Finding the front view of the tree:
Let us now proceed to the wonderful ponderosa pine previously pictured.
Although this tree is not what would be referred to as a 'basic' tree, I am going to propose a composition, which is based upon the rules that I have learned during my apprenticeship.
From the view pictured above, I do not see a well-balanced, cohesive composition. The exposed roots appear to be a pile of spaghetti separate from the base of the tree. The main trunk lifts upward forming a cylinder with no taper ending in a stump of deadwood painted an unnatural white color. From this cylinder a branch first slumps downward before rising in a large curve. The juxtaposition of the slumped form and the curve is not very attractive to the eye. I also want to see if I can find a more interesting curve. I don't believe anyone knowledgeable about bonsai would think of this tree as being a world-class specimen as it sits in the pot at this moment.
The first thing that I do when a tree is placed before me (other than checking on it's health and watering needs) is to look for the front of the tree. My worktable swivels 360º allowing me to turn a tree easily. I also utilize blocks of wood to prop up a tree on an angle or place the whole pot into a larger pot in which to create various angles or viewpoints.
While turning a tree, I am thinking that it is more difficult and takes more time in terms of horticultural techniques to change the exposed root system or the exposed trunk than it is to change branch placement, ramification of the branches, and/or the top of the tree. Therefore, I am more concerned at this point with the exposed root system and exposed trunk line than I am with branch placement, ramification of the branches, and the top of the tree.
We begin with the exposed roots and exposed trunk line. Let's try to find a viewpoint from which the roots look less like a pile of spaghetti and more like tentacles that are tenaciously clinging to the earth. After wandering around the tree (Note: It's too large to swivel around on my worktable and I don't think the people at the National Arboretum would appreciate my handling of their artifact.) I believe the picture below shows a wonderful view of roots tying the tree to the ground and also making a mice sweeping transition from the roots to the initial curve of the trunk line to the left or counter-clockwise and upward.
From the exposed roots we now turn our attention to that part of the trunk that is left exposed or is not blocked by foliage. Because of all the movement in the trunk, I am thinking of an informal upright tree, one of many styles appropriate for a pine tree.
Whenever I run into a problem concerning any feature of a bonsai whether it entails the exposed roots, the trunk line, branch placement, position in the pot, etc., there are three choices I can make. I can de-emphasize or hide the feature, accentuate the feature, or I can cut the feature off.
I this case, I have a problem with the unsightly slump. Though I do not want to remove it completely, I do want to de-emphasize it a bit. This slump moves the tree from the pool of 'basic' trees to that of unique trees that can actually draw the viewer back, time and time again, due to such a distinctive feature.
The following photos will show the tree being turned clockwise so that you can see what I saw as I studied this tree. Though I am trying to blend the various elements, I am mainly concerned with the exposed sections of the roots and trunk line in order to make the best composition that I can.
In a perfect world, we would be able to find the perfect tree composed of good exposed roots evenly displaced around the tree, nice movement and taper in the trunk line, and branching with good ramification in all the right places. Alas, we don't live in such a world. Therefore, in order to create the best composition possible, we will most likely have to compromise.
A.
B.
D.
C
I kept moving between figure A, the original position, and figure D to try to determine the best view. I like the root system in figure C and D, but I like the trunk line in figure B. As we move from figure B through figure D, the trunk line gradually is foreshortened and the slump slowly disappears.
A problem I have with figures C and D is that the front view may look alright but when looking at their profiles the trunk line looks odd. Figure A would be the approximate view one would see when looking towards the tree from the right side of figure C or D. This would be too unnatural a form to seriously contemplate. Also, the lowest developed branch would now be to the rear of the tree and would need to be brought to the right and forward.
I am going to opt for the tree in figure B and E, shown below. Though the exposed root mass may not be quite as dramatic as in figures C and D, it is still massive, ties the tree to the ground, and leads into an impressive counterclockwise turn in the massive trunk. The trunk then tapers upwards towards the remnant of the original trunk, which is now deadwood; formed no doubt from the harshness of nature. The eye is then led to the unique slump formed from this act of nature, which, in turn, guides the eye to the open and graceful curve of the upper trunk line. As this curve of the upper trunk line. As this curve passes the upper most point of the deadwood, nature is alternately kind and again harsh to the tree. The trunk rises and then flattens, rises and then flattens. This give and take between the harshness of nature and the tree is not visible in figures A, C, and D. finally, the main branches are in good positions to develop foliage pads. Even the deadwood looks better from this angle.
E.
In the photo E., above, shows the position of the new front of the ponderosa pine. Notice in the picture, there is a jin located where the first right hand branch should be. Since we no longer have this branch, the main right branch shall continue to grow downward and a foliage pad will be developed where the original branch used to be located. This is to compensate for the loss of the original branch. Of course, in 'Classical Bonsai' the would be a branch located here. We are not bending any rules by creating a foliage pad in this location. We are simply making a compromise, given the circumstances.
A compromise must also be reached because of the unusual nature of the slump and the large curve formed that moves downward before moving upward and returning. In no way is there a 'bending of the rules'. I am simply trying to create the best overall composition given the material at hand. Though the front of the tree is paramount in making my decision, the whole tree, seen from all angles, must also be considered.
I want to do one more thing before making figures B and E my final choice. I want to turn the tree 180º and take another close look from that direction. During my apprenticeship, I looked at thousands and thousands of trees as they went through my hands. Though the trees were oriented in their respective pots according to the previous craftsman's idea of what constituted the best front, it was now my responsibility to either verify that they had indeed chosen the correct front or I must determine the actual front of the tree. I was often amused that when turned 180º or thereabouts, a more pleasing front would emerge. See figure F, below.
F.
In this case, that is not true. We lose the exposed roots completely and where the tree first rises out of the ground it is blocked from view by part of the trunk. Also, we de-emphasize the deadwood from this viewpoint. These three flaws cannot be rectified from this viewpoint.
This tree has been in training for over forty years and yet I do not see good ramification. It seems this tree may have been under a certain amount of stress for some time since undergoing training. Therefore, after repotting in a somewhat fast draining soil with plenty of aeration, I would begin a mild fertilizing program and through proper pruning start to look increased budding and begin proper ramification of the branches. At this time, I would be reluctant to begin wiring for fear of adding to the stress on the tree.
Before
After
Ideas to keep in mind when working with bonsai: