Bonsai-Intertwined roots

Intertwined Roots
Roots of some trees from one species (three tree trunks or more) attached to each other and relate to each other. This form can also be derived from tree trunks that had been upright, but collapsed and buried in the ground. Part that used to be a branch of the tree, changing roles and grow as a tree trunk. From the tree trunk out of the roots, and roots are entwined with the roots of the tree of origin. Shape similar to the roots entwined called rafts or Grown from Stem (Ikadabuki). Growing bonsai shape of the rod also comes from trees that had been upright, but collapsed and changed the role of the stem branches. Intertwined with the roots of the difference lies in the roots of which exist only in one spot. Like many trunked bonsai, even unpopular trunked tree.
Group
More than one tree planted together in a pot or planted on the shallow rocks. Trees can be planted a few trees of one species, or a mixture of several different species. The value of creative works may be exalted with the blend decorative items are placed in addition.

This bonsai forms of copying its origins in the Nanga tree form. Named bonsai tree forms of literary writers since the Meiji era is very fond of this form of bonsai. As of today, thin stems, number of branches a little, and the short branch is also called the Tree of Letters.
Trees Not Unusual Intertwined roots
Roots of some trees from one species (three tree trunks or more) attached to each other and relate to each other. This form can also be derived from tree trunks that had been upright, but collapsed and buried in the ground. Part that used to be a branch of the tree, changing roles and grow as a tree trunk. From the tree trunk out of the roots, and roots are entwined with the roots of the tree of origin. Shape similar to the roots entwined called rafts or Grown from Stem (Ikadabuki). Growing bonsai shape of the rod also comes from trees that had been upright, but collapsed and changed the role of the stem branches. Intertwined with the roots of the difference lies in the roots of which exist only in one spot. Like many trunked bonsai, even unpopular trunked tree.
Group
More than one tree planted together in a pot or planted on the shallow rocks. Trees can be planted a few trees of one species, or a mixture of several different species. The value of creative works may be exalted with the blend decorative items are placed in addition.

   
Tree Poets / Free
This bonsai forms of copying its origins in the Nanga tree form. Named bonsai tree forms of literary writers since the Meiji era is very fond of this form of bonsai. As of today, thin stems, number of branches a little, and the short branch is also called the Tree of Letters.

Bonsai-Stainless Steel vs. Carbon Steel Tools

Stainless Steel vs. Carbon Steel Tools

Introduction
Many beginners and experienced practitioners as well as bonsai, often in a dilemma when it comes time between steel (black) to choose tools that are usually more expensive or shiny stainless steel appliances.
I have always maintained that a better and more economical to purchase quality equipment with high-quality steel more than stainless steel that is equal or more expensive. But the debate will always rage on.
Marty Weiser, a practitioner of Metallurgy and Bonsai, offers the following discussion the difference between stainless steel and carbon, so that your own opinions.
BW

What is stainless steel?
Generally stainless steel (SS) with the addition of at least 10% chromium (Cr) with iron. SS then form an oxide of chromium oxide surface mounted, SS and prevent further corrosion. This material is locked into the body-centered cubic ferrite phase (BCC) and strong enough and not very durable.
Nickel (Ni) is often added to the SS to change the structure of the austenite phase is much more resilient and improve resistance to oxidation at high temperatures. One of the common value of SS with 18% Cr and 8% Ni and is used in everything from industrial pipes for the spoon and fork. In the U.S., this is known as Type 303 or 304 SS.

The role of carbon in steel
Carbon steel is often added to increase hardness. Adding as little as 0.5% carbon can make a big difference in the hardness of steel. However, increased violence comes at a cost of much less elastic. Viewing control that allows heat treatment to control the trade off between hardness and toughness - but if you make a mistake, you can end up with a knife that will not continue to destroy the edge or if he fell. Very high quality Japanese steel tools often laminated piece of high ductility, low carbon steel thin body for low ductility steels with high carbon content with hard-edged knife and very elastic.
cast iron is listed with 2 to 5% of carbon is usually too fragile to make a good cutter. However, they make incredible machine tools, because they are very stable.
The problem with carbon steel
However, we discussed the SS If you are looking for the definition of steel, you'll find something along the lines of "iron-carbon alloy with more than 0.1%." Are you looking for the composition of the SS, the most you will find that the carbon content of less than 0.1%. Therefore, non-technical steel SS. Why SS carbon content is limited? Well, if you each heat treatment combined with carbon, such as with chromium, chromium carbide with the formula, Cr23C6 form. This forms a compound along the grain boundaries (not specified) and confiscated along the grain boundary Cr. However, Cr had to make corrosion-resistant material, so that when you remove the SS does not rust. Therefore, the concentration of carbon-limited SS.
So the SS does not contain much carbon, to ensure that it remains free of rust. What were the results? Now responsible for the production of carbon steel harder so they have a very nice sophisticated place. Therefore, the SS is not too hard and make a bad cutting tools. Well, not really. Metallurgists to imagine that a good metal and steel will hold a decent big demand, so they are some of the SS who developed quite advanced. In the U.S. it is 400 series SS is important is that by careful control of composition and heat treatment you can use a metal which is a good compromise between hardness and corrosion resistance to create. However, you make a mistake in a well you end up with material that is too hard (brittle) or too soft (not to stand up and tip). Generally inexpensive tools such as knives SS error in a soft side, while high-quality products that is right or wrong is usually on the side too hard.

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History

Bonsai Types, Basic forms, History,and Size

Type
The most common trees are various species of pine dibonsai. Types of plants and trees used to classify the types of bonsai:

Bonsai pine and oak trees: pine-, fir china, pine thorns, toothpick, and others.
Bonsai fruit trees to enjoy the beauty of his men (Ilex serrata, persimmon, Chaenomeles sinensis, mini apples, etc.).
Bonsai flowering plants to enjoy the beauty of the flowers (Prunus mume, Chaenomeles speciosa, sakura, Satsuki azaleas).
Bonsai trees to be enjoyed form of leaves (maple, Zelkova serrata, Rhus succedanea, bamboo).
There are so many tropical plants that have been tested and found suitable for dibonsai, including acid java, banyan, pine shrimp, hibiscus, and guava.

Prototype
 
Straight Upright (Chokkan)
Winding up straight (Moyogi)
Gloves wind / wind (Fukinagashi)
Hang (Kengai)
Half Hanging (Han Kengai)
Trunk curl (banking)
Upright Brooms (Hōkidachi)
Trunked Two (supplies)
Literary Tree (Bunjinki) Straight Upright
Upright tree trunk vertically upward. Tree trunks are said to have an ideal if a tree has a trunk diameter of a growing number of increasingly smaller, starting from the trunk near the roots. Tree branches are said to have ideal if the branch is in the front-back or left-right crossing each other from each other. Distance antardahan upward growing increasingly narrow. Ideal form of the root is the root which when viewed from above, spread out in all directions.
Upright winding
Upright tree trunks winding to the left and right. Stem diameter increasing upward decreasing with the balance of left and right is good. Branch is the branch of an existing well at the top of the trunk flexion. Branches located in the interior of the arch is cut. From the base of the stem to the top of the tree can be drawn straight line, and those who see do not feel worried about the balance tree.
Oblique
Trunk is tilted to one side like a constant wind direction. Like there are things that block on one side, leaning trees grow to the other side. Characteristic of this form in the form of branches that exist only at the top of the arch bars, and criss-cross at the left-right and front-rear.
Gloves wind / blowing in the wind
Compared bonsai form Italic, trees grew as he experienced a more violent coercion. Stems and branches of trees leaning in one direction only. Stems and branches of trees bent to one side much longer than the tree height as measured from the base of the stem to the top of the tree. The position of the stem and branches similar to the Hanging Half bonsai style, but the stems and branches appear to form parallel lines.
Hang
Likened to trees growing on the surface of the wall in steep seaside cliffs or steep valley walls. Grows like a tree trunk hanging down the cliff. The treetops far to more than basic hanging pots. When the top of the tree does not exceed the basis of the bonsai pot is called the Hanging Half (Han Kengai).
Trunk curl
Looks very twisted tree trunks, or tree growing with a tendency to twist away. So looks twisted tree trunk like a snake that is coiled.
Upright Brooms
Rods perpendicular to the middle before spreading branches and twigs grow in all directions. Top of the tree difficult to determine from a number of peaks existing branches so that the form of bonsai is like a broom of bamboo. The beauty of bonsai style is assessed from a neat branching limb, and the commencement point spread branches and twigs in all directions, tree height, and balance these elements.
Highlighting Roots
Due to tree maintenance are kept in a cruel environment, the base root branching in the soil become exposed to the outside on the ground like a result of wind and rain.
Many trunked
From a base of roots grown up more than one tree. When you grow two trees, the bonsai is called trunked Two (supplies). When there are three trees, so called trunked Three (boring). Trunked bonsai five or more is called stumps Upright (Kabudachi). Odd rods preferred. In addition to two trunked bonsai, bonsai with even-numbered sticks and not made unwelcome.
Intertwined roots
Roots of some trees from one species (three tree trunks or more) attached to each other and relate to each other. This form can also be derived from tree trunks that had been upright, but collapsed and buried in the ground. Part that used to be a branch of the tree, changing roles and grow as a tree trunk. From the tree trunk out of the roots, and roots are entwined with the roots of the tree of origin. Shape similar to the roots entwined called rafts or Grown from Stem (Ikadabuki). Growing bonsai shape of the rod also comes from trees that had been upright, but collapsed and changed the role of the stem branches. Intertwined with the roots of the difference lies in the roots of which exist only in one spot. Like many trunked bonsai, even unpopular trunked tree.
Group
More than one tree planted together in a pot or planted on the shallow rocks. Trees can be planted a few trees of one species, or a mixture of several different species. The value of creative works may be exalted with the blend decorative items are placed in addition. 
This bonsai forms of copying its origins in the Nanga tree form. Named bonsai tree forms of literary writers since the Meiji era is very fond of this form of bonsai. As of today, thin stems, number of branches a little, and the short branch is also called the Tree of Letters.
Trees Not Unusual
This form is used to refer to bonsai that are not can be classified into bonsai shapes prevalent.

History
Bonsai comes from the art of miniaturizing plants called penjing from the Tang dynasty period. In the tomb of the son of Empress Wu Zetian are murals depicting the waitress who brought the flowering trees in shallow pots. Small shallow pot is a miniaturization of natural scenery.

Japanese society began to recognize penjing around the end of the Heian period. Penjing kanji for the Japanese is pronounced as bonkei. Similarly, in Chinese, Japanese bonkei is also the miniaturization of natural scenery. Art is only enjoyed by the upper classes, especially among the courtiers and samurai, and a new bonsai called on the Edo period.

Bonsai plant is a samurai of the Edo odd jobs, when the bonsai's popularity peaked. Since the Meiji era, bonsai is considered as a fashionable hobby. However, maintenance and watering bonsai takes a lot of time. In line with the neighborhood in which more and more modern Japanese and have no yard, bonsai enthusiasts finally limited to the elderly.

Size
 
Bonsai at the "Foire du Valais, Switzerland, 2005.Bonsai grouped into six groups based on plant height from the base of the stem to the top of the plant:

giants: tree height of more than 101 cm.
very large: between 76-100 cm tall tree.
big: tall trees between 46-75 cm
medium height trees between 31-45 cm
small: tree height between 16-30 cm
very small: less than 15 tall tree

Installation of the bonsai wire

Styling Techniques
 
Bonsai are carefully arranged to keep the miniaturization, suggested ages, and to fulfill the artist's aesthetic goals. Tree styling also occur in larger scale in other practices such as the Topiary and niwaki. In bonsai, however, the artist has control over every feature of the tree, because it is small and (in its container) are easily moved and worked. Larger scale than full-sized trees mean that their style can be limited trimming and forming the exterior volume once per growing season, never trimming the canopy or bent and formed individual branches. Conversely, the bonsai is being prepared for display, each leaf or needle may be subject to decisions about pruning or retention, and every branch and twig can be formed and transferred to his place every year. Given the differences in scope and purpose, using a number of bonsai styles styling techniques both unique to bonsai or (if used in other forms of cultivation) were applied in a way that is suitable to meet the development objectives of bonsai.

Leaf Pruning

This technique involves the selective removal of leaves (for the most tree varieties fall) or needle (for coniferous trees and a few others) of the bonsai's branch. A common technique in the design aesthetics of bonsai is to expose the branches below the leaves or needles (sometimes called a "cushion"). In many species, especially coniferous, this means that the leaves or needles projecting under their branches should be cut. For some coniferous varieties, such as pine cones, branches from the trunk to bring the needle tip and a lot of needles can be trimmed to expose the form of branches and skin. Needles and buds pruning can also be used in a coniferous tree to force the re-shoots on old wood, which may not occur naturally in many cone. Along with trimming, pruning the leaf is the activity most commonly used for the development and maintenance of bonsai. and one that occurs most often in the year.

Pruning

The small size and a few leaves from trees dwarfing the results of trimming the stem, branches, and roots. Pruning is often the first step in transforming a plant specimens collected into bonsai candidate. The top of the trunk can be removed to make the tree more compact. Major and small branches that conflict with designers plan will be erased entirely, and others can be shortened to fit into the planned design. Pruning later in the life of the bonsai is generally less severe, and may be done for purposes such as branching or branch encourage increased growth of non-pruned branches. Though bonsai pruning is an important and common practice, it should be done with caution, as improper pruning can weaken or kill trees. Carefully trimming trees throughout life. It is crucial, however, to retain the basic design of bonsai, which otherwise may disappear behind the natural growth of uncontrolled branches and leaves.

Wiring                                 

     

Area of cable can be seen on the specimen bonsai.
Wrapping copper or aluminum wire around the branch and trunk bonsai allows designers to create the desired general shape and create detailed branch and leaf placement. When wire is used on a new branch or shoot, holding the branch in place until they lignify (turned into wood). The time it takes usually 6-9 months or one growing season to fall, but can be several years for conifers like pine and fir, which maintain the flexibility of their branch through the growing season double. Cable also used to connect the branch to the object (for example, another branch, the pot itself) so that the tightening of wire applies power to the branch. Some species lignify not strong, and branches of several specimens' are too rigid or brittle to be bent easily. These cases are not conducive to wires, and forming them accomplished primarily through pruning.
For larger specimens, or species with a rigid timber, bonsai artists also use mechanical equipment to form the trunk and branches. The most common is based screw clamps, which can stretch or bend the part of bonsai using a power far greater than the cable can supply. To prevent damage to trees, clamps tightened little by little and make their changes over a period of months or years. 

Bonsai-For similar art in Chinese Culture

For similar art in Chinese Culture  

Bonsai at the "Foire du Valais, Switzerland, 2005.Bonsai is dikerdilkan plants or trees in shallow pots with the aim of making a miniature of the original form of large old trees in the wild. Sai planting was conducted in a shallow pot that called for the bill. The term bonsai also used for traditional Japanese art in the maintenance of plants or trees in shallow pots, and appreciation of the beauty of the form of branches, leaves, stems, and roots of trees, and a shallow pot into a container, or the whole plant or tree form. Bonsai is the Japanese pronunciation for penzai.

This art includes various techniques of cutting and trimming of plants, wiring (the formation of branches and tree limbs to bend with the wind the wire or wire ties), and makes the roots spread on the rock. Making bonsai takes a long time and involves a wide range of jobs, including fertilizer, pruning, crop establishment, watering, and replacement pots and soil. Dikerdilkan plants or trees by cutting the roots and branches. Tree was formed with the aid of sticks and wire in tunasnya. Wire must be taken before they could scratch the skin twig tree. Plants are living things, and nothing can be said that bonsai is completed or finished. Changes that occur continuously in the plant according to season or natural state is one attraction of bonsai.

Penjing and Bonsai

The Difference Between Penjing and Bonsai

In the picture, there is poetry
In the poem, there is meaning
In the silence, there is movemen
In the movement, there is rhythm-

Robert Steven opinions about penjing and bonsai

Some people say that my bonsai are contaminated penjing, and that my penjing are not authentic. Before going further, I would like to explain the difference between penjing and bonsai. Are penjing the same as bonsai? Is there a difference in concept and philosophy?

The answer is: Yes- and No! It depends on the context we are discussing. This has long been a controversial issue since there are few articles written about penjing by competent sources from China. Confusion on this matter can be seen in books, articles, and in online discussion forum threads. In these instances the two arts are considered to be the same — simply a matter of translation — but at other times they are referred to as two different art forms. So what is the truth?
Let’s start from the basic understanding of the words, “bonsai,” (Japanese) and “penjing” (Mandarin). Pen = pot, jing = view or landscape. penjing means “landscape in a pot”. Bonsai in Japanese means ” planted in a pot,” which if translated into Chinese is penjai or penzai. This simply means “plant in a pot.” Any plant that is in a pot is called penjai. So penjing does not have the same meaning as bonsai, as we understand it today. What we call bonsai, in Mandarin is called shujuang penjing. In articles and discussion, the word shujuang is usually left off, leaving just the word penjing. So, in a very general context, bonsai is the same as penjing because we all know what we are talking about – by eliminating the word shujuang. But in a specific context, penjing is different from bonsai.
Penjing has a broader context in this art form with its own specific nuance. Shujuang penjing (bonsai) is just one of the styles in the broader penjing art. There are shanshui penjing (rock penjing), bigua penjing (wall-hanging penjing), shuihan penjing (water and land penjing), shushe penjing (tree and stone penjing)-etc-The basic philosophy of penjing is “Yuan yu je zan, Gao yu je zan,” which means “Inspired by nature, admired as superior to nature.”
With penjing we try and recreate the beauty of nature without eliminating the imperfections of nature. There is a great deal of creative and natural freedom in how the artist may do this with penjing. The soul of penjing is revealed more in the whole presentation; the thematic message, the symbolism and poetry. The presentation is natural, without too much of the aesthetic depending on the anatomical details of the tree. Penjing is involved more with a subjective expression, with very strong individual emotional references. Anatomical perfection is not a main requirement in penjing because nature is imperfect. The technical engineering skill important to bonsai is not so important in penjing. Instead, the application of skill should be relevant to the tree only in order to successfully convey the thematic message to viewers. The essence of the whole principal in Penjing is “Hua jong you se, se jong you yu; Jin jong you dong, dong jong you diao,” meaning “Inside the picture, there is poetry, inside the poem, there is meaning; in the silence, there is movement, in the movement, there is rhythm.” The objective aspect of penjing is to follow the phenomena of natural imperfection. The subjective aspect is based on balancing the presentation of the captured moment from nature with the implicit message of the theme. In the presentation of the message, nuance and symbolism should be used to accent the overall presentation. This fact requires imaginative interpretation by the artist and viewer.
What I am doing with my own work is to combine the objective aspect of bonsai with the subjective aspect of penjing, the beauty of the structural refinement of bonsai with the inner beauty of the symbolic presentation of penjing, all to lend a unique nuance to the result. In my opinion, the term “authentic” has no relevance to art. An artist should be able to make his own statement of character and identity. I am not trying to create my own style, but rather trying to find new, innovative possibilities based on my own applications of aesthetic concepts. There is no absolute in art and beauty. For appreciation of artistic creation to occur there should be an emotional interaction between the art object and the viewer. This requires communication between the art object and the viewer.
If there is a strong Chinese flavor in my work it is simply a reflection of my personal taste and interest in Oriental philosophy, like poetic Chinese calligraphy or the sentimental and melancholy Tang poems.
As has been said before, art is a living thing that continuously interacts with life through those who view it. The medium of bonsai is also a living subject that changes according to the rules of nature and horticulture. So the rules of bonsai art are based both on the rules of natural phenomena and the whims of individual and societal convention. My definition of beauty may not be the same as someone else’s definition of beauty. Interpretation and perception of beauty are very individualistic. It depends on the viewer’s background, knowledge, culture, local social values, experiences, even the current condition of the viewer’s emotions.
My work is a reflection of my personal feelings and attitude. In making bonsai, I am not too concerned with the final destination, but rather with the joyful process. I enjoy the slow process of revealing the character and identity of the tree — a process that brings my life into parallel with the tree’s life journey. This sort of endeavor is more of an active meditative process and the cultivation of a soulful relationship with the artistic medium, instead of simply a superficial exploration of the medium. The communication between my medium and me may not take place with verbal communication, but there is an echo of understanding, nonetheless.