From the flower bed to the Tokonoma

An outskirts Juniper

Juniperus Old Gold

A long lasting workshop

Chamaecyparis Pisifera

The charm of Shari

Scheduled works on a Juniperus Chinensis

Twisting path

Yew : a splendid species




Twisting path
( Old Gold Juniper)

It's not easy to be able to go further from the classical styles I learnt form the earlier training courses, I got fixed on my mind the picture of formal upright style (chokkan), or informal upright (moyogi), always following the same steps: first branch, second branch, third one, and so on. In the past when it happened to me to work on trees exceeding these characteristics, it became difficult to obtain a potential bonsai; maybe this was the reason why I got into mind confusion and thought during my training period attending demonstration and workshop I wasn't able to clearly learn the working methodology.

It was important in my opinion, studying with different teachers; all of them can pass something on you, but after the basic learning period it's not enough a daily workshop, this does not allow you to learn the entire methodology for modelling a tree from purchasing day to exhibition.
I take every advice to heart coming from evening discussions about tree modelling analysis, this let us listening different opinion and constructive critics and go deep in every single detail.
Working on a high number of trees, without forgetting all I learnt, gave me the experience to create a personal working methodology, keeping on my researches and experimenting more and more advanced techniques not only for modelling purposes, but also for every day cultivation aim.
Thinkin to the past I can remember the good development I got, without deny the techincal level and knowledgr of that period. For instance, about wiring techniques, I realize to use it a lot less and probably in a few years, I will be amazed in the quantity I am using presently; this can make the work more appreciable and in mean time put less stress on the tree. Speking of the foliage, I can better select the vegetation layers and cut the useless foliage, giving more light to promote the growing; in the same way I try to experiment new shapes for style modelling .

In 1996 I bought this tree for the trunk movement: it had very poor foliage and a problem was evident: there were two long branches, about 70-80 cm., with vegetation only in the apex. The first one was so thin to hardly hold itself up, the second one was thicker, rich in secondary branches but the difficulty was to bring the foliage near the trunk.
The only possible solution was to clockwise bend the branch and then lower it on the back size. Once the front was selected, with the help of rafia, copper wire and a few wire guy I could realize the desired project. I got a good proportion, thing these very important for the aesthetic result (65 cm. height, 40 cm. width); then I placed the branches to create the foliage layers. Next work was a meticulous wiring of all athe little branches.
With a mill I worked out the jin making them as nice as possible, leaving shari lines in draft situation taking my time for making them better in two or three years, so the tree had the possibility to rest and following the artificial limphatic veins.


Picture # 1 - October 1997 purchasing time, seen from the future front.

Picture # 2 - Back. It is very evident that the branches were too long.

Picture # 3 - The peculiar trunk movement. Detail of the stump, made probably during collection.

Picture # 4 - February 1998, first step, looking at the apex the branches bends necessary to bring vegetation near the trunk.

Picture # 5 - Seen from the front. Main branches placement.

Picture # 6 - June1998 The actual pot made possible a rich vegetation grow. The first branch, had to be cut for better trunk-vegetation balance.

Picture # 7 - May 1999. A new refinement step. More taper is given to the foliage layers, cutting away all useless vegetation.

Picture # 8 -

June 1999.


2006 - Donato Danisi