Page 27 - BSAM 2016 Q4

The Yamadori Aesthetic
e importance of the yamadori aesthetic stems from the beauty of all parts of the tree. e nebari, trunk, shari, jin, bark and leaves, come together to create a maximum expression. Especially in conifers, the phenomenon reaches an ultimate clarity.
The aesthetic quality is primarily expressed in adherence to the concept of miniaturization which can reach levels of artistic universality, and psychoanalytical coherence to the origin of bonsai. The Art of Bonsai was born when plants already miniaturized by nature, were collected and put into pots. Miniaturized trees express the concept of the world in miniature and refuge (Yamagoya) which is typical of the mountain. is experience is universal, so much so that many bonsai enthusiasts, attracted by miniature trees, start with this technique despite the operational di culties.
My own experience was born in the mountains, collecting araki before knowing what a bonsai was: a clear testimony to the universality of bonsai. e parallel between the most extreme beauty, especially from the point of view of naturalness and austerity, and the metaphysical aspect of the shelter, allows us to consider these plants at the maximum level of bonsai.
The nebari can reach a considerable degree of naturalness, and is second only to bonsai grown from seed. e trunk can represent the highest levels of asymmetry with always unique and unrepeatable shapes. e bark of an araki has a degree of naturalness and austerity without comparison because of the thin and abundant scales. The shari and jin have the greatest beauty for they are the work of nature, but also sculpturally, yamadori wood is the best for texture and durability. e quality of the leaves is the subject of great discussion in the bonsai scene for the appreciation of the ornamental value of the variety selected or the naturalness of species. As well, for some masters, the natural leaf has the highest level of naturalness, while for others, the varieties selected for higher ornamental value have a greater degree of aesthetic tranquility.
Deciduous Trees
e deciduous trees normally have origins from seed or cuttings, but some styles may start from an araki, especially in Chinese and Southeast Asian traditions. Chinese penjing are almost always araki.
Cutting edge research into deciduous yamadori can be meaningful only for mountain species such as beech, chestnut and oak trees for temperate climates, and the whole group of Mediterranean deciduous trees. In the sub-tropical environments many species are suitable for this type of technique to the ease with which you have styles of very old trees that are scarred with age. In principle, the guidelines favor growing deciduous trees from seed to achieve bonsai styles that mimic forms created by the natural growth habit of the species; and favour deciduous araki for bonsai that follow the styles of old trees.
Conifers from Nature
Conifers from seed are very rare because it requires decades for results, despite the fact that this approach may lead to a very high level of quality. e technique of yamadori therefore is favoured in this context, both for the preference for the conifers of the forms tied to old trees, and for the contrasts of austerity and naturalness that are found only in these plants. Many trees grown from seed actually start as two-year old seedlings collected in nature, taking advantage of natural selection that allows you to work with stronger trees.
e conifers represent the majority of bonsai for the technical potential and the stability of the cultivation in a container. e techniques used for conifers and the need of vigorous growth, distinctively favour the genetic force typical of araki, especially from high altitudes. Some of the results with these techniques are only possible on these plants.
e entire sculptural sphere linked to Jin, shari and saba reaches its maximum expression in the araki that are normally sought with parts already made in nature, or at least with a part of the branches and the trunk with potential to sculpt or carve. e creation of a bonsai with ancient character requires starting material much larger than the resulting composition, and also from this aspect was born the idea of research into yamadori techniques.
e main conifers are pines, yews and junipers, but in mountainous areas you can nd also native species. e pine in particular plays a fundamental role in the Japanese origin for the meaning of the tree which grows also on rocks. e pines and conifers in general then play a role of great importance in collections but also represent a great challenge to make them take root.
Successful Transplanting
e yamadori technique is not a perfect science.
First of all you need to research where it is possible to harvest without adversely a ecting the land and the laws for the protection of wildlife, and to obtain legal permits or permission. is is done by contacting the forestry authorities.
There are different methods for transplanting related to historical periods, to people and places. e method explained is developed to obtain a result for the rooting of old trees that improves the survival rate from the normal 20% to a 50% survival rate (with peaks of 90%), recalling that historically, transplant survival—including Japan—is around 20%. The percentage given must be considered in a time frame of decades to have meaningful results.
e yamadori method consists in the observance of 11 topics requiring careful analysis. Also, experience plays a fundamental role and it is important to follow recommended techniques if you want to gain the capacity for vigorous cultivation.
1. Selection of suitable materials:
e quality of the material to be collected is linked to good vegetative vigor, conditions favouring
Successful Transplanting consists in the observance of 11 points requiring careful analysis. Also, experience plays a fundamental role and it is important
to follow recommended techniques
if you want
to gain the capacity for vigorous cultivation.
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