Camellia Cultivation Tips and Precautions for Cutting Propagation

Camellias can be grown both in pots and in gardens, and their cultivation method is simple, making them excellent landscaping flowers. Today, the editor will tell you about camellia cultivation tips and precautions for cutting propagation. Those who love plants and flowers should not miss it.

First, the editor will tell you about camellia cutting propagation techniques. I think many people know that when camellias bloom, the flowers are very gorgeous and charming, and many people cannot resist wanting to grow them on a balcony or in a yard. So how do they need to be propagated? Learn from the editor.

If you want to propagate camellias by cuttings, you must choose a robust camellia branch. Generally, soft branches can be selected for cutting propagation, and after disinfection, they can be trimmed and cultivated.

First, you need to prepare a flower container with good drainage and some loose soil with good drainage. You can choose to prepare some rooting powder, plastic wrap, and a spray bottle for misting water. This will make cutting cultivation more convenient.

Cutting propagation of camellia branches is relatively simple. Because its own branches and leaves tend to grow vigorously, branches and leaves can generally be used for cutting propagation, but leaf growth is too slow and not as good as branches. It is best to choose some soft branches for cuttings. The propagation medium can use perlite with an appropriate addition of peat soil, which has good water retention and promotes better rooting.

Camellia is a flowering shrub that grows particularly slowly, so greater patience is needed during care. When propagating by cuttings, you must choose a pair of particularly sharp garden shears for cutting. It is best to disinfect them in advance. Choosing summer for cutting propagation is optimal.

The cut branches should be about 8-10 cm long. The soft branches that have just grown out in summer are the best. Cut the bottom of the branch at an angle, remove all the leaves at the bottom, and keep only 2-3 leaves at the top.

It is relatively easy to choose these branches for cutting propagation. Inserted into slightly moist soil, they can take root and sprout.

During cutting propagation, you can trim more branches to ensure the survival rate. Proper pruning of camellias in summer will promote more branching and will not affect the next blooming of the camellia. Before inserting the branches into the soil, they need to be dipped appropriately in some rooting powder.

Each cutting branch should be inserted into a small flower pot. Do not choose too large a container. Use a soil mix of perlite + peat soil + vermiculite for cultivation, and you can appropriately add some river sand. If using a large pot to insert many branches, that is also possible, but there should be appropriate spacing.

Leave a few leaves at the top of the cutting branches for photosynthesis. Avoid leaving too many leaves, otherwise they are prone to dehydration and it will be difficult to root. Too many leaves will affect rooting and sprouting.

Afterward, keep the soil moist, but not overly wet. The soil can be squeezed into a ball, but it must not release water when squeezed. This state is optimal.

Cultivating camellias also requires maintaining a warm environment and avoiding too low a care temperature. They need more heat to sprout and root.

Also pay attention to maintaining a certain level of air humidity and avoiding excessive dryness. Next, keep them in a bright, ventilated place.

When cutting, you can trim off some of the large leaves at the top, leaving only about 2/1 of the leaf. This prevents too many leaves from drawing away water, since branch rooting requires a lot of water.

For beginners propagating camellia branches by cuttings, be sure to prepare some rooting powder. Rooting powder can be made into a solution to soak the branches for about 15 minutes, or the bottom of the branches can be dipped directly in a little rooting powder and then inserted directly into the soil.

Camellias are both beautiful and easy to grow. Those who like plants and flowers can give it a try. The above are detailed camellia cultivation and propagation techniques. Remember to save them.

Camellia Camellia japomica Camellia Illustrated Guide: How to Grow Camellias / How to Propagate Camellias

Making tree bonsai

Tree bonsai is made by selecting young trees or old stumps of ornamental trees, and after cultivation, artistic processing and planting arrangement in exquisite pots. In its making art, the most important thing is to grasp the biological characteristics of various trees and give full play to their natural beauty of posture, charm and color. For example, the lush vigor of pines and cypresses, the antique elegance and quiet fragrance of plum stumps, the plain and ancient simplicity of elms and maples, the unrestrained elegance of green bamboo, and the clear branches and leaves of Sageretia and boxwood. The cultivation, making and management of tree bonsai is a meticulous task that is both artistic and scientific. A good bonsai with a beautiful shape and lasting appeal is formed through the aesthetic conception and superb artistic techniques of skilled craftsmen, and only through careful maintenance and management can its vigorous growth and beautiful posture be ensured. The making and management techniques of tree bonsai generally include the following aspects: tree species selection, tree seedling cultivation, processing and shaping, potting and landscape arrangement, and maintenance management. Maintenance management also includes: placement location, watering, fertilizing, pruning and shaping, repotting and changing soil, and pest and disease control.
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 brilliant flowers and fruits are preferred. 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 Chinese tree bonsai has a long history and tradition. During the Jiaqing period of the Qing Dynasty (1796-1820), Su Ling of Wuxi wrote "Potted Landscape Ou Lu", which recorded many tree bonsai, and divided bonsai plants into the Four Great Masters, Seven Worthies, Eighteen Scholars and Four Elegants of Flowers and Plants.
Four Great Masters: Caragana, boxwood, winter jasmine, velvet-needle cypress.
Seven Worthies: Huangshan pine, yingluo cypress, elm, maple, holly, ginkgo, Sageretia.
Eighteen Scholars: plum, peach, tiger thorn, jiaqing, goji, rhododendron, emerald cypress, papaya, wintersweet, nandina, camellia, Podocarpus, Malus spectabilis, phoenix-tail bamboo, crape myrtle, pomegranate, Serissa, gardenia.
Four Elegants of Flowers and Plants: orchid, chrysanthemum, narcissus, acorus.
Many of the tree species selected for ancient tree bonsai above are still commonly used materials for making bonsai today. But at present, with continuous introduction and discovery, there are already one to two hundred materials suitable for tree bonsai, usually divided into the following categories:
Pine and cypress category: Japanese white pine, Huangshan pine, black pine, Japanese red pine, Japanese cedar, dawn redwood, pond cypress, Chinese juniper, procumbent juniper, golden-leaf juniper, emerald cypress, creeping juniper, velvet cypress, thread cypress, yingluo cypress, Chinese cypress, Podocarpus, yew, etc.
Mixed wood category: Chinese elm, boxwood, Sageretia, red nanmu, Chinese loropetalum, orange jasmine, Chinese hackberry, Fujian tea, tamarisk, small-leaf privet, etc. Leaf wood category: trident maple, red maple, ginkgo, horned holly, phoenix-tail bamboo, Luohan bamboo, Buddha-belly bamboo, palm bamboo, sago cycad, etc.
Flowering wood category: camellia, sasanqua, Caragana, Chaenomeles speciosa, plum, ornamental peach, crape myrtle, Malus halliana, Malus spectabilis, winter jasmine, osmanthus, rhododendron, Serissa, tanzania, etc.
Fruit wood category: fruiting pomegranate, firethorn, nandina, kumquat, fingered citron, hawthorn, horned holly, golden bullet, Elaeagnus, Ardisia, old crow persimmon, persimmon, goji, coral cherry, etc. Vine category: Chinese trumpet creeper, ivy, star jasmine, Euonymus fortunei, wisteria, honeysuckle, etc.
2. Collection and cultivation of tree stumps
The materials for tree bonsai mainly come from two sources: propagation from seedlings and collecting tree stumps. The former uses methods such as sowing, cuttings, layering, grafting and division to obtain saplings, which are then cultivated from a young age; the shaping is relatively free, and the thickness of the trunk and branches is fairly even, but it takes a long time. The latter involves digging up aged tree stumps from the wild, treating them according to their material, and cultivating and processing them, which can greatly shorten the time; often one can also select old stumps of natural, graceful form and antique, rustic simplicity, and make them into fine bonsai works. The drawback is that one is limited by the inherent form of the stump, and the ratio of thickness between the trunk and the side branches is not easy to make even. In addition, some precious tree species such as five-needle pine, sassafras and red maple cannot be found for digging in the wild, so one has to rely on artificial propagation to obtain saplings.
Propagation and seedling-raising techniques are covered in many horticultural books, so this book will not repeat them. Here, the methods of collecting and cultivating tree stumps will be introduced.
Collecting tree stumps requires mastering certain scientific methods; otherwise it is difficult for them to survive, and even more difficult to make them into finished works, which wastes time, manpower and natural resources.
In selecting stumps to collect, one should consider tree species, tree age, form and future potential comprehensively. The selection of tree species has been introduced earlier. As for tree age, old stumps of many years are prized, but they must also be growing vigorously. As for the form of the stump, do not single-mindedly pursue the bizarre or the pictographic (pictographic form is not a selection standard in bonsai art); rather, those with the characteristics of antique singularity and forceful twists and turns are best, and special attention should be paid to the form of the roots and the trunk. Generally, stumps should not be too tall or too large, so as to favor survival and ease of processing, and also to suit potting and display. Although some stumps have certain defects, from a developmental point of view, 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 tree has entered dormancy, and it is best in early spring when the ground has thawed but the tree has not yet sprouted. Collecting in late autumn or early winter is also possible, but winter care is more troublesome, especially in the north, where they must be kept in a greenhouse. As for the depths of winter, because the soil layer is frozen, digging is difficult and roots are easily damaged, so it is not very suitable. The time for collecting stumps must also be adapted to local conditions and decided according to the habits of the tree species; for species that are not cold-tolerant, it is best to collect between March and April to avoid frost damage.
When collecting, the main root can generally be cut off, but more lateral roots and fibrous roots should be kept. For pines, cypresses and certain taproot species, it is better to keep somewhat more of the main root, otherwise survival is difficult. After the stump is dug up, a heavy pruning can be carried out at once; the pruning should be based on the form of the stump and should give preliminary consideration to future shaping. Generally, a portion of the main branches is retained and shortened, and the rest are all cut off. For weak-sprouting evergreen species such as pines and cypresses, the branches and leaves must not be cut bare. For collected stumps, the roots need not carry soil; it is best to dip them in mud slurry, put them into baskets, and stuff moss in to protect the fibrous roots from drying out. After bringing them back, they must be planted as soon as possible.
No matter how graceful the natural form of a stump collected in the wild, to make it into a bonsai it must still go through a certain period of cultivation, called "raising the embryo." Some bonsai enthusiasts, eager for quick success, plant freshly collected stumps into rather 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 are difficult to keep alive, and even less easy to shape. This is what is meant by haste makes waste.
For raising the embryo, it is best to choose a place with loose, fertile soil, good drainage and ample sunlight for ground planting, or to use clay pots for planting, so as to facilitate shaping and processing. When planting, bury it appropriately deep, preferably leaving only the bud eyes above the soil; for stumps with taller trunks, 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 frame and spray water frequently. In winter, surround it with straw curtains to prevent freezing. Usually pay attention to replenishing water; during the vigorous growth period the tree must not lack water, but also be careful not to overwater, to prevent root rot. In dry weather, it is best to spray water on the leaves often. To make the embryo take shape as quickly as possible, fertilizing is very important; newly planted stumps have rather tender roots, so it is best to apply light 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 means cutting off branches not needed for future shaping, so as to avoid consuming nutrients. Dead branches and diseased branches 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 means removing surplus buds. Generally, the buds needed for future shaping are retained (including spare buds), and all the rest are removed, so as to avoid growing useless branches. When the retained buds grow into branches, further selection can be made, cutting off unused branches and removing the terminal buds of the retained branches, to prompt the axillary buds to sprout side branches and increase the layering and density of branches and leaves.
3. Processing and shaping of the tree embryo
Saplings cultivated from youth generally begin processing and shaping after 3 to 5 years; wild-collected stumps 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 handling 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, "treating according to the material." Arrange the skeleton of the roots, trunk and branches of the tree embryo according to the laws of bonsai art, so that it becomes a living bonsai art work with coordination and evenness, graceful lines and profound artistic conception. If pine is chosen as the material, it is suitable to express the vigor and uprightness of its main root, with branches and leaves spreading flat in cloud-like layers; cypress is suitable to express its antique, singular trunk, with branches and leaves in clustered form; plum blossom is suitable for sparse branches slanting across; winter jasmine is suitable for drooping branches arching in curves; ... this is considered from the natural characteristics of the tree species. In addition, it must also be considered from the inherent shape of the stump: for example, some stumps have straight upright trunks, which can follow their nature and be made into the straight-trunk style; some stumps have naturally curved trunks, suitable for making into the curved-trunk style or the cliff style; some stumps have withered, bare trunks, suitable for making into the withered-peak style ... Treating according to the material can make bonsai production both save labor and have natural wild charm. If everything is left entirely to nature, then there is no talk of bonsai art; but if the traces of artifice are too heavy, then natural beauty is lost. Therefore, for the shaping of stumps, one must never stick rigidly to convention and apply set patterns.
The methods of shaping and processing also have a certain sequence; usually the trunk is done first and the branches afterward, with binding, pruning or carving from bottom to top, which can be determined according to the tree species and the needs of shaping. Different regions, because of different customs, also differ somewhat in their processing methods. Generally, for pines, cypresses and weak-sprouting species, binding is the main method. For strong-sprouting species such as Chinese elm, Japanese bush cherry, Fujian tea and trident maple, pruning can be the main method. Stumps processed by the binding method can be shaped freely, with many twists and turns, and take shape relatively quickly; stumps processed by the pruning method are vigorous and natural, but take shape relatively slowly. In the south, the climate is warm and trees grow fast, so it is suitable for binding and shaping; in the north, the climate is cold and trees grow slowly, so it is suitable for binding and shaping. Of course, these are only general situations; the styles and schools of bonsai differ from place to place, and the shaping methods are quite different. For example, the Lingnan school uses the pruning shaping method of "storing branches and truncating the trunk"; the Yangzhou school uses the binding shaping method of "one inch, three bends"; the Suzhou school uses the shaping method of "coarse binding and fine pruning"; the Huizhou school uses the shaping method of "zigzag bending"; the Sichuan school uses the "square bend" or "dropped bend" shaping methods, and so on. If we master the most basic methods of pruning and binding and apply them flexibly according to specific circumstances, ideal results can often be produced.
(1) Binding method: that is, through binding materials such as palm fiber, hemp bark or metal wire, the tree branches are bent into various shapes.
Metal wire binding method: This method is simple and easy to carry out, and bends freely, but removal is a little troublesome. It is best to use wire that has been heated over fire, but usually the more economical galvanized iron wire is used; select a wire of moderate thickness according to the thickness of the branch being bound. Metal wire is generally selected in 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 diameter 15 mm 10 mm 6 mm 4 mm 3 mm 2 mm 1.5 mm

When binding, first fix one end of the metal wire at the base or crossing point of the branch, then slowly wind it close against the bark, so that the metal wire forms about a 45° angle with the branch. If the branch is to be twisted and bent downward to the right, the metal wire is wound clockwise; otherwise, it is wound counterclockwise. Note that while twisting, bend at the same time, so that the metal wire stays close to the bark and the branch is less likely to break. Do not use too much force, to prevent damaging the bark or snapping the branch. For species with thin bark that is easily damaged, such as pomegranate and red maple, the branch can first be wrapped with hemp bark and then bound with metal wire. If there are repeated windings of metal wire on one branch, note that the winding direction must be consistent, and try to avoid crossing.
Palm fiber binding method: This is a traditional shaping method of Chinese bonsai. Its advantages are: the palm fiber blends with the color of the branch, it can be appreciated immediately after processing, it does not easily damage the bark, and removal is convenient, but binding is relatively difficult. Generally, palm fiber is first twisted into palm rope of various 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 to be bent, a slip knot is tied, then the branch 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 easily loses its natural form. The key to palm fiber binding lies in mastering the point of force; according to the needs of shaping, choose the position for placing the palm fiber and tying the knot.
The order of palm fiber binding: at the beginning, bind the trunk first, then the branches and leaves; when binding branches and leaves, bind the top first, then the lower part; when binding each part, bind the large branches first, then the small branches; when binding the trunk, proceed from the base to the top.
Veteran bonsai artists in various places, through long practice, have summarized many kinds of palm fiber binding methods, called palm methods. These palm methods differ slightly according to region or school, but the basic principles are the same; the purpose is to use palm fiber to bind tree branches into the required form. The palm method is a means, not an end; after mastering the basic principles, one can handle it flexibly according to shaping needs.
For bending relatively thick branches, 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 increase the toughness of the trunk. If the branch is too thick and difficult to bend, the "knife-opening method" can also be used, that is, use a sharp small knife to cut a deep opening 3 to 5 cm long 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 of the bend.
Whether metal wire or palm fiber binding is used, generally after one year it can be removed and the shape will be set. If not removed in time, then as the branch thickens, the metal wire or palm fiber will sink into the bark, affecting the tree's growth and appearance. However, for slower-growing species and thicker branches, the time can be extended by about half a year to a year.
Binding times for various tree species: pay attention to binding at the right time, then the branches are soft and easy to bend, and after binding they develop and grow well. If binding is not done at the right time, the branches are liable to break, and development and growth are also affected. Tree species bound in winter and spring include: Chinese juniper, magnolia, Chinese snowball, butterfly tree, wintersweet, plum, peach, cherry, dwarf flowering almond, elm-leaved spirea, Midget crabapple, Hall crabapple, pomegranate, crape myrtle, Chinese elm, Chinese hackberry and negundo chastetree. For the species from wintersweet onward, before they take shape, they should also be bound once in summer on the newly lignified shoots. Tree species bound in summer and autumn include: Buddhist pine, Huashan pine, golden bullet tree, thorny elaeagnus, snow-in-summer and osmanthus. Tree species bound in winter and autumn include: japonica, firethorn, Japanese bush cherry and boxwood. Some species, such as winged euonymus, winter jasmine and Chinese wolfberry, can be bound at any time. Flower-viewing species such as camellia and azalea are all best bound before flowering.
(2) Pruning method: that is, through pruning of branches, removing surplus parts and retaining the 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 disordered crossing branches, overlapping branches, parallel branches and opposite branches. For the retained branches, nutrients are concentrated and they grow thick and strong; when a cultivated branch has grown to a suitable thickness, carry out severe pruning to shorten it and produce a second section of branch; when the second section has grown to a suitable thickness, cut it again, and do the same for the third and fourth sections in turn. Generally, on each section of branch, keep two small branches, one long and one short; after many years of pruning, the branches become shortened and thick, vigorous and forceful, gradually forming the required tree form.
Pruning methods: there are measures such as pinching, cutting, thinning and wounding. Pinching means pinching off the growing point and pinching off leaves; removing the tip of a new shoot during the growing period is called pinching. Pinching can promote axillary bud growth, produce more branches, inhibit height growth and help the bonsai's shape look beautiful. Pinching off leaves can prompt new leaves to sprout; for example, if Chinese elm has its old leaves pinched off during the growing period, the new leaves will become smaller and more delicate, which is good for viewing; if maple and pomegranate have their old leaves pinched off, the new leaves that sprout are red and brightly pleasing. Cutting means shortening the current year's branches; after shortening, medium and short branches increase and the mother branch thickens; as the saying goes, when branches are sparse, cut, and when cut, branches become dense, which is good for shaping branch pads. Shortening back means cutting back perennial branches; it is the main technique of the Lingnan school's "storing branches and truncating the trunk," and is good for renewing and rejuvenating old trees. In collecting wild stumps, during the embryo-raising process, the method of shortening back and truncating the trunk is often used; it is both a measure to dwarf the stump and a means to renew and rejuvenate the old stump. Thinning means thinning pruning, cutting away part of the overly dense branches from the base, which helps improve ventilation and light transmission and promotes vigorous growth of the retained branches. Wounding means measures such as scoring, ring-barking, twisting branches, twisting shoot tips and bending branches on tree branches. Flower-viewing and fruit-viewing bonsai often adopt this method to promote flowering and fruiting.
The pruning period must be timely and suited to the tree; generally, deciduous species can be pruned in all four seasons, but it is best after leaf fall and before bud break. Pines and cypresses, because they tend to bleed resin after pruning, are best pruned in winter; fast-growing, strongly sprouting species such as tamarisk and Chinese elm can be pruned several times a year; for flower-viewing species, those that flower on current-year new branches, such as crabapple, apple, crape myrtle and pomegranate, are best pruned before sprouting; species that flower on one-year-old branches, such as ornamental peach, plum and winter jasmine, are best pruned after flowering.
(3) Carving method: In order to show that a tree is antique, sometimes a chisel or sharp carving knife can be used to carve the trunk according to shaping techniques, creating natural concave and convex changes; 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), so that the tree presents a naturally withered, aged posture. But when carving, the traces of artificial knife and axe work must not be revealed. This method is mostly used for pines, cypresses and relatively large old stumps.
(4) Root-raising method: Tree stump bonsai emphasize exposed roots and claws and gnarled, interlocking roots; this is also one of the important contents of bonsai appreciation. The root-raising technique usually plants the tree first in a deep pot, then year by year removes the mounded soil above, so that thick roots are raised above the soil surface. At the same time, the roots can also be given artistic curling treatment, making them appear even more antique, singular, simple and rustic with wild charm. But when raising roots, one must maintain moderation and not expose too many roots at once, so as not to affect the stump's growth or even cause death. The root systems of species such as Chinese elm and peashrub are slender and soft; when raising roots, the long roots can be coiled into antique, elegant shapes, but the coiling of the root system must be orderly and aesthetically pleasing, and must not be tangled arbitrarily, losing naturalness and instead harming the effect.
The forms of trees in nature are ever-changing; as miniature versions of them, bonsai should of course also be diverse. Therefore, it is very difficult to fix tree shaping with specific standards. But it must conform to nature and be rich in painterly quality. Arbitrary fabrication loses the natural form of the tree. But merely conforming to nature is not enough; artistic processing must also be carried out on the basis of nature. This is the same principle as painting: to reach a certain artistic realm, one must ordinarily 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, observe more how trees are painted in landscape painting, and learn techniques from them. In addition, raise one's artistic accomplishment from aspects such as aesthetics and literature.
4. Planting of trees
Tree embryos that have been processed and shaped, if they cannot yet take shape for the time being, can continue to be cultivated in the ground; if they are already close to taking shape, they can be potted and combined with scenery.
(1) Choosing pots: Only when a gracefully 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 art work.
When choosing a pot, first pay attention to moderate size. If the pot is too large, the inside of the pot appears empty, the tree appears short, and at the same time a large pot holds much soil, so it stores too much water, which in mild cases causes the tree to grow leggy and affects shaping, and in severe cases causes root rot; if the pot is too small, the bonsai appears top-heavy and lacking stability, and easily causes insufficient water and nutrients, affecting tree growth. Generally speaking, for short, sturdy trees, when planted alone the pot mouth diameter must be smaller than the crown spread, and the pot length must be greater than the height of the trunk; for tall, towering trees, when planted alone the pot mouth diameter must be greater than the crown spread, and the pot length must be smaller than the height of the trunk; for combined planting styles, it is best to use a somewhat larger pot to express a certain spatial environment. In addition, when using a shallow pot, the pot mouth should preferably be large rather than small; when using a deep pot, it should preferably be small rather than large.
The depth of the pot has a great influence on bonsai shaping and also a certain influence on plant growth. If the pot is too deep, the tree in the pot appears low, and at the same time it is not good for the growth of drought-loving plants; if the pot is too shallow, trees with relatively thick, tall trunks appear unstable, and planting is difficult, and it is not good for the growth of moisture-loving plants and flowering and fruiting trees. Generally speaking, combined planting styles should use the shallowest pots; the straight-trunk style should use relatively shallow pots; the slanting-trunk style, lying-trunk style and curved-trunk style should use pots of moderate depth; the cliff style should use the deepest tall cylindrical pot, but large cliff style sometimes instead uses a medium-deep pot to contrast and display the length of the drooping branches. In addition, for regular-style tree bonsai, it is customary to use somewhat deeper pots; 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 and the content of the scene must be consistent in tone so as to be harmonious. At the same time, consideration must also be given to benefiting plant growth. If the tree's posture is vigorous and upright, then 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, then 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 choosing pots is not absolute; sometimes, in order to create a contrast, the opposite is also done. Upright trees use low-footed pots; elegant, 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 poorly developed root systems can use pots of various mouth forms.
Trees in traditional regular-style shaping should use square or round pots whose length, width and height differ little, and can also use pots in styles such as crabapple shape, hexagonal shape and plum blossom shape; trees without obvious directionality should use relatively shallow pots such as round and square ones; the slanting-trunk style should use relatively shallow pots such as rectangular and oval ones; multi-trunk style, forest style, connected-root style and rock-attached style bonsai have more complex content, so simple-shaped shallow pots such as rectangular and oval ones should be used.
The texture of the pot has a certain influence on both viewing and planting plants. Pines and cypresses generally should use purple clay ceramic pots; miscellaneous trees generally mostly use glazed ceramic pots; flower-viewing and fruit-viewing types should use tile pots for cultivation, which is good for flowering and fruiting, and when viewing, an outer porcelain pot or glazed ceramic pot can be added; miniature bonsai should use purple clay ceramic pots or glazed ceramic pots; extra-large bonsai can use carved stone pots or cement pots.
The colors of the pot and the tree scene should both contrast and harmonize. Pines and cypresses are verdant in all four seasons; matched with dark-colored purple clay ceramic pots in red or purple, they appear even more antique, elegant, simple and unsophisticated; flower and fruit types are rich in color, so it is best to match them with brightly colored glazed ceramic pots, making the colors of flowers and fruits even more gorgeous. For example, red plum, japonica, wisteria and firethorn can be matched with white, pale blue, pale green or pale yellow glazed ceramic pots; yellow azalea, white plum, pea shrub and winter jasmine can be matched with relatively dark glazed ceramic pots; for foliage-viewing and miscellaneous tree types, even more attention must be paid to the color of the pot, for example red maple should be matched with a light-colored pot, and ginkgo with a dark-colored pot. In addition, when matching pots, the color of the tree trunk must also be considered.
The above introduces the main points to note in selecting and matching pots; they cannot be regarded as absolute rules and should be applied flexibly according to specific circumstances. Selecting and matching pots is an important step in bonsai artistic creation and has a great bearing on the success or failure of a bonsai work. Serious exploration and study are needed, and only through a great deal of practice can one become thoroughly proficient.
(2) Soil: The potting soil for tree bonsai should be selected according to the biological characteristics of each tree species; different tree species have different requirements for the physical and chemical properties of the soil. Some require acidic soil, such as azalea, camellia, Chinese fringetree and gardenia; some require neutral soil or calcareous soil, such as Chinese elm, zelkova and Chinese hackberry; tamarisk and Chinese wolfberry 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 kinds of potting soil, such as humus soil, paddy field soil, mountain soil, leaf mold, pond mud and river sand; all are 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 mixed evenly with a small amount of rice husk ash and sieved. Fertilized culture soil is ordinary culture soil with 1 to 2 parts cake fertilizer mixed in.
(3) Planting: When planting, first choose the pot and soil well, and use broken tile pieces and wire mesh (plastic mesh is better) to plug the drainage hole at the bottom of the pot. Shallow pots mostly use wire mesh; deeper pots can use broken tile pieces, with two pieces overlapped to fill one hole; the deepest tall cylindrical pot needs more tile pieces and sandy soil spread at the bottom of the pot to facilitate drainage. The work of filling the holes is very important and bears on the survival of the bonsai plant, so it must not be done carelessly. If it is not handled attentively and the water hole is blocked, water cannot drain out after watering, the potting soil becomes waterlogged and can cause root rot in the plant. When using a shallow pot to plant a relatively large tree, 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; in this way the tree roots can be fixed when planting and will not shake because the potting soil is shallow, affecting root development and growth.
After the position of the tree is determined, put the previously sieved culture soil into the pot. If the potting soil is divided into coarse and fine, first put the coarse-grained soil at the bottom of the pot, then put the fine-grained soil to mound around the roots and fill firmly. When adding soil, put it in while using a bamboo stick to press the soil close to the roots, but do not press the soil too tightly; as long as there are no large gaps, it is fine, as this favors air and water penetration. When the soil is put in to near the pot mouth, leave a little watering space to facilitate watering. If it is a shallow pot, then no watering space need be left, and sometimes soil must be mounded for planting. The depth of planting the tree should also be based on the needs of shaping; generally, just let the roots be slightly exposed above the soil surface.
After the tree is planted, water it. Newly planted soil is rather loose, so it is best to use a fine spray pot to spray water. 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 begin.
Planting rock-attached style bonsai broadly has 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 stick to press the soil close to the tree roots; the other is to embrace the rock with the tree's root system, which is relatively difficult; carefully insert the tree roots into the cracks of the selected rock, smear the whole outside with soil, then wrap and tie it with moss, and plant it together with the rock into the soil; after two or three years, when the roots have grown fully and are tightly wedged with the rock cracks, it can be taken out and planted in a shallow pot.
5. Rock matching and accessories for tree bonsai
In tree bonsai, rocks or accessories are often used in arrangement with the trees; this is a unique scene-making technique of Chinese bonsai art. In a pot of pine and cypress bonsai, arranging some rocks will make a tree only a foot tall show the momentum of reaching the sky. In a cliff-style bonsai, placing a sharp peak stone at the base of the roots makes it seem as if the tree grows on a sheer cliff. When tree bonsai is dotted with rocks, it adds poetic and painterly quality and natural interest. Pine-and-rock bonsai and bamboo-and-rock bonsai are both techniques of setting off and contrast.
Rock matching can be divided into natural style and garden style: natural-style rock matching imitates the natural combination of wild trees with fantastic peaks and strange rocks; garden-style rock matching imitates the artificially arranged scenery of trees and rocks in gardens.
Accessories refer to small ceramic or stone models of pavilions, terraces, towers, chambers, animals and figures. After adding accessories to tree bonsai, a flavor of daily life can be added. When using accessories, pay attention to conformity with the natural environment and the interest of the scene, and to the proportions of distance and size, as well as harmony of color. Accessories are usually placed on the soil surface of the bonsai or on the matched rocks. 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.