Qingquan Zhao - Literati Style Penjing: Chinese Bonsai Masterworks

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Fig. 1Vicissitudes of Life

Species: Hedge sageretia (Sageretia theezans)

Height: 60 cm

Age: Approx. 50 years

Designer: Zhao Qingquan

Introduction: The trunk displays a curvy S shape, with bark showing great aged character. While an old specimen, it exhibits vigor and verdant small leaves.

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Fig. 2 For display in exhibition, place literati penjing in well-lit and ventilated space, with perhaps a Chinese landscape painting as backdrop

Copyright 2015 Shanghai Press and Publishing Development Co., Ltd.

All rights reserved. Unauthorized reproduction, in any manner, is prohibited.

This book is edited and designed by the Editorial Committee of Cultural China series.

Text by Zhao Qingquan

Photographs by Zhao Qingquan, Han Xuenian, Wu Chengfa, Zheng Zhilin, Xu Hao, Zheng

Yongtai, Zhao Yi, Shen Songsong, Chen Chang, Sun Jianjun

Foreword by Thomas S. Elias

Translation by Liu Haiming

Cover Design by Wang Wei

Interior Design by Li Jing, Hu Bin (Yuan Yinchang Design Studio)

Editors: Yang Xiaohe, Wu Yuezhou, Kirstin Mattson

Editorial Director: Zhang Yicong

Senior Consultants: Sun Yong, Wu Ying, Yang Xinci

Managing Director and Publisher: Wang Youbu

ISBN: 978-1-60220-018-0

Address any comments about Literati Style Penjing: Chinese Bonsai Masterworks to:

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Shanghai Press and Publishing Development Co., Ltd.

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Printed in China by Shenzhen Donnelley Printing Co., Ltd.

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Fig. 3Flowing Grace

Species: Chinese red pine (Pinus massoniana)

Spread: 140 cm

Age: Approx. 50 years

Designer: Han Xuenian

Introduction: A cliff-hanging style pine, with the trunk curving downward in a cascading line like water falling over a cliff, it epitomizes vigor and a flowing grace.

Fig. 4Drunken Stupor

Species: Hedge sageretia (Sageretia theezans)

Height: 110 cm

Age: 50 years

Designer: Wu Chengfa

Introduction: The trunk curves in a bold sweep to the upper left, with the left primary branch extending in a dramatic cascade, conveying a sense of freedom and abandon. The exposed roots spread out, anchoring the tree.

Fig. 5Winding like a Stream

Species: Chinese red pine (Pinus massoniana)

Height: 95 cm

Age: Approx. 30 years

Designer: Zheng Yongtai

Introduction: Its exposed roots styled in a trunk form, this pine exhibits a distinctive character, with hanging major branches producing dramatic lines similar to those in Chinese calligraphy.

Fig. 6Lofty and Unyielding Character

Species: Taiwan juniper (Juniperus formosana)

Height: 120 cm

Age: 80 years

Designer: Wu Chengfa Introduction: With its long bare trunk and sparse branches and leaves, this penjing aims to portray the character of the Chinese literati and their preference for a simple, rustic life.

Fig. 7Brilliance in Autumn

Species: Firethorn (Pyracantha fortuneana)

Height: 65 cm

Age: 30 years

Designer: Zhao Qingquan

Introduction: The Chinese firethorn produces delightful small white flowers in spring and summer, and in the fall produces bright-colored small berries, which turn intense red and stay on the plant until early spring, promising joy and luck. With a curvy trunk and sparse but well-spaced foliage, this firethorn has a distinct literati feel.

T he literati style is the most challenging and the most rewarding form to create, if done correctly, of all the different styles of penjing. Taking a narrow trunked tree and shaping it to give an expression of aloofness is difficult. A thin trunk, just a few branches, and relatively few leaves are primary characteristics of the literati style. These features help to convey the feelings of remoteness and aloofness just as a pine struggles to survive in a crevice high in the Huangshan.

The feelings a literati penjing conveys are often identified with the reclusive nature of scholars. Many people in western countries have difficulty understanding and appreciating the literati style, unless they have studied aspects of Asian aesthetics. Looking to nature and the struggle of trees to survive in severe conditions in high mountain rocky places led to the understanding and development of this style.

Few artists can master this technique to make an excellent literati penjing and fewer still have the ability and background to properly instruct others on all aspects of this style. This challenge has been met by penjing master Zhao Qingquan in this book.

This volume is the finest work on the literati style ever produced in any language. For the first time, Zhao provides us with the aesthetic and cultural backgrounds needed to understand and appreciate the beautiful aloofness of the literati penjing. His ability to provide clear, well-illustrated information about basic techniques is typical of this accomplished teacher, artist and friend to the worlds penjing and bonsai communities.

I have known Zhao Qingquan for many years, admired his artistic skills, and studied his English language penjing books. He combines the extraordinary skills of a leading artist with the amazing ability to effectively communicate and educate people, regardless of their nationality. Now we have his newest and, perhaps, his most important contribution, LiteratiStyle Penjing. I congratulate Zhao Qingquan on this significant accomplishment and I predict that this work will be a classic reference for generations to come.

Thomas Elias

President

Bonsai Clubs International