Cosmic Bonsaï (Burton style) Kozumikku

Burton Style, Cosmic Bonsai, Kozumikku ...

The Burton Style or otherwise called Cosmic bonsai (Kozumikku in Japanese) was created in 2006 by Darrieux Laurent and Dora Hervé, two avant-garde Frenchmen. Unlike all existing Bonsai styles on the planet that reproduce or tend to reproduce naturally growing tree forms on Earth, the Burton Style consists of creating tree shapes that grow on imaginary planets and do not obey terrestrial laws. To do this particular techniques of shaping will be implemented such as the growth of long branches ligated with complex movements, the absence of the concern of branching during the process of creation and all that will allow to skew on the natural laws governed by the apical force. All that is relative to the solar attraction, to the repetition of fractal forms typical of the trees growing on our star, will be foiled the time of the formation of the tree to take its place thereafter. It should be noted that despite some techniques related to this style and allowing it to be obtained, most of the techniques used to obtain this type of tree are identical to the traditional formations of Bonsai. The Burton Style is the only style that can not be reproduced by the nature of the global mondial panel.

This book is not intended to popularize the methods of obtaining a classic Bonsai but rather to explain the philosophy that is borrowed from this particular style and the techniques to implement it. Since the inventors of this style come from the traditional Japanese Bonsai you will become aware, as you read, that many of the methods used borrows a lot from the latter. For the beginners we will put at their disposal, at the end of this book, a non exhaustive list of books allowing them to learn how to make a bonsai in a traditional way dealing as well with the means of obtaining that terms and forms of Bonsai Japanese relating to their creation.

We will focus here on what differentiates the Kozumikku style from all other Japanese styles such as Moyogi, Netsuranari, Shokan, Chakkan, Ishitsukki ... and the historical reasons that led us to look for a different path than that, secular , offered by the Japanese or the Chinese and which relate to their history and their respective traditions.

Kozumikku style (cosmic)

Sokan style classic japaneese

The genesis

When we started to produce this type of trees, we were far from suspecting that we would create so much enthusiasm on the part of those who tried it and that we would raise, on the other hand, this wave. categorical refusal on the part of traditionalists. At first we had just noticed that the traditional Bonsai was content not only to repeat dogmatic forms of potted trees but that it also reproduced old patterns that had no place in our modern world and especially in the disparity of our cultures. Also if it makes sense for a Japanese to exhibit a companion plant (Kusamono) with a parchment representing a falling maple leaf of the tree (Kakémono) and a piece of rock ( Suiseki ) to express the first frost of autumn, it was not the case with our Western cultures, all as different and varied depending on the country in which we find ourselves. Thus, if one logically considers that a Tokonoma (Niche in which one exposes works according to its emotions of the moment) traditional Japanese can have codes which are its own, why we the Westerners could not create ours? If it makes sense to exhibit in a Japanese house in a Tokonoma armor to represent the departure of her husband Samurai who goes to battle, a composition Ikebana to celebrate the spring or a maple bonsai in autumnal position to dedicate the autumn .. why would it be logical for a Westerner to post traditions whose codes he does not understand? Why not expose in this niche trees, or any other object, which resemble us more and which borrow our personal codes and the traditions relating to the countries which are ours?

Reflection made, we realized by starting to work our trees differently that our original universe in which we had bathed being small was more borrowed from super heroes, monsters and fantastic comics than Samurai, Shoguns or other medieval prints. Along the way, as we began to destructure the codes in the shaping of our Bonsai, we exchanged more and more often our imagination which was populated by our past readings such as Loisel, Franquin, Bilal, Stan lee ... and of Our conversation naturally took us to Tim Burton's films and his dreamlike and fantastic vision of the world, as well as his very personal representation of the tree structure. The Burton Style was born.

À suivre....