Rugao Penjing (Potted Plants)

Rugao Penjing

Rugao penjing is a geographical indication certification trademark.

　　Rugao penjing originated in the Song Dynasty. According to *Jiangsu Travel Guide*, “Jiangsu is one of the birthplaces of penjing art in China. … There are ancient cypress penjing

　　from the Suzhou style such as ‘Qin-Han Melody,’ Ming Dynasty Yangzhou-style penjing ‘One Umbrella,’ and large-scale Song Dynasty penjing from Rugao such as ‘Six Dynasties Cypress.’ These works are archaic, simple, and graceful in posture, captivating viewers and leaving them lingering in admiration.”

　　“Six Dynasties Cypress,” commonly called “Six Dynasties Pine,” is actually an ancient juniper located in front of Yuxiang Nunnery in Shuihui Garden, Rugaocheng. With a history of over 800 years, it is mainly appreciated for its leaves. It also includes three Song Dynasty juniper apex pines, each sprouting “antler-like” branches, with a history of more than 900 years, preserved and cultivated in Rugao People’s Park.

　　Modeling Techniques

　　　　The raw materials for Rugao tree stump penjing have high requirements, commonly including pine, cypress, elm, plum, beech, hackberry, boxwood, and snow-in-summer. The modeling techniques mostly involve binding with palm fiber strips, emphasizing meticulous tying and pruning. The palm fiber techniques are quite delicate, with the main trunk tied into an S-shape that bends left and right, commonly called “one bend and a half” or “two bends and a half,” with a few being “three bends and a half.” The treetop is tied into a semicircle, circle, or fan shape, leaning forward and referred to as the “Liu Hai style” or “Ruyi style.” Branches and foliar sprays are arranged with appropriate spacing, creating a dynamic composition that achieves the artistic realm where “sparse areas allow horses to pass and dense areas don’t let even a needle through.”

　　Unique Display

　　　　The display of Rugao penjing is unique and interesting. Aside from the “crouching lion style” where two pots are placed facing each other, there is also a method of arranging by “hall,” which is unique in China. They are displayed in odd-numbered groupings of 5, 7, or 9 as a “hall.” For example, in a 5-pot arrangement, the middle one is the “literati tree,” while the two on either side are “martial trees” with either two and a half bends or one and a half bends, forming pairs. In a 7-pot arrangement, one pot with one and a half bends is added to each side based on the 5-pot setup. The overall “hall” display is full of charm. The “literati tree” appears solitary and lofty, while the two martial trees on the sides resemble ministers, attendants, or guests; the one and a half bend resembles a woman dancing with colorful sleeves, akin to Chang’e flying to the moon.

　　Literati Tree

　　　　The “literati tree” is created based on the painting style of artist Ni Yunlin. Its form is unique; aside from the Liu Hai top, the main trunk has 1–3 small tops in the front, called “embracing a child in the bosom” or “bringing a child to court.” The layers are distinct, and the artistic conception is serene and open. The “martial tree” consists of two and a half bends and one and a half bends, with a saying of “literati standing, martial floating.” Based on the angle of the bow back and the degree of left-right inclination, as well as the length of the foliar sprays, various human expressions are portrayed. The “one and a half bend” also features a hidden bend at the junction of the one and the half bends, causing the main trunk to take on a backward arch shape. The first bend’s upward-facing foliar spray is called the “yang spray,” facing against the wind, while the opposite is the “yin spray,” facing the wind. The longer yin spray symbolizes the arm, while the shorter yang spray represents the other arm. The treetop remains the Liu Hai style, requiring it to align with the base. The “two and a half bends” exhibit slightly less wind force than the one and a half bends, with the tree stump’s center of gravity positioned lower and the trunk tilt not as pronounced. Its artistic conception is more solemn and noble compared to the one and a half bend.

　　Rugao penjing is like a silent poem or a three-dimensional painting, embodying the characteristics of “compressing a dragon into a small space” and “seeing the big in the small.” Rugao penjing emphasizes cloud heads, rain feet, a beauty’s waist, Liu Hai tops, and chicken claw roots, along with the four artistic atmospheres of wind, rain, snow, and dew. As the saying goes, “The characteristics of Rugao penjing are its left-leaning and right-tilting posture, upright treetops, classic and elegant trunks, graceful forms, rich variety, and majestic presence. Particularly, the sparrow-tongue pine and Buddhist pine are the most aesthetically pleasing. With dense foliage, elegant shapes, and refined leaves, they are artistic masterpieces ideal for courtyard and hall displays.”

　　Development Prospects

　　　　After the ten-year catastrophe, Rugao penjing experienced a rebirth. In 1986, China participated for the first time in the “5th International Horticultural Exposition” held in Genoa, Italy, where 17 Rugao penjing pieces were exhibited. Later that year, at the “18th International Horticultural Exposition” in Pescia, Italy, a Rugao Buddhist pine won the gold award, marking the first gold medal for Jiangsu penjing. In the spring of 1988, Huacunmin’s “Deep in the Green Shade” holly penjing won first prize in Hong Kong. In May 1987, Huacunmin, manager of Rugao Lüyuan (Green Garden), was invited to give lectures in Italy, attracting attention from Western Europe and many countries around the world. This sparked a strong wave of interest in Chinese penjing in Italy, laying the foundation for Rugao penjing to reach the world stage.