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Discussions about "perfection" are almost always a relative game. Penjing has a strong and specific character of its own, which is further nuanced by the many regional school techniques.
The article points out the inherent preconceptions the "strictly bonsai" crowd brings to, say, a judged competition. It also acknowledges the difference in mood and character attempted by the two disciplines. Still, I think it needs to be stressed that a penjing artist's work is as deliberate and labored as anyone's. Often, what might appear to be unrefined or simply unadressed is evidence of very purposeful craft. To a penjing master or aficionado, different horticultural techniques and understanding offer different manifestations of perfection. It's not that they're unaware of bonsai method.
I guess I'm just beginning to demand less use of adjectives like "perfect" when it comes to public tree criticism, and more objective terminology. In that way, understanding at large might become less ossified by convention and a more open, fluid definition of "mastery" might be achieved.
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