Bonsai Society Of Western Australia

Two years ago I was invited to The Bonsai Society of Western Australia on my return trip home from the South African Bonsai Convention where I was teaching. The club had some excellent trees in Perth and the people were friendly. The dynamic, energetic and well organized Dianne Boekhout is president and did an excellent job planning my teaching tour this year, just as she did two years ago where I went completely around the world in 21 days.

The Bonsai Society of Western Australia again invited me back and I’ve just finished presenting six programs: two critiques, two lecture demos and two workshops. Additionally another program was presented for another local club The Bonsai Workshop. That’s quite a lot of information to absorb in a couple of days and tiring for me as well. Well, this group is up to it and are serious about learning bonsai. Their bonsai and understanding is increasing and it was a pleasure to see the same working core of people still involved promoting bonsai and making information available to new comers to our art.

The first critique had some interesting bonsai, mostly foreign to me because they primarily are using native Australian plant material. As I’ve mentioned before, this area of the world reminds me of Florida with mountains. The plants are similar, but of tremendous diversity. We went to a nursery and I hardy recognized any plants. At the critique all the plants were well shaped and well shaped. A few of them were displayed on proper stands. I briefly spoke about display tables and how some kind of table or even a covered box raises the bonsai off the table to elevate the tree and shows respect for greater appreciation. That’s all I said. Two days later at my literati bonsai seminar nearly ALL the bonsai were displayed on stands and a few even had companion plantings. These people are serious about learning, improving and listened to what I trying to share with them.

The next day after the critique we had my Cascade Bonsai Seminar beginning with a lecture/demonstration and continuing in the afternoon with a workshop. Two years ago, during my last teaching trip here, I presented a unique demonstration taking a 45 inch tree and removing 17 inches from the bottom creating a 28 inch tall tree. Only the top section and root system was kept, 17” of the straight trunk was eliminated. The new shortened tree had power. Well, this year they had some interesting material and I again did something different, well for me at least.

My demo tree, a large Dwarf Japanese garden juniper, was being trained in the root-over-rock style in a clay training pot. The pot was heavy and I was not allowed to move it, but was able to turn the tree while working on it. The trunk had potential for a good cascade style bonsai, but I was not particularly interested in the rock. In fact, I had planned on removing the tree from the rock. Upon closer study, the combination was quite good and we decided to create a root-over-rock cascade style bonsai. The “right” container was not available, but Dianne, my host for my visit, went home and returned with a couple of suitable pots. She assisted me in the wiring and potting and the tree came out better than anticipated. A workshop on cascade style bonsai followed where nearly everyone created this style.

The next day we had the identical schedule, but only with my Literati Style Bonsai Seminar. As mentioned there were an abundant number of excellent literati style bonsai, all on display tables and we used many of them to illustrate design elements and offered suggestions for refinement.

The demonstration tree was again not the normal 5 gallon size juniper which is common in many areas. Diane had a well trained informal upright style Dwarf Japanese garden juniper which was developed and looked good, just as it is. Since she has other similarly styled bonsai this specimen was not special and was boring in her collection. So I removed most of the branches with her approval that of the members. Remember I mentioned the members have an excellent understanding of bonsai. The result was a literati style bonsai.

Original front before redesign

Original back before redesign

Removing front branch

Another branch gone

One more to go

Container selection- too large, but right shape, color and quality

The smaller container, right size and shape

Two containers were available for the tree, one was the perfect design, color and quality, but slightly too large. The other container was about the right size, but everyone, including me liked the color and shape of the larger pot. So, we had a discussion on container selection and what is the most important element for deciding which pot to use: color, size, design or quality. That’s not an easy answer especially

for good trees and with a learned audience there were many valid opinions. I potted the tree in the smaller container but wish I had a “pot shrinker” for the larger one. We continued on with showing proper transplanting techniques for the beginners in the group. All my programs in Perth were free, including the workshops, and open to the public. The club is trying to expand the art in the state as well as get new members.

Completed demo tree redesigned

Again after lunch we had a workshop where everyone created a literati style or forest bonsai. Most of the students were the same serious members from yesterday, I guess they were not tired of me yet.

Filippe worked on a forest with Japanese boxwood cuttings he rooted and grew

Nick created a literati style Dwarf Japanese garden juniper

Since my next program was in the evening, Dianne took me on a whale watch trip on a boat in the Indian Ocean. It was quite fun and I enjoyed seeing these huge mammals migrate from the north to Antarctica in the south for the hot summer months. The whales are beautiful and large too, the tongue weighs two tons and their heart weighs another ton. Since they were moving rapidly the whales did not do any tricks, but I was able to get a few photos of them diving into the deep, blue water below. I had a “whale” of a good time…

In the evening we had a special critique where members brought in the tray landscapes they created in my workshop two years ago. Just by chance I had photographed them two years ago after the workshop and they were among the 40,000 images on my Mac laptop. After searching and formatting them a new Powerpoint presentation was created and shown with the critique. I was amazed at how well the members trained and refined their tray landscapes. Looking back at the original images some were just stick forests, but developed into pleasing tray landscapes.

2011

2013

2011

2013

The following evening I presented my Aspects of Bonsai Design program which included a critique for The Bonsai Workshop group. Many interesting bonsai, mostly of native Australian plants, were discussed.

During the past 12 days I have presented 16 educational programs for five bonsai societies and a study group. As my teaching tour throughout Australia concludes I’d like to thank the society members who participated in my educational events, my friendly hosts who made me feel welcome and especially Dianne who spent considerable time to organize the event. Additionally, my wife Diane and Senior Crew who cared for my bonsai during the trip need to be thanked, because without them, the trip would not be possible.

But, I’m not home yet, the Golden State Bonsai Convention in California is my next stop.

October 31 – November 3, 2013

Marriott Convention Center, Burbank, California

Before returning home from my successful teaching tour throughout Australia, I stopped in California for the 36th annual convention of the Golden State Bonsai Federation, one of the best in the United States. Many old friends were met and surprised to see me here, especially in a boot cast and on my scooter for my sixth broken foot. I told them, just think what I cold have done if both my feet were not broken!

The convention started on Halloween and there was a special “Halloween Costume Bus Tour Party” in Hollywood passing many historic movie/TV studios while watching thousands of Californians enjoying the holiday, in all types of costumes. Some were traditional, many were unusual while most were exotic and revealing. Everyone in our group dressed up and we all had a great time watching the people on our private double decker bus complete with “refreshments.” Some of our group’s costumes were creative, but we all wanted to see which one of the “Kathy Shaners” was the real one, as there were several. Can you tell which one is the real Kathy?

Workshops, seminars and demonstrations and a huge benefit raffle are customary for these conventions, but this convention was different with the theme “Bonsai Artist Studio: Outside the Box” where the three headliners, Peter Warren, David DeGroot and Suthin Sukolosovisit presented several programs in a studio setting as well as demonstrations.

There were four exhibits, the convention bonsai exhibit, a competitive bonsai exhibit, a suiseki exhibit and a special display of Japanese suiseki & chrysanthemum stones from the private collection of Tom and Hiromi Elias. A few of the bonsai and suiseki which were interesting to me follow.

My next stop is finally home sweet home for a couple of weeks before leading my biannual bonsai tour to Japan with Kora Dalager.

Upon return home from Australia I discovered that we did not have our typical brilliant autumn colors upstate New York is famous for. The colors were beautiful, but not like in the past years. In fact, many of my deciduous bonsai still have green leaves, even though it snowed a couple of time. Yes, I’ve had shoveled too.

There are several factors which affect the coloring of deciduous bonsai foliage in autumn. Of course the reduced daylight actually triggers the onset of dormancy. I’ve watched as it actually noticeable in late July. The daylight gets shorter each day and the foliage changes from a bright green to dull green.

In addition to the reduced daylight, I’ve learned that watering and feeding the bonsai will greatly affect the autumn coloring. If a bonsai is stressed by not providing adequate water, especially in late summer, the colors often are more intense. Also, maintaining a regular fertilizer schedule with high nitrogen, through September and into October will delay the onset of autumn coloring.

Actually high levels of nitrogen in autumn will help bonsai over winter and provide them with what they need to grow vigorously in spring. NO, the application of nitrogen fertilizer in autumn will NOT stimulate new growth which will be damaged by autumn frosts IF your bonsai have been regularly fertilized throughout the summer growing season. The addition of a nitrogen content fertilizer will not stimulate new growth. However, IF your trees have not been fertilized regularly an application of a nitrogen content fertilizer may stimulate late summer new growth which may be damaged.

Late each summer I select a few deciduous bonsai which will receive extra loving care in preparation for excellent autumn coloring. The trees are repositioned in different areas in my display garden which receive the maximum amount of full sun. Even though the entire display area is in a full sun exposure, through the past 26 years I’ve learned there are several “sweet spots” which receive better sun. The selected bonsai are moved into those areas and rotated weekly so the sunlight will reach all areas of the deciduous trees. Also, watering is carefully maintained and often fertilizer is stopped earlier rather than later.

Usually, this technique works. Last year I got lucky, and we also had better weather. The trees which I selected were cared for and turned into their brilliant autumn coloring, just in time for my friend, Joe Noga who traveled from North Carolina, to take the final photos for my new book. The trees were outstanding, as can be appreciated in my newest book: Classical Bonsai Art. If you don’t have it, you should add a copy to your bonsai library, not only for inspiration, but also for detailed training and plant information not found elsewhere. The book also makes an excellent holiday gift, even for yourself, and can be easily ordered at:

http://www.internationalbonsai.com/page/1442819

Classical Bonsai Art is still on sale for only $50 which is a bargain for a large size book which includes over 675 detailed and color correct photos.

The photographs included in this post show my bonsai in beautiful autumn color, especially to those in areas of the world where they can’t experience it. However, the colors are not as intense and brilliant as in the past, as people in our area will confirm.

We have had two snowfalls and the low temperatures have dropped to below 25F. As the snow melts over the bonsai it tends to clean the bark which is good. Normally, this would be the best time to put your bonsai into their winter protection structures. However, I still feel it’s too early for our region. The temperatures for the next few days should reach 60F, and I’d rather have the bonsai outside rather than in, especially since my winter protection areas are in low light.

Bonsai are trees! Trees want to live and can withstand some cold temperatures. This tends to “toughen” the bonsai and makes them healthier. It’s not a good idea to pamper your bonsai too much as it often weakens them.

As we were preparing the bonsai for winter, by removing old, dead, discolored foliage and organic fertilizer remnants, a few looked pretty good so I took the time to photograph a couple. Photographing a bonsai requires the skill and knowledge of photography and also a few secrets to create the best photos. Yuji Yoshimura taught me that it’s better to photograph bonsai when dry.  This allows the detailed bark to be easily seen and photographed. If the bark is wet, it’s dark and does not show any detail. When I returned home from Australia one of my finest sinuous style American larch bonsai was looking pretty good. So, I brought it into my photo studio, set up the lights and noticed that the base of the trunk was wet. I took a few photos and confirmed that the bark was too wet. I left the bonsai on the display table but moved the lights and waited, and waited some more. After 11 days, I finally decided enough is enough and photographed the bonsai, and a few others as well. The brilliant golden color of the foliage was lost, however it was still attractive. And, those of you who grow larch know that the small needles quickly drop and make a mess all over the moss, container and display table and needed to be cleaned up several time. After I photographed the bonsai I took it outside and used the leaf blower to remove many of the old foliage. That’s a handy tool to use in autumn.

All my best bonsai will remain outside until I return from Japan, then we will put them into their overwintering areas. This coming weekend my Saturday Bonsai Crew will help again and the bonsai in the sales area will be moved into the poly houses. I still have a few trees which look pretty good. I hope they lose their leaves quickly as I’m preparing bonsai for the Winter Silhouette Exhibition in North Carolina on December 7-8^th. Information can be found here:

www.winterbonsai.com

I hope to see many friends and some beautiful bonsai at the show where I’ll be presenting a lecture/demonstration on Dwarf Japanese Maple Bonsai and a critique. Enjoy what is left of autumn.

After a two hour delay and airplane evacuation in Chicago due to tornadoes, we finally arrived in Japan for our semi annual bonsai tour led by Kora Dalager and me. This time we have a good small group of eleven people including two ladies from Australia.

Moving one of the February Kokufu bonsai ten exhibition prize winning trees to be loaded for display in the Taikan Bonsai Ten exhibition in Kyoto. This bonsai belongs to a client of Masahiko Kimura.

Beautyberry and Firethorn bonsai in the container room.

Tuesday we first visited Masahiko Kimura’s garden, near Omiya, by our private bus. As always, his bonsai are spectacular and although I’ve been visiting his garden for over 30 years, the trees looked the best this time. Our tour enjoyed glorious, warm sunny weather, and the bonsai took on a special glow, which reflected their unique beauty as well the tender loving care of Mr. Kimura.

He was busy directing three apprentices moving large trees in preparation for displaying at the Taikan Ten Bonsai Exhibition rapidly approaching in Kyoto. Since judging day is on Thursday, they must be preparing to load them in a truck later on during the day or early on Wednesday. I think Mr. Kimura mentioned that he was only displaying seven or eight of his client’s masterpieces. He led me to an area where there were a large windswept Japanese five-needle pine and informal upright Japanese black pine, all manicured for display. Mr. Kimura asked me which is best and will win the coveted Prime Minister Award, the highest award in the exhibition. It was a tough question because both were magnificent. One was quite dramatic and had an active form with the several long windswept branches while the other had a quiet, triangular shape. When asked again I finally said the windswept was unique and interesting, but I personally preferred the informal upright Japanese black pine. I asked him which do you like, and he said the windswept pine, but did not know which would win in Kyoto. I wish both bonsai good luck. We shall see on Thursday.

On a lower bench I saw a group of Chojubai flowering quince in training pots, but am not sure if they were to be used for individual bonsai or accessory plantings. The entire public display garden seemed to have a new layer of gravel, without any weeds of course.

Small size Chojubai flowering quince.

After allowing our group to look and photograph his bonsai Mr. Kiura took a break from directing his apprentices and invited us to tea and then offered each of us our choice of a Taikan Ten, Bonsai Creator’s, or Omiya Bonsai exhibition album.

We need to move on to our other stops on our busy schedule because Sean Smith phoned me while we were at Mr. Kimura’s. He and his lovely daughter Savanna are being hosted by Seiji Morimae, S-Cube in Hanyu. Mr. Morimae wanted to make certain that our group would be at his garden by 3pm because he had a special visit arranged with the major of Hanyu City.

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Omiya Bonsai Art Museum.

During the short bus trip to the Omiya Bonsai Art Museum, we ate lunch on the bus to save time. Autumn colors were quite bright on the deciduous bonsai. There were even a couple of Japanese flowering apricot bonsai displayed with golden yellow leaves. The first part of the display hallway in the museum features about five small display areas with stunning medium size bonsai on display. Each was displayed by different bonsai artists in the Omiya Bonsai Village. It was interesting to see what each artist selected to show.

I was particularly impressed with the Japanese five-needle pine bonsai displayed by Hiroshi Takeyama who does not specialize in evergreen species, but rather deciduous trees. People tend to limit the scope of bonsai artists to a few specific species or styles, but they are skilled with many different species and styles. For example Mr. Kimura is well known for his dramatic, old thick trunk juniper bonsai. However, he is also quite skilled with creating delicate forest and rock planting bonsai as well. The medium size Japanese five-needle pine bonsai shown by Mr. Takeyama is a good example of his diversity creativity.

Mansei-en Bonsai Garden entrance area.

We then took a walk into the Omiya Bonsai Village using a short cut.  However there was road work in the way of my intended path. There was a guard near the open road ditch, but I pointed to where we wanted to go, and not wanting to confront eleven foreigners, decided just to let us go through. Well, there is now a house where the road used to be so we had to take another turn to get to the Mansei-en Bonsai Garden of Hatsuji Kato and his son Haruhiko. Each time I visit this garden there seems to be more and more trees and especially new bonsai containers.

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Private reception room at Mansei-en Bonsai Garden.

Many of Mr. Kato’s Japanese maples were turning red, some yellow. The Chinese quince were not quite turning red, but the award winning Twisted pomegranate was bright yellow. He had several bonsai in his three tokonoma (like all Japanese words are both singular or plural) were beautiful. There were many trees quite detailed and will probably be taken to Kyoto for the exhibition.

Japanese maple.

Twisted trunk pomegranate.

Down the street and around the corner we visited Seiko-en Bonsai Garden of Tomio Yamada and his famous daughter Kaori who invented saika-bonsai to popularize the art. There was a TV crew photographing one of his well known Shishigashira Japanese maple bonsai which was beginning to change color. We did not want to disturb the activity so only appreciated the beauty of Mr. Yamada’s bonsai with our eyes, not cameras. He has some of the finest and most refined bonsai in Japan, all neatly maintained in a small garden.

Kyka-en Bonsai Garden.

Historic and famous Zelkova bonsai.

Cacti and succlents.

Our next brief stop was at Kyuka-en Bonsai Garden of Isamu Murata and his son Yukio. His father, Kyuzo Murata introduced me to the Japanese bonsai world during my first apprenticeship with him in 1970. The garden has become smaller during the decades, but the trees have become more beautiful. Everyone admired the famous Zelkova bonsai in the garden. Mr. Murata was in Tokyo working on the Imperial Bonsai Collection, but his son, Yukio and wife Rumiko showed us around. Yukio speaks perfect English and has an excellent sense of humor. He asked when my other foot was going to break…. again. So, then I knew it to move on.

Fuyo-en Bonsai Garden.

Our last stop in Omiya Bonsai Village was to the Fuyo-en Bonsai Garden of Hiroshi Takeyama, the immediate past president of the Nippon Bonsai Associationn. He specializes in deciduous and unusual bonsai and has a distinct style for forest planting bonsai. This is my favorite bonsai garden in Japan because I have a fondness for deciduous and unusual bonsai. As always, his garden is a multitude of autumn color.

Hiroshi Takeyama with his Japanese five-needle pine bonsai and orchid arrangement.

Famous Sargent juniper bonsai.

Apprentice watering maple bonsai.

Zelkova bonsai.

Japanese maple bonsai.

Cascade Hawthorn bonsai in a custom made container made by Koyo.

Container lip detail.

Mr. Takeyama always has a beautiful bonsai on display in his reception room. However yesterday I was a bit confused with the composition. Next to his Japanese five-needle pine was a gorgeous white flowering Phalenopsis orchid with six huge sprays of perfect form. So, I had to ask and then remembered that Mr. Takeyama was recently awarded a special medal from the Emperor for his bonsai activity. So the orchid was a congratulatory arrangement. There are many types of tokonoma display, and Mr. Takeyama wanted to display the orchid he received.

Mayor Komei Kawata receiving new book book.

Our tour group with Mayor Kawata and Sean and Savanna Smith.

We rushed to our private bus to the city of Hanyu where Seiji Morimae has his bonsai garden. During the trip, Sean called, again, check on our exact location because Mr. Morimae, like most Japanese, are punctual and we needed to be at his garden by 3pm. Upon arrival to the S-Cube garden we were not allowed to enter but were told to get back on the bus. Mr. Morimae explained that we were going to the Hanyu City Hall and that I must make a few remarks.

We were welcomed by Mayor Komei Kawata, who we met last year when he came to S-Cube to welcome us to Hanyu. We were then escorted into City Hall, where all the city employees clapped to welcome us as we entered. So after I made a few remarks our entire group was escorted upstairs to a board room decorated with a beautiful suiseki and Japanese five-needle pine bonsai. This bonsai was displayed by Mr. Yamada many years ago in the professional Bonsai Creator’s Exhibition and is now owned by Mr. Morimae. The history of bonsai and suiseki is an important part of appreciation and respect which most people do not comprehend.

Japanese five-needle pine bonsai displayed by Seiji Morimae at the Hanyu City reception.

Setagawa tora ishi suiseki.

Mayor Kawata made a few welcoming remarks and told us about the sister city of Hanyu with Millbrae, CA. After presenting everyone with a small cartoon book of the city’s mascot he gave me a beautiful photograph of Mt. Fuji next to cherry blossoms, very Japanese. Of course I presented him with a copy of may newest book and the new issue of International BONSAI. Many photographs were taken.

S-Cube display garden entrance.

We returned to S-Cube where we enjoyed the remaining long day looking at Mr. Morimae’s huge bonsai, suiseki and antique collections. He is always purchasing bonsai collections, remodeling them and re selling. He holds monthly auctions at his garden Display room featuring antique bonsai, suiseki and other art. tracts bonsai professionals from long distances.

Sales area featuring antique bonsai, containers, suiseki and other art for sale.

A collected Sargent juniper bonsai.

Sumac bonsai.

Japanese red pine bonsai.

Mr. Morimae showed us another plot of land, twice the size of his present garden right in front of his entrance gate. Since it “was” a rice field, 1,000 dump trucks of fill soil was being brought in to raise the field to street level. This will be the new display garden for S-Cube and I look forward to watching it’s development. Knowing Mr. Morimae for over 30 years, I know it will be spectacular and will not take long before it looks attractive.

As we left S-Cube around 5 pm, Kora arranged for Mt. Fuji to be directly in front of the bus, beautifully silhouetted against the orange setting sun. Quite a spectacular ending for a spectacular day introducing our tour members to the Japanese bonsai world.

I’m quite pleased that over 30,000 people from over 107 countries are finding my blog interesting and watching my commentary on my “Bonsai World.” It is important to realize that my entries are mostly instant, spontaneous because I want to quickly share my discoveries around the world, as well as share information which I have learned during the past half century with other.

If you want to read and learn from more grammatically correct, edited, educational articles which have better photos (really! All color corrected and in focus) please consider subscribing to my International BONSAI magazine.

International BONSAI magazine is the first and only professional bonsai magazine published in the United States. Now in our 35^th year of publication, International BONSAI, in full color, introduces information, articles and photos, some of which cannot be found elsewhere in English. The beautifully illustrated articles and photographs show beginners and advanced bonsai hobbyists how they can develop a bonsai collection from nursery stock, young plants as well as from collected trees. Information is also presented on bonsai exhibits, events, new plants and book reviews. Advance bonsai hobbyists are finding articles on bonsai display, Mr. Kimura’s classroom instruction and the shohin bonsai course valuable for their bonsai education. International BONSAI is an excellent addition to your bonsai reference library as well.

You can easily subscribe for 2013 (back issues promptly sent for the year) or 2014 or both year from our web site at: www.internationalbonsai.com/page/1403493

Upon my return home next week I must finish the 140^th copy, the 2013/NO. 4 issue before participating at the Winter Silhouette Exhibition in North Carolina: http://www.winterbonai.com

Our Tokyo hotel lobby is on the 25^th floor. The entire wall behind the front desk is a plate glass window with an unbelievable view of Tokyo Tower and Mt. Fuji. Our group saw Mt. Fuji leaving S-Cube, and now this morning upon our check out from Tokyo. Looks like our group will be returning to Japan, perhaps on our February tour (no, sold out), but there is room for our new June tour to visit the colorful Satsuki bonsai festival and exhibition.

We spent all morning at the Shunka-en Bonsai Museum of Kunio Kobayashi in Tokyo. English bonsai artist Peter Warren who apprenticed with Mr. Kobayashi for six years warmly greeted us and gave us free reign of the complex and allowed us to photograph. Later on he gave an excellent tour, in English, which most people understood, especially the Australians. Corin Tomlinson, from England who apprenticed with me decades ago keeps reminding me that we do not speak proper English, but rather “American.”

Peter explained about the different display formality and tokonoma displays. Interesting comments on the bonsai, suiseki and scrolls was given. He took us upstairs, past one of the most comfortable and modern toilets in Japan, to see the room filled with antique Chinese (and a few Japanese) bonsai containers. He mentioned that most of the best antique Chinese bonsai containers from Japan have now gone home to their homeland.

I think Mr. Kobayashi must have added at least 30 to 50% more bonsai to his garden. Most prominent were a group of Japanese and Trident maples. All beautiful and many with branch grafts being trained. Many of the bonsai this time had small white bags in the upper branches filled with insecticide. This reminds me of when it was popular to hang yellow cards with sticky insecticides in greenhouses to attract white flies and other insects.

There were quite a number of literati style pines being trained as well as some huge Japanese black pines with large sections of dead wood. The Satsuki azaleas looked especially good with the dark green foliage and I look forward to enjoying the blossoms in June.

This is the first time I did not go up the stairs to the rooftop growing area to take overall photos. I did not want to press my luck with any extra walking, just in case. I’ve already broken my foot in Japan once.

Mr. Kobayashi was hospitable as was his lovely wife and helpful apprentices. He autographed calendars for everyone who purchased them and presented us with a suiseki exhibition album, Satsuki azalea album as well as Kinbon magazine. Mr. Kobayashi is the new chairman of the newly reorganized Nippon Suiseki Association, sponsor of the new “Suiseki of Japan Exhibition” which will be held in the Tokyo Metropolitan Art Museum in February during the second half of the Kokufu Bonsai Exhibition. Mr. Kobayashi will be one of the suiseki judges for the Taikan Ten Bonsai Exhibition in Kyoto on Friday.

After a wonderful visit we took the bullet train to Kyoto, and guess what, Mt. Fuji was in view again.

Having enjoyed its beauty three times in two days means that our tour members will definitely return. Last year we also flew quite close to Mt. Fuji on our flight from Tokoname to Tokyo on the way home.

Thursday was judging day for the Taikan Bonsai Exhibition. Julian Adams and I first went with the tour to visit the Ryoanji Temple, where I caught him selecting seed. We then took a taxi to the exhibition.

Julian Adams picking ripe seed from small leaf Japanese maples.

All the vendors were busy setting up their trees, containers, supplies, suiseki and other items necessary for the creation, maintenance and appreciation of bonsai. I saw Kenji Oshima, son on Mikio Oshima and congratulated him for winning the Prime Minister Award for the upcoming Japan Creator’s Bonsai Exhibition in early December. He was proud of a special display of one of his client’s trident maple bonsai.

Award winning bonsai artist, Kenji Oshima, Meiju-en Bonsai Garden in Okayama in front of his client’s display of Trident maple bonsai.

The first round of judging the bonsai was to select the finalists for the award selection. Tables were set up down the center of the main aisle. There were sections for the large, medium and small size evergreens, large, medium and small deciduous species, large, medium and small satsuki, rock plantings, group plantings, literati, shohin bonsai and suiseki.

Large evergreen bonsai ready for award selection.

Medium size deciduous species bonsai.

Distinguished judges.

Judges making their selection and voting.

All of the bonsai selected for evaluation were beautiful and the judges had a difficult time selecting the award winning masterpieces. In fact, there was a tie for the Prime Minister Award. I was next to Mr. Kimura as the two large pines he displayed for his clients won the Prime Minister and next prize. As he predicted, the judges liked the interesting multiple trunk style Japanese five-needle pine better than the quiet informal upright style Japanese black pine.

Enjoy the photos, more will be forthcoming after the exhibition officially opens tomorrow.

Although beautiful, the Japanese maples in the garden temples are not quite at their peak of color yet. So, rather than share photos of colorful maples, I thought I’d share an interesting colorful character I saw in the sales area.

At first I noticed his hat and was wondering where he got those magnificent pins, then I looked closer and he freely posed for me.

Today was the opening day for the 33rd Taikan Bonsai Exhibition and I spent all day studying the bonsai. The exhibition was not quite as crowded as in the past, perhaps because its only Friday so I hope more visitors will come during the remaining weekend. There are quite a number foreigners at the exhibition, many from Europe.

I received a question about the last photo in Part 3 of a rather unusual display so today I got the information. The display is a “Horticultural Renaissance,” which is the collabration of three artists. The bonsai artist designed the complete display, while a potter made the tall and unusual containers. Finally, an artist created three tall stands from iron for holding three cascade style bonsai. It was mentioned that the scale cannot be appreciated from the blog display photo so I stepped to make the bonsai look larger.

The sales area was always busy with many deals taking place often between vendors.

I’ve also received a few comments on the empty sushi plates, in fact, many readers actually counted the 15 plates, which only cost $23. If I had known people were going to count the plates, I would have positioned ALL the empty plates in the photo.

Enjoy the beautiful bonsai!

My friend in the hotel lobby.

On Saturday morning we went to the opening of the Choseki Kai Suiseki Exhibition before heading on to the Taikan Bonsai Exhibition. We actually got there at 9am and the show opened at 10, so it was a quiet time to appreciate, study and photograph the stones and displays. The suiseki exhibition is annually held at the Kenniji Temple, the 800 year old Buddhist Temple, oldest in Kyoto. The old buildings are beautiful and unique, as are the ancient paintings and other art. Seiji Morimae, S-Cube in Hanyu, is the prime organizer of the event, and, as usual, did a smashing job with the show.

There were three full wall formal tokonoma each displaying one susiseki and a grass planting companion. The other stones were displayed along the walls on dark blue felt runners. Several interesting grass plantings were used as accents. The display tables were equally as beautiful. Having the stones displayed on the floor level means that to fully appreciate the suiseki, one must sit on the floor. This is also true when photographing. It was easier for me to sit down, then scoot around on my knees. But, there was one magnificent stone I had to get down on my belly, flat on the Tanami mat to photograph. On the top of the stone was a natural hut.

Another stellar stone had exposed crystals which presented the feeling of chrysanthemum blossoms.

And, finally, a small suiseki was displayed in water basin with people sitting all around looking at the stone. I don’t quite understand this display, but could not find Mr. Morimae to explain this to me, but I will in February. I’m sure he will remember.

After enjoying the other buildings and gardens we took a taxi back to the bonsai exhibition where we stayed until we were exausted around 3pm.

At the exhibition I saw Rita and Marc Cooper from England who were displaying a great Kokonoe Japanese five-needle pine which was being cared for at the Fujikawa Kouka-en Bonsai Garden in Osaka. This is the garden where Bjorn and Owen Rich are studying. In fact these two were at the show from set up until take down tomorrow. They assist their teacher Keiichi Fujikawa answering questions, running around, serving tea and selling bonsai to visitors, especially foreigners.

On our final walk through I’d like to share a few superb bonsai for sale in the vending area. There was a beautiful Chojubai Japanese flowering quince with rough bark. A comprehensive article on this species is forthcoming for International BONSAI.

November 2013

February 2013

For sale, near this bonsai is an ancient Sargent juniper bonsai. Although there are numerous “similar” appearing old Sargent juniper bonsai full of dead wood and lush green foliage, this bonsai is quite different. Like many of the specimens, all the branches are grafted on to the living trunk sections to replace the foliage with a cultivar with a fine-texture foliage. This bonsai is different and more refined as depicted with the branching as can be seen on the bottom right. It’s not just a bush, the branch has detail and shows many, many years of loving, dedicated and skilled training. This is not the first time I’ve seen this bonsai as it was also for sale at the Ueno Green Club in Tokyo during the 2013 Kokufu Bonsai Exhibition, also by the same artist. I just happen to have a photo from February and check out the upper foliage pads. They were  still in training not as tightly pinched as the tree is now. Also, the old photograph shows the tree in it’s winter color.

US $120,000.

During the late afternoon I met Yasuo Mitsuya, Tokai-en Bonsai Garden, which was good because I wanted to present him with a copy of my newest book. Mr. Mitsuya was one of the three international judges and a demonstrator at the 2012 3rd U.S. National Bonsai Exhibition held in Rochester, New York. He gave me a photo of a fine bonsai he was selling through his prior apprentice’s sales area. I showed this bonsai in the last blog entry, but now it has a different meaning. Mr. Mitsuya has been training his Japanese black pine bonsai for over 35 years and was trained from a collected tree. He mentioned that it must be over 250 years old, but did not start it from seed. The bark is quite aged. He then told me the price, and to be certain I got the right number of zeros, I had him check it on my handy iPhone currency exchange app. So, if you would like to add this bonsai to your collection (if you could get it into your home country) the price is US $120,000. The tree was still for sale.

Enjoy the last photos from the Taikan Bonsai Exhibition. If you want to see better photos, you can easily subscribe to International BONSAI through this link:

http://www.internationalbonsai.com/page/1403493

On Sunday we took the bullet train from Kyoto to Nagoya where our private tour bus was waiting. We first visited the Daiju-en Bonsai Garden of Toru Suzuki.

Daiju-en Bonsai Garden is famous and was established by Saichi Suzuki, Toru Suzuki’s grandfather who was a pine bonsai specialist. I had the good fortune to meet Saichi Suzuki a couple of decades ago and visit his small garden full of Japanese black and Japanese five-needle pines. He pioneered many of the standard bonsai techniques we use today. The well known Zuisho Japanese five-needle pine was introduced and the training and propagation techniques were perfected by Saichi Suzuki.

Toshinori Suzuki, Saichi Suzuki’s son, continued on with the bonsai garden. Toshinori Suzuki was also a pine and Needle juniper specialist and won many of the top awards in exhibitions. His first apprentice was Yasuo Mitsuya who is well known bonsai artist who has visited and taught in the United States.

Toru Suzuki, the present proprietor of Daiju-en Bonsai could not meet us for or visit because he is in charge of the Taikan Bonsai Exhibition which finishes on Monday and is still in Kyoto. His son-in-law welcomed our group, the first bonsai tour to see his garden and pointed out famous trees, answered questions and then led us to our next stop, the Shinpukuji Temple about 30 minutes away in Okazaki. The drive to the temple was up a winding road flanked with tall stands of bamboo, Hinoki cypress and some Cryptomeria as well, quite beautiful.

By the way, it’s now 5:30 am on Monday, the latest we have slept in since arriving in Japan last week. Julian said that I slept well last night and that I fell asleep working on my computer last night so made me go to bed. Back to my report–

Last year Julian Adams and I visited Shinpukuji Temple which has an impressive bonsai collection which is cared for by the Daiju-en Bonsai Garden “family”, graduate apprentices and a few “migrant workers,” which I’ll explain about later.  The temple was built and rebuilt many times after fires and the present main building was built in the early 15^th century and rebuilt after another fire 50 years later. Our group was the first bonsai tour that visited this small, excellent bonsai collection in a picturesque and beautiful setting, especially with the Japanese maples changing into their autumn splendor.

Shinpukuji Temple was established in the 6^th century because of the legend of a sacred fountain which heals, especially eyes. They were selling different bottles of Holy Water, each for various parts of the body. The head priest, Mr. Omura, a bonsai collector, was finishing up chanting and talking to visitors, so I stayed a bit, it was Sunday after all and there was no Greek Orthodox Church in Okazaki a church is church and there is only one God. When the priest finished his service I asked which bottle of Holy Water heals feet. Rather than point me to the bottle which heals the general body, I was directed to a lucky charm with two golden feet. I asked him if that would guarantee that I would not break my foot for the seventh time and he said it will if I believe it. I also got a small golden ring with a rabbit because I was born in the year of the rabbit in the Oriental zodiac, perhaps that will heal as well.

There are many famous bonsai in the bonsai collection here, some which have received the top prizes in the Kokufu Bonsai Exhibition. A couple were even started by Saichi Suzuki too. Mr. Omura and his father, the former head priest, love bonsai and Princess persimmons. Behind the ancient main building was a new modern bonsai museum including a formal indoor display as well as small outdoor bonsai garden.

A few days ago at the Taikan Bonsai Exhibition I ran into Boon from California who was studying the bonsai with Mr. Omura. It just so happened that Boon was “working” on the Shinpukuji Temple Bonsai Collection. He often comes to help tend the bonsai because is former teacher was primarily in charge of the trees and he has been helping him for years. Boon often brings friends with him, thus the foreign migrant workers.

Boon met us in the display room and showed us around including a huge chrysanthemum stone which was presented to the temple by the Emperor of Japan. He also gave the temple a bonsai, but it was outside mixed in with other trees. Then Boon took us downstairs into another museum area which had ancient relics, all behind glass, except for large statues and a palladium for transporting royalty. There were famous bonsai containers, scrolls, paintings and parts of sacred Buddhist statues. Only the head remained and the back of the skull was missing, but filled with cotton and the pieces also displayed, kind of interesting.

Shinpukuji Temple is a popular tourist destination because of the healing magic fountain and so has a large restaurant. Boon mentioned that they once served 600 visitors, but not all at the same sitting. Our group had a Buddhist vegetarian bamboo cuisine lunch with Boon. Every piece of the several different serving dishes was made from bamboo growing nearby. Most of the delicious food was also bamboo as well.

After lunch Boon and Mr. Omura led us through the private area in back where the remaining bonsai were maintained. Trees not at their prime like Japanese flowering aprcots, Satsuki azaleas and other spring flowering bonsai were in that area, as well as others still in training. Boon pointed out a few of the trees he has been working on, some for more than ten years. There were many unusual deciduous species which especially interested me like a couple of rose bonsai, the largest in Japan.

Next we went to our hotel in Tokoname, and since it was still light, Kora arranged for a private visit to the kiln of Gyozan, the Number One potter of Japan. In the past, his containers started at US $20,000, but now has smaller size pots beginning around US$300. In addition to the traditional unglazed containers, Gyozan also makes unusual glazed containers. Some of the smaller pots featured lovely subtle paintings by his wife. When we arrived at the kiln the setting sun was bright enough to illuminate Gyozan’s bonsai collection, all in containers he made. By the time we left it was dark. Gyozan and his wife drove our group to our nearby hotel to rest for the evening before our last full day of our tour to visit and shop at the top kilns making bonsai containers.

Today was the last full day for our bonsai tour. Tokoname is one of the famous ancient kiln areas in Japan because of the local clay. In the world wide bonsai community people think that Tokoname is famous for bonsai containers, however in Japan the city of Tokoname is most famous for sewer tiles and ceramic bathroom fixtures. Bonsai containers are made in Tokoname, however there are excellent fine quality pots as well as inexpensive pots. Some of the contemporary Chinese pots are better than some of the Tokoname pots. So, just because a pot is made in Tokoname does not make it good.

There are however a handful of talented and skilled ceramic artists making bonsai containers for the domestic and foreign markets. Some of kilns have reduced their production, others have closed because of the economy and availability of quality Chinese containers.

Plaster molds used for making pressed bonsai containers

We took several taxis this morning, first to Isomura Shoten, a pot distributor where we looked around and shopped. After we went through his large selection we visited the top kilns in Tokoname. Yesterday we visited Gyozan, the current Number One potter. Today we went to the Ikko Kiln, and proceeded to the well known Yamaaki Kiln who originally made unglazed pots, now making a few glazed pots as well.

Glazes

Sample tile glazes

We then walked to the Reiho Kiln where a potter demonstrated for us how to make a pressed pot. Reiho is famous for glazed containers, but is now making unglazed pots as well. Reiho and Koyo containers are my personal favorites and many of my finest deciduous bonsai are in their pots. Mr. Takeyama in Omiya Bonsai Village has many Koyo pots and I’ve been purchasing them from him for over 30 years.

Mr. Koyo

Boy, have the prices gone up! I was truly surprised at the prices, especially for shohin bonsai pots as well. Many of the kilns are making a great number of shohin bonsai pots because of their popularity. I saw beautiful small pots, less than three inches long for over $200, and the exchange rate is pretty good now too.

Our group then visited the Shuho Kiln, Koyo Kiln and finally the Hattori Kiln. People would select pots from each kiln and they were taken back to Isomura Shoten for payment and packing. Everyone had a shopping bag full of pots and some with boxes as well.

Mr. Hattori

Unusual glaze decoration by Mr. Koyo

Last year on our tour I introduced Julian Adams to the relaxing ritual of Japanese public baths. He now loves them as much as I do. We are at a different hotel this year which does not have a public bath. However the Nagoya airport is only one short train stop away so we went there for a bath then dinner.

Yes, men are not in the same area as women. In our bath area there was a sauna as well as five different pools: a scenic bath, Jacuzzi bath, cold bath, inclining activation bath and the vibration bath. This is the first time I’ve experienced the vibration bath. I’m not certain if there is electricity or ultra sonic waves, but when you sit down there is something vibrating on your back, then when you extend your feet forward towards the wall you shocked some more. If you get real close the shock becomes more intense and I had to jump out the first time. This was a very stimulating experience for me…

Tomorrow we head on home and this will be the eighth time I’ve crossed the Pacific Ocean this year. The weather forecast for Rochester calls for six inches of snow and I hope I don’t get stuck in Chicago for another three days like I experienced in February. I hope readers enjoyed my thoughts from Japan as well as the photos. Remember, more grammatically correct articles and finer photographs can be read in my International BONSAI magazine.

Enjoy the large kitty we saw near our last stop today as he waves sayonara to us while his two friends on the ground watch him.

Last week I returned home Japan in a blizzard! I hate snow and cold weather!

We had about 10 inches of snow, so far we have had over 13 inches with many more feet to follow. While I was in Japan Diane, Chris and some friends rushed to bring the bonsai into the garage and poly houses before the blizzard and 4F low temperature. Of course I had to move each one to their proper location and removed some dead leaves which took some time, still not completely finished.

Dormant companion plantings on the ground level under the bonsai tables

Shohin bonsai winter protection 

Here are a few photos of the overwintering garage after watering. There are two forced air kerosene heaters, which Diane repairs and tunes up, in the garage. They are on thermostats set at 27F. There are also two heaters in each of the two large poly houses which are attached to the garage. The four other poly houses are not heated.

It’s difficult to find thermostats which go below 50F, but they are out there if you look

Hated poly houses

Also a few photos of my heated greenhouse where I overwinter tropical and tender bonsai.

Yesterday my loyal and skilled Monday Senior Crew came and helped me clean and move bonsai, then they assisted in preparing my bonsai for this weekend’s new Winter Silhouettes Bonsai Exhibition in North Carolina.

Our new 2014 Seedling & Pre-Bonsai Catalog is now available. You can easily order on line at:

http://www.internationalbonsai.com/page/1442817

Please note that shipping will begin in late January and we can’t accept foreign orders.

On December 7-8, 2013 the first Bonsai Winter Silhouette Exhibition on the East Coast was held at the David H. Murdock Research Center in Kannapolis, North Carolina, just north of Charlotte. The elegant exhibition was hosted by Steve Zeisel, Director of the Nutrition  Research Institute. The North Carolina Research Campus provided the venue which featured marble from the same quarry in Italy that Michelangelo used to carve his famous “David” in a unique four story rotunda crowned with a beautiful dome. This is the tallest dome south of Washington, D.C. The marble floor inlay with beautiful geometric forms and tall pillars, truly an elegant setting for bonsai featuring deciduous bonsai without foliage. Black curtains were used as backgrounds to highlight the light colored bark. The lighting was excellent, perhaps because of the highly polished light colored marble floors. The four story rotunda added another dimension to this bonsai exhibition which I have never experienced before, and I’ve seen quite a number of shows around the world.

Deciduous bonsai displayed during this season reveal the beauty of the tree with everything showing, so viewers can study and appreciate the beauty of buds, bark, form. There is no hiding of any flaws or wire scars, which is often not the case with evergreen bonsai. This shows how well the trees have been trained and have aged during the years.

The Research Center even rented a baby grand piano and had two young brothers playing classical Christmas tunes on the piano and violin. The delightful and cheerful music was much better than loud Japanese music which is common at bonsai exhibitions.

Thirty exhibitors and vendors brought some of their finest bonsai to share with others so they too could enjoy nature in miniature. Vendors brought a wide variety of plant material from young seedlings to well developed masterpiece bonsai in addition to stone and ceramic containers and supplies for the creation of bonsai. Just over 100 bonsai were displayed including two shohin bonsai compositions.

It would be very boring to see all deciduous species so a few evergreens were also included. On Saturday I presented a Maple Bonsai program to a standing room only audience. On Sunday Ed Lauer and Harold Johnson will demonstrate on a Sargent juniper.

Extensive publicity in the region drew over 300 visitors on Saturday to see the inaugural event, which I hope will develop into an annual affair. Both the public and experienced hobbyists attended on a cold day. The Bonsai Society of the Carolinas in the Charlotte area brought bonsai as did members from the Triangle Bonsai Society in Raleigh, a South Carolina study group, some from Virginia and the North Carolina Arboretum. Everyone came together to share the beauty of bonsai during the winter season.

Steve Zeisel coordinated and ran the well organized elegant event and is to be congratulated for undertaking such an important event for bonsai on the East Coast. I look forward to participating next year.

I’d like to announce a new educational bonsai program I’m starting in spring the Classical Bonsai MasterClass

If you have been growing bonsai for some time and wish to advance your skill level in producing high quality bonsai, then this Classical Bonsai MasterClass is designed for you. The detailed instruction and individual help with your bonsai will reinforce the principles and techniques learned from the program. The instruction and personal attention will provide confidence in the development of your future bonsai designs.

 Beginners as well as experienced bonsai hobbyists are welcome to join

The Classical Bonsai MasterClass will consist of lectures on classical bonsai and guided workshops to ground your skills and reinforce the principles discussed. You will work on your bonsai with the guidance of William N. Valavanis, increasing your understanding and skill while also improving the quality of your trees. The practical application of the techniques learned and the personal attention during the work sessions will be beneficial to the improvement of your bonsai skill and understanding of classical bonsai art. The level of quality bonsai is increasing in the United States as can be clearly seen in the U.S. National Bonsai Exhibitions.

Improve and refine your trees during the open workshops for developing exhibition quality bonsai.Techniques for developing and refining both deciduous and evergreen species will be covered.

 Bud pinching to increase twig ramification and maintain size for deciduous species

 Korean hornbeam 2005

Korean hornbeam 2010

 Korean hornbeam August 2013

 Korean hornbeam November 2013

 RAF dwarf Scots pine 1993

 RAF dwarf Scots pine 2003 before refinement

 RAF dwarf Scots pine 2003 after refinement

 RAF dwarf Scots pine 2013 before refinement, again. Developing bonsai is a series of wiring and refinement to create masterpieces.

 RAF dwarf Scots pine 2013 after refinement

 Refinement techniques will be introduced then applied to student’s bonsai during the open workshops

Professionally trained horticulturist and bonsai artist William N. Valavanis will teach the Classical Bonsai MasterClass at the International Bonsai Arboretum in Rochester, New York.

 Teaching classical bonsai in Brazil

  Teaching classical bonsai at the Noelanders Exhibition in Belgium with the assistance of Corin Tomlinson, Greenwood Gardens in Nottingham England. Corin Tomlinson apprenticed with Mr. Valavanis from 1989 to 1991 through a cooperative effort of Merrist Wood College (England) and The Ohio State University (USA) as part of his horticultural degree requirement. His father, Harry Tomlinson sent his son to Mr. Valavanis for formal bonsai training. Corin Tomlinson, second generation bonsai artist traveled to Belgium to assist with the demonstrations.

Drawing on his experience of teaching classical bonsai art for over fifty years on five continents, Mr. Valavanis will freely share his knowledge and techniques and help you to practically apply them in the open workshops. Lectures on core principles and skills will begin each day. Detailed techniques and refined design will be illustrated using some of the developed specimens from the Valavanis Bonsai Collection.

 The Classical Bonsai MasterClass sessions will be held at the International Bonsai Arboretum in Rochester, New York, where thousands of students have learned and been introduced to classical bonsai art with the guidance of William N. Valavanis. The facilities contain a comfortable venue and atmosphere for teaching and working on student’s individual bonsai with everything necessary for bonsai creation and appreciation is available.

Limited to only four students, the Classical Bonsai MasterClass will be customized to the student’s interests and bonsai brought to the workshops. Seasonally related and other advance topics will be fully explained and explored in future sessions to be announced at a later date.

Registration:

Registration for the three day Classical Bonsai MasterClass is $600 per student which includes personal instruction by Wm. N. Valavanis, lunch and snacks during the day. This session can also be extended by participating or observing the regularly scheduled open workshops on Friday and Saturday. Please prepare and bring your tools, wire, supplies as well as plants, and are encouraged to bring both untrained nursery stock as well as developed bonsai for the open workshops. Items may also be purchased during the sessions. Students traveling from long distances may work on specimens from the International Bonsai Arboretum.

Transportation may be easily arranged from the Greater Rochester International Airport as well as to and from the motels. The eight motels within two miles of the International Bonsai Arboretum offer comfortable accommodations in all price ranges.

Please contact Mr. Valavanis for any questions and to register for the Classical Bonsai MasterClass.

WNV@internationalbonsai.com

585 334-2595

The severe cold and snowy weather delayed the arrival of the bare root seedlings from nurseries around the country. Finally they arrived, in good condition too.

Bob Pfromm and Harvey Carapella grading the seedlings.

Last weekend my Saturday Crew came and helped process several thousand seedlings for the Seedling & Pre-Bonsai Catalog. First the seedlings were inspected and graded so bundles would have different sizes suitable for forest bonsai. Then the others soaked the seedlings and wrapped them in wood shavings. Finally they were bagged, labeled and stored in my overwintering garage which is kept around around 32F. Usually I maintain 27F, but when the seedlings arrive the temperature is slightly raised.

Marc Arpag, Alan Adair, Paul Eschmann, Bob Blankfield and Dave Steel packing the bundled seedlings.

They are now ready for shipping to warmer areas of the country and to those with protected locations or greenhouses. Check out the catalog:

http://www.internationalbonsai.com/page/1442817

We have also added several new shohin bonsai, containers and suiseki to our web site.

Classical Bonsai MasterClass

Session 1 of my new Classical Bonsai MasterClass quickly filled and several additional sessions have been added:

Session 2 April 8-9-10, 2014

Session 3 May 6-7-8, 2014

Session 4 June 24-25-26, 2014

Please contact me to register or if you have any questions.

WNV@internationalbonsai.com

The popular California Shohin Bonsai Seminar was held on Friday, Saturday and Sunday, January 31-February 3, 2014. The event was held at a small hotel in Santa Nella, California, which is a small town (truck stop?) located between Los Angeles and San Francisco to make travel easy for people throughout the state. Several friends from Rochester traveled with me to the event on our way to Japan for the Kikuyu Bonsai Exhibition, Shinseki of Japan Exhibition and to visit public and private bonsai collections in the Tokyo area.

The excellent and well presented lecture/demonstrations were held on Friday. On Saturday morning 12 workshops were conducted by skilled instructors, all in one large banquet room. Although all the workshops were in the same room, everyone enjoyed the individual attention of the teachers and excellent plant material each prepared for their classes. An additional 12 workshops were then presented in the afternoon. The only cost for the workshops was for the plant costs.

A room filled with beautiful shohin bonsai provided inspiration for the 237 full registrants and many daily attendees. Critiques were held in the exhibit to get fresh ideas and thoughts on the display, design and horticultural requirements of the small treasures people brought to share with the others.

Sunday morning concluded the California Shohin Bonsai Seminar with a comprehensive lecture/demonstration by Kathy Shaner on repotting bonsai. Two rooms were filled with numerous vendors offering their plants, stones and other educational items for training, caring and the display of bonsai.

This event is always sold out and is limited to the size of the banquet room. Although typical of well organized California conventions, the California Shohin Bonsai Seminar, conducted every two years is popular because of the low cost. All the instructors, from around the country, volunteer their time and talent so the workshops are offered at low prices. Profits from the raffle and auction are split equally between the two bonsai gardens administrated by the Golden State Bonsai Federation in Pasadena and Oakland.

The chairman of this event is changed each time and this year Gary and Lucy Judd did an outstanding job assisted by other family members and volunteers. All programs were well attended and many questions were asked and answered.

I have been fortunate to have attended and taught at all but two of the seminars and   look forward to the 15^th California Shohin Bonsai Seminar which will be held in January 2015. 

A visit to Bonsai Boon and the suiseki/bonsai collections of Mas Nakajima and his wife Janet Roth concluded our visit to the Golden State before departing for our tour to Japan.

Bonsai Boon is the garden/school of Boon Manakitivipart who recently moved to a new larger location. Although Boon travels around the globe teaching and consulting his popular “Bonsai Intensives” classes are held in his school. He has many different species but pines and junipers seem to be represented most.

David Campbell transplanting a Japanese maple

It was quite interesting to see his training methods and garden layout as well. The automatic watering system was well designed and works well. Boon’s table construction and lay out was well organized and each was filled with his and his clients beautiful bonsai.

d

Mas Nakajima and Janet Roth suiseki and bonsai garden

Our last stop was to the home of artists Mas Nakamima who specializes in collecting suiseki and carving daiza. His lovely wife, Janet Roth, also collects stones as well as training her own bonsai. I have never seen such a large collection of suiseki in one place. There were beautiful and distinctive stones everywhere. A large area, near the rear of their garden, contained severa shelves of prized suiseki, each of which has their own hand carved daiza by Mas protected indoors.

Each of these suiseki have a daiza indoors

Sam Edge admiring a suiseki

a

Janet Roth and Mark Arpag

Mark Arpag, Sean Smith and Mas Nakajima discussing a daiza

Although there were more stones than I could count, each was distinctively different and showed the deep understanding and fine taste of Mas and Janet.

Japanese flowering quince, Chaenomeles speciosa

After an uneventful and on-time arrival in Tokyo our group was “welcomed” by cold and wet snow. NO, I did not order the weather, in fact the meteorological conditions were better in Rochester than Tokyo. But, my wife, Diane, did get stuck at the airport in Newark for several days on her way home from the California Shohin Bonsai Seminar.

Kora Dalager’s and my International Bonsai Tour Exploration this time includes 20 people from New Zealand, Canada, Mexico, Australia as well as from the United States. Four close friends from my “Crew” in Rochester joined me this time which are members of the Suiseki Study Group of Upstate New York and also officers of the Bonsai Society of Upstate New York. Two of us will have suiseki on display in the new Suiseki of Japan Exhibition opening on Sunday.

The Parkside Hotel in Ueno is sold out because of the Kokufu Bonsai Exhibition so our group had to stay in two different hotels. However, both groups meet together to attend the exhibitions and visits to the bonsai gardens.

We met at our hotel and made the short walk to the Ueno Green Club, in the cold windy weather to take the complimentary shuttle bus up the hill to the Metropolitan Art Museum in Ueno Park for the exhibition. There were not large crowds upon our arrival at 9:30 am, but it became crowded near noon when many of us left to take the shuttle back to the Ueno Green Club to go “shopping” after a quick lunch.

The first Kokufu Bonsai Exhibition was held in March 1934 under the leadership of Count Matsudaira who was president of the Kokufu Bonsai Society, sponsor of the event. From 1934 until 1939 the exhibition was held twice a year in March and November. In the early 1960s sponsorship changed from the Kokufu Bonsai Society to the newly established Nippon Bonsai Association. For a comprehensive overview, history and photos of the Kokufu Bonsai Exhibition, please check out Robert Baron’s excellent site at: http://phoenixbonsai.com/Days/Kokufuten.html

Although I’ve made several dozen study visits to the exhibition I was immediately startled by a color change of the new tablecloth color this year. A couple of days ago Peter Warren, who helped set up the exhibition, posted a few photos in his blog (http://saruyama-bonsai.blogspot.jp) which showed the new tablecloths. I thought that the color balance must be off between Peter’s photos and internet reproduction, but they were correct. In the past the tablecloths have been mostly a dark navy blue color and most recently light blue. This year they are a bright blue/green, my favorite color for bonsai containers. However, personally, the new color detracts from the quiet atmosphere of the presentation of the world’s finest bonsai. But, this is only my personal opinion, which might change during the next week during my many visits to the exhibition.

Japanese hawthorn, Crataegus cuneata

Because the Metropolitan Art Museum remodeled a couple of years ago the Nippon Bonsai Association could not display as many bonsai as in previous years. Generally about 260 bonsai exhibits are shown. This year in order to present more bonsai the event has been scheduled in two parts, each lasting four days with a switch out day between when all the trees will be changed on Saturday.

The 2014 88^th Kokufu Bonsai Exhibition– Part 1 was composed of 170 displays, including 29 Important Bonsai Masterpieces. After the exhibition is set up a group of judges awarded five coveted National Awards (Kokufu-sho). There were only five shohin bonsai compositions, a mame bonsai composition was not included in this part. There were 46 medium size  three-point exhibits which included a main bonsai, often two, and a companion planting. Considering that each shohin bonsai composition had six main bonsai and a side tree (all very consistent which shows the current taste of display) and most medium size exhibits had two trees nearly 300 individual specimens were shown. Two Americans, Doug Paul and Frank Cucchira, displayed Sargent juniper bonsai. Another exhibitor from Italy also displayed a Sargent juniper bonsai and received one of the five Kokufu-sho awards, the first time for a foreigner.

Kokufu-sho Award, Japanese red pine, Pinus densiflora

Trunk detail

Kokufu-sho Award, Japanese beech, Fagus crenata

Kokufu-sho Award, Japanese flowering apricot, Prunus mume

Kokufu-sho Award, Sargent juniper, Juniperus chinensis var. sargenti ‘Shimpaku’

Kokufu-sho Award, Japanese five-needle pine, Pinus parviflora

Trident maple, Acer buergerianum

Sargent juniper, Juniperus chinensis var. sargenti ‘Shimpaku’

Displayed by Doug Paul

Japanese black pine, Pinus thunbergii

Chojubai flowering quince, Chaenomeles japonica ’Chojubai’

Sargent juniper, Juniperus chinensis var. sargenti ‘Shimpaku’

Displayed by Frank Cucchiara

After our initial visit which was overwhelming because of the beauty we needed a breather and had lunch in the museum restaurant and went to the Ueno Green Club for a couple of hours. As soon as we went to the outdoor sales area I immediately saw a row of old Kokufu Bonsai Exhibition Albums. One of my close friends said he never saw me move so fast…. A sign in Japanese listed the older volumes and I was quite happy to add five missing books to my collection! The books are from the No. 3, 5, 9, 14 and No. 16 exhibitions. The list on Robert Baron’s site does not include a No. 16 exhibition, but apparently an album was published, because it’s now in my collection. I was happy and excited! Doesn’t take much does it? My quest continues for the dozen odd missing volumes however.

Japanese black pine, Pinus thunbergii sold by Seiji Morimae, S-Cube

Japanese five-needle pine, Pinus parviflora sold by Seiji Morimae, S-Cube

Elevator at Ueno Green Club where thousands of visitors take to the second and third floor sales area

We later returned to the exhibition where I was allowed to take a few photos for International BONSAI. Last year during the remodeling the museum overhead lighting was changed to “pinkish” bulbs which might look good with other art, but not bonsai. Some of the Trident maple bonsai appeared to have pink bark, rather than the characteristically white coloring. Additionally, spotlights presented dramatic lighting on many bonsai highlighting flowers or twigs. All of these factors did NOT help with my photography, however hopefully my friend Joe Noga can compensate when color correcting and perfecting the images for my magazine. Having spent over 35 years teaching color reproduction, Joe has a calibrated eye for perfection with unequaled results. So, please note that the color is not correct in the attached photos. If you want to see the true beauty and color of the bonsai you will need to wait until June when the next issue of International BONSAI is released with photos from the exhibition.

Chojubai flowering quince, Chaenomeles japonica ’Chojubai’

More information to come after additional days of study, but these are my initial impressions. By the way, I believe this is one of “the best” presentations of the Kokufu Bonsai Exhibition and can’t wait to see part 2 which begins on Sunday.

We had a private morning visit to the Shunka-en Bonsai Museum of Kunio Kobayashi in  the Edogawa area of Tokyo, Japan. Mr. Kobayashi has developed his museum to display many of his masterpiece bonsai in a garden setting as well as in formal alcoves. This is a most complete example of how bonsai can be enjoyed and appreciated in formal displays as well as illustrating the necessary outdoor environment for health and training.

In addition to having each bonsai in pristine condition, each specimen was matched to the perfect display table in size, color, design and quality. The accessories, antique containers, scrolls, as well as the display tables were all first class and of the highest quality, typical of the refinement Mr. Kobayashi enjoys and teaches.

Graduate apprentice Peter Warren from England returns back to his teacher for assistance during the busy exhibition season of Kokufu Bonsai Exhibition. Now an established international bonsai artist, Peter is usually found teaching and maintaining collections in Europe as well as the United States. I see more of Peter than many bonsai friends in the United States. Normally Peter is working at the Ueno Green Club sales area of his friend, award winning artist Minoru Akiyama. However he remained at the Shunka-en Bonsai Museum so he could guide us around and explain details which most people would not even think of.

Minoru Akiyama was one of the senior apprentices of Kunio Kobayashi when Peter was studying there many years ago and a close friendship has developed. They often teach together in Europe and the United States. Mr. Akiyama is a second generation bonsai artist who’s father is well known and married of Mr. Kobayashi’s daughters. It is a common practice for one bonsai artist to send his son to another artist for training in order to add new techniques to an established garden.

During our visit Isao Fukita, another senior graduate apprentice of Mr. Kobayashi was watering bonsai, in the cold.

It was interesting to see slight changes at the Shunka-en Bonsai Museum because of the Chinese market. Larger Japanese black pines are now commonly seen being trained. Some bonsai are as large as me, which is not saying much. Additionally there is a new area of Japanese maples being trained, some in wooden boxes. Many of these maples have red leaves, I guess the Chinese like red foliage, because most Japanese artists prefer the common Japanese maple with solid green foliage. They are more vigorous too.

Of course there were loads of finely developed Satsuki azaleas, one of the specialties of Kunio Kobayashi, and here again, large old stumps were being trained in wooden boxes. It was interesting to see the winter color differences of the Satsuki azalea foliage, some green, others bronze while some cultivars were nearly bare of foliage. All the Satsuki azaleas were full of plump flower buds for late spring display. If you want to see this garden ablaze in color, consider joining our new tour in late May/early June when we will bring a small group to see Mr. Kobayashi’s prize winning Satsuki azaleas, as well as two exhibitions, Satsuki festival and private visit to Taisho-en Bonsai Garden in Shizuoka which specializes in shohin bonsai.

Most of the bonsai at the Shunka-en Bonsai Museum had a whitish coloring because of the recently applied dormant spray of lime sulfur. Remember, the primary purpose of lime super is not for dead wood preservation, but rather to protect plants from pests. Normally a heavy application of lime sulfur is given after the exhibition season, but because of the unusually cold weather it was given earlier. The bonsai still looked good. Of course, masterpieces in preparation for display were not sprayed and many were in locations under the roof eves for a bit more protection to the tender buds.

After a quick lunch several of us returned to the Kokufu Bonsai Exhibition for another study period. It’s amazing what new discoveries can be learned each time a bonsai is seen. Details, details and more details are elements in refined classic bonsai and distinctive display. Of course, any trip is not complete without a stop at the Ueno Green Club.

Our tour group was scheduled (with confirmed appointments) to visit Mr. Kimura, Omiya Bonsai Village and Mr. Morimae on Saturday. However on Thursday we  were informed that the gardens would be not be open because that’s the “switch out day” for the Kokufu Bonsai Exhibition and the people would be in Ueno with their bonsai. Actually, that’s why we scheduled our visit during the closed day, but the artists forgot about the switch out day. No problem, Mr. Kobyashi made a few phone calls to the gardens and we immediately changed our schedule to Friday rather than Saturday one day early when the gardens were open.

BUT, God must have been smiling on our group. He knows I hate snow and 3-5 inches of heavy wet snow was forecast for Saturday. Although a bit of snow looks pretty on some bonsai, we did not need to get stuck in heavy traffic on the Japanese roads. It’s now Saturday morning and the snow began at 3:11am. How do I know it was 3:11am? Simple, jet lag…. It’s still snowing hard too and might continue tomorrow too.

On Friday morning we visited the garden of Award winning artist Masahiko Kimura. When we arrived a large truck was being loaded by three apprentices. Approximately 14 bonsai were groomed, labeled and tied to wooden boards for the trip to Tokyo and switch out on Saturday.

Next we visited the Omiya Bonsai Art Museum. Several of the sweet aromatic Japanese flowering apricot bonsai were in peak blossom. Photographs are not allowed in the museum nor the outdoor display area. However there is a section where photos are allowed in the garden, lobby and upper terrace. Of particular interest to me was a special display of old photographs, tools, maps and publications about the Omiya Bonsai Village. Of course I looked carefully and found an old photograph of a young Yuji Yoshimura leading a bonsai tour at Fuyo-en Bonsai Garden in the 1950s.

This is the 90^th Anniversary of the founding of Omiya Bonsai Village and each of the few remaining gardens displayed a several representative bonsai of their artistry. This week’s display was from Seiko-en Bonsai Garden of Tomio and Kaori Yamada. She displayed a beautiful pink Japanese flowering apricot composition in her “Saika Bonsai” style which she innovated to combine unusual containers, ikebana and flowering species to increase the popularity of bonsai to the public, especially women.

Yoshi Nakamizu (Bonsai Network Japan) opened his new Bonsai Omiya Restaurant a couple of days ago we were one of his first groups to dine with him. The new restaurant is right across the street from the entrance of the Omiya Bonsai Museum. The food was colorful, well presented and delicious too. A few bonsai were used for decor as well as a beautiful rock planting in the welcoming tokonoma alcove.

We then walked through the Omiya Bonsai Village and the first stop was Mansei-en Bonsai Garden of Hatsuji and Haruhiko Kato, fourth and fifth generation bonsai artists. They also were loading a truck with bonsai for the exhibition. Continuing our visits we stopped by the Seiko-en Bonsai Garden of Tomio and Kaori Yamada. She wanted to have a group photograph with her in the garden entrance.

Down the road a bit we stopped by the Kuku-en Bonsai Garden of Isamu and Yukio Murata. The old famous Zelkova bonsai which once belonged to Prime Minister Yoshida was on display. Mr. Murata is the caretaker of the Imperial Bonsai Collection in Tokyo and I was surprised to be informed that several “imperial” bonsai are maintained at Kyuka-en Bonsai Garden.

Imperial bonsai Japanese five-needle pine

Around the corner, our final stop in Omiya Bonsai Village was to Fuyo-en Bonsai Garden of Hiroshi Takeyama. He specializes in deciduous and unusual bonsai and also forest plantings. It was interesting to see his winter protection for many delicate deciduous bonsai and tropical bonsai under blue tarps and cardboard boxes.

On the bus again we departed for Hanyu, Japan, home of S-Cube the garden of Seiji Morimae. This is the largest bonsai garden in Japan which is also like a museum of affordable bonsai, suiseki, display tables and other antiques. He is charismatic and his family and staff made us feel warm, especially on this cold day.

We enjoyed many views of Mt. Fuji on the way to Omiya, but unfortunately it was too dark to see the mountain again on our way home. That’s OK because most members were asleep after a chilly but sunny full day of enjoying and buying.