Топпиар өнері: Өсімдіктерді пішімдеу және оларды өсіру тәсілдері

Horticulture practice to shape trees and shrubs
the practice of training plants

Topiary is the horticultural practice of training perennial plants by clipping the foliage and twigs of trees, shrubs and subshrubs to develop and maintain clearly defined shapes, whether geometric or fanciful. The term also refers to plants which have been shaped in this way. As an art form it is a type of living sculpture. The word derives from the Latin word for an ornamental landscape gardener, topiarius, a creator of topia or "places", a Greek word that Romans also applied to fictive indoor landscapes executed in fresco. The plants used in topiary are evergreen, mostly woody, have small leaves or needles, produce dense foliage, and have compact and/or columnar (e. g., fastigiate) growth habits. Common species chosen for topiary include cultivars of European box (Buxus sempervirens), arborvitae (Thuja species), bay laurel (Laurus nobilis), holly (Ilex species), myrtle (Eugenia or Myrtus species), yew (Taxus species), and privet (Ligustrum species). Shaped wire cages are sometimes employed in modern topiary to guide untutored shears, but traditional topiary depends on patience and a steady hand; small leaved ivy can be used to cover a cage and give the look of topiary in a few months. The hedge is a simple form of topiary used to create boundaries, walls or screens.

European topiary dates from Roman times. Pliny's Natural History and the epigram writer Martial both credit Gaius Matius Calvinus, in the circle of Julius Caesar, with introducing the first topiary to Roman gardens, and Pliny the Younger describes in a letter the elaborate figures of animals, inscriptions, cyphers and obelisks in clipped greens at his Tuscan villa (Epistle v.6, to Apollinaris). Within the atrium of a Roman house or villa, a place that had formerly been quite plain, the art of the topiarius produced a miniature landscape (topos) which might employ the art of stunting trees, also mentioned, disapprovingly, by Pliny (Historia Naturalis xii.6).

The clipping and shaping of shrubs and trees in China and Japan have been practised with equal rigor, but for different reasons. The goal is to achieve an artful expression of the "natural" form of venerably aged pines, given character by the forces of wind and weather. Their most concentrated expressions are in the related arts of Chinese penjing and Japanese bonsai. Japanese cloud pruning is closest to the European art: the cloud like forms of clipped growth are designed to be best appreciated after a fall of snow. Japanese Zen gardens (karesansui, dry rock gardens) make extensive use of Karikomi (a topiary technique of clipping shrubs and trees into large curved shapes or sculptures) and Hako zukuri (shrubs clipped into boxes and straight lines).

Since its European revival in the 16th century, topiary has been seen on the parterres and terraces of gardens of the European elite, as well as in simple cottage gardens; Barnabe Googe, about 1578, found that "women" (a signifier of a less than gentle class) were clipping rosemary "as in the fashion of a cart, a peacock, or such things as they fancy." In 1618 William Lawson suggested
Your gardener can frame your lesser wood to the shape of men armed in the field, ready to give battell: or swift running Grey Houndes to chase the Deere, or hunt the Hare. This kind of hunting shall not wate your corne, nor much your coyne. Traditional topiary forms use foliage pruned and/or trained into geometric shapes such as balls or cubes, obelisks, pyramids, cones, or tiered plates and tapering spirals. Representational forms depicting people, animals, and man made objects have also been popular. The royal botanist John Parkinson found privet "so apt that no other can be like unto it, to be cut, lead, and drawn into what forme one will, either of beasts, birds, or men armed or otherwise." Evergreens have usually been the first choice for Early Modern topiary, however, with yew and boxwood leading other plants. Topiary at Versailles and its imitators was never complicated: low hedges punctuated by potted trees trimmed as balls on standards, interrupted by obelisks at corners, provided the vertical features of flat patterned parterre gardens. Sculptural forms were provided by stone and lead sculptures. In Holland, however, the fashion was established for more complicated topiary designs; this Franco Dutch garden style spread to England after 1660, but by 1708 09 one searches in vain for fanciful topiary among the clipped hedges and edgings, and the standing cones and obelisks of the aristocratic and gentry English parterre gardens in Kip and Knyff's Britannia Illustrata.

The revival of topiary in English gardening parallels the revived "Jacobethan" taste in architecture; John Loudon in the 1840s was the first garden writer to express a sense of loss due to the topiary that had been removed from English gardens. The art of topiary, with enclosed garden "rooms", burst upon the English gardening public with the mature examples at Elvaston Castle, Derbyshire, which opened to public viewing in the 1850s and created a sensation: "within a few years architectural topiary was springing up all over the country (it took another 25 years before sculptural topiary began to become popular as well)". The following generation, represented by James Shirley Hibberd, rediscovered the charm of topiary specimens as part of the mystique of the "English cottage garden", which was as much invented as revived from the 1870s:

The classic statement of the British Arts and Crafts revival of topiary among roses and mixed herbaceous borders, characterised generally as "the old fashioned garden" or the "Dutch garden" was to be found in Topiary: Garden Craftsmanship in Yew and Box by Nathaniel Lloyd (1867–1933), who had retired in middle age and taken up architectural design with the encouragement of Sir Edwin Lutyens. Lloyd's own timber framed manor house, Great Dixter, Sussex, remains an epitome of this stylised mix of topiary with "cottagey" plantings that was practised by Gertrude Jekyll and Edwin Lutyens in a fruitful partnership. The new gardening vocabulary incorporating topiary required little expensive restructuring: "At Lyme Park, Cheshire, the garden went from being an Italian garden to being a Dutch garden without any change actually taking place on the ground," Brent Elliot noted in 2000.

In the Tim Burton/Johnny Depp film Edward Scissorhands, Edward proves to have a natural gift for topiary art. Numerous creative works are shown throughout the movie. In the Stephen King novel The Shining, topiary animals that move when people are not looking frighten the Torrance family. In the children's novel The Children of Green Knowe by Lucy M. Boston, an overgrown topiary figure of Noah plays a sinister role. A real life topiary artist is one of the subjects of Errol Morris's Fast, Cheap and Out of Control.