Page 54 - BSAM 2015 Q4

He was intrigued by the ultra- simplicity, which suggested an underlying richness. Brook reports that
he has always pursued simplicity in literati and in other styles of penjing.
Figure 13, “A Distant Gaze” Japanese black pine. Designed by Zhao Qingquan.
Figure 14, facing page
“Pine Whisper on Moonlit Night” Japanese black pine. Designed by Xu Haa.
13
presents the cultural origins of literati in a manner that is erudite yet accessible and engagingly educational. It illuminates the cultural core not as an anchor but as a springboard. In correspondence, Brook was asked, “What one thing about the literati style would you want to communicate to a child studying penjing?” He replied, “Penjing is not merely a re-production of nature; it is seen more as a statement of artistic aspiration.” Brook aspires to the artistic. His book is extraordinarily informative—it reflects depth, learning, and wisdom.
The illustrations do not simply accompany the words—they magnify them in the same way that
the names given to the literati create wholes greater than the sum of their parts. Consider Figures 13 and 14, “A Distant Gaze” and “Pine Whisper on Moonlit Night.” Knowing the names—given so poetically—as we contemplate the artistic expression of the trees, is an enriched experience. e richness re ects the values and culture of the literati scholars. e scholars and the culture provide shoulders for those with artistic aspiration to stand upon. In his penjing and his writing, Brook has stood on these shoulders and his reach has been exceedingly high.
52 | BCI | October/November/December 2015