Types of Cliff-Style Bonsai with Overhanging Momentum and Key Points to Note When Creating Them
Cliff-style bonsai with overhanging momentum mainly uses tree species such as Japanese white pine, Japanese black pine, orange jasmine, Chinese elm, Chinese plum yew, and littleleaf boxwood. The types can be divided into three kinds of bonsai: semi-cascade, full cascade, and inverted-hang style. Next, the editor will explain in detail the key content points of these three types of cliff-style bonsai with overhanging momentum and the points to note during creation. Friends who are interested can also try this new bonsai technique.
I. Key Content Points of the Types of Cliff-Style Bonsai with Overhanging Momentum
(1) Semi-Cascade Bonsai
Semi-cascade bonsai means the entire tree extends beyond the pot, but the tree body does not hang below the pot surface; either the trunk extends horizontally, or because the trunk is relatively short, the first branch is relatively thick and long, thereby creating an overhanging momentum.
(2) Full Cascade Bonsai
Full cascade bonsai means the entire tree extends beyond the pot and stretches downward in a pouring manner, with branches extending horizontally. As shown in the picture, this is a full cascade cliff-style bonsai.
Full cascade bonsai picture:
(3) Inverted-Hang Bonsai
Inverted-hang bonsai means the entire tree extends beyond the pot, with the exposed trunk hanging vertically upside down, while the branches still extend horizontally.
III. Classification of Cliff-Style Bonsai
Cliff-style bonsai is divided into large cliff-style bonsai and small cliff-style bonsai. Cliff-style bonsai generally uses cylindrical pots. In large cliff-style bonsai, the hanging crown extends beyond the bottom of the cylindrical pot, while in small cliff-style bonsai, the hanging crown does not extend beyond the bottom of the pot. The bonsai is generally not less than 3/4 of the cylindrical pot. When creating it, select a tree species with a length of no less than 25 cm from the base of the root to the first side branch, make longitudinal and transverse cross cuts on it, wrap it with adhesive tape, and bind it firmly with wire twisted at 45 degrees to make it bend and droop.
II. Points to Note When Creating Cliff-Style Bonsai with Overhanging Momentum
(1) The base of a cliff-style stump bonsai is generally vertical, then from the middle-lower part it begins to lean to one side, with the trunk heading downward, while near the tip it curls back upward, showing the posture of a coiled dragon moving in reverse, giving people a sense of vigorous vitality.
(2) Cliff-style stump bonsai emphasizes raising the roots. Raising the roots can both reveal its aged tree form and somewhat ease the dynamic force of the bonsai, creating visual balance.
(3) Cliff-style stump bonsai should use medium-deep pots and should be placed on tall stands, so that the elegance of the stump bonsai can be shown even more.
Bonsai Forms and Their Styling Key Points (Part 1)
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Trees in nature, due to different growing environments, have endlessly varied postures, and this is reflected even more richly and colorfully in the forms of tree bonsai. Starting from the perspective of tree bonsai styling, we summarize and merge similar or largely similar bonsai forms, and then classify and explain them mainly based on changes in the tree trunk and the number of trunks.
(1) Formal Upright Style
A bonsai tree has only one trunk, and the trunk posture is basically upright or slightly curved; that is, all those so-called upright with an implied sense of curve are called formal upright style. For formal upright style bonsai trees, the best expression of roots must be thick roots extending in all directions around the tree, making the tree appear solemn and stable, with the momentum to stand firm between heaven and earth. Branches extend in all directions, with rich layers and strong branch momentum. Branches should emerge at about 1/3 or about 2/3 of the height of the trunk, and there should not be too many branches and leaves, so as not to block the trunk. The trunk should be left more exposed to show the uprightness and vigorous strength of the potted tree. The pot should be shallow, and the planting position depends on the tree shape; note that there should be an asymmetrical balance between the tree and the pot. If the crown is an isosceles triangle, the planting position should preferably be centered but slightly toward the back; if the crown is slightly scalene triangular, the planting position should preferably be slightly toward the short side of the triangle.
Formal upright style tree bonsai is suitable for making tall "vertical scroll" picture works, and the branches should be short. Tree species suitable for expressing formal upright style works include Japanese black pine, Japanese white pine, golden larch, dawn redwood, ginkgo, and elm. Such material is mostly taken from forest farm nurseries, and some is dug from mountain wilds.
(2) Curved Trunk Style
Curved trunk style bonsai trees require the trunk to have a certain degree of bending change, but the bends should not be many; one or two bends are enough. The bends should avoid overly monotonous repetition, otherwise there will be traces of artificial contrivance. The value of the curve lies in its liveliness, and liveliness lies in the changes of the trunk line having both rigidity and softness, combining hardness and softness, with the line both smooth and graceful as well as upright and vigorous.
Curved trunk material collected from mountains is unpredictable, vigorous, and natural, and is very precious, but it may also have unsatisfactory line changes, so attention must be paid when selecting.
For artificially cultivated curved trunk material, when planting, the trunk must be slightly tilted so that the roots on the other side can be cultivated into thick, strong roots that are half exposed on the soil surface, and so that the direction of the roots and the connection point with the trunk have a smooth and coordinated feeling completed in one continuous flow. This is the most important ornamental part of curved trunk style tree bonsai and must be taken very seriously.
For the part above the base of the trunk, it can be shortened by pruning so that the trunk chooses a new direction of development. Later, a combination of pruning and wiring can also be used to cultivate the trunk until it meets the aesthetic requirements of bonsai.
Cypress is the most typical material for curved trunk style bonsai. Other trees such as pines and some miscellaneous broadleaf species are also suitable for making curved trunk style bonsai.
(3) Slanting Trunk Style
In nature, the slanting of tree trunks is mostly caused by factors such as strong winds, mountain collapses, and landslides. Therefore, the forms of slanting tree trunks are also very complex, but one thing is certain: their trunk lines are not straight lines, but various deformations in an "S" shape. This posture of slanting trunks in nature, reflected in tree bonsai, is what we call slanting trunk style. The trunk of slanting trunk style bonsai material must have various "S"-shaped deformations. If the trunk leans to the right, then the left side should preferably have thick roots, and the tip of the trunk should turn upward; only then does it resemble slanting trunk style bonsai material that has leaned for many years. If the trunk slants but the trunk line is straight, then it lacks charm and does not conform to natural laws. Because there is no day in the world when strong winds never cease, and trees will always continue to grow upward.
The key point in making slanting trunk style tree bonsai is how to keep the tree's momentum from losing its center of gravity and achieve balance. The methods include: making use of thick roots in the opposite direction, making use of branches in the opposite direction, and having a large branch on the same side as the slanted trunk drop downward, giving the feeling of a supporting effect.
To strengthen the slanting force of the potted tree and make the composition lively, it is suitable to choose round shallow pots, square shallow pots, or semi-tall round pots, allowing the slanting trunk or branches to extend beyond the pot.
Pines, cypresses, and some miscellaneous broadleaf trees are all suitable as material for slanting trunk style bonsai.
(4) Cliff Style
On cliffs and precipices in nature, it is common to see trees growing in various postures, perilous in the extreme yet still lush as ever. Trees in this posture, reflected in bonsai, are collectively called cliff style.
Cliff style generally includes semi-cascade, full cascade, and inverted-hang styles.
Semi-cascade: the entire bonsai tree extends beyond the pot, emerging across the void, but the tree body does not hang below the pot surface. It may be that the trunk extends horizontally, or because the trunk is relatively short, the first branch is relatively thick and long, thereby creating an overhanging momentum.
Full cascade: the entire bonsai tree extends beyond the pot and stretches downward in a pouring manner while the branches extend horizontally.
Inverted-hang: the entire bonsai tree extends beyond the pot, with the exposed trunk hanging vertically upside down, while the branches still extend horizontally.
The creation of cliff-style bonsai focuses on material selection, requiring that the base of the material's trunk have a certain bending change, so that the trunk or large branches can extend horizontally or droop along with the momentum. Although cliff-style bonsai is very popular, it must still be considered according to the conditions of the material, and the styling principle of "adapting measures to the material" must be followed.
Cliff-style bonsai used to be commonly planted in flower pots to enhance the momentum formed by the tree falling from a height. Now it is more often changed to semi-tall square pots or round pots for planting, and during exhibition arrangements tall stands are then used to create the cliff momentum. Its advantage is that it can improve the unfavorable cultivation and management of trees caused by overly deep tall cylindrical pots; ornamentally, it can make scenery, pot, and stand a trinity and display them fully and vividly, thereby making the picture transparent, coordinated, and lively.
(5) Double Trunk Style
Double trunk style tree bonsai appears in the form of two trees combined together, embodying the artistic beauty of mutual yielding and harmony, looking back and responding to each other, appropriate density, and mutual generation of emptiness and solidity between the two trees, thereby showing a realm in which the work has both form and spirit and blends scene and emotion.
The creation of double trunk style bonsai must pay attention to the following key points.
Material selection: the two trees must be divided into primary and secondary. The main tree should be taller, and the secondary tree should be shorter.
Posture: the main tree dominates, and the trunk posture changes of the secondary tree should be largely similar to or close to the posture of the main tree's trunk, so as to form a certain tacit understanding. If the trunk posture changes of the two trees are completely different, such as one straight and one curved, it will be difficult to produce harmonious beauty and should be avoided.
Planting: the two trees must have front and back, and must not be parallel. Which is in front and which is behind depends on the specific situation. When planting, the bases of the two trunks should be close together, and the direction of the roots should be basically consistent, not each going its own way. The angle between the extending directions of the two trunks should not be too large; generally within 45 degrees is relatively ideal. If it is too large, the two trunks may lose mutual echo and responsiveness.
Branch handling: the selection and adjustment of branches in double trunk style is relatively complex. The two trees must be treated as a unified whole in order to achieve overall balance and stability, coordination of emptiness and solidity, and orderly contention and yielding.
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The large lower branches of the two trees should each extend outward, and relatively thick branches between the two trunks should be pruned away to avoid thick branches crossing the trunks. The space between the two trunks should be filled by branches from the front side and back side, avoiding straight in-and-out lines; only thus is it most natural.
In addition, the main tree should preferably branch higher, while the secondary tree may branch slightly lower, so as to avoid the main tree's branches affecting the growth of the secondary tree.
Double trunk combined planting can also use two different tree species, but the best combination is still one tree species.
Double trunk style is the combined planting of two trees, and the form of one tree with two trunks can also be included, collectively called double trunk style. Because from the perspective of styling, their trunk handling and branch handling are the same. One tree with two trunks may originally have been one body, later split into two under external influence. The height, thickness, curvature, and changes of concealment and exposure of the two trunks all conform very well to the expressive requirements of bonsai art. The deadwood trunk is also naturally formed, with slight removal of decay and retouching. Divine branches are indispensable, but are artificial. It is most ideal when the two water lines are broad and both grow on the outer sides of the trunk. The crown is formed by the tight combination of two crowns, and its momentum is unified with the two trunks. The whole tree is appropriately dynamic and static, compact in structure, and possesses a beauty of steadiness, calm, unity, and harmony.
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5 Major Bonsai Styling Techniques, Hurry and Learn Them!
(1) Formal Upright Style
A bonsai tree has only one trunk, and the trunk posture is basically upright or slightly curved; that is, all those so-called upright with an implied sense of curve are called formal upright style. For formal upright style bonsai trees, the best expression of roots must be thick roots extending in all directions around the tree, making the tree appear solemn and stable, with the momentum to stand firm between heaven and earth. Branches extend in all directions, with rich layers and strong branch momentum. Branches should emerge at about 1/3 or about 2/3 of the height of the trunk, and there should not be too many branches and leaves, so as not to block the trunk. The trunk should be left more exposed to show the uprightness and vigorous strength of the potted tree. The pot should be shallow, and the planting position depends on the tree shape; note that there should be an asymmetrical balance between the tree and the pot. If the crown is an isosceles triangle, the planting position should preferably be centered but slightly toward the back; if the crown is slightly scalene triangular, the planting position should preferably be slightly toward the short side of the triangle.
Formal upright style tree bonsai is suitable for making tall "vertical scroll" picture works, and the branches should be short. Tree species suitable for expressing formal upright style works include Japanese black pine, Japanese white pine, golden larch, dawn redwood, ginkgo, and elm. Such material is mostly taken from forest farm nurseries, and some is dug from mountain wilds.
(2) Curved Trunk Style
Curved trunk style bonsai trees require the trunk to have a certain degree of bending change, but the bends should not be many; one or two bends are enough. The bends should avoid overly monotonous repetition, otherwise there will be traces of artificial contrivance. The value of the curve lies in its liveliness, and liveliness lies in the changes of the trunk line having both rigidity and softness, combining hardness and softness, with the line both smooth and graceful as well as upright and vigorous.
Curved trunk material collected from mountains is unpredictable, vigorous, and natural, and is very precious, but it may also have unsatisfactory line changes, so attention must be paid when selecting.
For artificially cultivated curved trunk material, when planting, the trunk must be slightly tilted so that the roots on the other side can be cultivated into thick, strong roots that are half exposed on the soil surface, and so that the direction of the roots and the connection point with the trunk have a smooth and coordinated feeling completed in one continuous flow. This is the most important ornamental part of curved trunk style tree bonsai and must be taken very seriously.
For the part above the base of the trunk, it can be shortened by pruning so that the trunk chooses a new direction of development. Later, a combination of pruning and wiring can also be used to cultivate the trunk until it meets the aesthetic requirements of bonsai.
Cypress is the most typical material for curved trunk style bonsai. Other trees such as pines and some miscellaneous broadleaf species are also suitable for making curved trunk style bonsai.
(3) Slanting Trunk Style
In nature, the slanting of tree trunks is mostly caused by factors such as strong winds, mountain collapses, and landslides. Therefore, the forms of slanting tree trunks are also very complex, but one thing is certain: their trunk lines are not straight lines, but various deformations in an "S" shape. This posture of slanting trunks in nature, reflected in tree bonsai, is what we call slanting trunk style. The trunk of slanting trunk style bonsai material must have various "S"-shaped deformations. If the trunk leans to the right, then the left side should preferably have thick roots, and the tip of the trunk should turn upward; only then does it resemble slanting trunk style bonsai material that has leaned for many years. If the trunk slants but the trunk line is straight, then it lacks charm and does not conform to natural laws. Because there is no day in the world when strong winds never cease, and trees will always continue to grow upward.
The key point in making slanting trunk style tree bonsai is how to keep the tree's momentum from losing its center of gravity and achieve balance. The methods include: making use of thick roots in the opposite direction, making use of branches in the opposite direction, and having a large branch on the same side as the slanted trunk drop downward, giving the feeling of a supporting effect.
To strengthen the slanting force of the potted tree and make the composition lively, it is suitable to choose round shallow pots, square shallow pots, or semi-tall round pots, allowing the slanting trunk or branches to extend beyond the pot.
Pines, cypresses, and some miscellaneous broadleaf trees are all suitable as material for slanting trunk style bonsai.
(4) Cliff Style
On cliffs and precipices in nature, it is common to see trees growing in various postures, perilous in the extreme yet still lush as ever. Trees in this posture, reflected in bonsai, are collectively called cliff style.
Cliff style generally includes semi-cascade, full cascade, and inverted-hang styles.
Semi-cascade: the entire bonsai tree extends beyond the pot, emerging across the void, but the tree body does not hang below the pot surface. It may be that the trunk extends horizontally, or because the trunk is relatively short, the first branch is relatively thick and long, thereby creating an overhanging momentum.
Full cascade: the entire bonsai tree extends beyond the pot and stretches downward in a pouring manner while the branches extend horizontally.
Inverted-hang: the entire bonsai tree extends beyond the pot, with the exposed trunk hanging vertically upside down, while the branches still extend horizontally.
The creation of cliff-style bonsai focuses on material selection, requiring that the base of the material's trunk have a certain bending change, so that the trunk or large branches can extend horizontally or droop along with the momentum. Although cliff-style bonsai is very popular, it must still be considered according to the conditions of the material, and the styling principle of "adapting measures to the material" must be followed.
Cliff-style bonsai used to be commonly planted in flower pots to enhance the momentum formed by the tree falling from a height. Now it is more often changed to semi-tall square pots or round pots for planting, and during exhibition arrangements tall stands are then used to create the cliff momentum. Its advantage is that it can improve the unfavorable cultivation and management of trees caused by overly deep tall cylindrical pots; ornamentally, it can make scenery, pot, and stand a trinity and display them fully and vividly, thereby making the picture transparent, coordinated, and lively.
(5) Double Trunk Style
Double trunk style tree bonsai appears in the form of two trees combined together, embodying the artistic beauty of mutual yielding and harmony, looking back and responding to each other, appropriate density, and mutual generation of emptiness and solidity between the two trees, thereby showing a realm in which the work has both form and spirit and blends scene and emotion.
The creation of double trunk style bonsai must pay attention to the following key points.
Material selection: the two trees must be divided into primary and secondary. The main tree should be taller, and the secondary tree should be shorter.
Posture: the main tree dominates, and the trunk posture changes of the secondary tree should be largely similar to or close to the posture of the main tree's trunk, so as to form a certain tacit understanding. If the trunk posture changes of the two trees are completely different, such as one straight and one curved, it will be difficult to produce harmonious beauty and should be avoided.
Planting: the two trees must have front and back, and must not be parallel. Which is in front and which is behind depends on the specific situation. When planting, the bases of the two trunks should be close together, and the direction of the roots should be basically consistent, not each going its own way. The angle between the extending directions of the two trunks should not be too large; generally within 45 degrees is relatively ideal. If it is too large, the two trunks may lose mutual echo and responsiveness.
Branch handling: the selection and adjustment of branches in double trunk style is relatively complex. The two trees must be treated as a unified whole in order to achieve overall balance and stability, coordination of emptiness and solidity, and orderly contention and yielding.
The large lower branches of the two trees should each extend outward, and relatively thick branches between the two trunks should be pruned away to avoid thick branches crossing the trunks. The space between the two trunks should be filled by branches from the front side and back side, avoiding straight in-and-out lines; only thus is it most natural.
In addition, the main tree should preferably branch higher, while the secondary tree may branch slightly lower, so as to avoid the main tree's branches affecting the growth of the secondary tree.
Double trunk combined planting can also use two different tree species, but the best combination is still one tree species.
Double trunk style is the combined planting of two trees, and the form of one tree with two trunks can also be included, collectively called double trunk style. Because from the perspective of styling, their trunk handling and branch handling are the same. One tree with two trunks may originally have been one body, later split into two under external influence. The height, thickness, curvature, and changes of concealment and exposure of the two trunks all conform very well to the expressive requirements of bonsai art. The deadwood trunk is also naturally formed, with slight removal of decay and retouching. Divine branches are indispensable, but are artificial. It is most ideal when the two water lines are broad and both grow on the outer sides of the trunk. The crown is formed by the tight combination of two crowns, and its momentum is unified with the two trunks. The whole tree is appropriately dynamic and static, compact in structure, and possesses a beauty of steadiness, calm, unity, and harmony.