Esprit Bonsai International #81 www.en.esprit-bonsai.

com

N N ONA

e magazine for bonsai - 2016

Clasped-to-rock
shohin
p. 50

Air-layering !
p. 55

Kokufu-ten
Behind the scenes
at a Japanese exhibition
Bonsai
Basics Parasites and diseases (2) p.3 Price: € 11.50 - USD13.50
£8.90
presents The trees of David Benavente and
Andres Alvarez Iglesias in Tokonoma

The most beautiful

European trees
exhibited in Saulieu

REPORT :
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Ryan Neil!

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AVAILABLE / € 19,90
To order, write the reference SAULIEU15 in the order form at the end of number
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#81 Contents

p.08 p.16 p.50 p.55

Editorial
Techniques in Detail
4 Actualités, magazine
The Spirit of Bonsai 46 A very ordinary tree Exhibitions
7 Bonsai-do – the bonsai way
Exhibitions
transformed into a moyogi
50 Forming an organic unit and emotions
In the field of bonsai, as in many other
with shohin and rocks
artistic disciplines, you learn by both doing
8 90th Kokufu-ten:
Spotlight on Broadleaves and looking. By looking, you learn more
Behind the scenes 55 Air layering to salvage about what is attractive and what is less
16 Noelanders Trophy: a defective tree so, and about what you do or don’t like.
Rolling out the red While nature is a source of inspiration
carpet in Belgium for creating bonsai, exhibitions are
Spotlight on Conifers
also worth visiting in order to develop
Trees and People 60 Steps to take when your own approach, and to feed your
restructuring a savin sense of beauty and artistry.
22 Matt Reel :
“I always wanted to do bonsai Exhibitions are useful, then, because they
Re-Imagining a Tree allow tree-owners to display their creations
for the rest of my life”
66 A beautifully harmonious juniper and to share their trees’ beauty with the
Task of the Month maximum number of people. Visitors
Potters and Pots
28 Preparing training crates can admire dozens of bonsai of different
68 Peter Krebs varieties, sizes and origins. They can study
Bonsai Basics A virtuoso who wants display, harmony between pots and trees,
and so on. These events offer an incredible
31 Parasites and to try everything
diseases (Part 2) wealth of knowledge and experience.
Besides Bonsai There are small exhibitions, large exhibitions,
Getting Off to a Good Start local exhibitions, national exhibitions and
72 Displaying suiseki with shohin
international exhibitions – or almost. Some
36 Adding age to trees
with dead wood Ikebana are of a high standard, others slightly less so.
76 Sogetsu, Borrowing styles The exhibition that gets every bonsai lover
Treegazing 78 Ohara: Modernising a tradition
dreaming is the Kokufu-ten, in Tokyo.
This show takes place every year in
38 Walking on water
February, when deciduous trees are bare,
Clubs and Enthusiasts
Shohin: Small Bonsai 80 The Bonsaï Club Toulousain
allowing their branches to be admired.
In this issue, Peter Warren, a British
40 Change the pot – The importance of the
professional, leads you through the
change the mood meeting of generations
90th Kokufu-ten – a Holy Grail for
bonsaists – and comments on several
Publishing Director: ChristianFournereau – Editor in Chief: MichèleCorbihan – Art Director: AntoineSimon – Sub editor: Stéphanie trees. Sometimes you just have to give in
Grevet, Anne Royer – Designers to Layout: CharlèneDestrebecq,StéphanieGrevet,BenjaminMadelainne – Translators: AbigailGrater, to emotions, without asking any questions
NicholaLewis – Contributors to this issue: MicheleAndolfo,CinthyaArenas,BonsaiTranslations,FrédéricChernal,XavierDreux,François
Jeker,JérômeHay,GilbertLabrid,SoizicLeFranc,PhilippeMassard,BrunoMazza,AnneRoyer,MarcelVrignaud,PeterWarren – Advertising: … because bonsai is also about emotion!
ManonFoustoul+33297248152– Retail and Professional: MagalieRous+33297593766 – Accounts: AnneLeCrom+33297593761 –
Sales Inspection: À juste titres – Manon Castel +33 488 151 247 – Reprographics: Antoine Simon – Setting and Printing: Rectiligne Enjoy the read.
– ISSN: 1761-662X CPPAP : 0618K83283 – “Printed in France/Imprimé en France”. ESPRIT BONSAI INTERNATIONAL is published
by LR Presse sarl: BP 30104, F-56401 AURAY Cedex, FRANCE – Registered office: “Le Sablen”, 12, rue du Sablen, Auray, France – Michèle Corbihan
Limitedliabilitycompanywithcapitalof84,500euros–CompaniesregisternumberRCSLorientB.381289719 – Tel. +33 297 240 165 – Fax:
+33 297 242 830 – E-mail: info@esprit bonsai.com – Website: http://www.en.esprit bonsai.com – Subscriptions: 6 issues per
year – Legal deposit on the date of publication – Cover: Cinese quince, photo Peter Warren, design Antoine Simon.
#81 EspritBonsaiInternational - 3
News and
resources

Southport, UK
On the Web Les 28 et 29 mai 2016 de 10 à 18 heures

PARC DU CHATEAU DE WAROUX A ALLEUR

EXPOSITION DE BONSAÏ ORGANISEE PAR LE

BONSAÏ CLUB DE LIEGE
The National Bonsai Society
will hold its exhibition on
bank holiday weekend of
28 to 30 May, at Dobbies
BONSAÏ CLUB DU LAURAGAIS Garden World. Mature trees
http://www.bonsai-lauragais.org/ ENTREE GRATUITE

ATELIER DE DECOUVERTE
and trees being developed
Here is an aesthetically pleasing and well- DEMONSTRATION D’AIKIDO TAICHI ET
IKEBANA

INFOS : bonsaiclubdeliege.be
will be displayed.
designed website. The section about the ¡ Dobbies Garden World
club is very detailed with its history, practical Bentham’s Way
advice, and its purpose and reports on its Liège, Belgium Southport PR8 4HX
activities. Another section is devoted to An exhibition by the Bonsaï
cultivating and maintaining bonsai trees: how to prune them and club de Liège, in Belgium In France
care for them throughout the year, as well as advice on how to will be held 28 and 29 May in The annual exhibition of the
treat diseases. The “Autour de bonsai” (About bonsai)on the the grounds of the Château Salon National du Bonsai will
display bar will take you to pages on different aspects of Japanese de Waroux. Workshops on be held in the Parc Oriental
culture and its language such as the nomenclature of bonsai styles, wiring, pruning and training in Maulévrier, Maine-et-
shitakusa and kusamono, and suiseki. Other pages are dedicated a nursery-grown bonsai, will be Loire (France) from 10 to
to Azaleas, and an extensive bibliography covers general bonsai given during the exhibition. 11 September 2016.
terminology as well as the species used for bonsai. Finally, a photo ¡ Château de Waroux, This year, the exhibition will
gallery of regional exhibitions complete this particularly rich site. rue de Xhendremael welcome their specially invited
4432 Alleur, Belgium guest, professional bonsai
BACKCOUNTRY BONSAI From 10 a.m. to 6 p.m. artist Hiroyoshi
https://backcountrybonsai.wordpress.com Entrance free. Yamaji, who will
Dan Wiederrecht and Steve Varland, Web site: bonsaiclubdeliege.be supervise and run
committed bonsai artists, created this Email: [email protected] workshops during
blog in 2012 to share their passion for the weekend.
yamadori which they carry out fully Ghent, Belgium Producer and
respecting nature and its preservation The Ghent Floralies (flower exporter, he is the
and always with the requisite official authorisation. and garden show) will be in second-generation
They have the good fortune to live near the Rockies in Wyoming full swing from 22 April to owner of the
(USA); a region that is particularly favourable to finding 1 May. Eight Flemish clubs Yamaji Sanshoen
species that later will become magnificent bonsai trees. have been invited to exhibit Garden in Japan.
You can follow their fascinating tree-collecting adventures about 60 bonsai trees as Guest of honour
in their blog – photographic stories that include encounters part of this major event to Alexandre
with wild animals such as the disquieting mountain be held at four historical Escudero,
lion. An extra bonus is a report on The Artisans Cup, an locations across the city. a talented young
Exhibition held in Portland (Oregon) in September 2015, ¡ http://www.floralien.be/en Frenchman, will show a number
where several of their collected trees were shown. of trees from his collection,
Washinghton DC, some of which have never
PASSION BONSAÏ CLUB USA been seen in France. He will
http://www.passionbonsai.org/ From 13 to 15 May, the National participate with his Bonsai-
On the home page of Passion Bonsai Bonsai & Penjing Museum will Do (the bonsai way) school
Club’s attractive site, the menu will take celebrate its 40th anniversary. and will host the exhibition
you to all aspects of the club’s activities: The museum was created throughout the weekend.
its diary, its aims, its resources, registration in 1976 in honour of Registration is now open to
conditions, an events calendar and Japan’s gift of 53 bonsai those who wish to submit
even the themes of future workshops. You will also find many masterpieces to the USA to a tree for the exhibition.
articles about bonsai – its history, its rules and techniques, style commemorate America’s ¡ Salles des Fêtes,
classification and separate fact sheets on some bonsai species. Bicentennial, the reopening route de Mauléon
Another section of the site is devoted to associated of the renovated Japanese 49360 Maulévrier, France
art forms, suiseki and kusamono, and there is an Pavilion, World Bonsai Day, Saturday from 2 p.m. to 7 p.m.
excellent glossary of specific terminology. and the Annual U.S. National Sunday from 10 a.m. to 6 p.m.
A photo gallery of bonsai exhibitions completes the site. Arboretum Bonsai Festival. Tel. Parc Oriental de Maulévrier :
It should also be noted that the Facebook page of the Passion- ¡ 3501 New York Ave NE, +33 (0)2 41 55 50 14.
bonsai-club-de-valbonne is particularly dynamic. Washington, Email: contact@parc-
Philippe Massard, parlonsbonsai.com DC 20002 - USA oriental.com
4 - EspritBonsaiInternational #81
 www.en.esprit-bonsai.com
Find news in real time on our blog
and on the Esprit Bonsai FACEBOOK page.

Website: www.parc-oriental.com
Online registration: http://www.
parc-oriental.com/activites/
salon-national-du-bonsai/
GATHERINGS
North Devon Bonsai
Society, UK
North Devon Bonsai Society Annual
The FFB congress
Show at RHS Garden Rosemoor,
Great Torrington from 23 to 24
April, 2016. RHS Garden Rosemoor
Lecture Hall. Tree sales stand,
T he Fédération Française de Bonsai
(French bonsai federation) has
announced that the 2016 congress
enthusiastic advice; normal RHS will be a major event! The organising
Garden Rosemoor opening hours. association, L’Arbre dans la Main, has
¡ RHS Garden Rosemoor, invited speakers, demonstrators and
Torrington EX38 8PH workshop tutors from France, Europe
Email: [email protected] and Japan, who will complement the
www.bonsai-northdevon.co.uk exhibition of the best trees by members
of the Federation. Make it a date to take
Royal Hospital, part in this great French bonsai event
Chelsea from 28 to 29 May at the Palacium at
RHS Chelsea Flower Show, Royal Villeneuve-D’Ascq (Nord,France).
Hospital, Chelsea, London, from The heart of the event will, of
24 to 28 May. For five days in May, course, be the trees themselves
the grounds of the Royal Hospital, that were chosen in 2015 during the
Chelsea will be transformed Federation’s regional exhibitions.
into the world’s greatest flower Koji Hiramatsu, who was recently at
show – with avant-garde the Noelanders Trophy in Belgium, On the Sunday, Yves Ingels will talk
displays of wonderful plants. is the Japanese guest. He will talk about chestnut trees, Michel Augeix on
¡ Royal Hospital Chelsea, about some of the trees exhibited, how to display trees at an exhibition,
London SW3 4SL alongside Udo Fisher, a professional Gilles Touret on the Japanese garden,
Tuesday – Friday (24 – 27 May) bonsai artist from Germany, and Ruud and Michel Brohet on hornbeam.
8 a.m. to 8 p.m. Halinck from Belgium. Koji Hiramatsu There will be two more prebooked
Saturday (28 May) 8 a.m. to 5.30 p.m. will give a demonstration on the workshops on the Saturday; one run
https://www.rhs.org.uk/ Saturday, and will run a workshop jointly by Josep Maria Miquel, Oscar
– prebooked – on the Sunday. Roncari and Francisco Ferreira, and the
In Poland A joint didactic demonstration will other, by Udo Fischer and Ruud Halink.
The 2016 triennial exhibition of bonsai be given by Udo Fisher, Ruud Halink, The eagerly awaited New Talent
and suiseki organised by the Polish Josep Maria Miquel (Spain), Oscar competition will also take place at
bonsai association, Polska Asocjacja Roncari (Switzerland) and Francisco 2 p.m. on Saturday. The new talents
bonsai, will be held jointly with the Ferreira (France) on the Sunday. must work on a tree for three hours,
Polish national bonsai association on Even if there are only two main the hope of winning first prize.
30 April to 1 May, at Wroclaw, Poland. demonstrations during the weekend, The clubs of the North of France are
Koji Hiramatsu from Japan and Kevin there will be many lectures – well known for their warm welcome
Wilson from the United Kingdom come and see for yourself! and their expertise in organising great
are joint guests of honour and will On the Saturday, Freddy Filliot will give events. It’s a safe bet to say that the
lead workshops on the Saturday and a talk on ash trees, Thierry Claude on Villeneuve-d’Ascq Congress will attract
give demonstrations on the Sunday. rock compositions, and Michel Brohet many visitors for an event that must
There will also be demonstrations by on hornbeam. Arlette Libois and unite all French lovers of bonsai.
members of the Polish associations. Régine Daumen will discuss kusamono,
The new talent competition will Francisco Ferreira, yew trees and Oscar ¡ Palacium
take place on the Saturday. Many Roncari, the logic behind constructing 2, rue Breughel,
professionals will participate. a bonsai tree. Josep Maria Miquel will 59650 Villeneuve-d’Ascq
¡ ul. WYSTAWOWA 1, also give a lecture on ash trees and France
IASE WROCŁAW Gilles Touret on the Japanese garden. 10 a.m to 6 p. m.
www.bonsaiklub.pl; www.facebook.
com/PolskaAsocjacjaBonsai
#81 EspritBonsaiInternational - 5
 News and
resources
Exhibition and convention
Spirit of Shohin 2016
Royal Horticultural Society
An online Bonsai SURREY, UK April 2-3 grounds, Wisley GU23 6QB
intermediate course Contact: antique.
Bonsai Empire and [email protected]
Bjorn Bjorholm are
launching the follow- Bonsai Slovakia® 2016
19th International Bonsai,
up of the online Suiseki & Tea Exhibition with
Bonsai Beginner’s non-stop international cultural
NITRA, SLOVAKIA April 14-17
Course: the “Bonsai events and art exhibition
Intermediate Contact, Ondeicik Vladimir:
Course” this April. Oscar Jonker, from [email protected]
www.bonsai-slovakia.sk
Bonsaï Empire, replies to a few questions on
this new course. RHS Show Cardiff
CARDIFF, WALES, UK April 15-17
EspritBonsaï:WhatisthegoalofthisBonsai Bute Park, Cardiff Castle
Intermediate Course?
Oscar Jonker: When we launched our online April Floraliën exhibition Ghent
GHENT, BELGIUM
Beginner Course we had no clue if people 22-May 1 http://www.floralien.be/en
would like this new way of learning about Bon- Bonsai and suiseki exhibition
sai. It turned out to be very successful and so Triennale Bonsai 2016 and
we started planning for a much more detailed National Exhibition of Polish
April
and in-depth course, at intermediate level. WROCLAW, POLAND Bonsai Association
30-May 1
Our goal is to offer students a fundamental www.bonsaiklub.pl
www.facebook.com/
understanding of how trees grow and function
un PolskaAsocjacjaBonsai
before re we dive into the technical parts. As
with the Beginner
B Course, for the new Inter- Accrington & District Bonsai Society
mediate Cou urse, our approach is mostly prac- Spring Show, Daisy Nook Garden
tical oriented, really
r to help students progress OLDHAM, UK May 1-2 Centre, Stannybrooke Rd.
Failsworth, Oldham M35 9WJ
in their hobby. Tel.: 01616814245
E. B.: Four to five e hours to learn a few bonsai
techniques – is th his enough time for such 31st Arco bonsai convention and
a difficult art as b bonsai? the 20th Congress of the UBI –
ARCO, ITALY May 6-8
the Italian bonsai federation.
Oscar: A five-hour course will never replace
www.arcobonsai.com
other means of le earning about Bonsai, but
it is without doub bt a unique way to transfer WASHINGTON 40th anniversary of the National
May 13-15
knowledge from an a expert such as Bjorn, and DC, USA Bonsai & Penjing Museum.
to make it availab ble to the audience of Bonsai
Empire. In five e hours we walk through basic EBA (European Bonsai Association)
and ESA (European Suiseki
plant physiollogy, explain the techniques of SZÉKESFEHÉRVÁR,
May 20-22 Association) Convention,
styling Bon nsai, focusing on practicing and HUNGRY
Budapest, Hungary.
applicatiation. http://www.ebabonsai.com/
E. B.:
B How did you choose the contents of
this course? Spring meeting ‘Vlaamse
DEINZE, BELGIUM May 21-22 Bonsaivereniging’, exhibition,
Oscar: After our Beginner Course we received demonstration Tony Tickle.
a lot of requests to offer more in-depth guides
on styling Bonsai, so we did several surveys French Bonsai Federation
and worked out a curriculum. The curricu- convention
At the Palacium in Villeneuve
lum, as well as a trailer and a free lesson can d’Ascq, France.
be seen on www.bonsaiempire.com/courses. VILLENEUVE-
May 28-29 Open to the public from
D’ASCQ, FRANCE
E. B.: Could we learn new tricks – new 10 a.m. to 6 p.m.
details? Entrance fee: 5€– free for
Oscar: Absolutely! Even for experienced Bon- children under 10.
www.ffbonsai.com
sai growers there will be several new things to
learn. After all, Bjorn studied Bonsai for seven 2016 Lithuania – International
years at Koukaen, near Osaka, so no wonder Black Scissors Bonsai
Convention, In Collaboration with
he has some great knowledge to share with us! ALYTUS, LITHUANIA Sept 2-4
5th Japanese Culture Festival
Contact: [email protected] ;
[email protected]

6 - EspritBonsaiInternational #81
 The spirit
of Bonsaï

Bonsai-do – Getting back

to the essentials

the bonsai way I often ask myself what the bonsai way is,
but I only have a few answers when it comes
to being practised in France. Of course, we
can apply what has been accomplished by
the Japanese. However, Japanese culture
Bonsai guides us humans in our way of is different in so many ways. And if we are
attracted by it, are we strong enough to
life as well as on our journey through life. adhere to it? The endeavour to believe in
it and teach it is a daily challenge, because
For Jérôme Hay this way is essential to the we are the first to resist.
evolution of the art of bonsai. The problem lies with us – our own inte-
rests, jealousy, the need to be recognised,
our ambitions. There are schools, but as
Text: Jérôme Hay well as teaching the methods, they should
Illustration: François Fontana, based on an idea byJérôme Hay
be teaching the philosophy. To my way of
thinking, the training structure has forgotten
the essentials – the passion, the values, the

A
t the beginning of the year, I things best suited to our needs and give in simplicity, and yet it is these fundamen-
received a greetings card from to the easy options. tal elements that form the minds that will
someone who asked me if a It would be easy to list all the words that create bonsai and will build tomorrow’s
bonsai way existed – as it does define bonsai, but it would be just as easy to bonsai world. Elevating the art of bonsai and
for meditation or the martial arts. make a list of the things that are not bonsai. its practice, is also to introduce the values
Of course it exists! Bonsai-do draws its At the heart of this passion it is not easy find of a true bonsai practitioner – humility,
source from ancestral precepts. Bonsai is the light – a beacon – that will show the way patience, reasoning and personal satisfac-
not just a passionate interest, it must guide through this dark forest. Major changes are tion in achievement, but without being lost
our lives. The work we do on bonsai shapes taking place, but not necessarily taking the to ego, or tempted by fame and money. For
our lives and guides us towards self-fulfil- right direction. Misconceptions abound, as us westerners, it is not easy to understand
ment. there are few examples that comply with bonsai holistically – philosophically. Was it
What prospect can be more important than the rules, which tends to a misinterpreta- not an art practiced by the Samurai – war-
happiness, peace and personal achieve- tion of bonsai by the general public. Too lords achieving peace through bonsai? So
ment, with wisdom as the ultimate reward? often, we look without taking into account you should no longer think of your bonsai
The road to this destination might be filled the work involved. This art is not mature in as little trees, because the trees will help
with obstacles that are difficult to nego- our society, which explains the highs and you grow. 
tiate and can seem insurmountable, but lows of a passion. In trying to find one’s way,
by facing challenges and being put to the one can falter – it may already be too late.
test, a person will grow. However, support However, making a mistake is not neces-
and supervision are indispensable for the sarily a fatal error, as one is still at a forma-
assimilation of strict traditional rules – an tive stage, and can always turn back.
essential education to keep one on track.

A light to guide us
In the world we live today, bonsai can
help us, provided we have a goal and a
path to follow. The temptations are great
and at every bend in the road, there will be
crossroads. Even if there is one way, others
will be lost. It must be said that it would too
simple if our journey were to be demarca-
ted by milestones. The world of bonsai has
taken directions that are far removed from
a subtle path, and is practising an erroneous
interpretation of the tradition. In today’s
perpetually mutating society, we select the

#81 EspritBonsaiInternational - 7
Exhibitions

90th Kokufu-ten in Tokyo,

in February 2016. A view
from the balcony. This
year featured individual
spotlights on the trees for
the first time, as well as
permission for anybody to
take photographs. Visitor
numbers both domestic
and from abroad were
good this year, as the ten-
day period was blessed
with good weather.

90TH KOKUFU-TEN
Behind the scenes at the Kokufu-ten
For the 90th edition of the Kokufu-ten, Peter Warren goes
over the history of what is considered the world’s most
prestigious bonsai exhibition, and goes backstage to find
out about how it is organised. Author: Peter Warren

Considered by many to be the pin-

nacle of Japanese bonsai, the national exhibition Ko-
kufu-ten is held during early February in the Tokyo
Metropolitan Art Museum in Ueno. 2016 is the year
of its 90th edition.
The show started in 1934, initially as essentially
a club show, with members of the bonsai elite in-
vited to enter. It was originally held twice a year,
once in the spring and once in the autumn. After
a brief pause during the war years, it began again
in 1947, and as Japan recovered economically and
A special invitational display from one of the advisers
socially, the popularity of bonsai and subsequently
in the Nippon Bonsai Association. The tree, a kicho
bonsai, is a superbly aged white pine with what the Kokufu-ten increased. In 1965 the Nippon Bonsai
appear to be four apexes. Surely some mistake? Association was formed by members of the bonsai

8 - EspritBonsaiInternational #81
 This Kokufu
prize-winning
juniper has
some impressive
deadwood.

A Kan-gumi or Elaeagnus pungens. Although

some of the branches are a little young and either
straight or underdeveloped, the movement in the
trunk and the fruit peering through the beautifully
maintained foliage make it worth appreciating.

elite, both professional and enthusiast, and they

are in charge of the exhibition, which has always
been an example of some of the highest-quality
trees in Japan. A tremendously imposing and powerful Chinese quince that
was awarded the Kokufu prize in the first half of the show.
The thickness and taper of the trunk, the dense ramification
A double exhibition and the sheer presence of the tree are all a sight to behold.
Over the last seven years the Kokufu has chan-
ged a little in size and character. Due to refurbish-
ments of the Metropolitan museum, the exhibi- tion by an extra day and split it into two sections.
tion moved a couple of kilometres down the road Each section featured different trees, but slightly
to Asakusa. Upon the return to Ueno, the display fewer than before: 181 in each half. Previously
space had been reduced and so the number of such a double exhibition had only been held once
trees was also reduced. The first year back had a decade at the 60th/70th/80th shows. In practi-
a somewhat cramped feel and so, from the 88th cal terms, it means a greater variety of tree spe-
exhibition, the Association extended the exhibi- cies and styles on exhibition for the viewer 

#81 EspritBonsaiInternational - 9
 Exhibitions

An elegant and healthy Chinese juniper

displayed on a masterpiece stand with a
highly prized antique Chinese pot, although
it could be said that it is a touch too hard
and formal for both the stand and tree.
The Kokufu prize-winning
shohin display from the
first half of the show. A
flawlessly executed example
of the rack style display for
shohin trees, each element
is unique and not repeated,
with a great variety of tree,
pot and overall interest.
From the top: Japanese
black pine; trident maple;
wild rose; dwarf kumquat;
Japanese flowering A large and powerful chuhin-sized juniper
quince; Chinese juniper. paired with a small-leaf Euonymus as
the secondary tree. The skilful use of
the ornate stand, corner on and the
hexagonal pot creates an interesting
rhythm of angles and curves which
is continued up into the tree itself.

An unusual and striking maple, a

style that would not have been seen
until the recent expansion despite
the incredibly natural feel to the tree.
The upward and outward stretching
of the branches is reminiscent of
bonsai from a hundred years ago.

 and a slightly longer and more complicated they are being displayed. It is fair to say that there
fortnight for the professional. are many trees in both Europe and America that
On a personal level, I have seen a greater and have been domestically made rather than impor-
more interesting variety of styles in the show ted that are of better quality than some trees in
over the last three years, making it a much more the Kokufu-ten. There are numerous Japanese
enjoyable experience; however, it is only to be professionals who share this opinion, so it is not
expected that with an expansion of numbers, just my western bias. Over the last few years it
the quality of trees has become a little bit dilu- has become more common to see non-Japanese
ted. There are a few trees that will prompt both owners with trees in the show, from Europe, Ame-
foreign and domestic visitors to question why rica and also Asia. 

10 - EspritBonsaiInternational #81
It is trees such as this Prunus mume, planted in a superb Tofukuji pot, that
make the long trek to Japan for the exhibition worthwhile. Capturing the beauty
and essence of bonsai, the ume in flower is one of the highlights of the bonsai
calendar. It adheres to no structural rules other than to look natural and beautiful.

#81 EspritBonsaiInternational - 11
 Exhibitions
This tree caused a little bit of a stir
amongst many visitors for its wild
and unkempt appearance but it is
surely one of the finest Morrow’s
honeysuckle (Lonicera morrowii)
bonsai in the world. The hollow
trunk and crazy wild branching are
typical of the species, yet the age,
ramification and branching structure
are not. A superbly unique tree.

A much more modern style of maple with

a large spreading nebari and textbook
branch structure and ramification. It
may appear a little leggy; however, the
variety, benichidori, tend to grow like this,
unlike their more compact cousins.

A beautifully created twisted-trunk

pomegranate which has incredible
taper and movement in both the
trunk and the branches. The density
of the ramification also shows
many years of effort and skill.
The pot choice and display leave
a little to be desired, however.

any trees themselves in the show, but rather they

A Chinese quince displayed are doing the set-up for the owner enthusiasts.
in a kinyou blue-glazed
antique Chinese pot. It
Technically, there is nothing to forbid an enthu-
was judged to be worthy siast taking a tree to be judged, having it accepted
of the Kokufu prize in the For professionals only and then displaying it himself, but the system is
first half of the show. It is One of the common misconceptions about the such that all of this is left to professionals who
a very well-crafted tree in exhibition is the idea that the owner of the tree is may have anything from one to 70 trees to pre-
technical terms, and has
many years of skilled work
the one who is exhibiting it, not necessarily the pare, transport and display. This speeds up the
in the development of the professional who has prepared it or has been loo- process immensely. Rather than having 181 cars
nebari and ramification. king after it during its recent history. Many people all arrive at 9 a.m. on the day of the set-up, there
ask “How many trees do you have in Kokufu?”; are maybe 30 vans with people who know what
however, the professionals personally do not have they are doing.

12 - EspritBonsaiInternational #81
 Root-exposed white pines such as this
tree are unusual to see in the general
bonsai world, let alone the Kokufu. Those
that are seen are either collected trees,
like this one, or expertly made field-grown
ones, which are often impossible to tell
apart. Displayed in a wonderful mokkou
or quince-flower-shaped antique Chinese
pot by Shokodo, the natural artistry in
the exposed roots is a sight to behold.

Although both trees are incredible specimens,

this is a rather unbalanced chuhin display. It
features of one of the finest kifu-sized trident
maples I have ever seen and a wonderful
compact kifu-sized Toyonishiki flowering
quince. The problem lies not in the quality
of the tree but in the question: Which is the
primary and which is the secondary tree?

Another style of tree that would not usually

have been seen ten years ago. Originally
a yamadori red pine, this is bursting
with unique character in the trunk which
has been well matched with the branch
creation and foliage arrangement.
Despite its relatively small size, the upward-
and-outward-branching structure of this
tree (reflecting the natural deciduous graph them. Any tree that is a kicho bonsai, or
growth habit) gives it the feel of being an important registered masterpiece, will get into
much larger and more imposing. The dense Kokufu with only a cursory judging to ensure that
ramification tells of years of delicate work.
it is healthy and still of the quality expected from a
tree which has been registered. There are usually
around 50 such trees in each exhibition, meaning
that there are around 300 spots up for grabs.

Unbiased judgment
Entering Kokufu The large trees are placed on a conveyor belt
The process for entering Kokufu starts many and passed in front of 12 judges, half of whom are
months, if not years before the exhibition itself, changed each year to ensure an unbiased opinion.
with work necessary to reduce needle length, a Each judge has a few seconds to give the tree a
refinement wiring or a change of pot necessary mark out of seven. The highest and lowest scores
to finish off the look of a tree. Once the decision are dropped to ensure a less politically motivated
has been made, go or no go, the tree is taken for awarding of points, and the total is tallied.
judging in late January to the Green Club in Ueno. The trees are then listed in groups of those with the
The judging and photography takes place over same points and then the available spots are counted
a three-day period: one day to bring all the trees, down until they hit the last group. At this point
one day to judge them all and one day to photo- the professionals have to draw straws to see 

#81 EspritBonsaiInternational - 13
 Exhibitions

An outstanding and
deservedly Kokufu
prize-winning display
of a chuhin Hibai
Prunus mume. The
display is classic
and timeless, using
a superbly aged
kowatari antique
Chinese pot and a
finely crafted stand,
along with a superb
zelkova as the
secondary tree.

This dancing, elegant

Chinese juniper is
full of the natural
character that only
collected trees can
bring. It is displayed
in a custom-built
Gyozan pot, and the
choice of a low stand
is an unconventional
but successful one.

 if their tree is in or out, The visit of the

until all the available spots Crown Prince of Japan
Although this tree looks are taken. It is rare for trees to The day after set-up occurs, the exhibition is
rather traditional or be awarded a very high score, but anything that closed for judging of the Kokufu prize and also
textbook, that does not reaches into the 60s is a good candidate for a prize for a visit from the Crown Prince of Japan, who
detract from its beauty,
which comes from the
during the show. enjoys the display. It is always a great honour for
age and gentle twists The Kokufu prizes are awarded for the total any enthusiast to see his or her tree being appre-
in the trunk, the branch display aesthetic, and so the trees with the highest ciated by the Prince in the press. Once open to
placement and the gentle scores in the judging may not actually win a prize. the public, there are times when there are queues
and soft foliage pad All except the flowering trees are photographed out of the door and other times when you can
arrangement. This loose,
relaxed and natural feel to
on either the afternoon of the judging or the fol- view the exhibition in peace. This year was the
a tree would never have lowing day, and then they return to the profes- first time that the public were allowed to take
been acceptable twenty sional’s nursery. For the professional, this is the photographs of the exhibition freely – a sign that
years ago at the peak of most important aspect of the show, as nobody the Association is moving with the times and
the “perfection boom”. enjoys having to call a client to apologise for pul- allowing social media to play a part in promo-
ling the short straw. ting bonsai. 

14 - EspritBonsaiInternational #81
Prunus mume are one of the genre-defying
trees that many people, both western
and eastern, struggle to appreciate when
they approach them from a textbook
mind-set. If you look at this tree and
have trouble to decide if it is an informal
upright, slanting or semi-cascade style,
then the whole point is lost. It is a
Prunus mume and it looks wonderful.

#81 EspritBonsaiInternational - 15
Exhibitions
Acer palmatum, Warren Radford
(UK). The British bonsaist bought
this tree from Keiichi Fujikawa, of
the Kouka-en nursery near Osaka.
This tree was jointly awarded
the prize for best bonsai. Pot:
Nakawatari. Height: 65 cm (25½ in).

© Michèle Corbihan
A red carpet at the Limburghal in Genk, Belgium,
for the Noelanders Trophy! The 2016 edition, in
January, attracted more visitors than ever for
the biggest event in European bonsai.

NOELANDERS TROPHY
Rolling out the red carpet in Belgium
The Noelanders Trophy, in Belgium, was a real hit for
its 17th edition in January this year! Visitors flocked
to admire the superb exhibition of trees and suiseki, Author: Michèle Corbihan
watch the demonstrations and make purchases. Photos: Willy Evenepoel,
Bonsai Association Belgium,
A very comprehensive, top-quality event. unless stated otherwise

The 2016 edition of the Noelan-

ders Trophy broke all previous records for this Bel-
gian exhibition in Genk, which in only a few years
has become the place to be in January: ticket sales
in excess of 3,500, compared to 2,800 last year; 80
trade stands; over 100 trees on display; and a good
twenty suiseki!
The top prizewinners at the Noelanders Trophy 2016, with the
It must be said that the enormous Limburghal
judges – from left to right: Marc Noelanders, Taiga Urushibata, Koji offers the scope for an event to be arranged on this
Hiramatsu, Warren Radford, Mauro Stemberger and Luis Vallejo. scale, and the organisers, the Bonsai Association 

16 - EspritBonsaiInternational #81
 Picea glehnii, Luis Vallejo
(Spain). This tree, styled
by Masahiko Kimura with
assistance from Ryan Neil,
was joint winner of the prize
for best bonsai. Pot : Gyozan.
Height: 60 cm (23½ in).

#81 EspritBonsaiInternational - 17
Exhibitions

Nominee for best

bonsai: Pinus mugo,
Alfredo Salaccione
(Italy). Pot from Japan.
Height: 95 cm (37½ in).

Esprit Bonsai International loves this elegant Nominee for best deciduous tree: Acer palmatum, Luis
Prunus spinosa from Les Storey (UK). Designer: Peter Vallejo (Spain). Pot: Tokoname. Height: 65 cm (25½ in).
Warren. Pot: Stone Monkey Ceramics. Height: 53 cm (21 in).

Prize for best  Belgium, don’t hold back. Visitors started
deciduous tree: to arrive early in the morning, and in order to
Acer palmatum, avoid them having to wait in the cold, as well as
Frédéric Chenal
(France). to prevent a repeat of last year’s melee, the ope-
Pot: Tokoname. ning time was brought forward by half an hour.
Height: 91
cm (36 in). An eye on the prize
The trees in the exhibition are set up in a large
hall with wide aisles, making it possible to take
time to admire the trees and chat – and all the
more so since photography is forbidden. The trees
can be classified into two categories: those that
are the work of Japanese masters, the standard of
which is far superior to that of the exhibition over
all, and those styled by western professionals or
hobbyists, which are themselves of an excellent
standard. The exhibited trees have all been selec-
ted by the organisers on the basis of photographs.
The judging panel – comprising the three de-
monstrators Taiga Urushibata, Koji Hiramatsu
and Mauro Stemberger, as well as Marc Noelan-
ders – were faced with quite a task to choose the
prizewinning trees. They must have had trouble
making the final selection, because there was a tie
between two trees for the much-coveted prize of
best tree in show: an Acer palmatum by Warren

18 - EspritBonsaiInternational #81
 Best bonsai from the Bonsai Association
Best kifu: Juniperus chinensis, Xavier Massanet (Spain). Designer: Belgium: Pinus parviflora, Alda Clijsters.
Masahiko Kimura. Pot: Kawatari. Height: 35 cm (13¾ in). Pot: Sperling Keramik. Height: 60 cm (23½ in).

Nominee for best kifu: Cryptomeria japonica, Ilex crenata, Jose

Ontañón and friends (Spain). Pot: Yamaaki. Height: 33 cm (13 in).
In tribute to Jose Ontañón, who died suddenly in early 2016.

Radford (UK) and a Picea glehnii by Luis Vallejo

(Spain). It should be mentioned that the two trees
were shaped respectively by Keiichi Fujikawa, of Nominee for best kifu: Juniperus chinensis,
the Kouka-en nursery, and Masahiko Kimura, two Xavier Massanet (Spain). Designer: Chiaru
reputable Japanese bonsai masters. Imai. Pot: Kawatari. Height: 26 cm (10¼ in).
The big winner in this edition was undoubtedly
Luis Vallejo, of Spain, who alone was awarded
three prizes for his trees.
hone the deadwood, wire train and style the tree,
Two days for one pine leaving it with two possible fronts. Mauro Stem-
Over the two days, the three invited profes- berger worked on a Scots pine and a box tree with
sionals – Taiga Urushibata, Koji Hiramatsu and his pupils Rudy Marinello, Matteo Dal Lago and
Mauro Stemberger – performed demonstrations in Massimo Montemaggiore. Koji Hiramatsu, who
the afternoons in one of the Limburghal’s lecture specialises in pines and shohin, worked on two
halls. Peter Warren, a British professional who pines, one of which was in cascade style.
trained in Japan under Kunio Kobayashi – trans-
lated his two Japanese colleagues’ explanations, The biggest market in Europe
and assisted them from time to time. The demons- As for the trading area, it was packed. A new
trations had an attentive and ample audience, space was opened to accommodate some thirty
and rightly so, because the explanations had a additional stands compared to last year. Buyers
lot to offer hobbyists. Taiga Urushibata worked thus moved between the entrance area, a gigantic
on a very imposing pine: he needed both days to main hall and this new room to make their 

#81 EspritBonsaiInternational - 19
Exhibitions

BCI (Bonsai Club

International) Award
of Excellence:
Celtis chinensis,
Luis Vallejo (Spain).  purchases: bonsai, potensai, books, maga-
Pot from China. zines, pots, tools, shelves, kakemono, soils and all
Height: 95 cm
(37½ in).
sorts of bonsai-related objects. There were more
than fifty potters’ stands alone! Enough to get
anyone lost, and for anyone to find the right pot
for their tree.
As a whole, the visitors seem to have been
won over by this new formula for the Noelan-
ders Trophy, which took up residence in this new
venue for the second year running. There were,
however, some complaints on social networking
Juniperus chinensis, sites and forums regarding the photography ban.
Nicola Crivelli A few hobbyists went so far as to boycott the
(Switzerland). weekend to express their annoyance. Of course,
Designers: Kunio
Kobayashi and Nicola it was somewhat awkward of the organisers’ to
Crivelli. Pot: Matsuchita have forbidden visitors to take photographs or
Masuo, Tokoname. publish them on social networks in the very year

20 - EspritBonsaiInternational #81
 Theprizewinning trees
Best bonsai in show:
Acer palmatum, Warren Radford (UK) and Picea glehnii,
Luis Vallejo (Spain).
Nominated-bonsai: Quercus ilex, Raffaele Perilli (Italy); Pinus
mugo, Alfredo Salaccione (Italy); Juniperus sabina, José Luis
Balino (Spain); Juniperus chinensis and Zelkova nire, Maarten van
der Hoeven (Netherlands); Olea europaea, Erasmo Garcia
Fernandez (Spain).
Best deciduous tree: Acer palmatum, Frédéric Chenal (France).
Nominated-deciduous tree: Acer palmatum, Luis Vallejo (Spain).
Best kifu: Juniperus chinensis, Xavier Massanet (Spain).
Nominated-kifu: Juniperus chinensis, Xavier Massanet (Spain);
Juniperus chinensis ‘Itoigawa’, Germán Gómez Soler (Spain);
Cryptomeria japonica and Ilex crenata, Jose Ontañón and friends
(Spain).
Best tree of a member of BAB: Pinus parviflora, Alda Clijsters
(Belgium).
Nominated-BAB members’ trees: Cedrus atlantica ‘Glauca’,
Luc Nagels (Belgium).
EBA Prize: Betula pendula, Herman Haas (Germany);
Larix decidua, Nicola Crivelli (Switzerland).
BCI Award of Excellence: Celtis chinensis, Luis Vallejo (Spain).
Bonsai Museum Düsseldorf Special Prize: Picea abies,
Prunus spinosa, John Pitt (UK). Nicola Crivelli (Switzerland).
Pot: John Pitt. Height: 95 cm (37½ in). Nomination for suiseki: “Fresche aque”, waterpool stone
(Mizutamari-ishi), Enzo Ferrari (Switzerland).
© Michèle Corbihan

© Michèle Corbihan

Koji Hiramatsu, a Japanese professional who is well

known, performed shaping work on a pine.

Mauro Stemberger and

three of his students
when the Kokufu-ten has lifted such a ban for the worked on a pine
first time in its history … on the Saturday.
Regardless, it would have been a shame for
anyone to deprive themselves of such an en-
joyable event, and those who did visit unders- Taiga Urushibata worked
tood that perfectly well. on an impressive mugo
The 2017 edition promises to be particularly pine for two days.
© Michèle Corbihan

special, since the annual convention of the EBA Peter Warren translated
what the two Japanese
(European Bonsai Association) will take place at demonstrators were
the same time as the Noelanders Trophy, from 3 saying and helped
to 5 February. Not to be missed!.  them with their work.

#81 EspritBonsaiInternational - 21
Trees
and People

Matt
Reel
“I always wanted
to do bonsai for the
rest of my life”
The young professional Matt Reel has
After eight years in Japan as Shinji known since the age of 16 that he wanted
to do bonsai and nothing else. He has
Suzuki’s apprentice, Matt Reel, 27, returned from a long apprenticeship
in Japan and set up home in Portland
returned to Portland (Oregon) in the (Oregon), in the United States.

western United States in April 2014.

Then began a new adventure: setting Esprit Bonsai International - How did
himself up as a professional. He had to you discover bonsai?
Matt Reel – I was shopping one day at
do everything from scratch. the mall, when I was maybe 13, and I just
came across a little kiosk that had little
twenty-dollar S-curve-trunk junipers. That
Interview and photographs: was the first thing I’d seen, other than in
Michèle Corbihan the movie The Karate Kid, and that’s what
amazed me in the beginning. And then,
just reading books, and meeting local bon-
sai people got me more into it.

E.B.I. - When did you decide to go to

This mountain Japan?
hemlock, Tsuga, M.R. – I knew I had to go to Japan when I
was collected in was 16. It was my dream because of see-
Washington State ing Boon [Manakitivipart]. The first time
ten years ago. Matt
did the first styling
I saw him in Portland, I was 16. Once I
work in December saw his work, that got me really excited:
2014. Height: the techniques he used, and the way he
58 cm (23 in). worked on trees really caught my interest.
When I found out he had trained in Japan,
I said: “Ah, man, you’ve got to be the best!
Can I study with you?” “No, I don’t need
an apprentice. What I can do is on your
winter vacation, spring vacation …” since I
was still at high school, he told me I could
come to his garden for two weeks and
he would treat me like an apprentice. So

22 - EspritBonsaiInternational #81
Matt’s collection is still very small, because he had to start from nothing.

pulling weeds, watering, helping him work, material. I didn’t know what I was getting M.R. – It’s more than average. That’s not
repotting, anything he could think of to myself into. But you learn on the go. This to stay that it makes me better because
prepare me. And he said he could intro- is something I knew I always wanted to I was there longer. It just depends on the
duce me to a teacher in Japan. do for the rest of my life. So I had to just person. For me, since I was so young I took
become a professional however that was longer to learn, it took me time to pick
E.B.I. - Why did you choose Shinji possible. Being an artist is awesome. up the language. Once I really started to
Suzuki? understand Japanese, that sped up my
M.R. – I had seen articles published in E.B.I. – You stayed in Japan for almost learning process. The more Japanese you
Bonsai Today for example, and I really eight years – it’s a long time … know, the more you can learn about 
liked his work from the first time I saw
it. And then, when I was at Boon’s, Boon
showed me my teacher’s video and I was
just blown away by the quality of the trees
he worked on and the person he is. So we
both thought it would be a good match for
me to try – and knew that he’d be a good
all-round teacher for anything you want
to learn about bonsai.

E.B.I. - What was so important with

bonsai that you needed to go to Japan?
Was it because you wanted to be pro-
fessional?
M.R. – (laughing) I knew I wanted to do
bonsai for the rest of my life. I wanted to
make good bonsai and to do that, you
have to go to Japan, to learn technique
and to develop your eye, and how to work
on each species too. That’s something
else my teacher also offers: he works on Pinus mugo.
all kinds of material. Not as much raw Height: 46 cm (18 in).

#81 EspritBonsaiInternational - 23
 Trees
and People

 bonsai when you’re there. I was in no

hurry, but when I decided to leave, my
teacher and I felt like it was a good time.
I do have a certificate from the Japanese
bonsai association.

E.B.I. – What is the most important

thing you learnt in Japan?
M.R. – Discipline (laughing) … How to just
work every day. Just having a good work
ethic, being a good person, really having
a lot of love for what you do and pride
in your work, and really caring for a living
thing is very important because every lit-
tle detail matters. And keeping the trees
healthy. That’s it.

E.B.I. – What was it like coming back

here? Rocky Mountain juniper, Juniperus scopulorum.
M.R. – It’s always difficult at the beginning. Matt has started working on the deadwood. Height: 41 cm (16 in).
You come back to nothing. You have to
make everything for yourself. Nobody’s making something out of nothing, basi- E.B.I. – How did you learn display in
going to hold your hand. But luckily, I have cally. You have to envision. Yamadori is Japan?
people around me like Michael [Hage- a good example because those are the M.R. – I was lucky because my teach-
dorn] and Ryan [Neil] to inspire me and types of trees I want to work with. Yama- er had so many accents, so many nice
continue to grow and get better myself. dori is always going to be better material stands, nice pots and nice finished trees,
We bounce ideas off each other and help in the end, because the tree already has so we were able to choose from so many
each other out, so that’s nice to have. age, it already has character, good dead- different things. It made it fun and easier
wood, good bark. So that’s the best thing to learn about how to make a nice dis-
E.B.I. – What inspires you so much in to use, really. The tricky part is you have play. That’s why we probably don’t do it
bonsai? to learn how the new species in America as much here.
M.R. – (laughing) I’ve always loved being react to the techniques you use on them. A lot of people don’t have all the neces-
out in nature, I’ve always loved camping, And you have to get the basic structure sary elements, or an area like a tokonoma.
hiking, just anywhere away from the city, laid out so that that can develop into what So we find different ways to make more
in the wild where it’s quiet and it’s just you envision. That’s the challenge of it, simple displays using stands that people
you and the trees. So to have that at your and that’s what makes it fun. are making here.
home every day is really what a lot of peo- Sometimes people don’t understand
ple like about bonsai, me included. That E.B.I. – What do you like most about the reasons for doing a nice display. The
and working on the trees, wiring obviously working on bonsai? only show in Japan where scrolls are used
… The more inspiration you can get from M.R. – I like refinement. I like styling raw is probably Taikan-ten. I would like maybe
nature, the better. So always go on hikes, trees because of the creativity that’s to make a show like that some day here in
always go anywhere you can, just to see allowed to you. Another things that I love America, focusing more on display, using
what’s out there, because that’ll help you is display. Also traditional Japanese dis- what we have here, and maybe some
create really great trees. play would be nice to do once I have a things from Japan: scrolls that would
tokonoma. Set up in a nice indoor dis- work; some pots that would come from
E.B.I. – Your bonsai work has been play alcove where I can put nice finished Japan; nice antique Chinese pots might
described as pioneering. Can you trees with nice pots and nice stands and be used. I’m not picky about that: I like to
explain that? nice accents, and make a nice meaningful use high-quality material from anywhere
M.R. – In some ways maybe. When I display – a seasonal display. That’s the if it makes sense, if it’s right for the tree.
work on trees I try to remember what cool thing about what I learnt in Japan: The tree is the main focus.
my teacher taught me, but the only dif- bonsai display is also seasonal. So you dis-
ference is you’re working on a lot of raw play different things at different times of E.B.I. – How do you think it’s possible
material here, so you have to be more the year, depending on what’s flowering, to get more bonsai enthusiasts inter-
creative in some ways, because you’re what’s fruiting, what has nice fall colour … ested in display?

24 - EspritBonsaiInternational #81
 Work has just begun on this Taxus. The deadwoods are already amazing.
Height: 64 cm (25 in). Span: 81 cm (32 in).

M.R. – In my mind, that’s the end-game:

once a tree is looking the best it can look,
that’s when you really can enjoy it, sit
down and look at it in a nice display. That’s
why I like Japanese display, because you
get to use different elements. Scrolls can
be really nice, a simple way to describe
an environment, a place or a season.
That’s something we don’t really have
here – scrolls in general. People haven’t
been making them that much, and nice
scrolls from Japan are also very hard to
find. That’s not to say that all scrolls from
Japan should be used in display here,
because this is America; our cultures are our trees here. There are a lot of scrolls
not the same, and some displays in Japan out there, but most of them don’t really
are specifically to do with the culture. So work well for bonsai. Display has to have
you wouldn’t use a scroll with Mount Fuji meaning.
or a Japanese temple on it here with one
of our native species, or with whatever E.B.I. – Which species do you prefer to
we’re trying to convey in our display. You work with?
can’t really mix things like that, it doesn’t M.R. – I like conifers a lot – juniper, pine,
make sense. So we need to try to find new spruce, hemlock … the vine maple that we Chaenomeles japonica,
ways to use what we have here, use cer- have here. I like a whole variety of things from Japan, clasped to rock.
tain scrolls from Japan that will work with – I’m not too picky about that either. 

#81 EspritBonsaiInternational - 25
 Trees
and People

A little
arrangement
of plants in
the garden.

 The only thing I haven’t worked on is a really nice tearoom with a tokonoma, a view of Mount Hood. Maybe make a book
azalea: my teacher never really had azal- huge collection. Maybe I’ll have an appren- about display.
ea. I like having a lot of variety: deciduous tice – I’ll be able to pass on everything I
or conifer. know to somebody that’s truly dedicated E.B.I. – What would you like to tell
to bonsai and the arts. For the meantime, I beginners?
E.B.I. - What are your goals for the want to keep travelling for the next couple M.R. – If this is what you love, just never
future? Where do you see yourself in of years while my collection is still small, give up. Bonsai will teach you a lot about
20 years? and keep seeing other places in the world yourself. It’ll teach you patience, love,
M.R. – Twenty years is a long way away, and and meeting other bonsai enthusiasts. dedication; it’ll give you a good founda-
you can’t predict the future. But I would Hopefully that will lead me to more work tion for life.
see myself still being in or around Port- and allow me eventually to have a better Having to keep something alive, and
land, having a really nice garden, having place, more land and more trees and a take care of it on a daily basis. 

OnInternet
https://reelbonsai.wordpress.com/
https://www.facebook.com/reelbonsai

Matt Reel is passionate about display,

and stages every element in his garden.

Chamaecyparis obtusa –
hinoki cypress or hinoki falsecypress.
Height: 41 cm (16 in).

26 - EspritBonsaiInternational #81
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or visit our website: en.esprit-bonsai.com #81 EspritBonsaiInternational - 27
Task of
the Month

Preparing
training crates
March is the time for putting
trees in training crates. So first
of all you need to make these
wooden crates – and here is
1 This tree will need to be cultivated for at least two years in a crate to improve
a low-cost way to do it. the nebari and the taper of the base. To build a training crate, increase the length
of the pot by 50% and its width by 20%. Keep to the same height, so as to reduce
the development of taproots.

Author: Gilbert Labrid

S ome trees are cultivated in pots for many years

without managing to regenerate their potential.
To allow them to take the next step, it is sometimes 2 Use untreated
necessary to strengthen their entire root structure, and wood, wood
to do this you need to give them additional living space. screws to fix it,
There are several options: and plastic mesh
- planting them in open soil for drainage.
- repotting them in oversized pots
- using a wooden, plastic or polystyrene crate.
However, not everyone has a garden that is dedicated
to cultivating bonsai, and it is better to keep large pots
for conventional uses, with no risk of damaging them.
And as for the last point, commercially available crates
are seldom suitably proportioned for these purposes.
You don’t need to be ace at DIY: if you aren’t afraid of
handling a saw or a screwdriver, you can make wooden
crates that are the perfect size for each individual
case. There are various advantages to this: the cost
is minimal, they are lightweight, they have bespoke
dimensions, and they save on storage space. Added to
this are their not-inconsiderable insulation properties
and improved control of drainage and water runoff. 

3 Since the pot is 8 cm (3⅛ in) tall, a 10-cm (4-in) plank

will do. The structure is reinforced with narrow braces fixed
at the corners.

28 - EspritBonsaiInternational #81
 Also on the to-do list
- Finish pruning broadleaves before bud break.
- Treat them with Bordeaux mixture after pruning.
- Protect repotted trees from wind and late frost.
- Air-layer maples, hornbeams, beech trees etc.

4 The base is made of planks placed at 2- to 3-cm (¾- to

1¼-in) intervals, with a 1-cm (⅜-in) gap along the long edges.

6 All that is left to be done is to nail the mesh along the gaps.
5 Two braces are fixed to the underside Now you have a large bespoke container – 70 × 45 × 10 cm
of the crate, to act as feet. (27½ × 17¾ × 4 in) – for less than £8 (€10 or $11).

7 In early March, this maple will be placed in its new home for several years. The next time the
roots will be examined will be in two years’ time, after checking the condition of the crate’s base;
this period can be extended if necessary.

#81 EspritBonsaiInternational - 29
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2003 - 2016
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 Le magazine spécialisé du bonsaï et de sa culture 13 years experience        

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La nature se réveille, c’est la saison
FORUM des rempotages et on commence
— le programme de fertilisation.
ENCYLCLOPÉDIE
— Retrouvez des reportages
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complets sur la culture,
—
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(EXPOS, STAGES) photos des plus grandes
— expos passées et à venir.
ANNUAIRE
(PROS, CLUBS)
—
ACHATS - VENTES

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I N CO N TO U R N A B L E S U R L E N E T D E P U I S 2 0 0 2 www.parlonsbonsai.com

30 - EspritBonsaiInternational #81
 Bonsai
Basics

Parasites
and diseases
Part 2
Author: Bruno Mazza The roots of this little Scots pine
cultivated in a plastic pot are perfectly
healthy in this substrate where
mycorrhizae are very much present.

P
lants are not only exposed possible complexity of a problem
to damage by members of and the many variables involved,
the animal kingdom but also it would be better to learn more
by infectious or parasitic diseases about these errors, and how to
that are the consequences of correct mistakes made, by reading
changes in physiological functions specialist literature or consulting a
caused by: professional.
- extreme weather conditions It is very important to watch out
(icy cold or searing heat) for abnormal conditions or imba-
- cultivation in a too humid envi- lances, because if they are ignored,
ronment in the end, they will lower the plant’s
- lack of sunshine defences and leave it open to para-
- cultivation in an area exposed sitic attacks. On the left, the colour and
to violent and persistent winds Diseases that are not caused by turgescence of the roots show that
they are healthy and fully functional.
- cultivation using too much or incorrect cultivation or by insect On the right, it is the opposite.
too little fertiliser attack are often due to fungi. There These disintegrating black
It is possible to foresee poten- are numerous fungal species that roots are sure signs of rot.
tial problems related to cultivation are often virulent and difficult to
or to the weather, and to correct spot, because their microscopic
fertilising mistakes. Because of the spores are carried on the wind and
in water, making prevention almost
impossible. Root rot is an insidious disease,
because by the time the symptoms
Root rot appear, it is often too late to repair
Root rot is a disease caused by the damage.
fungi, bacteria or nematodes. These Prevention
pathogenic agents attack a plant’s Being a difficult disease to dia-
root system. They cause the disin- gnose before it is too late, preven-
tegration of the tissues and capilla- ting root rot is of paramount impor-
ries responsible for the absorption tance:
of water and the carrying of sap and - respect the correct times to
nutrients. Roots will turn brown and repot. Over time the substrate’s
then black, lose their turgescence components lose their properties,
and eventually rot. Afflicted plants particularly akadama, and cannot
will decline fairly rapidly (leaves and fulfil their functions.
branches etc.), their growth slows, - use appropriate substrate
and leaves will slowly turn brown material
then black, and will fall before the - make sure that the mesh over
The black coloured roots of the end of the growth cycle. In the most the drainage holes is placed correct-
persimmon are not a sign of disease, but serious cases, the plant will die. ly and does not get blocked up 
are typical of their natural colour.

#81 EspritBonsaiInternational - 31
 Bonsai
Basics

Rust caused by a fungus, causes

small black spots on the leaves.

The powdery
substance on
leaves and buds is
a sign of powdery
mildew (oidium).
 - only water when necessa-
ry – that is, when the surface subs-
trate in the pot is dry.
- protect dark-coloured pots Leaf rust
from overheating in extremely hot Tiny fungi that develop on the organism, and is difficult to reach.
weather. surface of leaves are responsible for The systematic use of fungicides
Rootrotoccursparticularlywhen leaf rust. The affected leaves show has proved useless as the plant’s
it is hot and the substrate is too yellow-orange spots to begin with, capillary system is blocked. To
moist. Therefore, you must guard which turn brown, then black and avoid a spread of the infestation, it
against these situations. grow progressively larger. is strongly advised to burn or des-
Treatment As the infestation develops, the troy a sick plant including the roots
In the case of an affected deci- leaves lose their functionality, turn and branches.
duous tree, if it is close to the dor- yellow and fall.
mancy period, one can try an emer- The fungi that cause the disease Powdery mildew
gency repotting. The plant must develop rapidly in high humidity Powdery mildew (also known
have partly or totally have lost its (rain, mist, dew) and temperatures as oidium) is caused by microsco-
leaves to reduce the differential of between 15 to 22°C – ideal condi- pic fungi that are seen as a white
between water being absorbed and tions for the spores to ripen. powder on leaves and buds
released (because the roots will be and occur particularly in mode-
drastically pruned.) The substrate Verticillium rate humidity and temperatures
must be removed from the root Verticillium is a fungal disease between 5 and 20°C, typically, in
ball, and the roots must be washed that attacks plants. The fungus spring or autumn.
and then pruned to eliminate the penetrates through a wound in the The parts of the plant that are
rotten roots. One must then disin- roots or at the trunk flare. Once affected are mainly the leaves, but
fect the pot and repot with a sterile established, the fungi travel up also the buds and fruit. The plant is
substrate. through the capillaries and spread prevented from photosynthesising;
Recuperating a hardwood ever- rapidly throughout the plant. The at first the leaves fade, and then tis-
green or a conifer, particularly in the fungus then obstructs the sap from sue necrosis occurs. The leaves are
growth period, is practically impos- rising causing leaves to turn yellow, the first to wilt and then the entire
sible. the branches and twigs to dry out plant.
Some species, such as the per- and often, the death of the whole Prevention
simmon, have roots that look as if plant. A serious infestation can cause
they are rotten, as they are very dark Treatment the affected parts of the plant to
brown, almost black. But the colour Prophylactic treatment is very die. Preventive sulphur-based treat-
is a characteristic of the species, so difficult because the fungus esta- ments can be applied.
there is no cause for alarm. blishes itself in the plant’s internal

32 - EspritBonsaiInternational #81
Bonsai
Basics

Cankers appear as wounds and can

be found on many parts of the tree.

Prunus species are susceptible

to cankers, which produce
an outflow of sap.

Treatment
If a plant is already infested, spe-
cific fungicides can be used to block
and weaken established mycelia.
Sick leaves should be removed
as quickly as possible. Leaving them
on the plant or on the ground will
encourage the growth of more
spores in the following season
and once again will propagate the
disease.

Cankers and
gummosis This oozing is a sign of gummosis
Cankers are damaged parts of the and is often concurrent with cankers.
wood caused by a bacterial or fun-
gal infestation. Pathogenic agents
cause wounds that the plant tries
to heal, but cannot, as its mecha-
nism for cell-renewal is blocked and
tissue growth is messy, engendering
cracks and excrescences.
Cankers mostly attack the Pru- Prevention Treatment
nus species (apricot, cherry and Here too, prevention and treat- Bonsai Prunus and a few types of
peach etc.) and can be found on ment are quite difficult. Copper- rosaceous plants are prone to root
the leaves, the fruit, and in the wood based products such as Bordeaux cankers. To eliminate this condition,
and roots. mixture, prevents spreading and it is better to repot the bonsai at the
A fungus is also responsible for should be applied two or three end of autumn when low tempe-
gummosis, which causes wounds times between the time the leaves ratures inhibit infectious agents in
and blister-like swellings that have fallen and the subsequent the roots.
ooze a sticky gummy substance. budding.

#81 EspritBonsaiInternational - 33
 Bonsai
Basics

Mice and field mice too

Those who do not live in town may be faced with mice and
field mice. These little rodents sometimes find shelter in
pots with a loose substrate where they can feast on worms,
insects and roots, or make their nests among the roots.
A few years ago, in my garden, a field mouse targeted a
pot containing a recently repotted juniper. One morning I
found some of the substrate scattered over the shelf and
a hole in the substrate right down to between the roots.
Slugs nibbling at leaves. After establishing whether or not the lodger was
in or out, I closed the hole… the same scenario
the following morning. I resolved the problem by
covering the surface with metallic netting.

In the country,
field mice like
to burrow
in the loose
substrate to
make their
nests.
v

However attractive they are to

look at, snails are harmful to
plants and they love the damp.

It is essential to use very sharp,

disinfected tools while repotting
and pruning the roots, and cover A mesh covering
the cuts with healing products. the top of the
So as not to spread the infesta- pot is the only
solution to
tion, it is advisable to destroy all the protect the soil.
cut branches, leaves and roots.

Slugs and snails etc.

Gastropods such as snails and
slugs, do not belong to the phyto-
phagous insect species, but are
seen as creatures that can damage
leaves. They invade gardens and
vegetable gardens and feed on
leaves. They come out at nightfall,
during the night and after it has rai-
ned.
Treatment
This is a battle that involves eli-
minating the creatures, which first
thing in the morning, one can find
hidden away. 

34 - EspritBonsaiInternational #81
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#81 EspritBonsaiInternational - 35
Getting Off
to a Goo
od Start

Adding age
to trees with
dead wood This natural deadwood with its parallel and
perpendicular cracks following the grain of the
wood is a good example of the passage of time.

Lightning, wind, frost, sun Old trees bear witness to the

and hail all contribute forces of Nature and carry the marks of the elements
that scar their bark, cut into their wood and tear their
to a tree’s shape, its trunks. To evoke and imitate these natural phenomena,
one must resort to a few artificial techniques.
characteristics and its aged When lightning strikes a tree in a field, part of its trunk,
look that are so sought after from the crown down, dies; or it could strike a high
branch and the bolt will discharge to the ground, and on
by bonsai artists. The aim is the way, will have burnt the sapwood to the heart. Trees
prostrated on a mountainside, trampled by animals or
to reproduce these effects crushed by rock falls, also lose part of their bark and
on our bonsai trees, to cambium. To reproduce these effects, we are going
to imitate nature and debark part of a bonsai trunk.
make them look old.
1 Reproducing a shari
Author: Xavier Dreux This is a simple and risk-free method if one follows
the steps. To visualise where the shari (the debarked
trunk) should be placed, take a piece of chalk and draw
an outline of the future dead wood placement directly
onto the trunk.
Bark is easier to remove during active growth. Lift a
small tab of bark of about 2 to 3 mm (1⁄16 to 1⁄8 in)
wide, and peel it gently but firmly down towards the
base of the trunk to the required length of the shari,
cut the strip of wood where you want the shari to stop.
Now increase the width of the bare wood by removing
a strip of bark on either side of the start of the shari.
The cut is done in the same way by peeling back the
bark, or better still, by cutting it out with a very sharp
blade. A clean cut will accelerate the healing process.
If there is not enough movement in the shari’s line, it
can be enlarged in certain places without affecting
other areas and little by little the vein can be diverted.
Every year, the shari must be resumed to enlarge it and
A shari near the nebari adds age to this Scots pine. to give it depth and movement.

36 - EspritBonsaiInternational #81
 Terminology
Jin : a small dead,
debarked branch
Shari: part of a
debarked trunk
Sabamiki: a partly
hollowed-out trunk

A year ago, a first shari was created (area in red). The shari gives rhythm to the trunk of this
To deflect the vein, a new part of the bark was Juniperus chinensis var. “Itoigawa” and contrasts
lifted on one side (area with diagonal lines). strongly with the bark and the foliage.

On small junipers prepared by a bonsai nurseryman,

the trunks are given movement and turn around on
themselves; a shari can turn in the same way, simply
by following the grain of the wood.

2 Creating a dead branch

Either as a complement to a shari or alone, another way
of ageing a bonsai is to create a dead branch, which is
called a jin.
Cut round the base of the branch to be debarked with a
blade. And then, using jin pliers, crush the bark along the
length of the branch – above, below and on the sides.
Then all one needs to do is to expose the white wood
by pulling the bark off completely from the base of the
branch to its extremity. The branch is then broken to
reduce the length. Using the jin pliers again, the stump
is crushed and the wood fibre are pulled away by rolling
them from the jin’s extremity to its base, until one has
obtained a pointed, rather than a flat end. The branch The trunk of this Ilex
can then be shaped and positioned with a wire ligature, is full of character,
in the same way as a living branch. As it dries, the jin largely due to the
will retain the shape it has been given by the wiring. 3 Hollowing out a trunk sabamiki, which is
In summer, the branch is treated with jin seal (calcium Not many deciduous trees lend themselves to jins or an ideal solution
for this variety, as it
polysulphide) twice – leaving a month between appli- sharis, but rather to the hollowing out of trunks with a does not heal easily
cations – in order to keep the branch relatively fresh. technique called Sabamiki in Japanese. The wood of from large cuts.
deciduous trees disintegrates more rapidly than that
of resinous conifers such as Juniperus, Pinus, Taxus,
Larix and Picea, etc.
A sabamiki is achieved by hollowing out the trunk with
wood cutters. It is often done to hide a large cut, which
transforms what could have been a defect into a focal
point and adds age to the bonsai. In Japan, deciduous
To create a jin on trees, with the exception of Prunus mume, are not, for
a pine, the branch the most part, given the dead wood treatment. They are
is debarked, then feminine trees that show off their beauty not their scars.
broken down to In Europe our perception is different; trees with hol-
where it forks, to lowed- out trunks are found on walks and on our shelves.
give it movement
and to taper it. When hollowing out a trunk, care must be taken not to
The jin is finished rot extensively the trunk’s interior, and particularly, not
by bringing it to allow water to stagnate in the hollow. If necessary, a
to a point. drainage system should be put in place. 

#81 EspritBonsaiInternational - 37
Treegazing

This plane tree is in a

strange situation, seeming

Walking on water
to float amid the wind and
currents of Lake Geneva.
Mirage or miracle?

Text: Gilbert Labrid

This tree seems to be standing Photos: Gilbert Labrid and
on the water of Lake Geneva, Alexandre Monnet

in Switzerland. The illusion

has a rational explanation, but drivers make cutting comments. True, veering off
the poetry of the place can still course is not well looked upon in the land of orderli-
ness and good behaviour; but, alas, you don’t change
inspire romantic souls. character simply by crossing a border! Too bad for
the French reputation.
What matters right now is finding out that, in fact
– no! It isn’t a mirage looming on the horizon, but

I It all starts with an urge: to drive all the way

around the great lake, Lake Geneva, beginning
with the life source that feeds it, the delta of the
rather … a miracle!

river that has flowed down from the mountains. You At first there were three
randomly notice a bulky mass placed on the water What a shock for a Cartesian mind-set: a true
that merges into the near mountains and seems moment of doubt! This encounter would be capable
to move in tandem with your progress along the of restoring faith to the greatest of sceptics, because
road. It is winter; the weather is mild for the season, it has to be seen to be believed. And I saw it: it was
but the sense of being presented with a mirage, an walking on water!
optical illusion, becomes stronger and stronger as In fact, this miracle has a perfectly rational expla-
you make your way ahead. You stare at it more and nation, which helps to bring you back down to earth.
more intently, and finally you make an emergency This view of it will not stop imaginative souls from
stop; surprised by the sudden manoeuvre, the other finding more poetic and subtle symbols within it.

38 - EspritBonsaiInternational #81
Lord Byron’s “prisoner” drew strength to escape into
daydreaming by gazing at the leafy island through a window
of the Château de Chillon – on the edge of Lake Geneva, in
Switzerland – which you can just see in the distance.

This magnificent plane tree specimen stands at

the Swiss mouth of the Rhone, in the easternmost
corner of Lake Geneva, totally isolated in the middle
of the water. In years gone by, a few rocks that pro-
truded from the water were shored up and reinfor-
ced to create an island using alluvium from the river.
Originally, several trees were planted there, perhaps
to ensure that the island would last.
These days, only a single tree remains: a majes-
tic plane, with perfect proportions and wonderful
ramification. Positioned a stone’s throw from the
shore, its bulk is impressive and intriguing. You ask
yourself how the roots can survive in this environ-
ment, because it is not a mangrove and this species
is not reputed to enjoy watery settings. The island
must be around 20 metres (65 feet) in diameter,
and the tree’s canopy covers it entirely – a fantastic
resting place for birds who find a quiet, welcoming,
natural shelter there.

In winter, this spectacle of perfection is even more

moving, because you can admire the remarkable balance
On a little island between the tree’s architecture and its ramification.
In the distance, anchored at the foot of the moun-
tain, the Château de Chillon provides a romantic
décor that was used by Lord Byron in the early 19th
century for a poem (“The Prisoner of Chillon”) in A small green isle, it seem’d no more,
which he describes the island as follows: Scarce broader than my dungeon floor,
“And then there was a little isle, But in it there were three tall trees …”
Which in my very face did smile, Apparently, since that time, two of the trees have
The only one in view; absconded … by walking on water? 

#81 EspritBonsaiInternational - 39
Shohin :
Small Bonsais

This winged spindle tree,

Euonymus alatus, lacks
visual impact. Hiroki Miura
will repot it and change the
pot to make the tree more
interesting. Front aspect. Back aspect.

Change the pot – Author: BonsaiTranslations

Demonstration: Hiroki Miura

change the mood

If this Euonymus alatus needs to
be repotted, its pot must also be
changed and some adjustments
made to its position to make it more Changing a pot is a
way of changing the tree’s mood », explains
attractive. Hiroki Miura, who is about to demonstrate
how to repot a winged spindle tree and make
some improvements. Repotting is also a way
of making a tree that has been in the same
pot for a long time, more interesting.

40 - EspritBonsaiInternational #81
 The brown sticky scales have given way
to pale green buds – it is time to repot. Long roots must
be untangled.

The tree needs to be repotted,

but is this a good time?

A root hook is used so as not The nebari is unsnarled.

to damage the root ball.

One of the consequences of global warming is

that precise times to repot a tree can change.
Also, with imported trees, you can find species in
places where the climatic conditions are totally
different from those of their native region. You
must find the ideal time to repot and rely on
observing the plant, rather than the calendar.
In fact, it is very simple. All you have to do is to
change the pot when the buds are extended.

Untangling the roots

The long compact roots show that the
plant is very healthy. Hiroki Miura starts the
work by freeing the roots with a root hook.
This is a very useful tool, because it allows
one to untangle roots at depth without As this is a deciduous tree, one can
damaging them. The master shakes the cut the roots very short.
roots frequently to remove the substrate.
It is important to remove all the old substrate,
because with time it turns to dust. If one
leaves old substrate, water does not run off
easily, which encourages the growth of fungi
and therefore, mould – one of the greatest
problems for bonsai. Adding charcoal to the
substrate can help prevent fungi from growing.
The roots are exposed and appear to be too
long, and they now have to be cut. The roots of
deciduous trees can be cut back very hard. We
should emphasise here that this particular tree
has very fine, very developed roots. This is not by
accident, as they have been cut every year and
have become progressively longer and finer. 
The real length of the roots is now Note the absence of a taproot.
visible, and they are much too long.
#81 EspritBonsaiInternational - 41
 Shohin:
Small Bonsais

Two nebari
roots are
badly placed
because
they are not
growing
down
vertically.

Moss is the easiest to remove because it is damp.

One can use a pressure washer to clean the trunk
as well as the nebari of deciduous trees, but one
must be careful not to use it on the roots.

The roots
are cut.

Improving the nebari

The nebari, which is closest to the trunk and
at the beginning and at the start of the roots,
is one of the most important areas for the
quality of the tree, and so it is crucial to keep
it clean. Changing the pot is an ideal time to
clean the nebari’s surface, which simply entails
removing all the black earth and moss.
In Japan, nothing is left to chance when creating A good nebari should have the
a nebari. It will grow if the tree is in a small pot, same shape as Mount Fuji.
but one must also choose the roots that will
form part of the nebari and those that have to
be removed. The aesthetic rules are similar to
those that are applied to the branches. Avoid An expert’s demonstration
crossed roots or those that grow down vertically. A big thank-you to Hiroki Miura for giving this
In Japan, Mount Fuji is said to have the perfect demonstration. Miura Baiju-en is considered to
proportions – the base of an ideal nebari be one of the most important shohin nurseries
should resemble this shape. Growing a nebari in Japan, and its members are part of the shohin
so that it will form a broad base requires work bonsai elite in Japan. Don’t hesitate to visit them!
on the roots. Hiroki Miura removes the roots
that are not growing at a good angle growing
down from the middle towards the sides of
the root ball. It is difficult to position roots, as
they cannot be tied with copper wiring. But Choosing the pot
when changing the substrate, one can help the The moment has come to choose a new pot
positioning by taking a chopstick and gently for this winged spindle. Hiroki Miura suggests
scratching, vertically, from top to bottom. If this four different pots. He wants to change the
operation is repeated yearly, the roots will be mood of his creation and must also take into
better arranged and the nebari will improve. account that this is a flowering tree. 

42 - EspritBonsaiInternational #81
 One could keep the
same pot, which is As flowering trees
perfectly suited to this are more feminine,
tree. Hexagonal pots Hiroki has chosen
are quite masculine and this oval pot to
emphasise the trunk. emphasise the
charm of this tree.

This dark green oval pot

lends nobility to the tree. The
dark colours convey a sense
of gravitas and maturity.

One could opt for a pale colour,

which is fresh and light – more
feminine. The hexagonal Euonymus
shape gives it stability. alatus bears
orangey pink
flowers – a detail
to be taken into
account when
choosing a pot.

Hiroki prepares the

pot by placing the
mesh and attaching
it with wire. He puts the usual mix of akadama and
Kiryuzuna and a medium grain size
substrate at the bottom of the pot.

He also puts a little

charcoal in the centre
of the pot to limit moss
growth. The charcoal
should be about the same
size as the substrate.

#81 EspritBonsaiInternational - 43
 Shohin:
Small Bonsais

4 It is very important to fix the tree well in its pot so

that the new angle is kept in place. Two loops are made
from ligature wire, and are pushed through the root ball
and down though the holes in the pot, and are attached
firmly together under the pot.

1 The Japanese master studies all aspects of the tree to find

the most interesting side.

5 Two loops are enough for a shohin.

The wire is only looped on the topside of the pot.

2 The tree is placed to show its front 3 Hiroki has chosen to 6 When a tree is inclined, the roots can quite
aspect, but there is still something to be done … change the tree’s angle by often spill out from the pot. It is important to cut
slightly inclining it – a trunk’s them back so that they do not dry out..
shape is more interesting if
the tree is not completely
vertical.

Settling the tree in the pot

It is very important to position the tree correctly
in its pot. It is a crucial step, because one does not
want to shift the tree once it is established in the
substrate. Indeed, this could create pockets of air
which are very harmful as they open the way for
insects and mould. The substrate must therefore
be very compact in the pot. The front aspect on the trunk), interesting
of the tree must be chosen early when creating curves, or beautiful bark.
bonsai and ideally, should not be changed for On the other hand, a trunk’s 7 The last step is to fill the pot with
many years. The most important criteria when faults can be hidden by a small grain size substrate.
choosing the face of the tree are the remarkable placing them behind.
characteristics of the trunk and the nebari. These All that needs to be done now is
could also include a shari (the visible dead wood to settle the tree in its pot.

44 - EspritBonsaiInternational #81
 Now that the tree’s
angle in the pot
has been modified,
it remains for the
crown to be refined.

A new
pot and a
refreshing
8 It is very important to push the substrate firmly in with a
change.
chopstick so that there are no pockets of air. Take as much time
as is needed, as the tree must be very well fixed in the substrate.

Changing the crown

Now that the angle of the tree has been
changed, the crown has to be slightly modified.
Hiroki Miura has decided to cut the present
crown as well as shortening the upper
branches. The cut is made above the bud. On
Euonymus alatus, the buds are quite easy to
find. By shortening the branches every year,
growth in the centre of the tree is preserved.
The pot change is finished for now, and the
tree will benefit from its new setting. 

Bonsai master Miura puts the finishing touches to the length

of the upper branches to ensure a beautiful crown.

#81 EspritBonsaiInternational - 45
In
Detail

A very ordinary
tree transformed
into a moyogi
Transforming an uninteresting tree
into a moyogi is a challenge, right?
Wrong! If the basic rules of Japanese
aesthetics are followed and the tree’s
character is respected, this juniper will
become a fine moyogi.
Author: Michele Andolfo
This Juniperus chinensis has just arrived in my garden.
Despite its very ordinary appearance, after considering the
design options, this tree can be styled as a moyogi.

The author, Michele

Andolfo, is an Italian
This interesting part of the bonsai professional
trunk should be shown and artist.
off, to bring out the tree’s
aesthetic qualities. Sometimes, hidden inside a tree
that on first sight seems structurally flawed, there
is the potential for a classical form to be created
using no more than the basic rules of Japanese
aesthetics. Here we have a Juniperus chinensis,
cultivated in Japan and imported from there.
These days, this type of raw material is easy to find
and economically accessible for the majority of
enthusiasts. These high-quality specimens allow
successive styling exercises to be carried out,
while also making it possible for the tree to reach
a mature state in a relatively short space of time.

Thinking through the design

The juniper shown here is around 38 centimetres
The outer curves of the tree’s silhouette are all The proportions of the (15in) tall, with a series of bends that make the
lined up, which accentuates its monotonous tree before styling. trunk look monotonous. Its lack of rhythm – mean-
and rather unattractive movement. ing an alternation between solid and void – does

46 - EspritBonsaiInternational #81
The proportions of the final design are in accordance This tree’s focal point is at the base of the The volume of the apex and the foliage pads
with the basic rules of Japanese aesthetics: the trunk and the first bend on the right, giving it needs to be adapted to the trunk’s structure,
relationship between the trunk’s diameter at its the perfect dynamism for a moyogi style. depending on the available ramification.
base and the height (b = 1/6 h), and the position
of the first branch a third of the way up the tree.

The dimensions of the base are A sketch of the tree’s future design. In just a few years, this is the
also determined by the classical Sketches make it easier to visualise result that will be achieved.
proportions in the Japanese rules. what pruning is needed.

not allow any particular curve to be exploited, nese) would be on the following bend, allowing the
because it would just end up static and monot- momentum accumulated at the focal point to be
onous. In some cases, inclining the tree can help released in a more natural way.
to eliminate the alignment problem, by playing on
the number of curves and developing an elegant, Initial pruning
dynamic design. Here, the result would not be The styling work started in the spring of 2014, fol-
convincing because the curves come monoto- lowing this plan: a tree with a maximum height of
nously one after the other. 24 centimetres (9in), with a small tenjin (top jin).
The second option for correcting this structural The first branch comes a third of the way up the
flaw would be to remove part of the curves at the tree, and the trunk’s diameter just above the root
top, or to transform them into deadwood, for a collar (b) equates to a sixth of the total height (h):
less sinuous but more natural and balanced result. b = 1/6 h.
In fact, both the base and the first bends of this The final structure of the design has the right pro-
juniper possess good characteristics for a classi- portions for these rules, which are part of the basic
cal moyogi-style design, while respecting the fun- principles of Japanese aesthetics, to be applied.
damental proportions prescribed by Japanese In my view, this type of tree belongs to the “middle
rules of aesthetics. way” that comes between the masculine and the
After briefly considering how tall the tree should feminine character.
be, I decided to stop at the third bend, using the The “third” rule (whereby the first branch is a third
highest branch to form the future apex. This way, of the way up the tree’s total height) is related to
the first bend on the right would look free, creat- this type of tree, but these proportions can vary
ing a focal point while also giving the trunk some according to the relationship between b and
dynamism. The first branch (sashieda in Japa- h. If this ratio decreases, the tree will tend 

#81 EspritBonsaiInternational - 47
 In Detail

The “sex” of bonsai

The aesthetic qualities of a tree are restructured or for a tree in its raw
not to do with its ability to reproduce state, allows us to make all possible NEUTRAL
its species, even in nature, but only future aesthetic decisions while B = 1/6 h
with the feeling that it gives off. retaining the aesthetic coherence
Because of this, trees that express that characterises fine bonsai.
their potential in terms of strength, The aesthetic choices that influence
rootedness, age, stocky and sturdy a tree’s character are the choice of
trunks, tapering form and well- its front, its angle of lean, managing
structured nebari are considered solids and voids, the volume of the FEMININE
masculine. As for light, elegant, apex and how it balances out the MASCULINE
sinuous trees, these are considered trunk’s structure, the quantity of
to express a feminine character. deadwood (jin and shari) and the This juniper has a neutral character as a bonsai,
Why attribute an aesthetic sex to choice of the pot, shelf and all the with all the relationships and proportions that
bonsai? Identifying a tree’s character, elements that go towards displaying it. distinguish masculine from feminine. The choices
made in the design will thus foreground either the
whether for a bonsai that is to be masculine or the feminine aspects of the tree.

 more towards a masculine character, while Thanks to this sort of constant intervention, you
if it increases the tree will become more curva- can quickly define the apex.
ceous and elegant, and therefore more feminine How reactive a tree is depends on the cultivation
in character. conditions and the care and attention it receives:
When coming up with the intended design, you fertiliser, watering, exposure, and above all avoid-
also need to think about both the dimensions and ing unnecessary stress – all assist the tree’s vege-
the type of pot to give the bonsai, taking account tative responses and help it to mature. 
of the tree’s proportions and of the style that fits
it. The shape of the pot should be chosen accord-
ing to the tree’s style (shin, gyo, so), its colour, its
species and its proportions.

Wire training for protection

The first two hours of work on this tree had the 1 In September 2013, work begins
goal of creating a suitable structure in order to by removing the foliage from the
upper part of the tree that is to be
concentrate afterwards on the foliage masses, cut off, and by selecting the foliage
which would follow the envisaged design. During in the lower part that will be kept.
the first phase, the aim was to apply training wire
in such a way as to be able to make major bends
without any risk to the tree’s health. In this particu-
lar case, the objective was not so much aesthetic
as it was functional. This is the time to be generous
with training wire, rather than finding yourself with
not enough wire to establish the main structure.
During this phase, the lines of the future shari can
be drawn on the trunk with gouache, to define its
margins and check the visual contrast between
the living and dead areas.
Once the tree has physically recovered from the
first attempts at twisting, remove the bark from
the jin and shari areas. Outlining the shari means
identifying the veins so as to bring out the trunk’s
sinuousness and improve its dynamism, while still
preserving a natural appearance.
Precise work on shaping the apex is carried out
during the growing season, from the time when
the tree reacts well to successive minor prunings.

48 - EspritBonsaiInternational #81
2 A good way of visualising the future deadwood: 3 You can do the same for the future shari.
paint the intended areas with gouache.

4 All the training wire is applied. 5 The initial styling of this juniper is complete.

The tree in the

following year, 2014:
the foliage has got
much denser.

After further
restructuring in autumn
2015: the juniper now
has a handsome moyogi
form. Over the course
of time, it will look more
and more like the design.
Height: 24 cm (9½ in).
#81 EspritBonsaiInternational - 49
In
Detail

Forming an organic unit

with shohin and rocks
How do you develop a
root over rock style with
a shohin? Here is a step-
by-step explanation
showing three examples,
a cotoneaster, a Buerger
maple and a winter jasmine.

Author: Gilbert Labrid

Rocks and bonsai

have been associated for ever. If one were to go
by examples seen in ancient Chinese paintings,
one could even argue that the combination of
rock and plant is the origin of bonsai. These days,
this configuration is found in the Japanese ishizuki
style that can be created in two ways with very
similar techniques, but which produce somewhat
different results. We will leave aside the method
where the trees are grown on a rock without
contact with soil and will concentrate on how to
cover a rock with the tree’s roots. The examples 1 The project here is to create a composition of a maple
we use here are a cotoneaster, a maple and a covering a flat rock, such as this shohin seen on a shelf in Japan.
jasmine.

A ROOT OVER ROCK STYLE

BUERGER MAPLE 2 First of all, one
must decide on a
stone that is best
suited to the project.

50 - EspritBonsaiInternational #81
 5 To firmly attach the plant to the rock, use
flexible ligatures so as not to damage the roots. If
4 The roots are lightly cut back and you use metal wire, the plant’s tissues must be
the longest of them preserved. After protected with pieces of rubber or non-rigid plastic.
3 Once the stone has been selected, the roots of a choosing the front aspect of the stone,
Buerger maple sapling (Acer buergerianum), grown the young tree is placed in the desired
from a cutting, are untangled and washed. position.

6 Remove the fine roots

8 Place the tree and its rock in a training pot
and only keep the thickest that
are close to the trunk. It is that is deep and wide enough for the rock and
better to keep three well- roots to be covered with substrate, right up to
placed roots than many fine 7 To forcibly fix the roots to the rock, the base of the trunk.
and parallel-growing ones. they must be bound firmly in place with
strong ligatures. Their position must
follow the contours of the rock.

9 After a year
without pruning,
the tree must be
transplanted to
position the new
roots.

10 Over the course of last year, 11 Clean off the soil, remove fine roots
the roots have become much growing on the stone and only keep the
stronger. The whole piece must root hairs that are underneath. Repot the
now be cleaned. tree and let it grow for another year
before starting to shape the tree.

#81 EspritBonsaiInternational - 51
 In
Detail

The type of young tree A ROOT OVER ROCK COTONEASTER

It is fairly easy to obtain young trees, either as
seedlings or from cuttings. Robust species, such as
Buerger maple, apple trees, cotoneaster, spruce,
or hornbeam are the most desirable, as they
have long roots that grow quickly. A sapling offers
endless possibilities (or almost) because one can
plan the shape and dimensions of the future work.
By using a potensai that has already been for-
med over several years, one reduces the range of
choice, but one gains time. Very well-developed
shohin are more difficult to train in this style. These
are mostly only implanted on a rock.
Working with cuttings is a little different com-
pared with the other styles. For the first few years,
one must pay more attention to the root forma-
tion than to constructing the tree’s crown. One of
the first actions to take is to section the taproot
to encourage the growth of the long lateral roots.

1 Choose young Cotoneaster horizontalis cuttings and stones of about 10 cm (4 in) high.
One does not need to be too preoccupied with the tree’s present rigidity, as shoots sprout
vigorously in spring and allow the tree to be pruned many times for future shape and growth
direction.

2 There are not many long roots

present. The length is slightly reduced
and only the finest roots are removed.
By keeping the majority, one can
completely cover the stone.

3 The roots are allowed to cross over each

other for an even more natural look. The side
that does not have a large root is ‘plastered’
with sticky earth to encourage root growth.

52 - EspritBonsaiInternational #81
 5 Once the
piece has been
well bound
together, plant it
in a training pot.
4 It is important to keep the piece solidly
compact. The authenticity of the end result
depends on how firmly the roots have taken
hold to form an organic whole with the stone.

7 With time,
the trees grow
6 Allow it to grow freely to larger and
completely
strengthen its grip on the rock. cover the rock.
One can just
glimpse a small
part of the
original stone at
the foot of this
old maple.

General orientation
Ishizuki compositions are considered to be
works of a more ‘creative’ style, where there is less
convention and more liberty in personal expression
in the creation of a natural setting. However, the
The type of rock to choose
one essential item for this type of composition is One of the great advantages of shohin is their small size,
to first find a suitable rock and to study it – what which makes it easier to find a suitable rock. One can pick
angle, what aspect, what position? Strength or deli- any number up from the side of the road, a riverside, or
cacy? Stability or movement? from a field. Ideally, stones should be between 10 and 20 cm
Once the decision is made, the next step is to (4 to 8 in) and not too smooth. It better to choose those that
find a plant that corresponds to the envisaged pro- have irregular shapes with cracks or a holey surface, not
ject. The size of a young plant makes it easier from only for a more interesting look but also to facilitate root
the outset, to achieve a shape that adapts to the adherence.
choice of composition. 

#81 EspritBonsaiInternational - 53
 In
Detail

The process
While positioning the tree, the roots should be
spread out so that they grip the stone in many
different directions. When the process is com-
plete, three roots should be visible from the front.
Roots that cross or that run parallel to the rock, add
appeal to the composition. To attach the roots to
the stone, use flexible ligatures such as cling film
or cotton string to bind the roots to the rock, until
time has hardened them in the desired position.
This is why it is important to work with young trees 3 Root hairs are kept to the minimum. The long
with pliable roots. 2 A large stone has been chosen to underground roots are removed. Jasmine easily
which the jasmine is attached, and which puts out roots from lignified stems. By burying two
When the roots are fixed in place, the whole
will emphasise the contrasting lightness old roots in the soil one can be almost certain that
piece is planted in a deep pot and the roots and they will produce a number of new roots round the
and strength of this species.
rock are covered with substrate. The tree will be rock.
repotted the following year and its roots will be
checked and, if necessary, their position corrected.
The process is repeated and the top part of the
roots should be uncovered just enough to enhance
the composition.

A JASMINE HOLDS
A ROCK PRISONER

4 The general position is a compromise 5 The ligatures ensure

between movement and the need to place the the definitive position.
two root legs on either side of the stone. In this way,
the whole piece can be used for future rooting.

6 New root
growth is
controlled every
year, until there
are plenty of long,
solid long roots.
They too will be
anchored to the
stone to form a
sort of netting.

1
To make the most of this young rather
unprepossessing winter jasmine (Jasminum nudiflorum),
one must take advantage of the old, but supple,
exposed roots and their ability to multiply.

54 - EspritBonsaiInternational #81
Spotlight
on Broadleaves

A Celtis australis
about 60 years old.
At a height of one
metre, ten (43¼ in),
the tree is imposing
and has some major
defects, which
can be corrected
by air layering.

Air layering to salvage

a defective tree
Air layering is a technique that enables
one to restructure a tree while creating
one or more extra trees. A case study
in pictures with two air layers made on
Marcotting or air layering is a
a Celtis australis. fairly common technique in bonsai work and allows
for an interesting part of the tree to be saved by
removing an insurmountable defect which would
be detrimental for the entire tree. This large Cel-
tis australis, European Hackberry (also known as
Author: Jérôme Hay
European nettle tree) is a good subject for this
procedure. 

#81 EspritBonsaiInternational - 55
 Spotlight
on Broadleaves

The movement of One can see here a variation in

some of the branches the rhythm and size of the trunk.
does not harmonise
with the rest of the
tree, such as this one  When restructuring a tree one first has to rest of the tree is not uninteresting but it looks as
which cannot be kept. analyse its potential. Major defects make us reflect if it has been artificially attached.
on the aesthetic aspect of the subject. Of course, Pruning the branches would resolve the pro-
experience and know-how are the best guarantees blem, but the absence of intermediary branches,
of success, but it is the tree itself that must guide the trunk’s diameter, and the movement of this
the way to its construction. part of the tree are still interesting. The air laye-
No tree is perfect, and yet many bonsai trees ring technique will create a tree by salvaging part
have possibilities that have not been exploited. Dis- of the original subject. It will also supersede pru-
cerning that potential is far from straightforward. ning, promote healing and will be less stressful than
One should not hesitate to reassess the funda- amputation.
mentals of the bonsai, or to overturn one’s view Some people find it difficult to break and then
of things. One should take care not to be blinded transform something that nature has spent years
by the tree’s best features. in creating. But like a building, bonsai needs a good
Once a defect is spotted, it becomes an una- foundation before the framework can be construc-
voidable concern, and one can’t see beyond it. ted.
Analysing a tree should be systematic and com-
prehensive, and one should take into account all its
qualities as well as its flaws, to succeed ultimately
in establishing an emotional response.

Analysing the tree

This European hackberry (Celtis australis), has
some bad flaws. It is too tall; the trunk and ramifi-
cation are too elongated. The tapering of the trunk
is impaired in various places and appears to be
made up of many cylindrical diameters stacked
one on top of the other, rather than tapering off
harmoniously.
The tree’s movement follows the same dyna-
mic. The first quarter has an interesting movement
and good tapering. This is its best feature, but it is
immediately marred by a fracture higher up. The
Some branches are badly positioned.

56 - EspritBonsaiInternational #81
 The upper part of
the tree does not
show the same
characteristics as the
lower part. With the air
layering technique we
can salvage the tree.

Although a saw could have done the work in a

few minutes, I have chosen to air layer and create
two extra trees. Their beginnings are not as har-
monious as the parent tree, but it is the start of
an interesting project that will grow as time passes.

Air layering
Air layering enables one to look at the tree with
a new eye and to visualise the possibilities that
others will not even have thought of.
In theory, you can air layer at any time of the
1 In March, I decide to air layer slightly above the final cut which will be in the
year when the plant is active. However, with expe-
lower part of the tree. After cutting through the thickness of the cambium round the
rience, you will notice that there are times that are whole trunk, I repeat the process three centimetres (1¼ in) above.
more propitious than others. It is better to air layer
in early spring, before the tree has come into leaf,
and benefit from the rising sap which will multiply
your chances of success from the start. I prefer to
wait until March, which is a good time to air layer.
The process aims to encourage the plant to put 2 I remove
out new roots by blocking the sap rising from the the cambium
roots to the leaves, which is always via the top layer with a grafting
of the wood. Air layering consists of removing the knife until there
top layer – made up of the bark and the thin, living is no living part
left.
layer between it and the wood – which will stop the
sap from circulating.
More precisely, water and minerals taken up elaborated sap. The sap is blocked and the tree
from the roots reach the leaves by transiting will swell where it has been cut and eventually put
through the xylem, and producing the sap that out roots in dark, damp conditions.
will photosynthesise into growth materials and
fuel for the plant. Air layering deprives the tree of Cutting in the right place
cambium, which is composed of the phloem that A cousin of the elm, Celtis australis has the same
is responsible for the redistribution of the plant’s propensity to produce roots. When taking 

#81 EspritBonsaiInternational - 57
 Spotlight
on Broadleaves

4 … before inserting a wire ligature and tightening it.

3 To prevent a bridge being formed, I pierce the xylem by

one or two millimetres...

5 I cut a disc from a piece of plastic card,

with a circle in the middle of the same
diameter as the air layer cut.
6 I place my
plastic disc just
above the wire tie.

 cuttings, the species takes root easily and

has the same advantages as air layering.
Where should one air layer on a bonsai tree?
First of all choose an unobstructed area near where
the cut will be made on the lower part of the tree,
and cut at the same level or just below a swelling
for the upper part, which will help encourage the
future roots. It is always difficult to choose the
right place. Faced with a difficult choice, we will 7 Slightly damp sphagnum moss is packed into
opt for one of the two trees that show the most transparent plastic sheeting, which I wrap above and
potential.  below the plastic disc.

58 - EspritBonsaiInternational #81
 9 I then cover it with a second black polythene sheet to prevent
the sun’s rays from burning the future roots. This double layer of
plastic film will enable me to check for root development without
8 I close the air layering with wire. having to disturb the rooting medium.

10 At the end of this operation,

I decided to make another air
layer to save a branch that was
badly positioned.

11 Seven months later, I

To be continued
In our next issue: separation
check for rooting progress. and potting of the propagated plants.
I could have intervened,
but it was a mild autumn,
so I decided to wait for the
onset of the cold weather.

#81 EspritBonsaiInternational - 59
Spotlight
on Conifers

The time has come to

Steps to take when

restructure the foliage
and to work on the dead
wood of this savin for it to
continue its evolution.

restructuring a savin
This savin is robust enough to be
restructured. Working on dead wood, constructing a tree year after year, it
is important to follow a step-by-step
pruning, balancing the foliage mass, procedure. Creating or modifying
and wiring are on the agenda. dead wood is the first thing to be done,
because working on it manually or
with tools will not be possible once the
branches have been wired in place.

This savin,
As one can see, this savin has many
Juniperus large areas of dead wood; some of it is
Author: Frédéric Chenal sabina, has a very attractive appearance due to natural ageing and has become
with its twisted dead wood that is grey after many years of being exposed
characteristic of this species. It has been to inclement weather; some dead
left for some time without intervention wood has been created to enhance
so that it can build up its strength, but the tree’s tortuous movement and
it is now time to restructure it. When its contorted, dramatic aspect.

60 - EspritBonsaiInternational #81
 The work stages
The work must be carried
out in precise stages:
- working with new dead wood and
resuming work on the old (jin and shari)
- pruning foliage and rebalancing
the tree’s strengths
- wiring and bracing with copper wire
- seasonal steps to take for
the next growth season
- fertilisation

The foot of the tree leans against a stone.

1 Dead wood has already had work done

on it, but one must continue to work on it
and to create further dead wood.

2 The wood fibres are pulled one by 3 Finishing touches are made to
one to enhance the natural effect. the dead wood manually with a gouge.

Working on dead wood

For the most part, work on dead wood
is carried out by hand, and once it is
finished, the wood is treated with jin seal.
To treat naturally old, greyed-out
wood, jin seal is applied diluted by
50%; on newly created dead wood,
which is a lightish brown, jin seal is
applied full strength to begin with
and then in the following months or
years, it is diluted by 50% or 70%. 4 Once this step is complete, 5 The wood is thoroughly dampened
Jin seal’s colour should also acquire the dead wood is smoothed down before the jin seal is applied, so that the
a patina over time; it must give the mechanically with a wire brush solution uniformly penetrates all parts of
effect of age proportionate to the tree, attached to a power tool. the dead wood.
and not that of white paint. 

#81 EspritBonsaiInternational - 61
 Spotlight
on Conifers
8 Jin seal is
applied in different
diluted strengths
depending on the
state of the wood.

9 The work on the dead wood is now complete.

Maintenance pruning these that will first catch the eye of the Defining the foliage
Once all the steps for creating dead observer. Empty spaces will allow the masses and the spaces
wood have been completed, we can eye to travel to the back of the tree – The aesthetics of the piece are based
now start pruning the foliage for the either to get a global view, or to pinpoint on a coherent balance of dead wood,
tree’s continued development. a part of the tree that is essential to foliage, natural and negative spaces,
We allowed the foliage to grow in the aesthetics of the whole plant – a and also on the tree’s measurements
certain areas to increase the tree’s curving vein, interesting dead wood, from its base to its crown. The
strength, which at a later date, or a foliage mass in the background. dimensions at the base are wide,
will give us the chance to create Some spaces will be large to generate and the spaces in the foliage show
foliage masses where needed. depth and dimension, and others will the sinuous curves of the trunk, the
Unlike the Juniperus chinensis be smaller, more subtle, which will living vein and the dead wood.
‘Itoigawa’, a Japanese juniper, the attract the eye to a precise area.
Juniperus sabina, has relatively
flexible branches. So, for this species,
it will take much longer to achieve
a mature tree that can hold the
desired shape without being wired.
To facilitate this, the branches
should be allowed to grow, as they
will become progressively more
rigid, and therefore, more stable
when it comes to maintaining the
positions they have been wired in.
However, it takes many more
years to achieve a result similar to
that of the Japanese variety.
At the pruning stage, we will plan the
areas where we want foliage mass; it is One starts pruning the tree’s structure with very clean scissors.

62 - EspritBonsaiInternational #81
 The foliage mass and
the spaces between
the pads, depending
on which parts of
the tree are to be
visible or hidden,
must be defined at
the time of pruning.

As the eye travels upwards, the trunk

becomes narrower and the foliage mass
denser; the empty spaces are smaller,
and only allow a view of important
details, which catch the attention
and appeal to the viewer’s senses.
Since the tree has yet to be wired when
deciding all these aspects, the spaces
have to be created manually while
pruning the foliage mass. Therefore, one
has to envisage where each branch will
be positioned and wired in place. This
sort of visualisation requires a good deal
of practice for it to become a natural
skill. One must know how to spot the
tree’s best features, which will be kept
visible, and the less attractive parts, or
even defects, which must be hidden.
The space between
Wiring two foliage pads
allows one to see
With the all the steps completed, the details of the
it remains only for the tree to the entire tree can be wrapped using branches and
be wired. In this case we will use less wire – it is important to remember to look into the
copper wire – and this is why. to use as little wire as possible when depths of the tree.
The rigidity of copper is higher than styling a tree. Only the branches that
that of aluminium, so one can use a need to be positioned are wired. One
finer thread that will correspond to the can also use a brace on bends in the
branch’s diameter. This means that wood where wiring isn’t possible. 

#81 EspritBonsaiInternational - 63
 Spotlight
on Conifers

Fertilising
It is important to nourish the tree throughout
the growth period; this will help keep
the branches positioned in place.

The branches to be wired are fixed with

copper wire with a gauge equal to a
third of the diameter of the branch.

The branches are wired wide apart The ends of the thickest wires are bent into hooks to take a brace if necessary.
to let light into the tree’s interior.

 At this stage of its evolution the We have bent the ends of the largest wood while keeping the most important
tree’s scaffold branches are not wired wires back towards the branch to form part of the foliage at the tree’s apex.
as they are already in place. As to the hooks, in case we need them to attach The work for now is finished, but we
wiring, it is important to choose the right a brace for the final positioning. must prepare for the next season by
diameter. It must be exactly a third of the determining which parts of the tree
diameter of the branch to be wired – no Monitoring growth will be allowed to grow and the areas
larger or smaller – for this reason, there When we have finished wiring the that will be most regularly pruned in
are a great many wire gauges available, tree, we can then move on to shaping order to keep the tree balanced and
and for a perfect result, it is of paramount it in its final form. Each branch has to continue the project envisioned.
importance to have all of them to hand. been exactly placed with the ends We must also monitor the wiring.
One always starts the wiring process positioned correctly towards the Contrary to accepted ideas, it is
on the lowest part of the tree. Once a sky, so that next season’s growth will not necessary to remove it. If a wire
branch is wired, it is then positioned be oriented in the right direction. is digging into the bark, all one has
into place. Similarly, all the branches The spaces are now well defined; the to do is to carefully unwind it and
are successively wired, and as work tree’s best features are visible, and we reposition it a few millimetres away.
progresses, spaces are created, refined, have exploited its natural elegance. In In this way the tree can remain wired,
or even modified according to the this project we have enhanced the dead but at the same time will give it the
project envisioned at the pruning stage. chance to grow without restraint.

64 - EspritBonsaiInternational #81
The work is finished. It’s a new phase for this elegant
Juniperus sabina. Height 90 cm (35½ in) – span: 110 cm (43¼in).

This technique also has the

advantage of considerably reducing
work time for the tree’s owner.
We have seen that a Juniperus sabina
needs to be wrapped in training wire
for a very long time before it shows
the benefits of this technique. If
the wire is removed too soon, the
work will have been in vain, and
one will have to keep going back to Back aspect of the tree.
the beginning, without results.
During the growth period, we will allow
areas that need more foliage to grow,
but others will be kept to the shape
initially conceived for the project. 

#81 EspritBonsaiInternational - 65
Re-imagining
a Tree

A beautifully
harmonious juniper

© Miguel Krause

This Juniperus chinensis has benefited from Madrid’s climate since being imported from Japan.

66 - EspritBonsaiInternational #81
Re-imagining a tree
This section sets out to analyse the choices made by an artist
through trying out other options – to show why the choices
were apt, and to teach us how to admire …

This juniper by Luis Vallejo was

originally styled by Masahiko Kimura.
A very classical tree, it is evocative
of restored calm after torment.
Author: François Jeker

A lthough this wonderful Juniperus

chinensis is one of Masahiko
Kimura’s creations, it is Luis Vallejo
The largest jin has a forked end, notably
featuring a small branch that points
towards the trunk and the rear.
1 The bonsai becomes unstable if the
apex is an extension of the trunk.

and his team who have brought it to

maturity since its arrival in Spain. The Option 1 :
tree was selected for the 79th Kokufu the apex in line
in 2005 and won first prize at the with the trunk
Noelanders Trophy, in Belgium, in 2012. If the apex is positioned as an
It is currently on display extension of the trunk, the tree loses its
at the Alcobendas bonsai stability and some of its energy. In the
museum, near Madrid. original tree, there was a visual break
The bonsai will exceptionally leave between the rightward orientation
the museum to be shown on 5 and of the trunk and the positioning
6 November in Diepenbeek, Belgium, of the apex towards the left.
as part of the exhibition of Eda Uchi
Kaï, the club set up by Jean-Paul Option 2 :
Polmans, a Belgian professional. without the jin at the base
Removing a minor detail can change
Masahiko Kimura’s everything. The juniper looks as though
choices it is about to topple over to the right. 2 Without its broad base, the tree
This is a very classical tree. First The wide jin at the base were necessary loses its solid foundation.
of all, it is beautifully unified: the to anchor it to the soil and make it stand
foliage, deadwood and living wood firm. The perspective is also diminished
fit perfectly together, and there is a by the absence of the small jin pointing
good balance between the foliage backwards. Additionally, the very
mass and the size of the trunk. intricate outline of the empty space
The live vein, which is very swollen on the right becomes insignificant.
and clearly visible from the front,
starting from the nebari, twists Option 3 :
around the deadwood. without the
Despite the fact that its trunk has a depth branch
pronounced lean to the right, the tree The difference between an ordinary
looks stable and serene, thanks to two bonsai and an exceptional specimen
elements: the first branch on the left, is in the mastery of small details
which counterbalances the trunk’s that may appear insignificant, but
movement; and the apex, which is not which are often key to the tree’s
placed as a continuation of the trunk but beauty. On the original tree, the
instead a little to the left, bringing it closer small depth branch on the right,
to a vertical alignment with the nebari. just underneath the balancing
3 With all the foliage confined to the
Also worth noting are the small jin at the branch, was barely visible. Removing foreground, the tree looks flat.
bottom, which point towards the right it leaves the tree looking flat, with
and visually broaden the juniper’s base. no sense of perspective. 

#81 EspritBonsaiInternational - 67
Pots and
potters

© Schramm
As a lover of antique ceramics, the German
potter Peter Krebs has never stopped

Peter Krebs
exploring all manner of approaches to bonsai
pots, from the most understated to the most
sophisticated, and all with excellence.

A virtuoso who wants

to try everything
A lover of old ceramics and a talented
potter in retirement, Peter Krebs, 73,
of Germany, has been making
impeccably good pots for forty years.

Texte: Anne Royer

Photos: Peter Krebs Since Krebs means crayfish (or crab) in German,
Peter has chosen to use this animal to sign his works.

68 - EspritBonsaiInternational #81
 The potter is particularly
fond of these two hand-
made and hand-painted
pieces. Dimensions:
21.5 × 21.5 × 15 cm (8½ ×
8½ × 5⅞ in) and 19.5 ×
12 cm (7⅝ × 4¾ in).

With the benefit

of forty years’ experience, Peter Krebs has
become a front-line figure in the bonsai
world. Firstly because he produces a
hugely diverse range of exceptionally high- Peter also offers raw-looking pots with plain forms.
quality pots. But also because he has dedi- Dimensions: 33 × 23.8 × 5.7 cm (13 × 9⅜ × 2¼ in).
cated much of his life to studying antique
ceramics, some of the secrets of which he
reveals on his website.
Krebs is extremely fond of his village concentrating too much on myself. I want are always a given. But potters should not
and region. He was born and grew up in to try everything: large and small pots, gla- get lost in their work, they should always
Herborn, on the edge of the lush green zed or unglazed, old and new forms …” keep this question in mind: what might be
countryside of Westerwald, in western There is, however, one constant: Peter planted in this pot? Bonsai pots are not an
Germany. At 73 years of age, he is now uses neither moulds nor a potter’s wheel. end in themselves; whatever form they
retired, but still spends much of his time All of his pots are hand-built, from various take, they need to be at the service of bon-
handling clay. In his workshops, nestled at local clays, by assembling slabs of clay sai, traditional or modern.”
the heart of the family home, Peter wel- together.
comes every visitor with the same warmth To avoid confining himself to a single Matching tree to pot
and the same desire to share his love of type of pot, Peter therefore explores all So that every tree he has can find the
pottery. The dozens and dozens of pots the paths that are open to him. He has a pot that best suits it, Peter Krebs has deve-
that are neatly lined up on black shelves motto that he constantly bears in mind: loped an infinite colour palette over the
along the walls bear witness to his skill. “at the service of bonsai”. He explains: last forty years. From coal black to flaked
There are pieces in all shapes, sizes and “You can try everything, there is a broad pale grey, there are almost as many reds,
colours, some plain, others decorated with range of possibilities. Universal aesthetics blues and greens as there are pots. The
painted or sculpted motifs, and with more potter plays with glazes, drawing abstract
or less elaborate feet … it is tempting to say motifs, mottling a pot, emphasising the
that this potter can do everything. feet or allowing glaze to run so that the raw
clay appears underneath.
No moulds, no potter’s wheel Blessed with flawless intuition and
It is difficult to define the “Krebs style”, thanks to his perfect knowledge of the
given the eclecticism and multifaceted- rules of bonsai, Peter has become a mas-
ness of Peter’s output. This virtuoso ver- ter in the art of matching pots to trees. He
satility, to which he is keen to lay claim, has explains: “The colours of the glaze are an
in fact become his trademark. “I don’t have important criterion in the choice of a pot. If
a personal style,” he affirms. “That would This pot is the largest that Peter the tree is still young, I use a new glaze. If it’s
mean that I was limiting myself or, in a way, has ever made. Dimensions: 70 × an old tree, you have to choose the glaze
48 × 30 cm (27½ × 18⅞ × 11¾ in).

#81 EspritBonsaiInternational - 69
Pots and
potters

A blood-red pot with elaborate feet.

This delicately crackled white pot was first painted, then

glazed. Dimensions: 31 × 31 × 31.5 cm (12¼ × 12¼ × 12⅜ in).
This iconic pot with three dragons remains one
of the masterworks of Peter Krebs’s output.
Dimensions: 30 × 20 × 12 cm (11¾ × 7⅞ × 4¾ in).

with extra-special care. It should reflect started to make them myself,” Peter conti- to detach yourself from material concerns
the trunk’s patina or the tree’s character, nues. “And to fund my passion, I started so as to let your creativity run free. “Never
and should harmonise with all of the tree’s to sell them.” worry about the time you need to make a
colours.” He is always full of good advice As the years went by, Peter gradually pot, or the money you have to earn from it,
for bonsaists who want to understand how left bonsai aside in favour of pottery, which because that considerably diminishes the
to choose the right pot for their tree. became his true passion. In 1993, bored of quality of your work,” he advises beginners.
his career in printing that he had worked at Seeking for clues to advance his pottery
Bonsai first for 25 years and which was by then hardly practice, Peter became very interested in
Peter first encountered pottery in 1975– giving him any opportunity for creativity, he traditional Chinese and Japanese cerami-
76. “From my teenage years, I was always decided to make ceramics his new profes- cs. His personal library must surely be one
interested in China and Japan. When I was sion. “As I’d always done pottery alongside of the most comprehensive that exist on
25, I started judo – I reached the 1st Dan. I my professional life, I was able to rely on the subject. Pots from the thirteenth cen-
bought loads of books on Asia and I natu- long-standing experience to try to pene- tury to today no longer hold any secrets for
rally discovered bonsai,” he recalls. At that trate the final mysteries of the craft.” His him. “You could say of bonsai: To craft the
time, the discipline hadn’t yet become very other two passions – keeping fit and desi- summit, you have to take care of the roots.
popular in Europe and it was difficult for gning Japanese gardens – also became It’s pretty much the same with pottery,” he
him to get hold of good-quality pots. “So I part of his livelihood. says. “I study old pots so as to understand
what makes a good pot.”
Self-taught This long and patient exploration of
Peter has taught himself all he knows the history of ceramics has led him to
about pottery. “I started from nothing, reproduce identical (or almost identical)
because there were no books and no copies of numerous antique pieces that
training courses on the subject. For the are sometimes very complex. “Of course, it
first three years, everything I made went is impossible to create an antique pot. You
straight into the rubbish bin.” He concludes can’t imitate a hundred years of patina, and
philosophically: “The most naïve experi- that wasn’t the aim anyway. I just wanted to
ments are not featured in any manual, but experiment with the techniques and sym-
they do make for an excellent apprentice- bols that were used by the old masters of
A play of colours on a classically shaped pot. ship. Your own experience is the best tea- pottery, and understand the spiritual and
Dimensions: 23.5 × 19 × 7.5 cm (9¼ × 7½ × 3 in). cher.” For him, the most important thing is philosophical context of the time.”

70 - EspritBonsaiInternational #81
 Peter finds fulfilment in creating pots with understated
forms. Dimensions: 20 × 15 × 5.7 cm (7⅞ × 5⅞ × 2¼ in).

Peter Krebs draws scenes that are more animated than real life,
poetic or humorous. Dimensions: 26.5 × 14 cm (10⅜ × 5½ in).

This pot’s design is painted in slip. Dimensions:

Inspired by Asia 37 × 22 × 13.5 cm (14⅝ × 8⅝ × 5¼).
This encyclopaedic knowledge of Asian
ceramics filters right through Peter Krebs’s
amazing output. According to him, today’s
designs are directly inherited from the
forms that were being used several cen- scenes of everyday life, dreamy or even its simplicity, the pot should highlight the
turies ago in Chinese pottery. “Studying old erotic, come to life on Peter’s pots, paying quality of the tree. The Japanese word for
pots and ancient techniques has taught homage to the richly decorated pots of the this taste is shibui, which describes abso-
me a lot in my work,” he concludes. Far East. “The special charm of ancient lute beauty. It combines excellence, grace,
The master potter finds inspiration in pots, whether Chinese or Japanese, is dif- calm and naturalness.” Between tradition
paintings by his venerable predecessors ficult to define,” Peter elaborates. “Some and modernity, extravagance and restraint,
to devise the motifs that he uses to orna- old pots are extravagant and kitsch, but Peter has finally found the right balance.
ment his pots. Flowers, fruits, plants, and they conjure up a voluptuous lifestyle that It’s a safe bet that his pots will stand the
was close to nature. It’s very interesting.” test of time – and will always continue to
Therefore Peter does not seek to inno- be at the service of bonsai. 
vate in his ceramic practice. “In Europe, all
the shapes that it is technically possible to
create have already been tried. In bonsai,
pots for bonsai today can hardly be ‘avant-
garde’,” he affirms. “And it’s the same for
applied decoration and glazes: everything
has already been done, even laser printing
on ceramics.”

Timeless pots
Talented but modest, Peter Krebs has
never harboured ambitions of revolutioni-
sing pottery. And while he loves old cerami-
cs, he finds his fulfilment mainly by making Practical information
pots that are immaculate but understated Peter Krebs
and discreet, able to highlight the beauty of Oststraße 9 – 35745 Herborn, Germany
Inspired by the long tradition of erotic the trees that they will house. “I prefer to Email: [email protected]
painting in Asia, the potter has painted
similar embraces on many of his pots. These make pots without paintings or dragons,” Website: www.peter-krebs.de (in German)/
are unusual motifs for bonsai ceramics. Peter confides. “Those ones are really www.bonsaipots.net (in English)
Dimensions: 22 × 15.2 cm (8⅝ × 6 in). timeless.” And he repeats his mantra: “In

#81 EspritBonsaiInternational - 71
Besides
Bonsai

Suiseki, a meditation
stone, can be used to

Displaying suiseki
complement a shohin
composition. Here,
it takes the place of
an accent plant.

with shohin Author: BonsaiTranslations

Suiseki, Japanese meditation stones, are quite

frequently used as companion pieces to
shohin, and very often replace an accent plant –
but not exclusively.

S
uiseki may be displayed with
shohin, but in several dif-
ferent ways from larger bon-
sai compositions. With larger
bonsai, stones are used in a combination
of three elements. The current practice
with a shohin composition is to replace
the accent plant with a suiseki. Suiseki
In this composition, and companion plants serve the same
displayed at the Gafu purpose, which is to suggest a landscape.
ten, a shohin exhibition
in Kyoto, it is the
Stones can represent bare mountain tops,
over-large shohin that or rocky cliffs where nothing grows, or a
accompanies the suiseki. dried up riverbed. In this context, one can

72 - EspritBonsaiInternational #81
In this composition of three elements, the In this composition of five elements,
suiseki plays the role of an accent plant the suiseki is quite small so as not to
and visually balances the arrangement. attract the eye of the spectator.

A suiseki can
represent a human
form. This stone
evokes a woman
in a kimono.

also combine stones with vegetation to large, as it must serve to direct the spec-
symbolise the coexistence between rock tator’s eye towards the trees.
and vegetation, although in this case, one On the other hand, if the suiseki is being
would not use a suiseki, but a stone on used to replace a tree, then it should be
which plants can grow easily. large enough to draw the attention of the
However, the hierarchy can often be viewer. 
reversed, when a suiseki is the principle
element of a composition, and it is the
bonsai that is the suiseki’s companion
piece. This type of composition is often
created with very imposing shohin or
with a kifu – a shohin that has outgrown
its category.

As an accent plant
When using suiseki in a shohin compo-
sition, one has to respect the same basic
rules that apply when using an accent
plant with a bonsai tree. A suiseki that
replaces an accent plant must be the
element that balances the visual energy In a shohin composition, it is rare for a suiseki to be the responding element.
between the main tree and the respon- The white background emphasises and directs the eye to the bonsai’s white flowers
ding tree. The suiseki must not be too – so despite its large size, the suiseki is not the main piece in this arrangement.

#81 EspritBonsaiInternational - 73
 Besides Bonsai

A stone’s value
The value of a suiseki stone depends
on its shape, its colour, its texture and
its base. Shapes resembling mountains,
ravines, waterfalls, traditional Japanese
houses, or people, are the most popular.
Contrasting colours, as well as uniform
colours that resemble waterfalls are
prized. Grey and black rocks are also
popular
If the base of the stone is cut to steady
it, the value drops considerably. On the
other hand, if a stone is naturally flat at the
base, it increases in value. Bases made of Stones shaped like traditional Japanese
sculpted wood, which are called daiza in houses are very popular.
Japanese, also increase the value of these
small marvels. 

Suiseki – a meditation stone

Suiseki (Ỉ▼) is the Japanese term given to Japanese stone
art, which can evoke a landscape, a human form, an animal or an
abstract shape. The name signifies that most stones are found in
rivers. The first character Ỉ, which is read as mizu, means water,
and the second ▼, which is read as ishi, means rock. Kawa ᕝ,
combined with Gawa, read as one word, means river. Among
the best-known suiseki, one can find Ibigawa ishi (stones from
the Ibi River), the Kaogawa ishi and the Kurama ishi. Stones that
are not found in rivers are not so common: among others in this
category are the Furuya ishi meaning “stone from the ancient
valley” from the Hidaka region in the Wakayama district, and
chrysanthemum stones from the Neo region in the Gifu district.
Black stones called Maguro, are also very popular.

These suiseki exhibited at the 40th annual Gafu ten exhibition

These shohin-sized suiseki, are tiny, but are registered as Yuuga shohin bonsai masterpieces.
are so detailed they appear large.

Here, the
suiseki
support,
the daiza,
was made
to measure
in wood.
This support perfectly matches This rock was cut at the base,
the stone’s contours. so it has decreased in value.

74 - EspritBonsaiInternational #81
 Discover and enjoy our book selection
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Ikebana
Sogetsu

 Each school of ikebana has its own styles. The Sogetsu
school allows its adherents to work on styles that fall outwith
its standard arrangements – something that Soazic Le Franc
does with passion.

Borrowing
styles
Author: Soazic Le Franc

As you may already know, the art of ike-

bana is a very ancient one that was codified by the
Ikenobo school between the 16th century and our
era, well before it arrived in private homes and well
before the emergence of various schools based on
the primary rules. The sky–humankind–earth tri-
logy thus remains a shared feature of the essential
teachings to this day, each school having established
its own arrangements with its own codes as well
as its free expressions with their particularities. So-
getsu, a recently developed school that considers
itself modern, has published brochures that address
the classical variations of moribana, nageire and free
styles. Calling upon the individual perspective of its
practitioners, our school entitles them to experiment
and find their own way … So, being very fond of the
Ohara school’s “hana mai”, at Asphodelinh we do
not hesitate to include it in our curriculum … or to
borrow plenty of other styles as well!

From the Ohara school

“Hagumi” involves arranging leaves and flowers
into forms that depict a natural setting. This age-old
composition should express the season during which
it has been created. Flowers emerging lower than the
leaves for spring; flowers in full bloom at the same
level as the leaves for the summer; an emphasis on
fruits and faded leaves for the autumn, with both
sides visible, a number of leaves and flowers, space
 Hagumi of iris on a horizontal piece of bamboo. for water, etc. Hagumi is practised in many schools,
The correct height of the flowers is respected for this spring hagumi, including Sogetsu, although in a simplified form that
as is the practice of showing both sides of the leaves – which,
allows a further plant element to be added. Hagumi
however, do not belong to this sort of iris, but rather to natural
yellow irises. Arrangement by Soazic Le Franc. also feature in our manuals.

76 - EspritBonsaiInternational #81
  Shoki kabuwake
Autumn composition
with naturally curving
crepe myrtle, a contrast of
shapes and colours, which
appropriately features a
watery space between the
two clusters. Arrangement
by Anne Godard,
Asphodelinh Nantes.
 Hana mai
Contrasting elements reaching for the sky, visible from all
sides … Masters of Ohara would be happy with my work
… or at least I hope they would! Arrangement by Soazic
Le Franc, “Chestnut” ceramics by Christiane Beck. comes with more modest dimensions, but creating
this style remains a very complicated process. What
Asphodelinh retains from rikka is first and foremost
“misugiwa” – that is, the empty space between the
“Hana mai”, or dance of the flowers, is a form base of the bouquet and the container, which needs
that is specific to the Ohara school. It is a glorious, to be tapered. The sequence becomes a free expres-
elegant, graceful, flowing arrangement that perfectly sion of growing plants, which is difficult to achieve
represents the dawn of the spring. At Asphodelinh, with elements of different lengths and five different
we include it in our classes, along with hagumi, even types. Through its variation no.5, the Sogetsu school
though it is not part of the Sogetsu curriculum. This teaches “kabuwake”, or the separation of origins,
is pointed out to us every time the association has an with two flower holders: the sky and humankind are
exhibition: “Oh, but …” At Asphodelinh, we create placed on one, and earth on the other, with a river
hana mai from two very different plant elements, and between the two. This variation recalls water-based
sometimes from full leaves in two or three containers, shoka that are, for me, an ode to beauty, shoka being
if people have them, or otherwise in the basic dish. a simplification of rikka. Through teaching about the
curvature of plants, Asphodelinh makes no.5 a free
Derived from Ikenobo rikka expression that is close to shoka.
“Rimpa” and “Landscape” are arrangements in
one or several broad and low containers. They refer An expression of admiration
to magnificent Japanese paintings, lacquerwork and When you try ikebana without having any prior
screens, featuring grasses and beautiful flowers such experience of the art of flowers, you dream of learning
as lilies, peonies, hydrangeas and many others. They a discipline that is imbued with exoticism, symbols,
are also specific to the Ohara school. Bringing together and even philosophy … Perhaps, in its modernity, the
several variations of classical moribana in our exhi- Sogetsu school dashes through plant arrangements
bitions, at the reception area Asphodelinh presents a too quickly, and this is the reason why I borrow from
landscape arrangement which is very appealing and other schools which, I hope, will not see this as irrev-
has a guaranteed impact in any Japanese garden. erent or sacrilegious! … but rather an expression of
“Rikki” and “Shoki” are the names that I have my admiration. Excess and misugiwa are, for me,
given to arrangements inspired by rikka and shoka. the foundations of elegance in compositions, and my
Traditional schools such as Ikenobo and related Way of Flowers, which leads me towards Sogetsu, is
groups have a monopoly on these quintessential marked by them. So this year, Asphodelinh will again
classics. Rikka is without doubt the oldest style celebrate the spring with the dance of the flowers, in
and could take on gigantic proportions in celebra- this Western region where the birds have not stopped
tion of the majestic quality of the sky. These days, it singing over the winter. 

#81 EspritBonsaiInternational - 77
Ikebana
Ohara

 The arrival of Western techniques in Japan

is prompting ikebana schools to modernise their styles.
A review of the history of ikebana, which is constantly evolving.

Modernising Author: Marcel Vrignaud

a tradition
In the 17th century, political change
had repercussions on the evolution of ikebana. Like all
Japanese arts, ikebana had hitherto been influenced
by Zen Buddhism, which had spread dramatically
since its introduction in the 12th century. When the
Tokugawa shogunate came to power, it instigated the
supplanting of Zen by Confucianism.
The art of flowers became caught up in the rivalries
and intrigues of the court, and was then given the offi-
cial name ikebana. The shogunate first entrusted it to
a single family, Ikenobo, but rivalries soon arose and
other schools were established. The shogunate con-
trolled them by imposing the hereditary transmission
of the title “Iemoto”, which still stands today.
This period was marked by a decline in the values
of intuition and spontaneity that typified nageire, in
favour of the ever-increasingly complex codification
of rikka.

Towards a Chinese aesthetic

Having previously been the preserve of men, the art
of flowers then began to be learnt by women, along
with music and the tea ceremony. This led to a sof-
tening of the rules of rikka, a resurgence of the much
more spontaneous nageire, and the birth of a popular
style that mixed the characteristics of both: shoka.
This simple style, with three asymmetrical branches,
is organised according to a trinitarian pattern that takes
up the three main branches of rikka. It explicitly refers
to the Chinese trio of Sky/Heaven, Humankind and
Earth.
Next a reaction emerged against the snobbishness
of the aristocrats and the superficiality and lack of
rigour of the new privileged classes. In the late 18th cen-
 Free style. Compositions are becoming more modern tury, a group of creative people who were seeking in
to respond to the spread of Western practices. it something beyond a pointless decorative activity
breathed new life into ikebana. They were scholars
– bunjin – who were very aware of the models that

78 - EspritBonsaiInternational #81
  Traditional
Moribana.

 Traditional landscape.

Japan inherited from China and wanted to renew the

artistic links with Chinese aesthetics.
Inspired by the latter, they launched a new style:
bunjin-ike, which broke away from excessive codi-
fication and sought to rediscover the spontaneity,
naturalness and refinement of Chinese art.
In 1854, Japan opened up to Western commerce
and culture. The shogunate was abolished and power  Traditional
passed into the hands of a young emperor: Meiji. After a landscape
brief period of decline, interest in floral art was revived typical of the
by official encouragement and its inclusion in school Ohara school.
curricula.

Ikebana becomes Westernised the old traditional models, including landscape. Unshin
The arrival of new flowers inspired a former sculp- Ohara created moribana and founded his own school.
tor, Unshin Ohara, who set out to modernise some of Pursuing its policy of openness to the West, mod-
ern Japan has embraced not only new technologies
but also new ways of feeling and living. The art of
flowers has not escaped the wave of globalisation to
which Japan is particularly sensitive, and ikebana,
while remaining part of the nation’s cultural herit-
age, nowadays must deal with the importation of new
floral practices. In Japanese towns, these have come
in the form of increasing numbers of florists offering
Western types of flower arrangements. The reactions of
the major ikebana schools to this intrusion have been
varied. Ikenobo, the most traditional, welcomed the
new flowers and set up freer styles. Ohara, which has
been largely open to Western flowers since the begin-
ning, has recently undergone a minor revolution by
restructuring its categories of bouquets and some of
its styles, so as to offer options to young Japanese that
 New-generation Moribana. The styles are are closer to Western flower arranging and their new
becoming freer, to draw closer to Western forms. living environment. 

#81 EspritBonsaiInternational - 79
Club and
Enthusiasts

Members of the Bonsaï

Club Toulousain, in
Gagnac near Toulouse
have set their hearts
on encouraging
mutual help between
generations

 Members of the Bonsai Club Toulousain actively encourage mutual support and sharing.
Gerard and Josie work together on a beech tree while on a tree-collection outing.
Text: Cinthya Arenas
Photos: Bonsaï Club Toulousain

THE BONSAÏ CLUB TOULOUSAIN

In the eyes of Noëlle

The importance
Schillinger, the club’s president,
“sharing” and “conviviality” charac-
terise the Bonsaï Club Toulousain, in
of the meeting
Gagnac, near Toulouse. “Our seniors
are over 70 and have taught us that
too. Gérard, for example collects
trees and gives them away – a won-
of generations
derful example of sharing”, and “skills
and openness” at all levels are also
essential, hence the importance of Since it was founded in 1983 by look around for another suitable
helping beginners to progress. In Learning how Alain Blervaque, the Bonsaï Club space in or around Toulouse.”
fact, the aim of everyone is to work to wire at a Toulousain has weathered a few Thus, the club moved to Gagnac
and to improve. workshop session. storms. However, it is still here and and joined the Gagnac group of

as dynamic as ever. cultural and sports associations
(ASCG), helped by its president,
The seniors give Patrick Bergougnoux. The club
guidance to the found premises that were suited to
young its pace and activities. For the club’s
Noëlle Schillinger, the club’s president it was a great piece of luck
young, energetic and enthusiastic because “we are subsidised and we
president recounts, “In 2013, a huge are completely independent.”
storm rendered the hall, kindly lent The club has fifteen members
to us by the Toulouse mairie, unu- three of whom are women. “The
sable. We were relocated to a smal- club split up a bit when we chan-
ler room where we could no longer ged our location – some members
store our library and our tools. We were not able to come on a Sunday,
also had to leave the premises by or they wanted to stay in Toulouse.
10.30 p.m., when sometimes we The average age is forty. Two seniors
worked very late. Nor could we repot help in our training – Gérard De Fitte,
our trees outside. So we started to the club’s cornerstone, and Daniel

80 - EspritBonsaiInternational #81
 An outing to Cucugnan, in the  Training courses are held with  Gerard shaping his juniper
Corbières, to shop and for an opportunity specific species, such as boxwood. during a course with Jean-
to share a cultural moment. François Busquet.

Aussenac, who has been with the Thierry Font, a talented professional. change season by season and
club since the beginning and is also “Thierry Font was our advisor for a day by day through our trees.” It is
a member of the Montauban club. long time. He taught us so much and also what she shares with the club
Bonsai is his passion!” The young we miss him.” members. However, it is not only the
president told us. “friendships, the discussions and
The club’s future the bonsai, but a personal enrich-
Tree-collecting Noëlle Schillinger, who has ment from the interaction between
outings belonged to the club for ten years, the generations.” 
Today, members of the club hopes to welcome new members
meet on a Sunday every month, and after the club’s open day on 22 May
sometimes on other days for outings 2016. In the years to come, the pres-
or tree collecting. It is important “to ident would like to “continue to build
raise members’ awareness of the up a solid group and perhaps orga-
beauty of nature and not to dig up nise an exhibition.” She also spoke of
just any plant or in any manner.”
Work days are “really convivial”.
a closer association with other clubs,
particularly that of Montauban, in
Contact
Bonsaï Club Toulousain
Freedom is the watchword, as those order to work together towards a Maison des Associations et de la Jeunesse
who can’t make it for the whole day common goal. “We are fortunate Rue du Terrial
can come in the morning or after- that we have a large exhibition hall 31150 Gagnac-sur-Garonne, France
noon. There is a kitchenette where in Gagnac, so it would be great to Président: Noëlle Schillinger
one can share meals. exhibit alongside Montauban, Bor- Email: [email protected]
The club is currently “enjoying a deaux and others.” Website: http://ascgbonsai.blogspot.fr/
boost”, and the president it is cru- For Noëlle Shillinger, the art of Page FaceBook : https://www.facebook.com/
cial to keep up the impetus. It is hard bonsai is to “be in love with nature bonsaiclubtoulousain/
work organising training courses, but and its beauty, and to watch it
even the new members get involved.
The club’s activities are carefully
planned for the year, so that mem-
bers know exactly the agenda for
work days, courses, tree collecting
outings, and repotting. “There’s a
course with Jean-François Bus-
quet scheduled for autumn. Some-
times we have training courses for 
a particular species. For a course Open day
on boxwood, the club helped buy gives the
members a
the plants for it. But also, the aim
chance to
was to use the members’ money show their
to help those who are less well off.” trees and
The members are very much loo- to inspire
king forward to a course which will newcomers
with their
be run by Francisco Ferrera, 19 to 20 passion for
March, but will never forget the late bonsai.

#81 EspritBonsaiInternational - 81
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 May
2016
Featured in
the next issue
 British Shohin Bonsai:
Spirit of Shohin 2016
exhibition
 Pacific Bonsai Museum,
USA
 Interview with Ken Fujiwara
a young Japanese bonsai
artist
 The Spirit of Bonsai
 Pruning pine trees to
encourage back budding
 Bonsai basics: why repot?
 Treegazing: the hidden
side of trees
 The maturation of a spruce
 Creating two trees after air
layering a maple
 The results after air
layering a hackberry
 Pinching deciduous trees
 Shohin: reducing leaf size
 Task of the month:
work on azaleas
 L’Arbre dans la Main:
bonsai club
at Villeneuve-d’Ascq
(France)
 Soldanella as a bonsai
accent plant
 Japanese shohin pots
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