is considered from the natural characteristics of the tree species. In addition, consideration should also be given to the inherent shape of the stump. For example, some stumps have straight main trunks, which can follow their nature and be made into the upright-trunk style; some stumps have naturally curved main trunks, suitable for making the curved-trunk style or cascade style; some stumps have dry, bare main trunks, suitable for making the dead-peak style; ... Processing according to the material can save labor in bonsai production and also give a natural wild charm. If everything were left entirely to nature, there would be no such thing as bonsai art, but if the traces of artificial work are too excessive, then natural beauty is lost. Therefore, in the styling of tree stumps, one must never stick rigidly to convention and apply fixed patterns.
The methods of styling and processing also have a certain sequence, usually first the main 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 styling. Due to differences in customs in different regions, the processing methods also differ. Generally, for pine and cypress and tree species with weak sprouting ability, wiring is the main method. For species with strong sprouting ability such as Chinese elm (Ulmus parvifolia), Sageretia thea, Fujian tea and trident maple, pruning can be the main method. Tree stumps processed by wiring can be styled freely, with varied twists and turns, and take shape relatively quickly; tree 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 it is suitable for wiring and styling; in northern regions, the climate is cold and trees grow more slowly, so it is suitable for wiring and styling. Of course, these are all general statements. The styles and schools of bonsai in different places are different, and the styling methods are entirely different. For example, the Lingnan school uses the pruning and styling method of "storing branches and truncating the trunk"; the Yangzhou school uses the wiring and styling method of "three bends per inch"; the Suzhou school uses the styling method of "coarse wiring and fine pruning"; the Huizhou school uses the styling method of "zigzag bending"; the Sichuan school uses the "square bend" or "dropped bend" method for styling, and so on. 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 fiber or metal wire, the tree branches and trunks are bent into various shapes.
Metal wire method: This method is simple and easy to carry out, and bending is free and easy, but removal is somewhat troublesome. It is best to use iron wire that has been heated over fire, but usually the more economical galvanized iron wire is used. The appropriate thickness of iron wire should be selected according to the thickness of the branch or trunk being wired. Metal wire generally uses sizes 12-24, used according to the corresponding number. Iron wire thickness selection table.
Iron wire: No. 12, No. 12, No. 16, No. 18, No. 20, No. 22, No. 24
Branch or 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 of the branch or trunk or at a crossing point, then slowly wind it tightly against the bark so that the metal wire forms an angle of about 45° with the branch or trunk. If the branch or trunk is to be twisted to the right and bent downward, the metal wire should be wound clockwise; otherwise, it should be wound counterclockwise. Note that one should twist while bending so that the metal wire stays close to the bark and the branch or trunk is also less likely to break. Do not use too much force, to prevent damaging the bark or breaking the branch or trunk. For tree species with thin bark that is easily damaged, such as pomegranate and red maple, the branch or trunk can first be wrapped with hemp fiber and then wired with metal wire. If there are repeated windings of metal wire on one branch, attention must be paid to keeping the winding direction consistent and avoiding crossings as much as possible.
Palm fiber wiring method: This is a traditional styling method of Chinese bonsai. Its advantages are: the color of the palm fiber harmonizes with 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 around the lower end of the trunk to be bent (or a loop knot is made), the two ends are twisted together a few times, then placed on the upper end of the branch or trunk to be bent, a slip knot is tied, and the branch or trunk is slowly bent to the required curvature. Then the palm rope is tightened and tied into a dead knot, completing one bend. Generally, the bend should not be too extreme, otherwise it easily loses the natural form. The key to palm fiber wiring lies in controlling the force point. According to the needs of the styling, one should choose the position for applying the palm fiber and tying the knot.
The sequence of palm fiber wiring: at the beginning, first wire the main trunk, then wire the branches and foliage; when wiring branches and foliage, first wire the top, then wire the lower part; when wiring each part, first wire the large branches, then wire the small branches; when wiring the main trunk, proceed from the base to the top.
Through long practice, veteran bonsai artists in various places have summarized many kinds of palm fiber wiring methods, called palm methods. These palm methods differ slightly according to region or school, but the basic principles are the same, and the purpose is to use palm fiber to tie the tree branches and trunks into the required forms. The palm method is a means, not an end. After mastering the basic principles, it can be handled flexibly according to styling needs.
For relatively thick branches or trunks to be bent, they can first be wrapped with hemp fiber, and a strip of hemp fiber can be laid on the outer side of the place to be bent to strengthen 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, using a sharp small knife to cut a deep opening 3-5 cm long at the bending point of the trunk, and then wrapping the cut surface with hemp fiber as above. This makes bending easier and also less likely to break. 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, 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 slower-growing 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 wiring at the right time, so that the branches are soft, easy to bend, and after wiring, develop and grow well. If wiring is not done at the right time, the branches are likely to break, and development and growth will also be affected. Tree species wired in winter and spring include: Juniperus rigida, magnolia, Viburnum plicatum, butterfly tree, wintersweet, plum, peach, cherry, Prunus glandulosa, Prunus triloba, Malus spectabilis, Malus halliana, pomegranate, crape myrtle, Chinese elm (Ulmus parvifolia), Chinese hackberry, and Vitex negundo. For the species from wintersweet onward, before they take shape, the newly lignified branches should also be wired once in summer. Tree species wired in summer and autumn include: Buddhist pine (Podocarpus macrophyllus), Huashan pine, Diospyros cathayensis, Elaeagnus pungens, Serissa japonica, and osmanthus. Tree species wired in winter and autumn include: Chaenomeles speciosa, firethorn, Sageretia thea, and boxwood. Some species such as Euonymus alatus, winter jasmine and goji berry can be wired at any time. Flowering ornamental species such as camellia and azalea should all be wired 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 shape beautiful. This is a main means of styling tree bonsai. The effects of pruning include weakening, dwarfing and changing the tree shape. When pruning, adjust and cut away chaotic 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 second-section branches; when the second-section branch grows to a suitable thickness, cut it again, and do the same in turn for the third and fourth sections. Generally, two small branches are kept on each section of branch, one long and one short. After many years of pruning, the branches and trunks 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 buds and pinching leaves. Removing the tip of a new shoot during the growth period is called pinching. Pinching can promote axillary bud growth, produce more branches, inhibit height growth, and help make the bonsai styling beautiful. Leaf pinching can promote the sprouting of new leaves. For example, if old leaves of elm are pinched off during the growth period, the new leaves will become smaller and more delicate, which is beneficial for appreciation; if old leaves of maple and pomegranate are pinched off, the new leaves will emerge red and 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 "when branches are sparse, cut; when cut, branches become dense," which is beneficial for styling branch pads. Rejuvenation pruning means shortening perennial branches. It is the main technique of the Lingnan school's "storing branches and truncating the trunk," and is beneficial for renewing and rejuvenating old trees. When collecting wild tree stumps, in the process of raising the material, the method of rejuvenation pruning and trunk truncation is often used. It is both a measure for dwarfing the stump and a means of renewing and rejuvenating old stumps. Thinning means thinning pruning, cutting away part of the overly dense branches from the base, which helps improve ventilation and light conditions and promotes vigorous growth of the remaining branches. Wounding refers to measures such as scoring, ring-barking, 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 species can be pruned in all four seasons, but pruning after leaf fall and before sprouting is preferable. Pine and cypress easily bleed resin after pruning, so they are better pruned in winter; fast-growing species with strong sprouting ability such as tamarisk and elm can be pruned several times a year; for flowering species, those that bloom on new current-year branches, such as crabapple, apple, crape myrtle and pomegranate, should be pruned before sprouting; species that bloom 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 the antiquity of the tree, sometimes a chisel or sharp carving knife can be used to carve the trunk according to styling techniques, creating natural concave and convex changes. Part of the bark can also be peeled off, or the trunk can even be split away by half (such as the split-trunk style of plum stumps), making the tree present a naturally withered and aged posture. However, when carving, artificial marks of knife cuts and axe chops must not be revealed. This method is mostly used for pine and cypress and relatively large old tree stumps.
(4) Root-raising method: Stump bonsai values exposed roots and claws and twisted, gnarled roots, and 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 mounded above, so that the thick roots are raised above the soil surface. At the same time, the roots can also be artistically curled so that they appear even more ancient, unusual, simple and wild. However, when raising roots, a moderate degree must be maintained, and too many roots must not be exposed all at once, to avoid affecting the growth of the stump or even causing death. The root systems of species such as elm and Caragana sinica 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 aesthetically pleasing. It must not be tangled chaotically, 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 tree styling. However, it must conform to nature and be rich in pictorial quality. Arbitrary fabrication 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 in painting. To reach a certain artistic realm, one must usually observe various trees in nature more, accumulate perceptual understanding, 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 mixed trees. At the same time, one should observe more methods of painting trees 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 material that has been processed and shaped, if it cannot yet take shape for the time being, can continue to be cultivated in the ground; if it is already close to taking shape, it can be potted and arranged in a scene.
(1) Pot selection: A beautifully styled tree can become a perfect bonsai artwork only when matched with a pot of moderate size, appropriate depth, matching shape, harmonious color and suitable texture.
When choosing a pot, first pay attention to moderate size. If the pot used is too large, the interior of the pot appears empty, and the tree appears short; at the same time, a large pot holds more soil and therefore stores too much water, which at best causes excessive growth of the tree and affects styling, and at worst causes root rot. If the pot used is too small, the bonsai appears top-heavy and lacking in stability, and it easily causes insufficient water and nutrients, affecting tree growth. Generally speaking, for short and sturdy trees, when planted alone, the pot opening must be smaller than the crown spread, and the pot length must be greater than the height of the trunk; for tall and upright trees, when planted alone, the pot opening must be larger than the crown spread, and the pot length must be smaller than the height of the trunk; for combined planting styles, it is better to use a slightly larger pot to express a certain spatial environment. In addition, when using a shallow pot, the pot opening 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 a certain influence on plant growth. If the pot used is too deep, the tree in the pot appears low and short, and it is also unfavorable for the growth of drought-loving plants; if the pot used is too shallow, a tree with a relatively thick and tall main trunk appears unstable, and it is difficult to plant, and it is unfavorable for the growth of moisture-loving plants and flowering and fruiting trees. Generally speaking, for combined planting styles, the shallowest pot should be used; for upright-trunk style, a relatively shallow pot should be used; for slanting-trunk, lying-trunk and curved-trunk styles, pots of moderate depth should be used; for cascade style, the deepest tall cylindrical pot should be used, but for large cascade style, a medium-deep pot is sometimes used instead, to show by contrast the length of the drooping branches. In addition, for regular-style tree bonsai, it is customary to use a slightly deeper pot; while for natural-style tree bonsai, especially those with accessories placed in the pot, the pot must not be deep.
In selecting and matching pots, the style must be consistent with the content of the scene in tone so that harmony can be achieved. At the same time, consideration must also be given to benefiting plant growth. For example, 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 the expression of a masculine beauty; if the tree's posture is twisted and graceful, 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 taken. For upright trees, short-footed pots are used; for elegant, slanting trees, tall-footed pots are used.
Trees that grow quickly and have well-developed root systems should use pots with flared or straight mouths to facilitate repotting; trees that grow slowly and have less developed root systems can use pots of various mouth forms.
For trees in traditional regular styling, it is appropriate to use square or round pots whose length, width and height differ little, and pots in the shape of begonia, hexagon, plum blossom, etc. can also be used; trees with no obvious directional tendency should use relatively shallow pots such as round or square ones; slanting-trunk style should use relatively shallow pots such as rectangular or oval ones; multi-trunk, forest, connected-root and rock-attached bonsai have more complex content, so shallow pots with simple shapes such as rectangular or oval ones should be used.
The texture of the pot has a certain influence on both appreciation and plant cultivation. Pine and cypress generally should use purple clay ceramic pots; mixed wood species generally mostly use glazed ceramic pots; flowering and fruiting species should be cultivated in clay pots to favor flowering and fruiting, and when being appreciated, a porcelain pot or glazed ceramic pot can be added outside; 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. Pine and cypress 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 species are rich in color, so it is appropriate to match them with brightly colored glazed ceramic pots to make the colors of the flowers and fruit even more gorgeous. For example, red plum, Chaenomeles speciosa, wisteria and firethorn can be matched with white, pale blue, pale green or pale yellow glazed ceramic pots; yellow azalea, white plum, Caragana sinica and winter jasmine can be matched with relatively dark-colored glazed ceramic pots; for foliage-viewing and mixed wood species, even more attention must be paid to the color of the pot, such as red maple being suitable for a light-colored pot and ginkgo being suitable for a dark-colored pot. In addition, pot matching must also take into account the color of the tree's main trunk.
The above has introduced 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 the artistic creation of bonsai and has a great bearing on the success or failure of a bonsai work. Serious exploration and research must be carried out, and only through extensive practice can one become highly proficient.
(2) Soil: The pot 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 azalea, camellia, Chinese loropetalum and gardenia; some require neutral soil or calcareous soil, such as Chinese elm (Ulmus parvifolia), zelkova and Chinese hackberry; tamarisk and goji berry can tolerate alkaline soil. This shows that different bonsai trees require different pot soils. But generally, bonsai plants all need fertile, loose sandy loam rich in humus.
There are many kinds of pot 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), and 2 parts coarse sand, then mixed evenly with a small amount of rice husk ash and sieved. Fertilized culture soil is made by mixing 1-2 parts cake fertilizer into ordinary culture soil.
(3) Planting: When planting, first select the pot and soil well, and use broken tile pieces and iron wire mesh (plastic mesh is better) to plug the drainage hole at the bottom of the pot. Shallow pots mostly use iron wire mesh; deeper pots can use broken tile pieces, with two pieces overlapped to fill one hole; the deepest tall cylindrical pots require more tile pieces and sand to pad 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 carefully and the drainage holes are blocked, water cannot drain out after watering, the pot soil becomes waterlogged, and the plant will suffer root rot. When planting a relatively large tree in a shallow pot, metal wire must be used to tie the tree 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 tree roots can be fixed during planting and will not shake because the pot 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 pot soil is divided into coarse and fine grades, first place the coarse-grained soil at the bottom of the pot, then add fine-grained soil to mound around the roots and fill firmly. When adding soil, while putting it in, use a bamboo stick to press the soil closely against the roots, but do not press the soil too tightly; as long as there are no large voids, it is fine, as this helps ventilation and drainage. When the soil is added to near the pot rim, leave 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 planting the tree should also be based on styling needs; generally, just slightly expose the roots above the soil surface.
After the tree is planted, water it. Newly planted soil is relatively loose, so it is best to water with a fine sprinkling can. The first watering must be thorough. After watering, place it in a windless, semi-shaded place, pay attention to watering frequently, and keep the pot soil moist. After about half a month, new roots will grow, and only then can normal management begin.
For the planting of rock-attached bonsai, there are roughly two situations: one is to plant the tree in a hole in the rock, which is relatively simple, but care must be taken to use a bamboo pick to press the soil closely against the tree roots; the other is to wrap the tree's root system around the four sides of the stone, which is relatively difficult. The tree roots can be carefully inserted into the cracks of the selected rock, the whole outside then smeared with mud, 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 are tightly embedded in the stone cracks, it can be taken out and planted in a shallow pot.
5. Stone and Accessory Arrangement for Tree Bonsai
In tree bonsai, rocks or accessories are often used in combination with the trees. This is a unique scene-arranging technique of Chinese bonsai art. In a pine and cypress bonsai, arranging some rocks will make a tree only a foot tall display the imposing manner of towering into the sky. In a cascade-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 rocks, it adds poetic and pictorial charm and natural interest. Pine-and-rock bonsai and bamboo-and-rock bonsai are both techniques of setting off and contrast.
Stone arrangement can be divided into natural style and garden style: natural-style stone arrangement imitates the natural combination of wild trees and strange peaks and rocks; garden-style stone arrangement 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. Adding accessories to tree bonsai can add a flavor of life. When using accessories, attention should be paid to conforming to the natural environment and the interest of the scene, and to the proportions of distance and size, as well as the harmony of colors. Accessories are usually placed on the soil surface of the bonsai or on arranged stones. For temporary decorative treatment for display or exhibition, accessories are generally not placed at ordinary times, so as not to affect management work such as watering and fertilizing the trees.