Monthly Archives: May 2012

Use of Native Plants for Bonsai and Kusamono

Posted on by

As an unabashed plant nerd, I love everything from bioluminescent algae all the way to Sequoiadendron gigantium.   Due to an interest in the unusual and more rare species of plants not indigenous to my part of the United States of America, I set out to learn about as many as possible.  When something really cool turned up, it was time to get one; hence an interest in plant propagation.  Yes, I was one of the bonsai people who had about 600 plants of species suitable for bonsai but had no idea how to make them into something worthwhile at one point.  Moving was always epic.  Our fascination with the exotic and unusual is likely one reason we gravitate to bonsai; or to be more specific, the plants used for bonsai art in Japan.

Should we use Japanese and other Asian species for bonsai?  The short answer is yes.  If that is what makes you happy.  There is something wonderful about having access to multiple generations-worth of experience working with a given species and living examples of ancient ones that have flourished as bonsai.  What I almost never hear anyone say is The Japanese use their native plants!  I am not a native fundamentalist at all.  I mean, this is being written in Japan and the only native plant close by is a Parthenocissus quinquefolia

grafted onto P. tricuspidata.  So why you may ask, am I in Japan?  Quite frankly, I did not relish the idea of learning a new language from scratch and subjugating myself.  But, it’s worth it.

One of the many reasons bonsai in Japan are so excellent is the intimate knowledge of the growth habits and physiological responses of their trees.  Prunus mume for example, has a physiological window in late Spring where buds differentiate between flower and leaves for next year.  How do we know this?  Through a massive amount of trial and error, experimentation, and observation of their native trees and shrubs.  We use Japanese species for bonsai to some extent because a lot of the work has been done for us.  Japan was the best possible choice in my mind to study as this is where the artform as most know it originated.  China and Korea were “first” on the scene, but if you call it bonsai, it came from Japan originally.  A number of speices here, including Prunus mume, came from the mainland.  Where do you go to learn how to make Italian food?  Italy.  Where do you learn study French Impressionists?  Guess.

If anyone can direct me to a Prunus mume that looks like this in America, I'll come home ; )

It is only logical to go to the source to learn the classical styles, cultural / historical background, and influences from nature that made Japanese bonsai what it is today before setting out on my own path towards artistic expression.  If you do not have a solid foundation to work from, I feel you’re spinning your wheels.  You don’t have to study bonsai in Japan to be good; it certainly doesn’t hurt though.  In some ways, being here could even be limiting I suppose, but only if I back myself into a psychological corner.

One motive I did not mention in my first post (Bonsai?  Why?) about why I am in Japan is this:  in order for me to better understand the native plants I intend to use and promote the use of in America, I need to learn the tricks of the trade here.  My personal collection of bonsai in America is about half natives and half exotics.  Native plant collection for bonsai is already alive and well internationally.  People like Randy Knight are pushing the limits horticulturally and the results are well worth it.  Every new insight into how to coax the best out of our natives will get us closer to knowing them like the Japanese know theirs’.

The notion of a style distinctly American, European, South African, etc to me means using native plants. Or for example, at a minimum using something like a Buxus to make a bonsai reminiscent of a Quercus virginiana if you are doing an American style bonsai.  Since I’ve opened this door I feel that native companion plants could not hurt either.  Not naming names, there are others who feel the same as I do about  the concept that art should not be a Xerox copy of what you see in a book from Japan.  I will always create and style bonsai made from Japanese plants, but thinking outside the box and making something new keeps life interesting.  My dream is to one day have an intimate working knowledge of American native plants.  Then, we can push the limits of artistic expression further as has been done in Japan.

Your homework, as if I could assign it : ), is to find a native tree, shrub, or perennial not commonly used for bonsai yet and do some experimenting.  I am not advocating collection of anything threatened.  Comment if you are working with natives from your area and would like that information to be spread.

Thanks for reading.  I’ll leave you with two photos I just felt like sharing from Saisho-in, Kyoto…..

A black pine / crepe myrtle fusion!!!!

 

Bet it sounds even cooler in Japanese.......

Poodles and Manicures

Posted on by

There is very little that really gets me fired up when it comes to bonsai discussions. Generally, a person’s opinion about something as subjective as art is just that; subjective.      However, I feel the issue of “Bonsai Groomers” or “Bonsai Hair Dressers” needs to be addressed.  I’ve been hearing about this for a few years now from bonsai artists and hobbyists outside of Japan.  A lack of understanding I fear, is the issue.

My past feeling on the issue of bonsai ownership was that to call it “your’s”, you needed to create and style it yourself or at least own it a year or so.  Looking back I now know this stems directly from my ego and need for validation.  A few years before moving to Japan, I came to the realization that my method of thinking was extremely short-sighted and “mono-generational”; if it’s not a word, you get the idea : ).  There are many bonsai in Japan that are older than the concept of the United States of America.  Keeping bonsai going as an art form is a priority here in Japan.  In America, things are getting started.  That is not to say there are not some really impressive bonsai in the States, the EU, etc. etc. You just can’t compare Japan to the Western world yet.

So, what is the argument?  Styling and maintaining some of the best bonsai on the planet is akin to styling hair?  This leaves me confused.  Yes, I’ve heard mumblings that Kouka-en is a “groomer” before.  Kouka-en does do exhibition preparation for clients.  We also care for clients’ trees here at the nursery for long periods of time.  I think it is difficult for some to understand the different dynamic of bonsai in Japan.  This is a business.  Caring for clients’ bonsai brings in steady income and gives the bonsai the best possible chance of achieving true greatness.  Much like other art forms like painting and sculpture, patronage by wealthy clients is what allows bonsai artists to contribute to the cultural fabric.  The average customer here does not have training for technical wiring, in-depth knowledge of the best maintenance practices, or space to care for a ton of bonsai at their home.

Many current bonsai refinement techniques (those developed in about the last 30-40 years) exist to a large extent due to professionals’ specialization in differerent species, styles, and sizes of trees.  In Japan, there are clearly defined roles that different businesses take.  Businesses do evolve of course, and this will be touched on later.  There are mass production field growers, smaller specialized field growers,  yamadori collectors (yes people still collect in Japan), and container growers as well.  The next step up are rough stock whole-salers and cheaper retail shops.  There are middle level bonsai gardens, people who specialize in initial styling etc. etc.  Collectors’ trees bounce in and out of the mix at all levels as collections are bought and sold.  The most serious collectors appreciate the value of a bonsai that has had multiple owners, an interesting story or two attached, and the obvious prestige or value of owning something culturally important.

This Crataegus cuneata was exhibited in San Francisco in 1940. Interesting right? If you read this earlier, my previous date o f 1917 was incorrect.

Many of the famous bonsai gardens people know internationally are at the top of this food chain.  The best bonsai gardens in Japan deal in often very old, immaculately refined, and highly priced bonsai with well documented histories.  This high-end business model has been around in Tokyo for at least 100 years. It really gained prominence during the Bonsai Boom (about 1984 to 1992) when the value of good bonsai, pots, stands, and suiseki skyrocketed.  Demand increased, so competition between businesses led to better and better refined trees, implementation of some new techniques, and higher quality standards.  Over the course of Japanese bonsai history, there have been multiple booms and busts. Whether it was formal upright black pines, satsuki azaleas, or the fabled “giant green blob style” where all you saw was a nebari, these booms directly influence bonsai world-wide.

An Acer palmatum semi-cascade we are making.


At Kouka-en, there are trees that were started from seedlings and still here that have received Kicho Bonsai, or Important Cultural Masterpiece status.  Fujikawa-san and I have looked though Kinbon and exhibition books together and this nursery has owned a number of famous trees at one time or another.

Trachelospurmum asiaticum semi cascade. Current size 1.5 x 1.5 meters. This tree will soon be grafted with T. asiaticum var. Nana. It will likely be one of the best in Japan in the future. Using the straight species as under stock allows you to get a big base, long branching, and you don't have to wait 200 years : ).

 

Kouka-en started as a grower of roses, perennials, and field-grown bonsai.  Then, transitioned into the satsuki azalea trade by collecting rough stock and refining it.  Next, the focus shifted to deciduous and broad-leaf evergreens.  Now, there is a mix of just about everything here.  Many other top bonsai gardens like Shunka-en started out as a grower before evolving into the current business model.  With such a diverse history of creation, refinement, and maintenance, the monicker of groomer is wrong.  Being at the top of the food chain is an honor, and refinement work requires knowledge of the preceding steps needed for bonsai creation.  I look forward to the day when bonsai is highly specialized in America and abroad.

Here's another jasmine decades after grafting. This cascade is in the top three, if not best cascade jasmine in the world. Trachelospurmum is a species Kouka-en specializes in.

My friend Glen Lord said it best “there’s something romantic about a single-species nursery”.  It will truly be a wonderful day when we have that level of sophistication.  Thanks for reading. I’ve got a mani-pedi to do on a Stewartia monadelpha, so I’m signing off : ).

 

 

 

Katsuragi San Trip

Posted on by

 

Yesterday, I went to see the azaleas blooming on Katsuragi Mountain.  I will have a Facebook Album uploaded soon as well with more photos of today’s adventure.  After setting out, 4 train changes and a bus ride put me at the base of the mountain in 3 hours.  Most of the places I like to go are not close to Osaka, so the key is to wake up really really early on my day off…..  Apparently I like pain.  Since I’ll be posting on trips I take while in Japan, there is one important rule of thumb to be aware of:  Never trust the scale of Japanese Maps!!!!  They often embellish the size of an area or shorten the visual length of a trail.  In this case, the azalea area is about 10 times too big and the trail on the right-hand side is not straight, but about a 5 kilometer arc.

I took the cable car to the top because I have common sense.  I’m not saying I wouldn’t or couldn’t hike to the top; I climbed two mountains on Miyajima last summer and will climb Mt. Fuji this summer.  The cable car on Mt. Misen on Miyajima was out of service : ).   I wanted more time to take photos and take a leisurely walk down the mountain on my day off.  The ride to the top yielded a new friend.  I was smirking at the couple behind me having a worried conversation in Japanese about whether they had the “right gear” and a man next to me caught me.  He said “I’m a sherpa in my home country of Nepal”.  Now smirking himself, “1000 meters altitude is a hill”.

One of my favorite aspects of Japanese culture is the need to be “prepared” for an outing; somehow REI (an American Outdoor Store) bombed in Japan.  I have no idea why.  Whether it’s a beginner’s mountain bike singles weekend or a friendly golf game, many Japanese go to town on the “proper” apparel, gear,  private instruction, etc. before such a minor event.  Many of the day hikers i saw may not be mountaineers, but they were sure as hell going to look good and act like they were for the  Kodak Moments.  Keep in mind I left out the photos of old men with canes and mothers with double strollers….. Another interesting cultural phenomenon here is being offered assistance for no reason just so somebody can practice their English on you.  It’s always the same set of questions, but I humor them.

      

 

Even though I was a week late for “prime viewing”, the flower show did not disappoint.

 

    

Somebody will ask what the trunks look like so here you go.  The average shrub was about   10 feet tall and 16 feet wide.

 

After I finished documenting this wonderful event, I went to one of the 3 restaurants near the summit.  I mean, after summiting, you need to have a hot meal and recouperate right? With no roads, everything is brought up by the cable car.  I’ve found that the Japanese will put a ramen shack on a cliff face if there’s any possibility someone might be kept from a convenient meal.  I passed on the $40 sushi set and went for the yakisoba, two onigiri, and a green tea latte.  I love Japan : ).

     Approach Camp…..

The hike down promised to be a long one as it followed a few ridges then looped back to the cable car site at the bottom.  I never pass up a chance to walk through the forests here in Japan. The last third was not for the faint of heart but most of the trip was easy. Katsuragi-san’s forests consist Primarily of hardwoods.  Clethera barbinervis (under-used for bonsai)  being dominant with a pretty even showing of Oaks, Fagus japonica, and Stewartia pseudocamellia (also under-used).  I’m really into trees with exfoliating bark, so this was a real treat.  The feeling was often that of an earth-tone paint fight : ).  Acer palmatum and Pinus densiflora were rare, but the ones I saw were impressive.  I also passed areas of exclusively Chamaecyparis obtusa.  The hardwoods dominated the areas with plenty of available water, while the hinoki conquered the drier sites.  The forest floor was covered with Amorphophallus, at least 10 different types of ferns, and an assortment of plants I had never seen before.  Anyone who know me well would assume I confiscated a few of the plants, but I was a good boy.  The Japanese park service may want to avoid putting signs right next to the rarest plants though; makes them easy to find……

I am fairly plant savvy, but sometimes telling which one was Stewartia just by the bark was tough.  
      

   

This last photo shows the cable car house at the top of Katsuragi-san.  I am about half-way  down at this point.

Thanks for reading and please bear with me as I learn how to use this program.  The next post will be about poodles and manicures for sure.  This one took priority : ).

Pseudocydonia sinensis

Posted on by

Chinese flowering quince, known as Karin in Japan, is a species of fruit tree native to China.   The species is known for pink flowers in late Spring, exfoliating bark, and red to yellow fall color.  In this post, I’ll walk you through a few techniques for creation and maintenance of this species and show off a Karin that will debut at the Kokufu-ten for the first time next February (2013).

In the world of bonsai, there are a few varieties of Pseudocydonia sinensis so before creating or buying one for that matter, you should know what you are getting into.  For shohin and kifu (smaller) bonsai, seedlings known in Japan as “Misho Karin” or “Jikarin” are best.    A selection of an especially good seedling that is asexually propagated (cuttings or grafting) is called “Himekarin”.  In the Japanese bonsai community, the lineage does not seem as important as the characteristic that makes the selection desirable. I’ve asked four different professionals what the name of a rough barked pine was at an exhibition and received three different answers.  This is frustrating for a plant nerd like me.  There is a new “hime karin”, or small karin selection nick-named “Isai”; a term for any species of plant  which shows strong flowering precocity (flowers even when very young) and has naturally thin twigs.   We will get back to why this is so cool later.  The more common type seen in bonsai is “Jikarin”.  This variety has larger leaves, thicker, branches, and flowers/fruits reliably.  We’ll start with seedlings.

To grow Pseudocydonia from seed, collect from ripe fruit or purchase from a reputable seed supplier who can tell you how old the seed are and the provenance (where the seed were collected); this goes for any seed purchases.  Provenance is important especially for bonsai as seed collected from trees in a colder climate or lower USDA Climate Zone number will likely be more cold hardy.  Put all seed in a cup of warm water and do a “float test”.  Seeds that float generally do not have a viable embryo and should be pitched.  Cold stratify seed for 3 months or sow in Fall and protect from rodents; I like to use chicken wire to cover the flats.

                                                            

Seedling quince have smaller leaves, more delicate twigs, and do not develop thick trunks quickly.  This variety does not flower easily; it may take decades and even then be sporadic.  It is a compromise to lack the reliable flowers and fruit, but be able to have the exfoliating bark and not have to deal with the excessive vigor found in Jikarin. Maintenance work is generally limited to removing leaves at the base of stems with no latent buds below, shortening vigorous new shoots, and sometimes cutting the largest leaves shading branches below in half or removing completely.  Wiring is best done during May (in Osaka) after defoliation.  Physiologically, this would be some time just after the new leaves fully harden off.  Wiring any type of Pseudocydonia in late winter before or just after the leaves pop is a bad idea.  The branches are stiff and will snap easily.  This is however, a good time to prune thick terminal shoots or remove large branches.

For Chuhin and Ogata (larger) bonsai, the commonly available Karin that has large leaves, a fast growth rate, and large fruit will work well.  These are referred to as “Tokarin” and are usually grafted.  Tokarin are notorious for producing thick shoots quickly leading to an inability to bend in the future.  It’s best to wire for form at an early age.  I would recommend defoliating, wiring the long shoots with aluminum, then placing the branches before shortening to a desired length with wire snips.  Cutting then wiring a short shoot will likely lead to pinching the shoot and die-back.  Small cuts heal very fast.  Big cuts will heal in time, but perhaps not in a time-frame you might like.  Maintenance is a little more labor intensive and will be covered below.

The previously mentioned “Isai Himekarin” is the best of both worlds.  You can have the soft, thin branching but also get a reliable round of flowering even on a young tree.  You don’t get the explosive growth of Jikarin, but with patience, a chuhin covered in 100ish fruit doesn’t seem out of the question.  Here’s the best part; the fruit are the size of golf balls!  There is an old Japanese grower somewhere patting himself on the back and smiling large right now : ).

As with any species of plant, knowing where it is from and what it’s related to can tell you a lot.  Psedocydonia sinensis is in the Rosaceae Family, so it is succeptable to pretty much everything bad that attacks plants including fire blight (Erwinia amylovora).  This also means you can’t import them to America. The EU still allows them and I’d bet 100 Australian Dollars they aren’t allowed Down Under.   Karin however, is more resistant to infection than other species like Cydonia oblonga (European Quince) and some species of Pyracantha and Cotoneaster.   Import bans on entire plant families is something I have an issue with, but I will stay off my soap box for now : ).  Karin are almost always the first tree to leaf out so they should be re-potted accordingly.  Being first in line for a re-pot  also means they should be giving whatever fertilizer regimine you use earlier than most; and don’t be stingy with it either. Moisture levels in the soil should never drop too low.  This species stays thirsty from leaf pop to leaf drop!  You can make the fruit shine and intensify the fragrance the fruit emits during and after ripening by polishing with a soft cloth.

This clump style Karin has been at Kouka-en for about 10 years and is one of my favorite trees here.  A client in Shikoku entrusted Fujikawa-san with the transition from a quality bonsai to a world-class, highly refined show tree.

 

So far this year, the tree had the thickest and most unsightly branches removed in January, the strongest shoots as the tree flushed shortened or removed depending on location, and the largest leaves in the silhouette were cut in half at the beginning of April.

.

Now, it’s time for defoliation.  Every leaf in the outer silhouette was removed.  Then any leaves inside that were shading shoots below or seemed too strong were removed or cut in half.  This leaf surface reduction technique (shown to the right) alone when done on most deciduous trees can be extremely helpful in letting light and air into the canopy.  The timing for thinning of any deciduous tree is extremely important.  This particular tree is being thinned “on time”.  However, in preparation for the Kokufu ten, this tree was allowed to retain more branching in the canopy during thinning to look better for judging.

 This comes at a price as you can see below.  Never underestimate the resilience of a Karin though!  I will be struggling to see into the canopy of this tree in a month or so.

Now that defoliation of the outer portions of the tree is complete.  The inner buds will gain strength.  If you follow my blog or take classes with me in the future, one point I will continue to hammer home is the importance of balancing vigor and increasing the strength of inner buds and branches.  These branches with leaves still attached will have a “head start” on the leaves soon to pop out.  The tree after defoliation  below.


After defoliation came shoot shortening.  Shoots were reduced to 2-4 internodes with priority placed on fullness and not on sustainability.  After the exhibition next Winter, the tree will be cut back agressively and the process of developing finely ramified branches will start over.

 

     

Now for the Final Product:

Thank you for reading this rather long post.  My next post will be on the matter of poodles and manicures…….

Jizo-en and Saihoji aka “Kokedera”

Posted on by

Jizo-en and Saihoji aka “Kokedera”.

Saihoji is my all – time favorite garden and a photo of this amazing place triggered my interest in Japanese art and culture.  Jizo-en aka the Bamboo Temple, is located nearby.  Saihoji requires an advance reservation.  Bonsai Art of Japan Episode 4; Saiho-ji Footage @ End of Episode

 

Bonsai? Why?

Posted on by
Bonsai? Why?

FEATURED
I have been reluctant to write a blog up until now as you need to have something novel, or at least somewhat interesting to say.  I have built up enough experiences and mastered “Hidden Crane Sweeping Technique”, so it’s time to share what has happened thus far and update when I have something worth saying.  My first year and a half here at Kouka-en in Osaka, Japan has been a humbling one.  Following time-tested and well executed training techniques on a wide variety of species has opened my eyes to what is possible for bonsai improvement and how to do it.  That and learning a new language to accomplish tasks in an environment where mistakes are not acceptable has a profound effect on you.  The top of my head has a permanent bruise;  Fujikawa-san is skilled at not leaving marks from years of practice so I must blame the low doorways I suppose….

There are a number of excellent blogs related to the art of bonsai, so I will try not to overlap topics covered by other apprentices currently in Japan (Peter Tea, Matt Reel, Tyler Sherrod, etc.) or other professionals actively posting (Michael Hagerdorn, Peter Warren, etc).   The YouTube series “Bonsai Art of Japan” is a project I work very hard on with the creator and wonderfully talented producer Bjorn Bjorholm.  I’m sure the series will be referenced often so if you haven’t seen any of the now 25 some-odd episodes, start watching : ).  Future posts will include horticultural tricks, styling pointers, etc.  The subject of my first post will be on why we train bonsai:

The question of “why” I train bonsai let alone dropped everything (career, relationship, truck, etc) and moved to Japan has crossed the lips of many family members, friends, and acquaintances.  Oddly enough, Japanese people seem more surprised than Westerners when I tell them what I do.  We all get asked the question eventually I suppose.  My motives for becoming an apprenctice were very simple.  First, I would be able to follow a passion for the art and potentially make a living doing it.  Second, I’d be able to teach others about the art so their level of appreciation and enjoyment would rise.  Third, I’d get to live in Kansai Prefecture close to all the gardens and natural scenic beauty of Kyoto, Nara, and Osaka.  This motive really has had a profound influence on my understanding and styling of bonsai as experiencing ancient specimens of the species we covet for bonsai outside of Japan really helps understand their habits in old age.  Last but not least, training bonsai is an extension of my previous career in the world of horticulture.  I’ve always enjoyed the sense of accomplishment and tangible results associated with seeing plants recover, germinating seeds, and so on.   Bonsai is on a whole different level as the process is longer and the results all the more fulfilling.

When just getting into bonsai while at The University of Georgia, a friend posed the “why” question.  On the surface, I suppose bonsai is an odd addiction…. (ahem) I mean hobby.  I asked him “Why do you play golf?”.  He reflected for a moment and let it go.  I feel there are a few similarities between the two activities that may help others defend their passion for bonsai.  For example, slicing into the woods repeatedly all day then hitting a fluid drive onto the green just once makes a whole day of effort and cursing melt away.  Countless hours butchering defenseless trees as you cut your teeth on this art form all become validated when you get your first honest compliment on a well-trained tree.   Purchasing hundreds, if not thousands of dollars worth of equipement for golf does not make you better.   The same goes for bonsai, although buying stuff for both does make it easier at times.  What is it about bonsai that causes people to ask us to defend our hobby?

A fellow blogger, Bonsai Eejit, has the coolest and most profound logos I’ve ever seen.  Being “chained” to our bonsai is a choice we make.  Are we all masochists I wonder?  How many hours a week do you spend thinking about or caring for your trees?  Few other hobbies require the logistical acumen we bonsai people have to care for our little ones while away from home.  Yesterday, I went with Fujikawa-san to evaluate and possibly purchase a collection of bonsai and pots.  The collector was no longer capable of caring for the trees and his wife was responsible for watering.  She lasted about two months apparently before placing a call to us.   Many of the trees were at various stages of wilting or death.  She was so excited to see us : ).   The point is you have to love bonsai deep down or you’ll never make it past the 1 gallon garden center juniper massacres.  These questions are posed not to dissuade you from doing bonsai, but to commend you for all the effort. Whatever your motivations are, they are valid.  People really into bonsai have found an outlet for their creative expression and that is what matters.  It’s easy to get caught up in all crap we have to deal with in our lives, but that short break from the grind we receive when appreciating our trees makes it all worth it.