Page 39 - Demo

Pinus sylvestris: Height - 31 cms.
As a basic concept, this Scots pine, could in time become an exceptional bonsai, but at present it needs to develop greater foliage in relation to trunk and branch structure. The pot, stand and trunk blend together in a dramatic fashion. It is let down is by the lack of foliage. The foliage part of the tree could afford to be lifted to reveal the branch formation, there is a need for more needle development. Once that is ultimately achieved, we will have a dramatic tree but perhaps not a truly great tree.
Juniperus sabina: Height - 90 cms.
An award-winning tree which beautifully reflects the semi- cascade style. Effective use of deadwood; branch positioning and refinement excellent. Good balance of tree, pot and stand.
The effect is accentuated by the use of a sickle pot as well as the use of a mix of ground cover. Foliage mass is neat and well styled. Already an award winning tree, that will develop into a memorable tree with just a little more foliage.
Pot; to include the appropriateness of the pot (shape, color, texture) and the position of the tree in the pot.
Stand where used; appropriateness of size, color and design.
Aesthetics, general impression; is it presented at the correct angle thus showing that the balance of the tree is correct? Are the respective volumes of foliage and branches, compared to each other, in harmony and are these volumes in proportion to the tree? Is the tree styled in such a way that it gives a strong impression of depth? Styling a tree can cre- ate an artificial appearance. Is the work on the tree done in such a way that it still gives the impression that the artist merely interfered in the natural ap- pearance of the tree.
Often, on being invited to judge bonsai at a society show or exhibition, you are presented with the soci- ety’s own set of judging criteria, including a points system for scoring each set of criteria. These can prove highly detailed and comprehensive, to the extent that an enormous amount of time can be spent ‘ticking all the boxes’. While the purpose behind such judging may be well intentioned, it can prove a very time con- suming exercise if faced with judging a large number of trees. On occasion I have been confronted with the task of judging over 150 bonsai at National and In- ternational level. Time is a luxury one does not have on these occasions. Lists like the one on the facing page are perhaps put to better use as teaching aids for those hoping to become bonsai judges. Then they are able to look at all possible variables necessary in assessing a good bonsai from one which stands out as being exceptional.
In reality, developing an eye for evaluating a bonsai stems largely from experience. This is based upon a clear awareness of which features of each individual tree stand out and make the greatest impression.
I have created a list of the most significant criteria a judge should consider when examining a bonsai ex- hibition. The list encompasses a range of features, not all of which would apply to every tree. This list was designed initially as a score sheet, marks having been allocated for each of the points listed. For the purposes of this article, the idea is to draw upon this list as a learning tool rather than as a score sheet. Hence, the marks allocated for each feature within each section have been removed. This list, which includes items not originally listed such as jin and shari, and also includes the use stands on which it is exhibited, covers features on which judges must reflect in making their decision.
Judging, be it a floral display, paintings, dog or cats, or in this case bonsai, is not just a matter of arriving at a numeric score; it is rather a case of distinguishing between a number of bonsai that are all good and ar- riving at a conclusion based on which is First, Second and Third, and maybe, which ones we consider to be of such a standard that would warrant, an Award of Merit.
October/November/December 2014 | BCI | 37