I have been showing carefully sculpted Trees in Japanese gardens.
Here is a photo showing trees in nature silhouetted against a colorful sunset.
The photo was taken by my sister-in-law Jennie while travelling in Botswana to whom the credit is due.
Trees and sunsets are my favorite topic.
What a wonderful sight! Something that I wouldn’t hesitate to share.
This post features trees the image of which I have taken in my recent trip to the Ritsurin Garden, Japan.
They are ‘sculpting’ trees. Japanese have taken great efforts to sculpt them so that they look like works of art and not just part of nature.
I am not aware of any better description of these trees than those given in the Wikipedia which I am reproducing below in italics:
Niwaki is the Japanese word for “garden trees”. Niwaki is also a descriptive word for highly ‘sculpting trees’.
Most varieties of plants used in Japanese Gardens are called niwaki. These trees help to create the structure of the garden. Japanese gardens are not about using large range of plants, rather it is about creating atmosphere or ambiance. The technique of niwaki is more about what to do with a tree than the tree itself. While Western gardeners enjoy experimenting with a wide range of different plants, Japanese gardeners experiment through training and shaping a relatively limited set of plants.
Trees play a key role in the gardens and landscapes of Japan as well as being of important spiritual and cultural significance to its people. Fittingly, Japanese gardeners have fine-tuned a distinctive set of pruning techniques meant to coax out the essential characters of niwaki. Niwaki are often cultivated to achieve some very striking effects: trees are made to look older than they really are with broad trunks and gnarled branches; trees are made to imitate wind-swept or lightning-struck trees in the wild; Cryptomeria japonica specimens are often pruned to resemble free-growing trees.
Some designers are using zoke (miscellaneous plants) as well as the niwaki to create a more “natural” mood to the landscape. Most traditional garden designers still rely primarily on the rarefied niwaki palette. The principles of niwaki may be applied to garden trees all over the world and are not restricted to Japanese Gardens.
This is the sort of photo which I don’t take.
However, this is the sort of photo I would like to post.
This is, again, another photo from my friend CP Chan.
The photo was taken again at the fishing rafts in Hong Kong; with the fishing net, mountains and sea as backdrop.
It shows, a dead fish abandoned within the net.
Clearly, my friend is more diverse in his subject of photography and has sharp eyes and inquisitive mind.
Do I have to introduce this photo?
. . . . . . . . . . . . . . the glorious sunset at Angkor Wat, Cambodia.
Here is an interesting image showing Silhouettes in different shades.
The image shows how busy Guangzhou can be, with lots of activities on the bridges crossing the Pearl River in Guangzhou Chinese.
People and cyclists hastily crossing the bridges.
Nearest to us is the steel truss bridge with the truss members in silhouette.
Further away is the Jiefang Bridge (Liberation Bridge), with its bow string shape – arches in each river crossing span with cables suspending from the arches to support the bridge deck.
Of course, you can also see the Pearl River and some buildings in the background.
Again, thanks to my friend CP Chan who provided this interesting image.
I realize the WPC Challenge has changed its theme to Fray this week.
But there are so many good photos which I still haven’t got the chance to show on Silhouette.
One of them is the photo below.
This photo has so much mood in it, especially the clouds and the sea.
It is an image taken by my friend CP Chan on one of his fishing trips to the fishing rafts in the New Territories in Hong Kong.
Our eyes (and brains) are always caught by something which we have never seen before. To me, this is one of those!
I have taken five or six photos of this Japanese footbridge at the Ritsurin garden in Shinkoku, Japan.
Except for one of the photos, all photos have some visitors on the footbridge; this is not something I want.
I waited for a long while to get my only photo without any people on it; that photo was published recently under the post “Monet’s Japanese Footbridge?”.
Originally, this photo has one man standing at the top of the arch bridge, he also has one hand holding an umbrella against the bridge deck.
With a computer software, using the “Clone and Heal” function, I have successfully removed the man from the image!
For readers with sharp eyes, you may be able to see a dark blue umbrella freely standing on its own near to the top of the footbridge.
Is this magical!
For comparison, the original photo is attached.