Any Interest in a Really Good Penjing Book?

[Attila Soos]

It would be a fascinating project, and the real success would lie in the text, although I know that your talent with photography will guarantee great photos. And I know that Penjing is a passion of yours, so go for it. You can't really lose, the worst case is that you will end up a vacation that can be written off for business purposes (this is the accountant in me).
Your book on Daniel can be used as the blueprint for a successful penjing book. You will have to inverview a number of Penjing artists, and just write down what they say, without "interpreting" anything. Just like you did with Daniel. I am sure that the picture taking can be outsourced, so that you don't have to spend too much time on that.

Each artist could be a story, and it's much more effective to focus on one guy, than trying to tackle the whole country. If you cover enough people from various parts of China, a picture about the overall bonsai culture will eventually emerge. Raw, journalisting style (with a dash of practical information) would be refreshing, without the "oriental mumbo-jumbo", a trap that so many people fall into, when it comes to Asian cultures.I would rather have the personal stories and accounts do the talking. It could also serve as a personal guide for those who want to travel to China for bonsai. There are many of those about Japan, but nothing on China.

The idea of comparing the Japanese and Chinese styles sounds interesting, but I am afraid that at the end, it would be at the expense of the more "regimented" Japanese style, which would turn off a lot of people. So, if you do it, you need to make sure to show the best of two worlds without making or even implying any judgment.

There is a large gap in the current English-language bonsai literature, as far as Penjing is concerned. And the ones out there only focus on a few "big" names. I would rather hear from those penjing artists having little contact witht the Western world.

Also, if you embark on such a project, I am sure that Lindsay Farr would be of help, he traveled of lot over there and seems like a great guy to work with.

To me, the biggest appeal of such a project would be not the end product, but the journey (the process of writing the book). The traveling, the learning, meeting all the people, seeing all the trees, getting to know the culture - that would be the adventure of a life-time. The book would be the by-product, and a great reward at the end. And you could pass on the aventure to all of us, who can't afford to do such a thing.

P.S.: you could even add a chapter on Vietnam, if looking for more diversity...depending on how much content you can produce on China. It would be interesting to compare the miniature landscapes from those two countries.

And, of course, I would definitely buy the book..

 

[grouper52]

Atilla, thanks. Those are exactly my thoughts, and Robert's as well. He wants me to do the photography, but it is neither practical nor essential. Others can do it under my supervision/guidance from afar, and we may even be able - through Robert Cho's extensive connections in the Penjing world over there - to get permission to use some of the images I've found so illustrative and inspiring from the books and magazines I've talked about.

While Robert likes my photography, and wants me to do it, he has been even more clear that he wants me to write the book, to organize it and present it in a way that appeals to the American mind while still capturing the essence of the Chinese view and philosophy. Interviews are a vital part of the way to do that, IMO, even though it should be more than a mere collection of interviews. The slow, organic process of getting all the "data" and then letting it slowly percolate and ferment and blend together in my mind until it's just right was a large part of the creation of Gnarly Branches, and one of the reasons for its appeal, IMO, and I think that same process will be the only viable option for a book like this.

I agree with your point about downplaying any sense of rivalry between Penjing and Japanese Bonsai. It's not essential, it's not necessary, and it won't sell. BUT, more importantly, that sort of harshly competitive attitude seems very far removed from the spirit of Penjing: it simply seems alien to the art, and the artists, whom I've never heard speak in those terms. It might have been instructive on the web for such a side-by-side comparison, and Gnarly Branches would not have been an accurate portrayal of reality if such things were left out, but it would have no place in the book I envision about Penjing. What might be useful, however, is some understanding of where Penjing fits into the larger global bonsai scene, but that chapter has to be done with the right spirit, IMO.

 

[Attila Soos]

Interviews are a vital part of the way to do that, IMO, even though it should be more than a mere collection of interviews. The slow, organic process of getting all the "data" and then letting it slowly percolate and ferment and blend together in my mind until it's just right was a large part of the creation of Gnarly Branches...

Yes, that's it.
And the more these artist talk about their work, the better, without too many interruptions with new questions.

What might be useful, however, is some understanding of where Penjing fits into the larger global bonsai scene, but that chapter has to be done with the right spirit, IMO.

Yes, comparisons are great in that they help to better understand these cultures. They create some context, so that we can better oganize our knowledge.

 

[JudyB]

I would rather have the personal stories and accounts do the talking. .

Yes, I agree, and you'll be able to bring that across I think if anyone can.

And maybe skip what I call the begats ... - The history if you will, that every book on bonsai sticks in the front in SUCH a boring and regimented manner.... (Then shep begat shepson, and shepson begat rachel....yada yada... )

history is so much better when brought out by stories of people and their experiences of it.
IMO.

 

[grouper52]

The history may or may not be difficult to sort out for an American audience. I agree that an informational, academic style presentation is not going to interest Americans, nor would it interest me to write such.

Additionally, I've never seen any Penjing book that discusses the historical aspect of things in any great depth or detail. All one book had to say, for example, was that it dates back 1700 years to the T'sun and Tang Dynasties, and gained popularity and flourished in the Ming and Ching Dynasties. Most other books I've seen, when they speak of it at all, say about that much or just a little more.

Nor have I ever seen anything but the most rudimentary verbal presentations of any horticultural or stylistic techniques. What they do discuss and emphasize, and what does interesting me, is the cultural/historical connection to traditional painting and poetry. Indeed, I read somewhere in one such book that an important emphasis for one's growth in Penjing is the cultivation of these traditional disciplines, such that Penjing is seen as an outgrowth of them. As in those other art forms, the natural balance and harmony of opposites plays a large role.

Once this is understood, it becomes readily apparent whenever viewing the best Penjing. Indeed, I think this is what sets it apart from other types of bonsai to a large extent. Even in solitary trees, without the rocks or mud men or scenery, you can still see the Chinese painting, and feel the hint of a great sage's poem about nature in there somewhere. That's one aspect I'd like to emphasize, and hopefully the trees and scenes in the photos will say it even clearer than I do.

 

[lightwatchertoo]

I would certainly buy it.

I have a few books on penjing now.

I understand Robert Steven is working on a penjing book now.

 

[Jatt]

Si

You said “ I have all the known English language penjing books“
Can you please a list of these books and post please…..thanks !