Re: Viewing distance in Bonsai.

Guest Tue Jan 11, 2011 10:02 am

Always good to hear different perspective Ravi.
not just yours but also from others who think differently. all of the family members of IBC has his own idea of what is good, from the grand fathers/mothers to the newly born in the forum,,,although we may have ideas coming from the opposite end of the spectrum we must respect each ideas and accept it as equally good as ours.

regards,
jun I love you

Khaimraj Seepersad Tue Jan 11, 2011 10:39 am

Hee hee, Jun,

"although we may have ideas coming from the opposite end of the spectrum we must respect each ideas and accept it as equally good as ours. Jun"

______________________________________________

I think the philosophy is --- respect an educated opinion ----- but the part about - equally good - is a falsehood.

This isn't Kumh by Yah land - chuckle.
Until mischievously yours,
Khaimraj Wink

my nellie Tue Jan 11, 2011 10:50 am

So, Khaimraj, should there be some kind of "philosopher's stone" to judge: this is better than that ???
Shouldn't it?

Guest Tue Jan 11, 2011 11:00 am

Khaimraj Seepersad wrote:Hee hee, Jun,

"although we may have ideas coming from the opposite end of the spectrum we must respect each ideas and accept it as equally good as ours. Jun"

______________________________________________

I think the philosophy is --- respect an educated opinion ----- but the part about - equally good - is a falsehood.

This isn't Kumh by Yah land - chuckle.
Until mischievously yours,
Khaimraj

Come on Khaimraj! I'm trying to be nice here...on a very rare occasion that is.

Jun
...now where is that angel emoticons Fiona? That's the reason why people here sound hostile sometimes, we got two devils emoticons side by side but not even a single angel. I won't settle for the albino or the flower.

Khaimraj Seepersad Tue Jan 11, 2011 11:20 am

Alexandra,

philospher's stone was used for turning lead to gold, so I gather we can touch the unusable and turn it to usable - Laughing

Seriously, reading / comprehension / growing experience ------ should guide us to the promised land - kumh by yah .........

How do you know when a topic is spent ...................... mumble, mumble, mumble [ J.L the wise.]

Jun - I read you ------- Cool

3d viewing though free of ornament or accessories, would require greater attention to design and patterns, in it's apparent simplicity, it would probably end up as complex as the Tokonome, and I do wonder when the design matures. All that effort and the tree continues to grow, perhaps this was all explored centuries ago and abandoned.
Khaimraj

my nellie Tue Jan 11, 2011 11:43 am

Well Khaimraj, due to lack of correct translated term by me, you misinterpreted my quote of "philosopher's stone".

What I really wanted to refer to is the "Lydia Lithos" (in Greek with latin letters) which is the stone found in the ancient city of Lydia on the coastline of Asia Minor.

This specific stone was used to check the sterlingness of gemstones.
Hence this phrase is used to declare an objective way of testing, of verification, of proof.

I used the term "philosopher's stone" within this concept.

sunip Tue Jan 11, 2011 1:01 pm

______________________________________________

I think the philosophy is --- respect an educated opinion ----- but the part about - equally good - is a falsehood.

Ever tried to explain the taste of an orange to somebody who never tasted it? Wink

I am talking about the trained eye.
When i walk trough let say the Palazzo Pitti in Florence or The Louvre in Paris,
i immediately scan where the interesting pieces are,
there i stop and look, sometimes i just pass a room without really looking it seems.
People who accompany me are getting totally exhausted and confused about that.
For me its just professional, but i accept that the others not always see why a piece is good or mediocre and getting worn out because of that.
They are not abel to select at that speed (yet) so i give them some space.
(Hoping they give me some space with their professions)
It is of course also about temporary interest where i look,
but i always visit the good pieces they are like old acquaintance's for me.
Having written this, it always happens that my eye is caught by some lovely imperfection telling a lovely story.
After a museum(or a bonsai show)visit i remember those little things who give me great joy and insight.
Having started with bonsai a few years ago, i was aware of the fact that the bonsai (masters) have that speed of appreciation in bonsai.
So now although i have a trained eye, i stand back and take the opportunity to train my eye also in the specific's of bonsai.
I KNOW that i still miss a lot. Why? Because i know the taste of the orange(meaning sculpture).
Now it is time to get in touch with, let say the taste of the other fruit(meaning bonsai)
Problem with student's is they first heave to learn to be a student, well i try to do my best.

I notice how the different nationalities expressing themselves differently in bonsai,
which is the nature of things i think, anyway lovely and enriching.
When we find a word for bonsai in every language?

About the philosopher stone, should we keep distance?
regards, Sunip

miguelpc Wed Jan 12, 2011 12:37 am

Hi everyone! Happy New Year!!! sunny

I'm very glad to see this topic because it's what i'm trying to do with bonsai. Well, i only have 2 years and 2 months of bonsai (i'm a baby in bonsai), but with patience and love to the trees i hope to have a bonsai worthy of that name, in this "style".
My motto is: " If a tree in nature as a certain characteristic the bonsai, as a faithful representation of a tree, can also have it."
Which includes inverted taper, straight up trunks/branches, eye poking branches and scars.
When i have enough courage i will post some of my plants here.

Best regards, Miguel Costa

gordonb Fri Jan 14, 2011 8:47 am

will baddeley wrote:
Walter Pall wrote:If you insist in 'the artist's choice' you better never expose your trees to folks who professionally exhibt art. They don't give a d..n what your choice is. You deliver the object and they exhibit it. Period.

Funnily enough Walter, I have 2 artists in my house tonight, my wife Bev and her best friend. They have both exhibited at galleries and exhibitions and have had a great deal of input as to how their art instalations/ paintings should be displayed, and rightly so. I don't think this should be any different for bonsai. Who is the artist....the creator or the curator?
I also notice that in a lot of your photos you are pictured with your tree, often in the background......or is that the foreground

I would imagine (and hope, too) that a good curator would enhance the art, in the same way a good editor can improve a manuscript; and a good curator would, like a good editor, know when to leave well enough alone, when his input would not improve [the piece].

**Chris Cochrane** Sat Jan 15, 2011 3:09 pm

A couple of old posts from Luis Fontnils on the Viewing Stone (mail)List & IBC crossed my mind with the original question regarding "at what distance?"

Date: Sun, 29 Jun 1997
Subject: Daiza, Suiban, and other methods of display

In order to properly evaluate the validity or correctness of any receptacle for suiseki one must gauge certain criteria:

Functional - The receptacle must provide for a stable base in order to physically balance the suiseki, and protect it from damage.

Aesthetic - The principles of art; form and space, proportion, balance, counterpoint, light, texture, color, harmony, contrast, etc. must be brought into harmony with the suiseki. It is important to note that the receptacle and suiseki become an integrated whole (gestalt). Each element mentally influences the perception of the other. It is imperative that the author seek to understand the inherent properties and characteristics of the original stone in order to increase or isolate them through proper display.

Symbolic - On this level the receptacle can become many things. For example, it can provide a link to the concept of ground - earth in daiza, or as in suiban - water, and to all the memories and emotions that these things elicit in the viewer. Note that these particular symbolic links are more successful on very horizontal surfaces (the horizon of the land and sea). It is self evident that the appropriate receptacle be selected to complement the stone symbolically.

NOTE: The previous criteria overlap in complex ways.

Having said this, which by no means exhausts the subject, I propose that orthodoxy of display not be the only way. If a stone suggests an alternative method of presentation in order to fully realize its potential and fits the above criteria, then by all means do it. Experimentation based on sensitivity, not just novelty for its own sake, will in time no doubt lead to new orthodoxies

.

Date: Fri, 4 Jul 1997
Subject: Miniaturization - Suiseki

I wrote this for the Internet Bonsai Club but felt it was equally appropriate to explain some of the appeal of suiseki:

Without a doubt there are a myriad of overlapping reasons for each individual's interest in bonsai (Suiseki). We have covered many in previous
discussions. The one which I find presently intriguing and inescapable is the aspect of miniaturization. Why miniaturization?

MINIATURIZATION
Scale of Man:

As we have discussed previously, we internalize information about our world and project our own perceptions back out into it. Everything is colored by our perception; our wants and needs are human centered, this includes the sense of scale. We compare objects against ourselves. Big and small are relative to our own bodily dimensions.

Note that traditional bonsai size classifications use terms such as "one man bonsai", "two hand bonsai", etc. These terms directly relate to the human scale. To be in our scale (human scale) allows us to empathize and imprint our feelings more easily.
Temporal and Sensory Compression:
A tree in nature is usually quite large. To view its complete profile one must distance oneself quite far from the tree; this is a function and limitation of our field of vision. In the process of moving away, many things such as detail is lost to the viewer: texture of the bark, color subtleties, fine branch structure, etc. This moving back and forth in distance to obtain this information about the tree occurs in time.

A bonsai compresses this information all at once within our field of vision.

Hence, both temporal and sensory compression occurs. We receive stimulus that normally would not occur in such an undiluted and compressed form. This makes for better human comprehension and with this comes - Pleasure.
Sincerely,
Luis Fontanills
Miami, Florida

Luis probably has more to offer, today, but captured a few thoughts worth noting re' distance and expression while not limited to focus on 'distance'.

GaryWood Sat Jan 15, 2011 3:28 pm

Thank You Chris!!!
Wood

SOUMYA MITRA Sun Jan 30, 2011 7:38 am

Well, having read 1st to 7th page i have gathered TWO principal issues have been disussed -
1) what is the right distance to view Bonsai ( original topic of Ravi)
2) whether 2-D or 3-D/360* display is preferable.
Re distance i gather most commentators preferred freedom in space to view a Bonsai the way they want but find the space is limited in exbn due to various constraints on the part of the exhibitors.I can buy this point of view.
But i have a little problem in understanding the 3-D/360* view ,because, it may be suitable for an Informal and Formal form of Bonsai design ( to view it from all sides )but what happens in group/forest , windswept, slanting, cascade/semicascade, double/multiple trunk and various other forms of Bonsai designs?
How 3-D/360* display would help in understanding / appreciating these 'other 'design ?

Or are we to understand that modern /progressive way of doing Bonsai and showing is only to do it in Formal/informal form which can be appreciated presumply from all side?

sunip Sun Jan 30, 2011 1:51 pm

SOUMYA MITRA wrote:
But i have a little problem in understanding the 3-D/360* view [/b],because, it may be suitable for an Informal and Formal form of Bonsai design ( to view it from all sides )but what happens in group/forest , windswept, slanting, cascade/semicascade, double/multiple trunk and various other forms of Bonsai designs?
How 3-D/360* display would help in understanding / appreciating these 'other 'design ?

Or are we to understand that modern /progressive way of doing Bonsai and showing is only to do it in Formal/informal form which can be appreciated presumply from all side?

Hy Soumya, hoping that i understand you right, here some thoughts.
Is a group/forest planting, winswept, slanting, cascade, or a double trunk not a (living)objekt in space?
Ok, a certain tree might have some nice angles to look at, and when one would have to choose to show
or make one picture, it would probably be this side you would use for your image or display.
This does not mean i feel, one can not appreciate the whole.
Having a tree in a rectangular pot does it means we made a decision to have two sides and one (or two) fronts?
Working on a tree who is supposed only to be viewed from THE FRONT, might have some branche placing
that would be different in a 3d intentioned Tree.
2D is an art suggesting a 3D tree and therefore a different language like relief ore free standing sculptures?
Should we therefore talk about two disciplines, the two and threedimensionals dedicated bonsaist
both expressing WABI SABI wich grounds are to be found in the 4D i feel?
regards, Sunip;)

SOUMYA MITRA Sun Jan 30, 2011 4:09 pm

Sunip ,
my dilemma is about some specific form of designed Bonsai and how that would be appropriate to view in 360* or on turntable to view as 3-D.
If those forms of Bonsai designing are practiced in reality then one would find how inapproptiate the viewing would be in 3-D/ 360'' contraption of display.
I also fail to understand how viewing an object from the front withheld appreciation of it as a 3-D object -if one has normal vision.
As because it is an 3-d object it does not necessarily warrant viewing alaround.Consider our own case while we take photo of human being . do we take their photo of the faces or ...
or why do we take photo at all ( photo is a A 2d thing!) of 3D objects all around us if it can't depict or impart 3-D effect( and that is the technical ability of the photographer.)
However this is not my intention to delve into phylosophical discussion of the merit of 2-D vs. 3-D.
But if you prefer still to clarify the issue raised ; then with open mind i would welcome some practical example through 3-D image which would show all the other form of Bonsai design , apart from formal /informal form, are appropriate and preferable to view in 3-D/360* format .

sunip Sun Jan 30, 2011 6:36 pm

Hy Soumya.
Again, if i understand you rightly, some humble thoughts.
Maybe you answerd in some way youre own question.
If it is a dilemma or not is a personal choice, this sounds maybe harsh, therefore the following;
First of all, doing bonsai is a personal expression one eventually can share with others.
The need for rules in styling is also a personal choice, one can use the knowledge of styling to learn to understand.
To leave this all behind is possible, though not nescesarry.
The question what is appropriate in bonsai, is a path straight trough the bonsaist him or her self.
Only think of the idea of Wabi Sabi, it is crashing the mind, but there could come something else out of it,
I mention Wabi Sabi because it confronts us with the fact that we are separating the bonsaist and the bonsai, it places us for questions there.
But it is ones own choice if one likes to question, 'why i do things the way i do it' or not,
also here i feel the "viewing distance", one alows one self is an issue.
(Maybe you could consider my previous post again.)
Also you ask for practical examples if i understand you right.
I am not yet capable in the art of getting pictures into this post, but let say here in Europe we have for example
Walter Pall who is trying to get this 3D approach over in his own way.
Regards, Sunip;)

SOUMYA MITRA Mon Jan 31, 2011 3:04 pm

sunip again a lot of opinion from your-side without concrete example- i appreciate it could happen if one deals with an practical aspect theoritically and notionally.
My question ( modestly expressed as 'dilemma') is the dysfuntional viewing aspect of certain Bonsai design -form ( slanting/group/cascade/windsweptetc)if these are viewed from side or back.I presume you are familiar with these design forms.
I would welcome you view after you have examined these forms viewed from back/side( AS IN 3-D) and then opine.
The aspect of Wabi-Sabi is not in question here and is out of context in this discussion.
PL NOTE I'M AWARE OF THE EMINENT ARTIST'S WORK SINCE LONG( THRU INTERNET AND HIS BLOG) AND
IN 3-D AND ART EXBN ETC .
BUT I HEVE NOT COME ACROSS THE RELEVENT DESIGN FORMS ( other than informals mostly) IN 3-D /360* FORMAT THAT IAM TALKING ABOUT .
Not only from him but from any one who advocates about the merit of 3-d/360* format of Bonsai display as an 'in' thing and panacea for display of all kinds of Bonsai forms.
Do pl think hard and then opine -just name dropping is slavish and example of mind in bondage in my humble view.

sunip Mon Jan 31, 2011 6:56 pm

SOUMYA MITRA wrote:
Or are we to understand that modern /progressive way of doing Bonsai and showing is only to do it in Formal/informal form which can be appreciated presumply from all side?[/b]

Hy Soumya,
If somebody who is in to the 3D approach, would avoid, say group planting or say a cascade style i can understand.
But for me personally not satisfying. By the merits of 3D, one could give a cascade in a high pot, more attention.
As you said,"viewing from the front withhold you not from appreciating the 3D"
Given the specifics of such an cascade object, it is still a tree in a pot
and there will be mostly favorite angles and less favorite angles, but why not give it a try?
Also the pot is already a frame but you can play with it.
Still such a design could have a 3D and a 2D approach, just as one wishes.
Is it the 3D approach of an cascade, for example branch placing could be different, maybe a moon shaped pot or slab would enhance the 3D a bit, still it is what it is, an object in space as a whole (and maybe not fully to be appreciated as 3D design).
If it appears to give you a 3D sensation ( if its just the suggestion of 3D or real 3D) is up to the viewer.
If one has to understand it the way as put in the quote above, or not,
(being formal/informal as the only possibility) is a personal choice i feel.
You get no rules from another only from yourself, (however rules have merits to).
Thinking in classic or modern is also a choice,
for me however it is just bonsai, that is why i mentioned Wabi Sabi.
For me it is about the unique in each tree.
Thinking about 3D and to figure it out personally, is good i think.
At least it makes you aware if a bonsai has the approach of suggesting 3D or real 3D.
Maybe the video from Ryan Neils demo at Noelanders show (Sandevbonsai.blogspot) you can find in the
"Live from Noelanders" thread, could give you an additional idea because Neil gave some thoughts as well on his approach.
regards, Sunip;)

littleart-fx Mon Jan 31, 2011 8:31 pm

Hi! All!

i'm short,....in this.

Did i read all. oops no......

Viewing distance,.... Rolling Eyes

sorry,....i'ts me the art in Fx minor little that is! pale

As bonsai is not an art,...the display of any particular bonsai is!
As in mind of the displayer or shower... pale

Witch is a good thing! or not,.....

Where do we see bonsai?
On shows at peoples bonsai gardens.

An image strikes the mind,....and yes as art.
Even to the sole who isn't in dimensions or art...it strikes or not

The silhouette from a distance or sticking technique up close,....

I'ts al in the mind Jimmy Hendriks said.

True growing yamadori's and yes in shape.....of mind......sky church.
Also Jimmy...
Present,...just you're mind! it's you're tree....

Was or is this the answer?.... NO!

sorry!....hop

You only can go wrong,....1 out of 2 that ain't bad alien

Grtzz m. from the Netherlands where bonsaiwise thinking winter takes to long,.......grr grr grr Sleep

SOUMYA MITRA Tue Feb 01, 2011 6:23 am

"By the merits of 3D, one could give a cascade in a high pot, more attention.- SUNIP"
Is it the 3D approach of an cascade, for example branch placing could be different, maybe a moon shaped pot or slab would enhance the 3D a bit-sunip

cascade( full) is generally displayed in tall pots.
In moon- pot that cascade would topple down -again dysfunctional.
Look at cascade from back or a Windswept from the back - and you wd find the image is not in sync with the image you expect from cascade and windswep form of design which was the artists intention while he composed the design.
It is a simple experiment if you are doing Bonsai yourself

" Thinking in classic or modern is also a choice,
for me however it is just bonsai, that is why i mentioned Wabi Sabi."-sunip

Well i understand what you mean and personally i like the concept of Wabi-Sabi in Bonsai design
( though difficult to incorporate in design- ).
But do you find such concept in present -day Taiwan ,Indonesian or in Eropian Bonsai Exbn other than in Bonsai of France /England/Italy /Nethernand?.

I doubt whether the exponents of 3-d/360* believe and practise Wabi -Sabi in their own work- or for that matter 'less is more' or such thing.

Now some even say 'Beauty 'has nothing to with 'ART.'

Well now i find this pertinent when i think about Cascade / windswept etc forms in 3-D format.

sunip Tue Feb 01, 2011 10:45 am

Quotes Soumya'
Well i understand what you mean and personally i like the concept of Wabi-Sabi in Bonsai design
( though difficult to incorporate in design- ).
But do you find such concept in present -day Taiwan ,Indonesian or in Eropian Bonsai Exbn other than in Bonsai of France /England/Italy /Nethernand?.
I doubt whether the exponents of 3-d/360* believe and practise Wabi -Sabi in their own work- or for that matter 'less is more' or such thing.
Now some even say 'Beauty 'has nothing to with 'ART.'
Well now i find this pertinent when i think about Cascade / windswept etc forms in 3-D format.
[/quote]
Hy Soumya,
Has beauty nothing to do with art? Well it was a reply from Walter Pall i think in an earlier post, quoting an art historian.
He probably was pointing at the idea that art is about expressing everything, so also the ugly.
Having only 40 years of academic and professional experience in expressing in 3D art, i come to the personal conclusion
that the beauty and the ugly are not that much different, just two sides of the same medal.
I humbly would like you to consider again the idea of Wabi Sabi.
Because a lot of the confusion here is about the disconnection we unconscious make in something that is not to be disconnected,
human kind is however capable of this be reasoning, only to gain a lot of experience which is not that bad either.
There are three things in everything; first the idea, the inspiration, second the understanding and motivation,
third the expression the result. Beauty is the immanent coherence in the three as it comes visible trough expression.
Beauty it self is however the source and therefor transcendent to the three.
So there is that strange beauty with no duality as we know it,
which we often intermingle with the normal beauty and the ugly we know.
Letting the idea of Wabi Sabi in to your system is being natural as everything becomes his natural place
"Less is more" as you mentioned, is then the conclusion to be experienced.
The three dimensional incorporates also time, well thats what use in bonsai to get viewing distance in all of this.
One your question on this; i do not feel the need to point out a special tree as example of Wabi Sabi
because all is in the eye of the beholder.
regards, Sunip;)

SOUMYA MITRA Tue Feb 01, 2011 7:21 pm

SUNIP,
Hmmmmm....
but still i would delight on your response to the 1st para of my last post.Here it is for your ready referance.

"By the merits of 3D, one could give a cascade in a high pot, more attention.- SUNIP"
Is it the 3D approach of an cascade, for example branch placing could be different, maybe a moon shaped pot or slab would enhance the 3D a bit-sunip

my response:-
'cascade( full) is generally displayed in tall pots.
In moon- pot that cascade would topple down -again dysfunctional.
Look at cascade from back or a Windswept from the back - and you wd find the image is not in sync with the image you expect from cascade and windswep form of design which was the artists intention while he composed the design.
It is a simple experiment if you are doing Bonsai yourself.'

This is a mundane practical question and thus does not merit philosophycal mumbo-jumbo .
Wabi-Sabi can be discussed in another thread. You may pl initiate one.

sunip Wed Feb 02, 2011 10:00 am

Hy Soumya,
This is a lovely confrontation between expectations from the 3D idea
and expectations from established bonsai styles is it not?
You rightly point out that i do not answer that expectation,
the answer would probably lead to just another style or set of rules.(just saying this in general)
Are we to understand that only the formal/informal styles are suitable for an 3D approach?
This tends to a closed circle, which is good to learn about bonsai practices, but still it is a closed circle.
If this feels good for somebody, ok then it has his benefit, obeying the rules is a challenge to in some way.
Free expression can be frightfully unruly.
Íf it is about the realms of being synchronic with the image you expéct of a certain style
or intentional design of an artist, indeed this not my cup of tea.
Since i gave you some insight in to my approach of this fenomena and this is doubted by you,
i like to say that i love that. Everyone has to go his or her own path.
If it al was a waist of time, well time will show us. (However i think nothing is waisted)
Soumya you are aware of the fact that we are sitting on the doorstep of Ravi,
who probably is wondering what is going on out there in his thread.
For now, thanks Ravi and Soumya,
regards, Sunip;)

sunip Wed Feb 02, 2011 12:49 pm

Hy Soumya,
Sorry i realize i forgot your last remark.
Indeed if i would disconnect the inspiration the philosophy and the practical it would be
mumbo jumbo as you call it.
Disconnected it would have no ground no coherence
but then this can also be appreciated as a path of experience, not bad at all.
Regards, Sunip Wink

SOUMYA MITRA Wed Feb 02, 2011 3:58 pm

Thank Sunip,
this is my last response on this thread.
However let me express that i responded here questioning the premiss that 'Bonsai should look good from all side and it should not have any scope to cover- up any defect by way of 2-d display -and the panacea is 3-d display.'
I expressed my doubts based on certain forms of Bonsai expression & I have nowhere used the term 'RULE OR STYLE' .
I still hold the view that to be 'GOOD' to view from all side , the so called formal and informal forms are fit to fit the bill better.

Those forms would function well but other forms of Bonsai design would be dysfunctional as those forms cannot look good from all side.
The forms other than formal/informal would look different ( and may not look good or convey mixed/confused feeling ) from each and every side .
This experiment could be tried by any Bonsai practioner.

But if the intention/ motivation/ phylosophy of the artist is to convey mixed-up/ different feeling from different angle of viewing then i have no problem.

PHYLOSOPHY TAKES THE PATH FROM THE SPECIFIC TO GENERAL.
My question is specific hence may be a generalised response from your side is apt.
Back to you and Ravi.

Xavier de Lapeyre Thu Aug 02, 2012 7:55 am

SOUMYA MITRA wrote:Well, having read 1st to 7th page i have gathered TWO principal issues have been disussed -
1) what is the right distance to view Bonsai ( original topic of Ravi)
2) whether 2-D or 3-D/360* display is preferable.
Re distance i gather most commentators preferred freedom in space to view a Bonsai the way they want but find the space is limited in exbn due to various constraints on the part of the exhibitors.I can buy this point of view.
But i have a little problem in understanding the 3-D/360* view ,because, it may be suitable for an Informal and Formal form of Bonsai design ( to view it from all sides )but what happens in group/forest , windswept, slanting, cascade/semicascade, double/multiple trunk and various other forms of Bonsai designs?
How 3-D/360* display would help in understanding / appreciating these 'other 'design ?

Or are we to understand that modern /progressive way of doing Bonsai and showing is only to do it in Formal/informal form which can be appreciated presumply from all side?

That sums up this article I guess.
That's an interesting discussion and I've learned a lot out of it.
@SOUMYA MITRA:
Regarding your question about 360* display of a group/forest or cascade/semicascade and how it would help in understanding / appreciating these 'other ' designs.
Steven Hantos from AusBonsai who is doing a wonderful job creating 360* bonsai display [ of some Australian bonsai artists imo ].

360* Jaboticaba - John Marsh
360* Juniper squamata Cascade style - Steven Hantos
360* Ficus rubiginosa Roots over rocks Style - Steven Hantos
360* Acer palmatum Forest Style - Arthur Robinson
360* Juniperus X media Shimpaku Windswept Style- Derek and Sue
360* Cedrus Lebani Literati Style - John Marsh

For the cascade/semi-cascade style and windswept style, in some cases a 270* view appreciation would be more adequate than a 360* view appreciation, for instance because of the "blindspot" that occurs behind the cascade, often due to the pot.
Well since its a topic on understanding / appreciating the display, ultimately like beauty/art, its all in the eye of the beholder.

Hope those 360* helps out in understanding this concept of viewing / understanding / appreciating bonsai arts.

More 360* views : Random 360 display

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Viewing distance in Bonsai.