by Karin Albert
Anybody who encounters Chinese bonsai (penjing) for the first time is impressed with the wealth of different shapes and styles delighting the eye. Given the vastness of the country, China's geographic and climatic variations as well as the vitality of her regional customs, this tremendous diversity should not come as a surprise. What may cause amazement, however, is the fact that upon close examination, all artistic penjing manifest identical aesthetic considerations. Rooted in a 3000-year old cultural and artistic tradition, they embody related values and exemplify similar insights, and they seek to attain kindred artistic objectives.
Following are some of the aesthetic principles shared by Chinese masters:
Implicitness. The artist never strives for a photographic reproduction of a natural scene. Much remains unsaid, enabling the viewer to complete the artist's message. A good work of art both conceals and reveals. Suggestiveness evokes associations and stimulates the mind. It also allows us to look at a piece over and over again with fresh eyes, always discovering a new aspect, never feeling satiated. The higher the level of implicitness in a penjing, the vaster the depicted scene actually appears to be, the richer the artistic content.
Ingenious use of opposites. Largeness and smallness, lightness and darkness, bright and subdued colors, verticality and hortizontality -- all these are contrasts found in penjing. Although antithetical in nature, these opposing characteristics are carefully orchestrated to complement each other and give rise to a highly dynamic composition. The majestic pine assumes a softer posture when we curve trunk and branches, displaying a gentle quality amid imposing grandeur. The soft, elegant willow is most appealing when trained in an upright style, adding firmness to its inherent suppleness.
Movement. All major ingredients in a penjing -- whether trees or rocks -- must display qi, the invisible energy force so familiar to lovers of Chinese painting and calligraphy. Good planning and coordination is essential so that this energy force not only becomes noticeable to the perceptive eye but can travel unhampered.
Void and substance as complimentary forces. This artistic device, vital to the Chinese tradition, can be found in music, theater, cinema, as well as painting and penjing. It is particularly the empty part in a composition that stirs the imagination. Void creates and sustains qi. Therefore, the resourceful handling of empty spaces is as crucial as the creative use of substance. As is true for the opposing elements employed in artistic design in general, one should contain the other, void should reside in substance, and vice versa, as symbolized by the well-known Daoist emblem of the Tai Chi.
Interconnectedness. Not one element in a penjing, regardless how remote from the main parts of the composition, should be completely isolated. Throughout the scene, a clear sense of connection and interdependence should be evident. The direction of a tree's slant and the pattern in a rock's grain often play major roles in the artist's effort to join the various components together.
Balance and harmony. Despite the complex pattern of interwoven contrasts, a Chinese masterpiece always conveys a sense of profound harmony. Opposing forces create variation and a strong dynamic quality, and the artist's ultimate challenge consists in the task of balancing these various forces against each other to attain an equilibrium.
In China, the term penjing denotes the art of creating miniature trees, rock landscapes, or a combination of the two. The latter form is known as Water-and-Land Penjing. This style was pioneered several years ago by Chinese artist Qingquan Zhao. The land part may contain one or several trees, or a complete forest. Rocks are used to create certain landscape features and serve as revetment. Assembled on a low-rimmed tray of white marble, the land part is set off by the white color of the marble, blank areas which represent water or just the void element balancing substance.
The penjing shown here, a piece by Zhao entitled Fishing, depicts a fisherman in a picturesque lake setting. It unites all the above stated techniques in an ingenious fashion. Much of the lake is hidden behind the hills dominating the foreground and behind a distant mountain, suggesting vast lands beyond the viewer's eye. The scene is rich in contrasts: High vs. low, soft vs. hard, curved vs. straight, dense vs. sparse -- the vivid interplay of these opposites produces an extremely lively picture. With their graceful, dynamic lines, the trees appear to be in motion. Along the lakeshore, the trees' contours link together to form a semi-circular line, echoed gently by the rise and fall of the terrain. All elements of substance contain empty spaces, and vice versa. Each and every individual piece, carefully chosen and positioned, plays a crucial role in the composition and is connected to the rest. Energy moves freely. The overall impression is one of unity, repose, and tranquility.
This article was first published in Bonsai Clubs International, May/June 1991.