Here’s another assortment of compelling images that popped up on my facebook timeline.
After and before. It’s a Kishu shimpaku that belongs to Michele Andolfo.
This photo was posted by Serene Jade Almond. Here’s the caption… ”Magnificent ~ Japanese maple🍁 Acer palmatum ~ probably around 300 years. Fujikawa Kouka-en, Japan” The Fujikawa Kouka-en garden is owned by bonsai master Keiichi Fujikawa and is located near Osaka, in the suburb of Ikeda.
This one belongs to our old digital friend Harry Harrington, who happens to be the author of several fine bonsai books including Foundations of Bonsai. Here’s Harry’s caption for this tree…”Autumn senescence is fast approaching. Here’s my Ulmus pumila/Siberian Elm bonsai this afternoon, with its leaves starting to turn yellow. Bonsai pot by Victor Harris”
I found this lovely work of art at 盆缽集錦交流社團
This one is from Hong Kong Bonsai Pots. Their caption says… Chojubai for sharing only (Chojubai is a variety of quince). I’m not sure why they couldn’t get the flower in focus, but I like it anyway.
An unidentified trunk from Walter’s garden (Walter Pall, who is almost certainly the most famous European bonsai artist, that is).
Here’s another one that belongs to Walter. It’s a Japanese euonymus.
Our neighborhood in Vermont. Posted by Caroline Demaio.
Speaking of Vermont, a friend from just up the road apiece had some of his bonsai stolen. Please contact me (email@example.com) if you know anything. By the way the tree shown is an American larch that was originally mine. It’s in one of our tie pots and that’s one of Robert Steven’s ergonomically designed shears next to it.
Today we’ve got some more great photos from the Omiya Bonsai Art Museum. They’re taken from a feature Omiya recently put up on a Special Exhibition in honor of the upcoming 100th anniversary of the Omiya Bonsai Village.
This Japanese maple with its truly astounding nebari, is named ‘Koga’ which means ‘child’ in Japanese.
“Japanese Maple. This work, the gentle sloping trunk spreading thin branches in all directions, gives the impression of a substantial expansion of space. In this season, the leaves will begin to color day by day and show a beautiful gradation.
Hanging scroll: Hazy Moon (painted by Keinen Imao) (E-033)
Writing Alcove: Itosusuki, Japanese Silver Gras” Quoted from Omiya Bonsai Art Museum’s caption.
“Japanese Juniper. This bonsai's trunk brims with shari part of which bends out forming sharp jin near the soil's surface. Contained within the tree's short 30 centimeters is an expression of a solemn tree formed by nature's hands. Companion piece: Fuiri-Sekisho.” From Omiya’s caption.
Red chokeberry. There’s a message here; all your bonsai don’t have to be powerful behemoths, or even trees. Sometimes an unremarkable shrub can become a thing of beauty in the right pot and potted just so. Of course flowers and berries never hurt. In this case, our little planting could be a companion or stand on its own. Your choice.
“Bonsai Pot with Pegasus Design. The winged horse made its way from Sassanian Empire (224-651 B.C.) to Tang Dynasty in China before reaching Japan in the 7th century during the Hakuho period. The pegasus in this picture, with all of its fore legs raised, was copied from an icon found on a decorated pitcher at the famous Horyuji Temple.” From Omiya’s caption.
Here’s another one that could be a companion or stand on its own.
Burning Bush. A plant common here in Vermont and much of the Eastern U.S. that’s known for its brilliant red fall foliage. Here’s Omiya’s caption: “This bonsai, formed in han kengai, or semi cascade style, is of a small variation of the spindle tree called komayumi. After blooming with pale green blossoms in early summer, the plant bears small fruits here and there. In fall, they become vivid red color.”
“History and Culture of Bonsai: Bonsai Chronicle. Time Period: Saturday, September 18 to Wednesday, November 17. Venue: Exhibition Room.
The “Bonsai Chronicle” panel—which explains the history and culture of bonsai in a visual chronological table—will be on display along with bonsai pots filled with seasonal plants, ukiyo-e woodblock prints and other bonsai-related historical materials.” From Omiya’s caption.
“Japanese Cedar. The beautiful shape of this Japanese cedar showing the dignity of a massive tree condensed to a smaller form represents a typical shape of bonsai. And with the branches shaping left and right alternately, a symmetric and breezy figure is expressed.
Hanging scroll: Banri Ichijo Tetsu (calligraphy by Sokushu Akiyoshi) (E-076)
Side Alcove: Fuchiso, Japanese forest grass.” From Omiya’s caption.
“Gyo Room Japanese Maple (Deshojo). With five trunks standing upright this bonsai expresses a refreshing impression. The name of this breed of Japanese maple, Deshojo, means deep red and was given to the breed because it bears such deep red leaves in the early spring.
Hanging scroll: Moon and Silver Grass (painted by Shoe Watanabe)” From Omiya’s caption.
“Virginia Creeper. This plant is a creeper native to the southeastern part of America and Mexico, and looks as though it grew wild on a high cliff. It was introduced to Japan during the Taisho period (1912-1926). The dainty berries are the highlight of this season. As autumn deepens, the green leaves turn a vivid red.” From Omiya’s caption.
Hinoki Cypress, Chamaecyparis obtusa. Omiya’s caption says five trunks, but I only count 4. Are my eyes playing tricks, or is the fifth trunk completely hidden? Or…..? By the way, I like the way the lighting highlights the bright green foliage that is often characteristic of Hinoki cypress.
Today’s photos are from the Omiya Bonsai Art Museum. They’re part of a Special Exhibition in honor of the upcoming 100th anniversary of the Omiya Bonsai Village. All the captions featured here are direct quotes from the Museum’s descriptions with each photo.
“This work is "Ishitsuki-Bonsai" created by Tomio Yamada, the 4th generation of Seiko-en in Omiya Bonsai Village. It is made by rooting Japanese White Pine on a unique circular stone.”
“This group planting is composed of Korean hornbeam, which grows naturally in parts of Japan and Korea. This piece was created fifty years ago by Teruo Kurosu, master of the Shosetsu-en Bonsai Garden, who trained at the Toju-en Bonsai Garden located in the Omiya Bonsai Village. The multiple trunks radiating from the main trunk create the scene of a grove of fresh green trees. Hanging scroll: Moon and Silver Grass (painted by Shoei Watanabe)”
“Gallery 5 Aka-matsu, Japanese Red Pine
This bonsai exhibits a thin, flexible rising trunk. This style is called “Bunjingi”, or Literary Style, because “Bunjin”, or literary persons, were fond of this style. Within an air of agility, the bonsai’s overall impression is drawn together by the branch that grows lower from the higher part of the tree.”
“Gallery 3 Hime-ringo, Chinese Crab Apple
The crab apple is known among apple trees for the innumerable fruit they bare. During the flowering season in April, it blooms near-white pink flowers, and from June to July, it bears guail-egg-sized fruits. In autumn, the bright red fruits are even more brilliant when leaves fall off.“
“Gallery 1 Yama-momiji, Japanese Maple, Acer palmatum
The stability of the root base and the symmetry of the branches in this Japanese maple impress a sense of calmness on the viewer. The lush foliage accentuates the beauty of this work.”
“Gallery3 Hatsuyuki-kazura, Star Jasmine
As the white trunk shows its strong curves, each branch bears a well-balanced flush of leaves. Hatsuyuki (literally meaning first snow) is so called because of the white spots found on its leaves, which at this time of the year are pale pink coloring, adding to the bonsai’s stunning charm.”
“Shin Room Goyo-matsu, Japanese White Pine
The trunk, wearing its powerful twists, grows upward with a rich vitality that produces a sense of liveliness throughout the bonsai while the backward growing branche of this piece add three-dimensional effect to it.
Hanging scroll: Seisho Tajushoku (calligraphy by Sobin Yamada) (E-174)
Side Alcove: Chojubai, Flowering Quince, Chaenomeles japonica ‘Chojubai'”
“Shin Room Goyo-matsu, Japanese White Pine, Pinus parviflora
Even among imposing chokkan, or straight-trunk style, bonsai, this piece stands out because of the way its trunk tapers as it rises from the base, giving the viewer the impression of looking up at a tall, full-sized tree.
Hanging scroll: Shoju Sen-nen no Midori(calligraphy by Sokushu Akiyoshi)(E-083)
Alcove: Fuchi-so, Japanese Forest Grass.”
“Shin Room Goyo-matsu named Sokaku, Japanese White Pine
The name “Sokaku” literally means paired cranes. With its height, and white vertical section it is a stunning bonsai. The tops of the two trunks grow thick with needles and take on the form of two cranes holding their heads together, which is where the name of this tree comes from.”
From the Museum’s caption.
“A dragonfly came to see our bonsai.”
“In the bonsai garden, usually 60-70 bonsai are on display.”
Trying something new today… an assortment of images that popped up on my facebook timeline.
Both the perfectly balanced tree and the simplicity of the setting caught my attention. It was posted by Andres Alvarez Iglesias. No variety listed.
This one stands in contrast to the photo above in so many ways. It was posted by Enrico Savini. His caption reads “These stolen photos in the night shadows…”
Here’s something about leaf sizes on collected trees that was news to me and just might be news to you too. But you’ll have to visit Michael Hagedorn’s Crataegus Bonsai blog to get the story.
Speaking of Michael if you somehow haven't read his excellent book please do.
David Benavente posted this excellent video, but you’ll brush up on your Spanish if you want the whole story.
This Japanese white pine was posted by Bjorn Bjorholm (Eisei-en Bonsai). Here’s his caption… “Field-grown in Japan and imported to the U.S, this chuuhin-size JWP is grown on its own roots and possesses soft, feminine foliage, characteristic of the species.”
Some of Walter Pall’s pots. It’s always nice to have a good selection on hand so you can find just the right one. What you see here is, I think, more than good… one can dream.
Walter Pall again. It’s a Scots pine that’s was collected in Sweden in 2019.
I think we’ve shown this one before. It belongs to Mauro Stemberger. His caption reads… “Me & Buddha are ready for ARCO BONSAI 2021, and You????”
This was posted by Luis Vallejo at his Jardin de Bonsai. Looks like a Shimpaku.
Posted by Mariusz Folda, a bonsa, ceramic and landscape artist we’ve featured a few times over the years.
On a sadder note two weeks ago some family and I had reservations at a lodge not too far aways from these majestic giants. Three of our party had never seen them. For me it would have been my third time, but no such luck. Two days before we were scheduled we got a call from the lodge that the forest service had closed the area. The next day this fire broke out.
Today we have some excellent bonsai from the recent 7th US National Bonsai Exhibition, courtesy of Jonas Dupuich. Head over to Jonas' Bonsai Tonight to see more.
Today we've got some outstanding bonsai from Matt Reel. Matt is one of the ever growing but still small group of North Americans who has apprenticed in Japan.
A little swamped here right now, so captions this time. I think the trees (and the cat) speak for themselves anyway. Enjoy!
Bonsai Heresy illustration by the great Sergio Cuan. Sailor tattoos on bonsai should be commonplace.
Fertilizer adventures are a given in most bonsai gardens. For years I used solid organic cakes, being the traditional solution, but found the birds unmanageable in their hunt for grubs underneath them. I wasn’t willing to use insecticide to control fly larvae, so birds, and lost fertilizer, were my fate for a while.
Now there’s a cat in the garden. It’s a quite well-fed one, with a dragging belly (and no piles of feathers anywhere), but she’s apparently a sufficient talisman of ‘Don’t you even THINK of flipping a cake off that pot!’ We’ve increased her pension plan.
Now I’m back to my preference, organic cakes.
If you’ve read Bonsai Heresy, you may remember one chapter where I write about fish emulsion being our primary fertilizer. But the most important sentence comes right after it: ‘If my situation were different, I’d likely use cakes for their multiple benefits and ease of use.’ Yet now all I get are questions about our fish emulsion schedule.
One of the fears of any technical book author is that the most important sentence will be missed, and the least important remembered. The fertilizing chapters of Bonsai Heresy are full of such awkward potential.
If possible, go with a slow release, solid fertilizer. Organic cakes if possible, maybe chemical pellets if not, or try fish emulsion or maybe a mild chemical liquid. We’ve all got different yard variables, and so our fertilizing choices will likely differ, too.
Slow release works great for our process. A little bit gets in every time we water. Equally cool, slow release fertilizers resist flushing out. We can flush liquid fertilizer out with watering, and rain can flush it out, but slow release solids keep fertilizer levels steady regardless. Infrequent use of mild liquids often ends in pale, weak looking bonsai. You can use liquids, just be aware it’s often a lot more work.
In general, I’d say if confused by anything you’re reading, don’t blame yourself, blame the author. It’s what I do.
Starting point on an Ezo spruce that belongs to Michael Hagedorn. Can you improve this tree by selecting branches to remove?
Today’s post is borrowed from our friend Michael Hagedorn Crataegus Bonsai blog. We’ve offered a whole lot ‘which pot would you choose’ exercises over the years, but hardly any ‘which branch.’
We’d love to see your choices. If you’d like to share them and perhaps your reasons too, you’ll need to visit us on facebook. Give us a couple days after we post this before it goes up on facebook.
Here’s Michael’s caption for this one… “Just for kicks, here’s where we started with the Ezo in December, 2016.”
Here’s your link to Michael’s original Crataegus Bonsai post. And here’s one to an earlier styling of this tree by Michael.
Check out Michael's excellent books too!
This lovely Cotoneaster is from the34th Taikan-ten Bonsai Exhibitoin. No information on the artist or owner is given.
We’ve got a real treat for you today… some of Japan’s finest bonsai by some of the world’s most accomplished bonsai artists. Enjoy!
Japanese white pine from Masahiko Kimura’s collection. This and the other photos shown here were borrowed from Facebook. Scroll down for the link.
This Shimpaku planting is one of Mr Kimura’s famous artificial rock plantings. And yes, he made the rock too.
Kimura’s famous Flying Dragon Shimpaku juniper.
This magnificent monster Black pine with its ancient bark lives at Taisho-en Bonsai Garden.
A little background action at sunset. It’s a Japanese black pine at Taisho-en.
This striking Needle juniper is at Taisho-en.
Diospyros Kaki Japanese persimmon at Kunio Kobayashi’s Shunk-en Bonsai Museum.
Another masterpiece at Shunka-en. This time it’s a Shimpaku juniper with outstanding flowing deadwood, a single living vein and a powerfully strong and compact crown which was no doubt designed to hold its own in contrast with the sheer power of the deadwood.
This is Walter Pall’s lead photo from a series he posted on FB. It’s a European Larch (Larix decidua) with guy wires and a checkered past. The pot by Derek Aspinall.
Walter’s sad news for Larches. Here’s what Walter Pall wrote about larches and climate change and about this particular larch: “European Larch #17 - The climate in Europe is definitely changing. In many parts European larches cannot be kept well where it was possible a few years ago. In Italy and even some parts of Germany bonsai folks are struggling with the summer heat which can be disastrous for our larch. Therefore a few really good larches are available for interested enthusiasts. I have the great luck that my garden is a bit cooler than most. So some larches recently found their way into my garden. This one has a great past - it was styled to look like a very good modern bonsai. I personally prefer it to look like a very good larch from the mountains.l So I started to naturalize the tree slightly after planting it into the new container by Derek Aspinall.”
More by Walter on the tree featured here. 65 centimeters is about 25 inches, BTW.
In an earlier stage and a different pot. You can tell it’s winter. Larches are one of a handful of deciduous conifers that grow on planet earth. We can only guess about other planets.
Another shot from an earlier stage and in yet another pot. If you compare this shot with the more recent one at the top, you’ll see the apex migrated a tad to the left in the top photo so that it’s directly over the center of the tree and the pot, while the apex here is bit off center to the right (more about this below).
Needing a haircut. Pot looks familiar.
Wired out to the tips.
A close up of a nebari that needs some help. If you look at the shot at the top of this post, you’ll see the improved nebari. Walter lowered the left side of the nebari and raised the right side. This changes the planting angle so the apex is just a little farther left. A definite improvement all around.
This shot is very similar to the one at the top. Just a different background and the foliage is a little more filled out.