The Ancient Art of Bonsai

Restyling Pinus mugo (han-kengai).

2012-01-20T06:13:00.000-08:00

There are more than 80 species of pines, being the most important genus of the conifers. Only in France exist more than 20 species which can live up to 600 years. Pines differ in the number of needles, two, three or five per group.

Temperature and exposure: Pines prefer zones with high temperatures, but also resist cold temperatures and inclusively freeze. They prefer windy sites with good ventilation and are very sensible against pollution.

Pruning and cleaning: Eliminate the old and dry needles which turn yellow in autumn. Be sure to keep clean the inside of the tree eliminating dead branches and needles. Also clean the soil to avoid rotten bark or roots. About the month of april prune the needles down to 1/3 of their size between your fingernails, never use scissors. Once a year all new grown pins should be removed to get a dense growth. Do this in spring. Branches should be cut in autumn, always cut slightly above a group of needles.

Light: Pines need as much sun as possible, they don't like shadow at all.

Repotting / Soil: Repot every four or five years eliminating only 1/3 of the roots and plant in a bigger and deep pot. Pines look great in earth colored pots, better dark than light but always deep enough. The type of soil I would recommend is composed of 1/3 of compost, 1/3 of humus and 1/3 of sand. The particular pine I am talking about prefers cool and humid grounds, this fact differs from pine to pine.

Wiring: Wire in autumn and winter avoiding to hurt the needles trapped between wire and the wood. If necessary, repeat the operation every year.

Watering: Water frequently but be sure that the drainage of the pot is effective. As pines support hot winds it is not necessary to vaporize them a lot. In case you have pollution in your living area, shower the pine from time to time in order to clean it.

Fertilizer: Like with nearly all trees apply organic solid fertilizer starting in march, reducing the dose during the hot summer season and stopping completely at the end of november. Never apply on recently repotted or weak plants.

Diseases: Pines can be attacked by a lot of diseases and parasites, a lot of them can be avoided keeping the trees clean of dry needles, branches and pollution. I have had no diseases on my plants yet, so I really can not recommend any treatments, please consult any good literature if you should find any symptom on your trees.

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Bonsai Groups: the planting of groups is essentially the same as that for one tree.

2012-01-15T09:04:00.000-08:00

The planting of groups is essentially the same as that for one tree. However before planting is started, build up a mental picture of the group as it should look when finished.

Avoid straight lines either front to back or side to side between two or more trees. In other words, do not have three trees in a row; the effect will be entirely unnatural. Position and secure the main two trees first, the lesser trees are planted to complement and give depth to the larger main trees, securing each tree as it is planted.

One can tie in the whole group with string ; going over the whole of the pot. This is not very attractive but might be found easier with complicated groups.
This Trident Maple is trained in the clump style and is approx. 45 years old

Rock planting.

Some rock such as tuffa, which comes from Derbyshire, can be drilled and chiselled away o form an almost natural pot within the rock itself. The soil mixture for planting a tree in a rock pot is exactly the same as that used for the same variety of tree. If the tree is to straddle the rock-roots growing down the sides into the soil-use a mixture of 50% peat and 50% fine loam.

Mix this with water to give a sticky mud. Dampen he rock and apply a thin layer of compost over the face of the rock. Clean and separate the tots of the tree, positioning it so that the main roots run down any available crevices in the Sock. Bury the ends of the roots in the soil (the compost in the pot will be the same as when potting normally). If it is necessary to tie the tree in position this can be done with twine or elastic-covered garden wire, protecting the roots with thin strips of rubber. If it is difficult to secure the wire, small rings of copper can be cemented to the rock surface.

After tying in apply an ample layer of peat/loam mix over all exposed roots. To stop rain washing this off, plant moss over the whole planting, securing it with 'V's of copper wire. This will also help to stop evaporation. Always protect rock plantings from bright sunlight and heavy rain for at least a month, spraying the whole planting at least twice a day.

Training.

Of the two basic methods for shaping a Bonsai tree, pruning is by far the most important. This is carried out throughout the life of every Bonsai tree where as wiring to shape is only done when the tree's shape needs to be corrected fairly radically. Even then, it might only be me branch that has moved away from its desired position.

A flowering Peach Bonsai approx. 12 years old.

Pruning.

Pruning can be divided into three main headings:

(1) Heavy Branch Pruning:
This is a general thinning out of old, diseased, weak, or unnecessary branches that grew the previous year. This should always be carried out during the Autumn, early Winter or early Spring before the sap has begun to flow at full strength. I have used the Samuri Stainless Steel Cutters to great effect over the years(

2) General Pruning:
This is the pruning carried out throughout every growing season. It is designed to maintain and create shape, thin excessive growth, and produce an abundance of flower buds in flowering trees. Best to use delicate trimming shears to minimise and ancillary damage. General Pruning is also needed to maintain the ever-important balance between the smallness of the root ball and the top growth; if the top is allowed to grow away from this balance the roots will not be able to maintain it in good condition; the roots may rot or die out and a vicious circle can be created-the end result being severe dying-back or even death.

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(3) Leaf Cutting:
Leaf cutting is one of the 'secrets' of Bonsai training.

In June, providing the tree is in good condition and has been amply fertilised to promote strong healthy growth, some or all the leaves of most deciduous trees can be removed by cutting them away with sharp scissors or defoliating shears. One leaves the petiole or leaf stalk on the tree which, in two to three weeks, withers and drops off. The tree has a false autumn and anew set of leaves and shoots appear. The effect is to produce bushy growth, smaller leaves and much better autumn colouring.

The trees most suitable for leaf cutting are the Maple family, Elms, Beech, Birch, etc., but not fruiting or flowering specimens. To find out which trees are best suited for leaf
trimmming and get an overview of all the different varieties of Bonsai have a look at "The A-Z of Bonsai"

Wiring.

Wiring is generally considered to be one of the most difficult techniques for shaping Bonsai trees. However, after a little practice on a small branch cut from an ordinary tree its mystery will soon disappear. The most important point to bear in mind is that one mustn't rush-take your time. Before using wire consider the subject from all angles. If it is possible to achieve the desired shape by pruning alone then don't use wire. If wire has to be used choose the gauge that just holds the branch in position-if it is too stiff the wood will tend to bend in and out between the coils.

Copper wire (sizes 8 to 24 are generally used, 8 being the largest) that has been annealed in a slow fire is more suitable than iron wire. It does not rust or look unsightly on the tree.Deciduous trees should be wired immediately after their leaves have attained full size when the sap is flowing freely. Wires should only be left on deciduous for a maximum of 6 months.

Some trees have very soft bark and the wire should have paper wrapped round it to protect the tree.Evergreen and coniferous trees take longer to become set in position and wires can be left on for 12-18 months. They must always be removed if they start cutting into the bark. Always start wiring from the base of the trunk, burying the wire in the soil to anchor it. After the trunk progress to the largest branches, continuing from large to small until finishing on the topmost smallest branches.

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The Ancient Art of Bonsai: Glossary, Chapter II.

2012-01-10T10:17:00.000-08:00

To find out the meanings of all the particular words that are part of the world of bonsai, here is a practical and easy to navigate online glossary.

Defining the exact meaning of a commonly-used term is not easy and is subject to interpretation. In true wiki-style, if there are terms missing from this Glossary or you wish to change or challenge the wording of a definition

Bonsai is a Japanese art form using miniature trees grown in containers. Similar practices exist in other cultures, including the Chinese tradition of penjing from which the art originated, and the miniature living landscapes of Vietnamese hòn non bộ. The Japanese tradition dates back over a thousand years, and has evolved its own unique aesthetics and terminology.

"Bonsai" is a Japanese pronunciation of the earlier Chinese term penzai. A "bon" is a tray-like pot typically used in bonsai culture.

The word bonsai is often used in English as an umbrella term for all miniature trees in containers or pots, but this article focuses on bonsai as defined in the Japanese tradition.

The purposes of bonsai are primarily contemplation (for the viewer) and the pleasant exercise of effort and ingenuity (for the grower).By contrast with other plant cultivation practices, bonsai is not intended for production of food, for medicine, or for creating yard-size or park-size gardens or landscapes. Instead, bonsai practice focuses on long-term cultivation and shaping of one or more small trees growing in a container.

A bonsai is created beginning with a specimen of source material. This may be a cutting, seedling, or small tree of a species suitable for bonsai development. Bonsai can be created from nearly any perennial woody-stemmed tree or shrub species[4] that produces true branches and can be cultivated to remain small through pot confinement with crown and root pruning. Some species are popular as bonsai material because they have characteristics, such as small leaves or needles, that make them appropriate for the compact visual scope of bonsai.

The source specimen is shaped to be relatively small and to meet the aesthetic standards of bonsai. When the candidate bonsai nears its planned final size it is planted in a display pot, usually one designed for bonsai display in one of a few accepted shapes and proportions. From that point forward, its growth is restricted by the pot environment. Throughout the year, the bonsai is shaped to limit growth, redistribute foliar vigor to areas requiring further development, and meet the artist's detailed design.

The practice of bonsai is sometimes confused with dwarfing, but dwarfing generally refers to research, discovery, or creation of plant cultivars that are permanent, genetic miniatures of existing species. Bonsai does not require genetically dwarfed trees, but rather depends on growing small trees from regular stock and seeds. Bonsai uses cultivation techniques like pruning, root reduction, potting, defoliation, and grafting to produce small trees that mimic the shape and style of mature, full-size trees.

Chapter II.

L

layering - a method of propagating a tree by ring-girdling the trunk and inducing roots to grow from the wound.

miyogi - Japanese term for informal upright style

neagari - Japanese term for exposed root or octopus style

nebari - Japanese term for the exposed root base of a tree

overpotting - planting a bonsai in a container that is larger than necessary to maintain it.

pH - measure of soil acidity. pH 7.0 is neutral. lower pH is acid, higher pH is alkaline.

perlite - lightweight, porous, white granules that can hold water and air.

pot - A growing container for bonsai, usually high-fired clay

pumice - A white, hard volcanic product used as an agricultural amendment

raffia - A dried shredded reed used to wrap branches and trunk before bending to cushion and reduce the likelihood of splitting.

raft style - a bonsai style in which multiple trunks grow in a line from a connected base.

ramification - the development of a twigging structure by a series of divisions of branches into twigs and twiglets

sabamiki -A Japanese term for a tree with a wounded trunk tree that is hollow or split open

saikei - tray plantings containing stones, trees, plants, but in the strict sense, without figurines - See bonkei.

shari - Japanese term for exposed deadwood on a tree

sokan - Japanese term for a twin trunk tree

shakkan - Japanese term for slant style bonsai

suiban - Japanese term for a shallow tray without drainage holes intended for the display of suiseki

suiseki - Japanese term for viewing stone

tachiagari - Japanese term for the lower portion of the trunk

variegated - a tree with foliage spotted or striped in two or more colors.

vermiculite - mica that has been expanded with heat into a lightweight granule. Useful in rooting seedlings.

viewing stone - a stone appreciated for its natural characteristics, as a mountain or natural scene, including cliffs, waterfalls or an appearance reminiscent of a figure, animal, implement or structure, or perhaps an entirely abstract shape.

yamadori - Japanese term for a tree collected from the wild mountain, or a tree with that appearance.

yose-ue - Japanese term for forest or group planting

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The Ancient Art of Bonsai: Glossary, Chapter I.

2012-01-02T09:42:00.000-08:00

To find out the meanings of all the particular words that are part of the world of bonsai, here is a practical and easy to navigate online glossary.

Defining the exact meaning of a commonly-used term is not easy and is subject to interpretation. In true wiki-style, if there are terms missing from this Glossary or you wish to change or challenge the wording of a definition.

To find out the meanings of all the particular words that are part of the world of bonsai, here is a practical and easy to navigate online glossary.

Defining the exact meaning of a commonly-used term is not easy and is subject to interpretation. In true wiki-style, if there are terms missing from this Glossary or you wish to change or challenge the wording of a definition

Bonsai is a Japanese art form using miniature trees grown in containers. Similar practices exist in other cultures, including the Chinese tradition of penjing from which the art originated, and the miniature living landscapes of Vietnamese hòn non bộ. The Japanese tradition dates back over a thousand years, and has evolved its own unique aesthetics and terminology.

"Bonsai" is a Japanese pronunciation of the earlier Chinese term penzai. A "bon" is a tray-like pot typically used in bonsai culture.

The word bonsai is often used in English as an umbrella term for all miniature trees in containers or pots, but this article focuses on bonsai as defined in the Japanese tradition.

The purposes of bonsai are primarily contemplation (for the viewer) and the pleasant exercise of effort and ingenuity (for the grower).By contrast with other plant cultivation practices, bonsai is not intended for production of food, for medicine, or for creating yard-size or park-size gardens or landscapes. Instead, bonsai practice focuses on long-term cultivation and shaping of one or more small trees growing in a container.

A bonsai is created beginning with a specimen of source material. This may be a cutting, seedling, or small tree of a species suitable for bonsai development. Bonsai can be created from nearly any perennial woody-stemmed tree or shrub species[4] that produces true branches and can be cultivated to remain small through pot confinement with crown and root pruning. Some species are popular as bonsai material because they have characteristics, such as small leaves or needles, that make them appropriate for the compact visual scope of bonsai.

The source specimen is shaped to be relatively small and to meet the aesthetic standards of bonsai. When the candidate bonsai nears its planned final size it is planted in a display pot, usually one designed for bonsai display in one of a few accepted shapes and proportions. From that point forward, its growth is restricted by the pot environment. Throughout the year, the bonsai is shaped to limit growth, redistribute foliar vigor to areas requiring further development, and meet the artist's detailed design.

The practice of bonsai is sometimes confused with dwarfing, but dwarfing generally refers to research, discovery, or creation of plant cultivars that are permanent, genetic miniatures of existing species. Bonsai does not require genetically dwarfed trees, but rather depends on growing small trees from regular stock and seeds. Bonsai uses cultivation techniques like pruning, root reduction, potting, defoliation, and grafting to produce small trees that mimic the shape and style of mature, full-size trees.

Chapter I.

apex - the tip of a tree or branch

bonsai - Japanese term for the the art of cultivating and training a plant to create the illusion of a dwarfed tree.

bonkei - tray plantings containing stones, trees, plants and figurines

branch bender - a clamp or jack used to bend branches or trunk

branch splitter - a cutting tool used to divide branch or trunk to allow it to be bent more easily.

broom style - A training form for bonsai which resembles an inverted broom with a single trunk dividing into many symmetric branchlets which subdivide into twigs and so forth. See Hokidachi

bunjin - Japanese term for an educated person or literati, a tree grown in this style, usually emphasizing a thin trunk, with a lean appearance and container with rough-hewn appearance.

callus - The raised roll of tissue that forms as a wound heals and closes

cambium - The layer of tissue between the xylem and phloem, where new wood is formed.

chokkan - Japanese term for the formal upright style

clump style - see Kabaduchi

concave cutters

cutting - a bit of a plant that has been cut and rooted. A means to propagate.

deciduous - a plant that sheds its leaves and enters a state of dormancy annually

eda - Japanese term for branch

evergreen - a tree that does not shed its leaves in winter

fungicide - a chemical used to combat the growth of fungus

graft - to join a stem of one plant with another so they grow together. Grafting is used both to propagate plant species and to add foliage where none previously existed on a bonsai.

grafting knife

han-kengai - Japanese term for semi-cascade - See also Kengai

hokidachi - Japanese Term for Broom Style

ishitsuki - Japanese term for root-over-rock style

jin - Pronounced JEEN - Japanese term for snags of deadwood on the ends of branches or trunk.

kabaduchi - Japanese term for clump style bonsai
kengai - Japanese term for cascade style. See also han-kengai

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A selection of my bonsai images taken during the Winter, Dec 2010 to March 2011.

2011-06-11T06:02:00.001-07:00

A selection of my bonsai images taken during the Winter, Dec 2010 to March 2011

Ulmus pumila/Siberian Elm after rewiring and pruning in early December after leaf-fall
Height 23"/57cm. Pot by Erin Bonsai.

I originally purchased this tree in the Summer of 2005 as raw field-grown material. Not as fast growing or as responsive to bonsai techniques as many other Ulmus species, this Siberian Elm bonsai has so far been nearly 6 years in development.

The majority of my time has been spent establishing and refining the branch structure on the existing trunklines

Close-up of the trunkbase and the superb oval pot by Vic Harris of Erin Bonsai

A week before Christmas and the UK was hit by snow painting a pretty picture but making any kind of work on my trees virtually impossible!

In early Jaunary I was asked to restyle this Tsuga canadensis (Eastern Hemlock) bonsai, belonging to Faisal Waheedi. This image was taken in his greenhouse after the first day's work, having recarved the jin at the base and wired the lower branches.

The Eastern Hemlock after 12 hours restyling.
Height (above the pot) is 100cm/41" with a 80cm spread

3 new 12+" round pots from Erin Bonsai, received in early February, each intended for Larch bonsai.

Potting up one of the Larch bonsai into its new home!

Flower buds of a large Prunus incisa 'Kojo-no-mai'/Fuji Cherry, belonging to Faisal Waheedi, just beginning to open in early February.

This was a very large Trident Maple I repotted for a client in mid-February who had bought it around 4 years before. As the original pot was cracked, he had planted it up into this very large Mica temporarily.

Cleaning out the nebari to prune the surface roots.

The Trident bonsai potted up into a 23" wide round-cornered rectangle pot. This isn't the 'final pot' though it is definitely an improvement on the mica it was planted in before. A new pot is being commisioned from Erin Bonsai that will be a little deeper and wider with straight sides rather than curved sides of this pot (the curved sides too feminine for such a masculine trunk).

A couple of weeks later I revisited the Trident bonsai and gave it a prune, reducing the width of the foliage mass on the left hand side to reflect the tree's movement towards the right.

I originally collected this English Elm in August 2004, restyling and repotting it into its first bonsai pot in mid-February.

Detail of the base of the Elm bonsai; the root to the right was grafted several years ago while the hollows were carved just a few weeks prior to this image being taken.

English Elm bonsai. Height 27"/66cm, trunkbase 9"/22cm.

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How to Create a Bonsai Tree: Tsuga.

2011-06-11T05:57:00.001-07:00

Tsuga is a genus of 10 species of evergreen, monoceious, coniferous trees found in forest from the Himalayas to north Burma, west Vietnam, China, Taiwan and Japan, it is also found in North America.

Tsuga species feature flattened, usually linear leaves (similar to that of Yews), with silvery white bands beneath.

Tsugas are typically tall, graceful trees with spreading branches that droop downwards at the tips creating a cascading effect.

The bark is a cinnamon red colour and it becomes deeply furrowed with age. Cones are small and pale brown when mature; after dropping their seed they remain on the tree for a quite a long time.

They are medium-sized to large evergreen trees, ranging from 10–60(–79) m tall, with a conical to irregular crown, with the latter occurring especially in some of the Asian species.

The leading shoots generally droop. The bark is scaly and commonly deeply furrowed, with the colour ranging from grey to brown. The branches stem horizontally from the trunk and are usually arranged in flattened sprays that bend downward towards their tips.

Short spur shoots, which are present in many gymnosperms, are weakly to moderately developed. The young twigs as well as the distal portions of stem are flexible and often pendent. The stems are rough due to pulvini that persist after the leaves fall. The winter buds are ovoid or globose, usually rounded at the apex and not resinous. The leaves are flattened to slightly angular and range from 5–35 mm long and 1–3 mm broad.

They are borne singly and are arranged spirally on the stem; the leaf bases are twisted so the leaves lie flat either side of the stem or more rarely radially. Towards the base the leaves narrow abruptly to a petiole set on a forward-angled, pulvinus.

The petiole is twisted at the base so that it is almost parallel with the stem. The leaf apex is either notched, rounded, or acute. The undersides have two white stomatal bands (in T. mertensiana they are inconspicuous) separated by an elevated midvein. The upper surface of the leaves lack stomata, except in T. mertensiana.

They have one resin canal that is present beneath the single vascular bundle.

Tsuga mertensiana foliage and cones.

The pollen cones grow solitary from lateral buds. They are 3–5(–10) mm long, ovoid, globose, or ellipsoid, and yellowish-white to pale purple, and borne on a short peduncle. The pollen itself has a saccate, ring-like structure at its distal pole, and rarely this structure can be more or less doubly saccate.

The seed cones are borne on year-old twigs and are small ovoid-globose or oblong-cylindric, ranging from 15–40 mm long, except in T. mertensiana, where they are cylindrical and longer, 35–80 mm in length; they are solitary, terminal or rarely lateral, pendulous, and are sessile or on a short peduncle up to 4 mm long. Maturation occurs in 5–8 months, and the seeds are shed shortly thereafter; the cones are shed soon after seed release or up to a year or two later.

The seed scales are thin, leathery and persistent. They vary in shape and lack an apophysis and an umbo. The bracts are included and small. The seeds are small, from 2 to 4 mm long, and winged, with the wing being 8 to 12 mm in length. They also contain small adaxial resin vesicles. Seed germination is epigeal; the seedlings have four to six cotyledons.

Species suitable for bonsai include;

TSUGA CANADENSIS/ Eastern or Canadian Hemlock
A broadly conical tree to 25 metres tall in its native eastern North America. T. canadensis has linear finely-toothed, mid-green leaves to 2cm that taper from their bases and are 2-ranked. There are many varieties of Tsuga canadensis available including dwarf and prostrate forms. Frequently seen is Tsuga canadensis 'Jedoloh' which has a common name of 'Birds Nest Tree because of its habit of spreading and forming a depression in the crown that resembles a birds nest.

TSUGA HETEROPHYLLA/ Western Hemlock
Narrowly conical tree with narrowly-oblong, finely-toothed, glossy dark-green leaves 0.5-2cm long which are 2-ranked. Native to west North America (Alaska to California) where it can reach heights of 20-40metres. (Extremely shade tolerant but requires extra shelter from the wind).

TSUGA DIVERSIFOLIA /Japanese Hemlock
Broadly conical, later domed tree, orange bark and orange shoots with short, fine hairs. Linear leaves are very glossy, dark-green, 0.5-2cm long and 2-ranked. Native to north Japan where it can reach heights of 15metres.

BONSAI CULTIVATION NOTES.

POSITION Partial shade, particularly in Summer. Tsuga need protection from strong, freezing winds that will quickly dry out the foliage.

FEEDING Every two weeks throughout the growing season.

REPOTTING Every two years in Spring as new growth starts, use a basic soil mix.

PRUNING Hemlocks grow very slowly and as new growth is similar in colour to mature foliage (except Tsuga heterophylla) growth extension can grow unnoticed and trees can easily get out of shape. Prune hard in late-Winter any trees that have grown out of shape. Wiring can be done at any time of the year though care should be taken not to damage tender new growth in Spring. Cut back fresh growth as it extends to produce a more compact second flush of growth and back budding from the base of old needles.

Take care when wiring as Hemlock have a habit of marking easily.

PROPAGATION Sow seed outside in Spring. Root semi-ripe cuttings in late Summer or early Autumn.

PESTS AND DISEASES Largely trouble free.

STYLING Suitable for all forms except Broom, in all sizes.

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The art of bonsai began in China over two thousand years ago.

2011-05-01T06:27:00.000-07:00

Bonsai is the art of growing trees and plants, which are kept small. This is done by growing the tree in a small pot or tray and pruning (cutting) the branches and roots.

Bonsai trees are trained to grow into a shape that is pleasing to look at. The best bonsai trees appear to be old, have a shape that seems natural.

The word bonsai means "tray garden" in the Japanese language. Bonsai is a very old art form in Japan, but is not as old as penjing. Penjing is a Chinese art form that is almost the same as bonsai.

The art of bonsai began in China over two thousand years ago, where it has been called penzai, a word that is almost the same as bonsai. It was brought to Japan some time near the year 1300 A.D.

Bonsai spread to Korea some time from the 7th to the 13th century --during the Tang or Song dynasty In Korea, the art form is now called (분재) or Bunjae -- which also sounds like "bonsai".

People in China still practice this form of artistic gardening. Because the Chinese art is mostly shown outdoors, Chinese penjing plants are often larger than Japanese bonsai.

Cultivation.

A bonsai plant is not naturally small. It is kept small by shaping and root pruning. It is possible for a well-tended bonsai to live to be older than a large tree of the same species. However, a bonsai needs much care, and a poorly-tended bonsai will not be healthy and might die.

Artistry.
In the art of bonsai a sense of beauty, patience, and good care are all needed. The plant, the shape of the plant, as well as the arrangement of soil choice of container are important.

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Ficus Bonsai Care.

2011-04-03T03:38:00.001-07:00

If you have decided to try your hand at growing a bonsai tree, you are in for a real treat. While it takes a little time and patience to learn how to grow bonsai, the results are truly incredible.

As you begin your search for the perfect tree, you will be faced with all types of options. For example, bamboo is a nice bonsai option that is reminiscence of true Japanese gardens.

Then, you have the Braided Monkey Tree that is referred to in many Asian cultures as the “Bringer of Good Fortune”. When it comes to bonsai, this makes an excellent choice that is easy to care for and tolerant. Another option for bonsai is Jade tree, which makes an exceptional bonsai. Coming from South Africa, this plant is hearty and boasts succulent, green elliptic leaves and a thick trunk.

One of the favorites is the ficus tree. A miniature version of the tropical Banyan tree, the ficus is exotic and rewarding. Therefore, we suggest you start with this species and to help you get started, we have provided you with important ficus bonsai care.

Remember, the ficus is ideally suited for indoor bonsai. You will discover a number of different varieties, each with small leaves and slow growth habits. Some of the specific species you might consider growing include the dwarf ficus, narrow-leaf ficus, and the weeping ficus, all fine choices.

The first thing to remember when it comes to ficus bonsai care is that this tree needs to be kept indoors all year long, although an occasional trip outdoors for fresh air and sunshine is acceptable. As with most bonsai trees, the ficus tree should dry out between watering.

To test the soil, simply stick your finger down about an inch to see if it feels wet or dry. The key with ficus bonsai care is never allow the tree to go completely dry for any extended time. To water your tree, soak it and/or the container it sits in, in water for about 10 minutes. Then, allow the soil to drain so no more water leaks from the bottom.

Repotting is also important for ficus bonsai care. The recommendation is to repot the tree every two years. Now, keep in mind that while the ficus typically grows slow, if you notice the tree is having a growth spurt, completely taking over its container within the first year, do no wait to repot, go ahead and do the repotting in the first year.

The best time to repot a ficus bonsai is during early spring months. Once the tree has been placed in its new container (larger of course), be sure you water it thoroughly, using the same process as described above.

Then, you want to keep your ficus bonsai some place shade for two to three weeks, allowing the new root system to take hold. With this, you will enjoy a much healthier and stronger plant that when it comes time to trim and prune, handles the process better.

Finally, ficus bonsai care means understanding your tree during the cold, winter months. This particular tree should always be kept indoors, especially in the winter. Even then, make sure you keep them on display in a sunny area that never goes below 60 to 65 degrees.

Now, you may notice some minor leaf drop if the temperatures are too cool for the tree or if the ficus is getting too much of a draft. In this case, you can simply choose a different location, again in the sun but warmer and without the draft.

With ficus bonsai care, it is not rocket science, but consistency and understanding the ficus. As you begin to trim back the tree during its growing season and using wire to create the shape you have chosen and the one that works best with this species, you will begin to notice things changing from a simple tree in a container to an actual bonsai.

Chances are you will be so proud of your accomplishments, you will be eager to try another ficus bonsai or perhaps one of the other mentioned species.

Watering.

Ficus bonsai, as with most bonsai, like to dry out between waterings. Feel the soil every day. If there is a rock in the planting lift it up and feel under it, otherwise, just stick your finger about a half of an inch to an inch into the soil. If the soil feels dry, water your bonsai. Never let your bonsai go totally dry for extended periods!!! The best way to water your bonsai is to soak it in a sink or container of water up to the trunk for about 5-10 minutes. Then allow it to drain. If top watering your bonsai, water, wait a few minutes, and water again. Repeat this several times to insure that your bonsai has received a thorough watering. Eventually you will be able to determine a watering schedule that meets your climate conditions..

Light

Ficus bonsai grow well in either direct or indirect sunlight. We prefer to grow Ficus in shady areas, out of the hot afternoon sun. Sometimes the direct afternoon sun can burn delicate leaves, especially when shining through a household window. Direct morning sunlight is great for almost all bonsai because of its low intensity. We have also found that most types of Ficus grow well under supplemental lighting sources, such as grow lights.

Repotting

Ficus bonsai should be repotted about every two years, although they should be checked every year. The best time to repot Ficus is in the early spring. After repotting, water thoroughly and keep the plant in a shady location for several weeks so that new roots may grow.

Winter Care

Ficus bonsai should be kept indoors during the winter months. Display them in a sunny spot that does not go below 60 degrees Fahrenheit.

Some leaf drop may occur if the temperatures are too cool or if your Ficus bonsai is placed in a cold drafty environment, such as a location close to an outside door.

Although some leaf drop is normal, measures should be taken to protect your Ficus from the cold.

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The classical bonsai period.

2011-02-28T12:11:00.000-08:00

In Itami, Hyogo (near Osaka), a group of scholars of Chinese arts gathered in the early 19th century to discuss recent styles in the art of miniature trees.

Their version of these, which had been previously called "Bunjin Ueki," "Bunjin Hachiue," or other terms, were renamed "bonsai" (the Japanese pronunciation of the Chinese term penzai). This term had the connotation of a shallower container in which the Japanese could now more successfully style small trees. The term "bonsai," however, would not become regularly used in describing their dwarf potted trees for nearly a century. Many others terms and compositions adopted by this group were derived from Kai-shi-en Gaden, the Japanese version of Jieziyuan Huazhuan.

In 1829, a significant book that first established classical bonsai art, Somoku Kinyo Shu (A Colorful Collection of Trees and Plants/Collection of tree leaves), was published. It includes the basic criteria for the ideal form of the classical pine bonsai, in detail and with illustrations.That same year, small tako-tsuki (octopus-styled) trees with long, wavy-branches began to be offered by a grower in Asakusa Park, a north-eastern Edo suburb. Within 20 years that neighborhood became crowded with nurseries selling bonsai. The three-volume Kinsei-Jufu, possibly the first catalog of bonsai, tools, and pots, dates from 1833.

Numerous artists of the 19th century depicted dwarf potted trees in woodblock prints, including Yoshishige (who pictured each of the fifty-three classic stations of the Tokaido (road) as miniature landscape) and Kunisada (who included mostly hachi-no-ki in some four dozen prints).^[32] The earliest known photograph from Japan depicting a dwarf potted tree dates from c.1861 by Pierre Rossier.

On October 13, 1868, the Meiji Emperor moved to his new capital in Tokyo. Bonsai were displayed both inside and outside Meiji Palace, where they have since remained important in affairs of the Palace. Bonsai placed in the grand setting of the Imperial Palace had to be "Giant Bonsai," large enough to fill the grand space. The Meiji Emperor encouraged interest in bonsai. Government officials who did not appreciate bonsai fell out of favor. Soon all members of the ministry had bonsai whether they liked the tradition or not. Prince Itoh was an exception: any bonsai which the emperor gave him were then passed to Kijoji Itoh. Kijoji Itoh was a statesman of great influence behind the scenes, and a noted bonsai collector who conducted research and experiments on these bonsai.

Bonsai shaping aesthetics and techniques were becoming more sophisticated. By the late 1860s, thick combed and wetted hemp fibers were used to roughly shape the trunk and branches of miniature trees by pulling and tying them. The process was tedious and bothersome, and the final product was unsightly. Tips of branches would only be opened flat. Long, wavy-branched tako (octopus) style trees were mass-produced and designed in the [renamed capital] Tokyo for the increasing foreign trade while the more subtle and delicate bunjin-style trees designed in Kyoto and Osaka were for use in Japan. Tokyo preferred big trunks out of proportion and did not approve of Kyoto's finely-designed slender trunks. (This cultural rivalry would continue for a century.)

Pots exported from China between 1816 and 1911 (especially the late 19th century) were called Nakawatari (middle-crossing) or Chuwatari. Shallow rectangular or oval stoneware with carved feet and drainage holes, unglazed pots of this type were used at ancestral shrines and treasured by the Chinese. After the mid-century, certain Japanese antiquities dealers imported them and instant popular approval for this type of container for bonsai created a huge demand. Consequently, orders came from Japan to Yixing pottery centers specifically to make bonsai pots.

Through the later 19th century, Japanese participation in various international exhibitions introduced many in the U.S. and Europe to dwarf potted trees. Specimens from the displays went into Western hands following the closing of the fairs. Japanese immigrants to the U.S. West Coast and Hawaii Territory brought plants and cultivation experience with them. Export nurseries, most notably the Yokohama Gardeners Association, provided increasingly good quality dwarf potted trees for Americans and Europeans — even if the buyers did not have enough information or experience to actually keep the trees alive long-term.

An Artistic Bonsai Concours was held in Tokyo in 1892 followed by the publication of a three-volume commemorative picture book. This demonstrated a new tendency to see bonsai as an independent art form. In 1903, the Tokyo association Jurakukai held showings of bonsai and ikebana at two Japanese-style restaurants. Three years later, Bonsai Gaho (till c.1913), became possibly the first monthly magazine on the subject. By 1907, "on the outskirts of Tokio [dwarf] tree artists have formed a little colony of from twenty to thirty houses, and from this centre their work find its way to all parts of the world." "Its secrets are handed down from father to son in a few families, and are guarded with scrupulous care."

Count Okuma (1838–1922) maintained a famed collection of dwarf pines and dwarf plum trees.

In 1910, shaping with wire was described in the Sanyu-en Bonsai-Dan (History of Bonsai in the Sanyu nursery). Zinc-galvanized steel wire was initially used. Expensive copper wire was only used for trees which had real potential. Between 1911 and about 1940, mass-produced containers were exported from Yixing, China and made to the specifications of Japanese dealers. These were called Shinto (new crossing or arrival) or Shin-watare. These were made for increasing numbers of enthusiasts. Some containers, including primitive style ones, were also being made in Formosa.

By 1914, "at the N.E. corner of Shiba Park is a permanent bazaar (the first of its kind established in Tokyo) where hosts of native-made gimcracks can be bought at fixed prices. The exhibits of potted plants and dwarf trees held here from time to time attract lovers of such things." Also this year, the first national annual bonsai show was held (through 1933) in Tokyo's Hibiya Park. During this period, the tokonoma in formal rooms and tea rooms became the main place for bonsai display. The shaped trees now shared space with other items such as scrolls, incense burners, Buddhist statues and tea ceremony implements.

The first issue of Bonsai magazine was published in 1921 by Norio Kobayashi (1889–1972). This influential periodical would run for 518 consecutive issues. Copper wire was being extensively used by this time. Major changes to a tree's shape could now be accomplished with wiring. Trees could be precisely and aesthetically wired, and then sold immediately. A greater number of both collected and nursery trees could now be trained for bonsai. The number of hobbyists increased due to the increased ability to style with wire, but there was also an increase in damaged or scarred trees.

The 1923 Great Kanto Earthquake and resulting fire devastated Tokyo, and gutted the downtown area where many bonsai were grown. And so two years later, a group of thirty families of downtown Tokyo professional growers established the Ōmiya Bonsai Village, northeast of the capital.^[59] The first great annual public exhibition of trees was held at the Asahi Newspaper Hall in Tokyo in 1927. The first of the very prestigious Kokufu-ten exhibitions were held in Tokyo's Ueno Park, beginning in 1934.By the following year, tokonoma display principles allowed for bonsai to be shown for the tree's individual beauty, not just for its spiritual or symbolic significance.

Toolsmith Masakuni I (1880–1950) helped design and produce the first steel tools specifically made for the developing requirements of bonsai styling.

By 1940, there were about 300 bonsai dealers in Tokyo, some 150 species of trees were being cultivated, and thousands of specimens annually were shipped to Europe and America. The first major book on the subject in English was published in the Japanese capital: Dwarf Trees (Bonsai) by Shinobu Nozaki (1895–1968). The first bonsai nurseries and clubs in the Americas were started by first and second-generation Japanese immigrants.

Caretaker of the Imperial bonsai collection, Kyuzo Murata (1902–1991), was one of very few persons allowed to take care of bonsai during the Pacific War. He gathered together and preserved many trees from the other Omiya growers and would water them under the protection of night. Throughout 1945, many old trees were the smallest casualties of the spring and summer napalm bombing of Tokyo (esp. March 9/10) and sixty-six other cities. Gardeners protected the Imperial collection trees from fire by pouring water over them after the Palace had been bombed on May 25/26. Following the surrender of Japan, there began the post-war re-evaluation and reviving of damaged collections of trees — including the Imperial - which would continue for over a decade as Japan was rebuilt. Many of the Omiya growers did not continue their vocation. During the Allied Occupation of Japan (through 1952) U.S. officers and their wives could take courses in bonsai, bonkei, ikebana, and other traditional arts and crafts as arranged by General MacArthur's headquarters. Many of the older and limited varieties of trees were no longer available, and the bonsai considered in fashion changed partly because of this shortage. Copper wire now largely replaced ordinary iron wire for shaping the better trees, but the latter still would be used for mass-produced commercial bonsai.

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Success With Indoor Bonsai.

2011-01-13T11:17:00.000-08:00

Introduction.

Growing bonsai indoors is one of the passions that has kept me enthralled with bonsai for nearly 30 years. During that time I have grown bonsai on windowsills and indoors under various types of artificial light. Over the years I have learned some crucial concepts about growing trees indoors. This article will present some of these ideas that may help you save time, effort and avoid killing trees in your indoor growing efforts.

Indoors is not indoors.

At best growing trees indoors is a difficult task, and part of the problem is that indoor growing conditions are not at all similar to the natural conditions under which trees normally grow. The climate in your home is quite variable. Homes are too dimly lit, too dry and lack good air movement. One window in your home may drop to 48 degrees Fahrenheit at night, while another windowsill may rise to over 100 degrees on a sunny day! One spot in the living room is extremely dark with almost no light and another area has intensely bright southwest light streaming in from the window. Trees that grow well in one room may not thrive in another room in the same house. Finding the right microclimate in a home is a huge part of winning the battle.

A very cool room or basement is the ideal place to grow boxwood, Crape Myrtle, Cotoneaster, Chamaecyparis, Serissa, and citrus, while a warmer room is the best place for Ficus, Schefflera, Wrightia religiosa, and buttonwood. Ask friends who are successful in growing trees indoors about the lighting, humidity, temperature range, soil, and water conditions that work for them. Use these suggestions as a starting point for your indoor growing and modify these conditions to suit the types of trees that you grow.

All plants are not created equal.

Most trees will NOT survive indoors for long periods of time, while a few trees are proven indoor survivors. One key element to successfully growing bonsai indoors is selecting trees that will survive indoors. Temperate trees, those requiring a cool dormancy period, such as maples, larch, pines, and junipers will usually not live for long in your home. Tropical and sub-tropical trees such as Ficus, Brassaia/Schefflera, Sageretia, and Portulacaria are quite happy in most homes and will not require a winter rest and chilling period. They also will not have leaf drop and sit in leafless condition for weeks while waiting for the start of their spring growth period.

One way to find suitable trees that may work for your indoor situation is to go to the produce section of your supermarket and buy some fruit; try guava, lemon, kumquat, and tamarind. As you eat the fruits, save the seeds and plant them. Some of these will survive and may make reasonable plants for indoor bonsai. Next, go to your local plant nursery and select any small-leaved tree from their terrarium selection. Trees that you can find are Ficus, Schefflera, Cotoneaster, Chamaecyparis, boxwood, myrtle, elm, and ivy. Select cultivars with small waxy leaves, compact growth and short internodes. Avoid plants with long stems, long leaves and long petioles.

Grow these plants in your home, and over a year or two some will survive while others will die. Select the healthy and growing survivors and concentrate your efforts on these few varieties of trees. Propagate the vigorous trees and discard the weak trees. Make sure to have at least three or four specimens of each of the strong varieties. Propagate the survivors from cuttings to have more specimens to work with and to share with friends.

After you have experience growing trees and keeping them alive in your home, purchase some pre-bonsai and finished indoor bonsai from a reputable bonsai nursery. Ask specifically if these plants can be grown indoors or whether they will require a dormant period or an outdoor summer growth period. These more developed trees can be admired immediately, while your young, new experimental trees will take time to mature into respectable bonsai.

Light and more light.

Growing trees in a dark corner of an apartment is doomed to failure. Over the last eight years, I have become convinced that the most critical element to long term success with indoor bonsai is strong, bright light. Given enough light many trees will grow indoors and become wonderful bonsai. In dim indoor light almost no trees will survive.

In most homes windowsill growing is at best a borderline solution, as window light is often dim and unreliable. For most indoor growers, supplemental artificial light is the only way to go, and my recommendation for anyone with a small bonsai collection is to use POF, plain old fluorescent lights. POF are inexpensive to purchase and to run. At the local hardware store purchase four foot long fluorescent fixtures. Use simple chains to hang these over the bonsai growing area. Or use one of the compact fluorescent bulbs if you only have one or two small bonsai.

Do not bother to search for special plant bulbs. The normal daylight or warm white spectrum bulbs work just fine and they are much less expensive. The key is to have the plantâ€™s leaves nearly touching the bulbs. Fluorescent lights are relatively weak in light energy and they must be left on for at least 16 to 18 hours each day. A simple electric timer will cycle the lights on and off automatically. You do not need to create seasonal daylength light changes for most trees.

Other types of lighting include incandescent bulbs, metal halides, halogen and LEDâ€™s. All of these have some major disadvantages and all of these except the LEDâ€™s get quite hot and can burn the leaves if too close to the plant. Whatever lighting you use the key factor is to increase the amount of light available to the trees. Trees in dark areas literally are starving to death.

I encourage those who have tried to grow trees indoors and failed, to try again with supplemental lighting.

Temperate trees need special care.

Most tropical trees will be happy year round in the normal temperature range of a typical home, 60-90 degrees Fahrenheit. However, if you are trying to grow other than tropical trees, you likely will experience great difficulty unless you allow these trees to slow their growth down in the fall. Trees such as Cotoneaster, holly, elm, boxwood, pomegranate, Serissa, and azalea can be grown indoors, but many successful growers of these plants grow them in much cooler temperatures than exist in most homes.

To succeed with these plants try a cool basement, or a really cool window in an unheated, spare bedroom. Temperatures of 40-50F may permit some success with these species. Besides cooling down the growing area, another trick for success with these trees is to raise the humidity level. A humidifier can be placed near the plants or the plants can be surrounded with a plastic tent to increase the humidity. Leave the top of the tent open to keep fungal problems from developing. Cooler temperatures also help by keeping the relative humidity higher. Another technique to keep the humidity level up is to keep trays full of water near the trees but never allow the trees to sit in this water.

The last suggestion is to allow the soil of these temperate trees to become definitely drier during their winter rest period; inactive trees need less water. Begin watering them normally when they resume active growth.

Soil, Water, Humidity, Fertilizer.

Purchase bonsai soil from a reputable dealer. Bonsai soil should be a particulate mix of ingredients with soil particles mainly 2-3 mm in size. You can mix your own soil at much less cost but the ins and outs of how to do this are beyond the scope of this introductory article.

Watering your bonsai is a complex subject with many variables. My best suggestion to you is to water your trees thoroughly from above allowing the water to soak into and through the soil until the soil is completely wet and water is coming out of the drainage hole. By the way, all pots must have at least one drain hole. Do not water again until the soil is nearly dry to about 1 inch below the surface. The ideal time period for this to occur is 24-36 hours. If your soil is staying wet for longer than this time interval your soil is too water retentive and you will lose some trees due to root rot.

Tap water in most municipalities is acceptable for most bonsai. If chorine is used in your water allow the water to sit for 24 hours before using it on plants. This will also allow the water to warm up to room temperature as well as time for the chlorine to dissipate. If your local water is too mineral laden you may need to collect rainwater, water from a dehumidifier, air conditioner or from a reverse osmosis unit.

If your bonsai was purchased with glued-on-rocks on its surface these must be removed. They will prevent you from accurately gauging the soil moisture. Use a screwdriver to pry off the rocks and discard them and then top off the pot with fresh bonsai soil.

Misting is a nice tool to refresh your trees, clean accumulated dust off the leaves, and to increase the humidity level but it does not replace watering thoroughly and properly. Under many growing conditions misting can promote fungal attacks on leaves and stems.

Room humidity is too low in most homes. Use a small room humidifier close to your plants to raise the humidity level. Your bonsai will appreciate this extra effort.

Fertilize actively growing trees every two weeks with a houseplant liquid fertilizer mixed at half the recommended strength. If directions call for two tablespoons per gallon, then use one tablespoon per gallon. Make sure that the plant is watered well before you fertilize. Do not ever fertilize your tree if it is sick, not growing or recently repotted. That is a sure way to damage or kill your tree.

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The penjing artist’s goal is not only to re-create a natural scenery in a container, but to capture its essence and spirit.

2010-08-08T01:41:00.001-07:00

Penjing and bonsai are closely related art forms. Penjing is the older form from which bonsai derived. While the similarities by far outweigh the differences, there is a significant variance in scope: “Bonsai” literally means a “tree in a pot” and therefore as an art form, bonsai is more narrowly defined than penjing, a “landscape in a pot”.

The roots of bonsai plants often rise in sculptural shapes above the stones.

Some penjing has been trained, or molded, into the shape of a dragon, with one of its larger branches looking like a head and
another, a tail. Eventually, the art of penjing migrated from China through Korea to Japan. The Japanese term “bonsai”
refers both to the plant and to the pot or tray in which it sits.

The two must complement each other to create visual harmony.

Bonsai come in all sizes: miniature (six inches tall or less), small (six to 12 inches), medium (12 to 24 inches), and large (24 to
48 inches).

It’s certainly not easy to create a miniaturized tree, and it can be daunting countless days, months, and years can be spent learning techniques for creating and maintaining bonsai and penjing. With practice, you can shape a tree by removing a branch, allowing one to develop in a desirable location, or allowing the trunk to grow more.

Balcony view of one of the four rooms at the National Bonsai Exhibition held in the Tokyo Metropolitan Art Museum. This room has large size bonsai while the room on the upper left has medium size bonsai.

Repotting lets you place the trunk where you’d like in the pot, wiring lets you alter the position of the branches, and pruning keeps the branches short. Creating a bonsai from seed can be tricky.

So one popular way is to start by choosing a nursery tree, shrub, or even a vine, then potting and beginning to style your bonsai—a step called “pre-bonsai” or “bonsai in training.” This process of training a plant in a pot takes several years. With proper care and the appropriate techniques, one day it may earn the title of “masterpiece.”

While training a plant, one may need to replace the original pot as the tree gets bigger,and special attention needs to be given to
drainage and soil mixes so that the tree remains healthy.

Once fully formed, a bonsai will have a thick trunk, a shape like the normal-sized tree, branches of the right size and in the right place, leaves that are as small as they can get, and a pot perfectly matched to the style and color of the tree.

This maintenance process requires years of trimming and restyling, but it’s very satisfying to the owners and gives a deep sense of artistic pleasure.

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Penjing: History, Aesthetics and Spiritual Background.

2010-07-19T01:24:00.001-07:00

Penjing: History, aesthetics & spiritual background.

Many people think of bonsai as exclusively Japanese. But there is a long tradition of bonsai from China. Penjing is the Chinese art of creating a miniature landscape in a container.

The word consists of the two characters shown on the left:
“pen” - “pot” or “container”, and “jing” - “scenery”. An artist may use plant material and natural stone to portray an idyllic mountain retreat with a murmuring brook or a waterscape with a lush tropical island. Or he or she may design a much simpler scene where one single tree makes up the entire composition.

Penjing and bonsai are closely related art forms. Penjing is the older form from which bonsai derived. While the similarities by far outweigh the differences, there is a significant variance in scope: “Bonsai” literally means a “tree in a pot” and therefore as an art form, bonsai is more narrowly defined than penjing, a “landscape in a pot”. Many of the beautiful, elaborate tray sceneries created by Chinese artists clearly defy the parameters of bonsai. While penjing can be found in many variations, the Chinese themselves recognize three distinct categories:
• Tree Penjing (shumu penjing)
• Landscape Penjing (shanshui penjing)
• Water-and-Land Penjing (shuihan penjing)

Penjing as an art form spans over a thousand years. Our earliest historical records of a stone and a plant arranged in a container to form an artistic scenery date from the Tang Dynasty (618-907). By the Song Dynasty (960-1279 ), the Chinese already practiced the art at an advanced artistic level.

Paintings from that period depict pieces that would be prized among seasoned collectors today. Penjing artists have drawn much of their inspiration not only from nature, but from nature poetry and landscape painting.

Similar aesthetic considerations have guided all three art forms. With landscape painting attaining unprecedented heights during the Song Dynasty (960-1279), penjing, too, was poised for vigorous artistic development. By the early years of the Qing Dynasty (1644-1911), the art had become very popular, and the first manuals appeared. With increasing popularity, however, more commercial, folkloristic, and regionally defined strands of penjing sprang up alongside the more sophisticated, artistic forms.
In addition to aesthetically refined penjing, one could find trees whose trunks had been coiled to represent dragons or whose canopies were to depict cloud layers, or trees shaped to resemble the strokes of fortuitous characters.

The variations were endless. In the later years of the Qing Dynasty, the 19th century, foreign aggression and domination led to a decline in penjing, and this development was exacerbated during the years of foreign occupation and humiliation, war, civil war, and cultural revolution that China experienced during much of this century. Old collections were lost, artists struggled to survive and to pass on their wisdom and insights. Only in the last twenty-plus years have the conditions in China allowed for a renaissance of this ancient art form.

Today, a quickly growing number of enthusiasts and collectors have discovered their roots in penjing. It is assumed that the art of creating miniature trees reached Japan by the 13th century. Beginning in 600 A.D., Japan sent envoys to China to study her arts and architecture, her language and literature as well as her law and the forms of Buddhism evolving there, which were grafted on the original Indian teachings. During China’s Southern Song Dynasty (1127-1279) in particular, the Japanese imported Chinese culture and arts on a large scale. It was during that time that the Chinese form of Buddhism known as “Ch’an” was introduced to Japan and given the name “Zen” - the name by which it is known in the West today. This massive transmission of culture begun in the the 1200’s would last for centuries as Japanese artists continued looking to their Chinese counterparts for guidance and inspiration.

The penjing artist’s goal is not only to re-create a natural scenery in a container, but to capture its essence and spirit. To achieve this objective, a wide palette of artistic devices comes into play. Like a Chinese landscape painting, a penjing is a study in contrasts. On a philosophical level, this presentation of opposites is evidence of the Chinese artist’s conceptualization of the universe as being governed by two poles of cosmic energy, the yin and the yang. Artistically, the contrasts create rhythm and dramatic tension
which then is resolved in a dynamic balance, a delicately tuned equilibrium.

The attainment of overall structural unity is critical, especially in a more complex composition like a water-and-land penjing where design elements such as trees, rocks, mosses, small grasses, and water all need to harmonize with each other and contribute to the design in a meaningful fashion. Careful selection is critical. In addition to deciding on a container and determining the tentative placement of the composition, the artist will consider the tree species, number of trees to be used, their sizes, trunk angles and the density of their foliage mass. He or she will choose rocks for their size, color, shape, surface details, and compatibility with the trees.

In the end, each and every element in the design needs to relate to all the others so that the entire landscape appears as an all-embracing, encompassing entity. Penjing artists do not seek to create perfection. As a matter of fact, trees trained into highly stylized forms where every angle and every root and branch placement has been meticulously calculated by a rigid formula do not suit their tastes. Apart from being beautiful, an outstanding penjing must look entirely natural. It should look as if Nature herself had spontaneously created it - like a marvellous accident of Nature.

Spiritual background
Bonsai and penjing may be viewed as objects of meditation.

The act of creating bonsai or penjing by itself is a contemplative, meditative exercise - a practice of Zen. The little trees and miniature landscapes can be seen as a celebration of Nature and the healing powers extended by an intact natural environment. Creating and taking care of bonsai and penjing will draw you closer to Nature, enabling you to experience her in a more direct, intimate way.

For a more in-depth understanding of bonsai and penjing, the practice of creating miniature trees and landscapes should be viewed against the backdrop of two of China’s great philosophical traditions, Daoism (Taoism) and Zen Buddhism.

Daoism has exerted a profound infl uence over Far Eastern arts for over two thousand years. It’s a way of thinking and living that can liberate mind and body. Daoism proposes the return to a state of original spontaneity by discarding the rules of rigid conventional behavior and thinking. It suggests that by learning to go with the flow and allowing our minds to function naturally, tremendous creative power can be
unleashed.

Tuning into the rhythm of Nature and understanding the interrelatedness of all things around us are key components of Daoist teachings. Zen Buddhism - known as “Ch’an” in Chinese - evolved as a new strand of Buddhism with unique Chinese features after Indian monks introduced Mahayana Buddhism around 500 A.D. It came about when a form of Indian Buddhism was grafted upon the native Chinese Daoist tradition. Chinese-style sitting meditation (“zuo Ch’an”, a concept called “za zen” in Japanese) does not seek to bring the mind under rigid control as does traditional Indian Buddhism, but instead seeks to liberate, encouraging the mind to fl ow without impediment and to follow its own, intrinsically good, nature. Ch’an, popularized in the West under its Japanese name, Zen, teaches that the receptive mind can find Enlightenment verywhere, at any time, in the form of “sudden awakening”.

And so it is that a bonsai or penjing artist, working with natural materials and concentrating moment to moment, may come upon sudden insights, inspirations, and resolutions. This is the creative process. It fi nds the artist quietly absorbed in a state of active meditation. Arranging trees and placing rocks, he suddenly discovers something new, not pre-meditated - a composition that flows naturally and harmoniously, engendering great beauty and universal, eternal truths with seemingly little effort.

The ancient art of bonsai and penjing.
Masters of Japanese bonsai and Chinese penjing techniques are gardening artists. The tiny trees they meticulously shape— ranging in age from newborn to centenarian — create a sense of full-grown trees in their natural surroundings while taking up only the space of a coffee table. Perfecting such miniature masterpieces is truly the pinnacle of gardening skill.

A well-trained bonsai or penjing specimen should give the impression of being a tree, not a shrub. Trees have well-defined foliage layers with open areas between them, while shrubs are masses of foliage that need pruning to define and improve their branch structure.

Though many people believe such trees are simply dwarfed versions of natural trees, the truth of the art form lies in the creation of the image. Masters manipulate potentially full-sized trees and mold them into beautiful pieces of art that, with proper care, can last for generations—sometimes centuries. But take a bonsai or penjing tree out of its pot and plant it in the ground, and it’ll reach its full, normal height.

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Bonsai Plant Guide: Trees and shrubs are suitable for traditional bonsai.

2010-07-08T05:35:00.000-07:00

Specialty nurseries often have a wide selection of dwarf and semi-dwarf varieties of many species. Dwarf plants, however, do not always convey the same impression as their full size
counterparts because their growth habits are quite different.

Some trees and shrubs that work well as bonsai are azalea, beech, boxwood, ginkgo, maple, oak, pine, wisteria, and zelkova.

AZALEA: Hiryu, Rhododendron obtusum; Satsuki azalea, Rhododendron indicum; Kurume, Rhododendron obtusum.

BEECH: American, Fagus grandifolia ; European, Fagus sylvatica.

BOXWOOD: Buxus species.

ELM: Chinese, Ulmus parvifolia (many small-leaved cultivars)

FIRETHORN: Pyracantha species

GINKGO: Ginkgo biloba

HAWTHORN: English, Crataegus laevigata; Washington, Crataegus phaenopyrum.

HEATHER: Scotch heather, Calluna vulgaris.

HORNBEAM: American, Carpinus caroliniana (for large bonsai); Korean, Carpinus coreana;
Japanese, Carpinus japonica.

IVY: English ivy, Hedera helix and cultivars.

MAPLE: Japanese, Acer palmatum (use palmate rather than dissectum type, preferably a
seedling, not a grafted tree); Amur, Acer ginnala ; Hedge, Acer campestre; Trident, Acer buergeranum.

OAK: Willow oak, Quercus phellos.

PINE: Austrian, Pinus nigra Bristlecone, Pinus aristata Japanese red, Pinus densiflora Japanese white, Pinus parviflora Japanese black, Pinus thunbergiana Mugo, Pinus mugo Scots(Scotch), Pinus sylvestris Swiss stone, Pinus cembra White, Pinus strobus (dwarf varieties) Pemphis acidula: Santigue.

WISTERIA: Japanese, Wisteria floribunda YEW: Taxus species and cultivars.

ZELKOVA: Japanese, Zelkova serrata American gardeners have taken bonsai concepts and applied them to houseplants. By combining traditional procedures for handling houseplants with bonsai concepts of design, growers have created different bonsai styles. The following woody
plants (native to the tropics and subtropics of the world) have been grown as indoor bonsai. These plants can be obtained from either local or specialized nurseries.

ACACIA: Acacia baileyana.

ARALIA: Balfour, Polyscias balfouriana; Ming, Polyscias fruticosa; Geranium-leaf, Polyscias guilfoylei.

CAMELLIA: Common, Camellia japonica; Sasanqua, Camellia
sasanqua

CITRUS: Citrus species (calamondin, kumquat, lemon, lime, orange, and tangerine).

CHERRY: Surinam, Eugenia uniflora-

CYPRESS: Monterey, Cupressus macrocarpa.

FIG: Mistletoe, Ficus diversifolia.

HERB: Elfin, Cuphea hypssopifolia.

HIBISCUS: Chinese hibiscus, Hibiscus rosa sinensis ‘Cooperi’.

HOLLY: Miniature, Malpighia coccigera.

JACARANDA: Jacaranda acutifolia.

JADE: Crassula species.

JASMINE: Jasminum parkeri; Orange, Murraea paniculata; Confederate star, Trachelospermum jasminoides.

LAUREL: Indian, Ficus retusa.

MYRTLE:Classic, Myrtus communis.

OAK: Cork, Quercus suber; Silk, Grevillea robusta.

ORCHID TREE: Bauhinia variegata.

OLIVE: Common, Olea europaea.

PEPPER TREE: California, Schinus molle.

PLUM: Natal, Carissa grandiflora.

POINCIANA: Royal, Delonix regia.

POMEGRANATE: Dwarf, Punica granatum ‘Nana’.

POPINAC: White, Leucaena glauca.

POWDERPUFF TREE: Calliandra surinamensis.

SERISSA (Snow Rose, Tree of a Thousand Stars): Serissa foetida (nicest of
all indoor bonsai).

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The Life Of A Flowering Bonsai

2010-03-21T09:32:00.000-07:00

All sorts of flowering bonsai plants can be developed from seeds or cuttings and also from young trees.

Like all plants, flowering bonsai plants need careful feeding, watering pruning and training at regular intervals so that they can grow healthy.

They usually are grown in small containers which helps to get a desired shape by the application of wire coils.

When you are going to buy a flowering bonsai there are three main aspects to consider;

The type of container
The position that the plant will occupy in the container
The choice of the plant type variety.

Four Sizes Of Flowering Bonsai.

Flowering bonsai come in four main sizes, miniature, samll, medium and average size.There are four main sizes of flowering bonsai. Miniature bonsai grow to around two inches in height and will usually achieve this within two years.

Small bonsai grow to two to six inches in height will take from five to ten years to mature, whereas medium bonsai grow to six to twelve inches in height and will reach their full potential more quickly in around three years. Average sized flowering bonsai grow to approximately two feet, and are also reach full potential within three years.

The Two Basic Styles Of Growing Flowering Bonsai Plants.
The informal style, which is sometimes also known as comic and bunkin is the opposite of the classic style and has the top end wider than the bottom. The classic style, which sometimes is known as koten has a wider trunk at the base and as it gets towards the top becomes thinner.

Some Popular Flowering Bonsai Trees.
Mt. Fuji Serissa - is known for its white colorings on the outer edges of the leaves. In the summer it blooms a single white flower and likes lots of warmth and sun so should be put in a correct spot in a garden. In case of watering make sure that the soil is dry before watering is commenced.

Flowering Quince - This comes from Asian countries and has a display of white and red flowers on bare branches. It is a world favourite and the leaves have tiny teeth and flowers grow in tight clusters.

It produces green and yellow fruits and may be tough, but needs a lot of sunlight and soil that is well-drained between watering. Be careful not to over water.

Okinawa Holly - This has small pink flowers that bloom during spring and summer. It is tough, but grows best in temperatures between 60 and 85 degrees. For maintenance, it is best to be spray misted everyday from spring to fall and at least twice a day in winter.

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Classic Bonsai Styles, Chapter 4.

2009-12-23T03:36:00.000-08:00

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The Ancient Art of Bonsai: Glossary, Chapter I

2009-05-22T23:17:00.000-07:00

To find out the meanings of all the particular words that are part of the world of bonsai, here is a practical and easy to navigate online glossary.

A

apex - the tip of a tree or branch

bonsai - Japanese term for the the art of cultivating and training a plant to create the illusion of a dwarfed tree.

bonkei - tray plantings containing stones, trees, plants and figurines

branch bender - a clamp or jack used to bend branches or trunk

branch splitter - a cutting tool used to divide branch or trunk to allow it to be bent more easily.

broom style - A training form for bonsai which resembles an inverted broom with a single trunk dividing into many symmetric branchlets which subdivide into twigs and so forth. See Hokidachi

bunjin - Japanese term for an educated person or literati, a tree grown in this style, usually emphasizing a thin trunk, with a lean appearance and container with rough-hewn appearance.

callus - The raised roll of tissue that forms as a wound heals and closes

cambium - The layer of tissue between the xylem and phloem, where new wood is formed.

chokkan - Japanese term for the formal upright style

clump style - see Kabaduchi

concave cutters

cutting - a bit of a plant that has been cut and rooted. A means to propagate.

deciduous - a plant that sheds its leaves and enters a state of dormancy annually

eda - Japanese term for branch

evergreen - a tree that does not shed its leaves in winter

fungicide - a chemical used to combat the growth of fungus

graft - to join a stem of one plant with another so they grow together. Grafting is used both to propagate plant species and to add foliage where none previously existed on a bonsai.

grafting knife

han-kengai - Japanese term for semi-cascade - See also Kengai

hokidachi - Japanese Term for Broom Style

ishitsuki - Japanese term for root-over-rock style

jin - Pronounced JEEN - Japanese term for snags of deadwood on the ends of branches or trunk.

kabaduchi - Japanese term for clump style bonsai

kengai - Japanese term for cascade style. See also han-kengai

Hobby Bonsai: Tools & Supplies

2009-05-22T23:12:00.000-07:00

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Shears

ASHINAGA Shear - The Ashinaga shear is a basic tool for thinning and defoliating bonsai. Together, the Concave Branch Cutter and the Ashinaga shear are generally considered the two most basic bonsai tools.

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Trimmers

Leaf trimmers, also known as defoliating shears, are the preferred tool for removal of unwanted leaves and buds. They allow fast and precise removal of foliage. Very popular for bonsai.

The JR-166 Professional Grade Leaf Trimmer is the most versatile of the leaf trimmers in the JR line because its extended length permits reaching deep with a minimum of disturbance to the surrounding foliage.

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Saws

This saw is made specifically for cutting dense root stock. The 1” wood handle is 4” long and curved to provide a good grip for working the roots. Its heavy duty blade has a strong pointed tip for probing and 7 teeth/inch for fast cuts. A durable saw for this special task.

6” blade, 10 3/4” overall length.

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Wire

Our copper wire is fully annealed and ready to use. Copper wire is much stronger than aluminum, and is frequently used in the shaping of branches of trees where the greater holding power is most required. Copper is annealed so it goes on soft, yet takes a "set" that keeps branches in place.

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Wire Cutters

Bonsai wire cutters are designed specifically for bonsai wire. Although initiates to bonsai sometimes substitute standard wire cutters, the Japanese have designed these bonsai wire cutters with a rounded head to prevent damage to the branch, and with jaws that cut the wire symmetrically and cleanly. Highly recommended for serious enthusiasts.

Variations in the quality of material and finish are reflected in the price. Smaller wire cutters are also available in most grades.

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Pliers

These pliers, known in Japan as Yattoko, are designed specifically for manipulating bonsai wire when applying and removing wire from trunks and branches. They also find use in repotting operations in tightening tie wires. High carbon steel construction provides durability.

Large Intermediate Wire Pliers have 7/8 in. jaws, and are 9 in. long overall.

Chopsticks

One of the most useful bonsai tools, this set of durable jumbo chopsticks is carved from bamboo. Made especially for working soil around bonsai, these hearty bamboo chopsticks are packaged in a set of two in 8-1/2 and 11" lengths.

Brush

Bonsai brooms are great for leveling the topsoil after transplanting, dusting off work benches and pottery, and grooming the branches of pines to remove loose pine needles.

The JR- 6003 Bonsai Broom is 6-1/2 inches in length and has medium bristles.

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Water Can

Watering with a can is a popular method for small collections and a great way to dispense water soluble fertilizers.

This is the traditional approach and some say, "the only way to water.

Classic Bonsai Styles, Chatper 3.

2009-05-07T22:17:00.000-07:00

ISHITSUKI
The tree itself may follow any style, the significance is that a rock is used instead of a pot, with the roots growing in a crevice or hollow.

The rock may stand in a shallow dish of soil or, better still, in a water tray Mixed plantings of pines with red maples or dwarf quince and azalea are particularly successful.

The essence of the root on rock style is the natural landscape that the composition evokes.

The choice of rocks, tree species and various accompanying plants must be carefully made, ensuring that they all harmonise visually and horticulturally, since repotting can be a difficult operation.

NETSUNANARI

As the name suggests, this is a raft planting where the original horizontal trunk has attractive snake-like curves and is exposed in such a way as to show this feature to its best advantage.

With a style like this it is even acceptable for the old trunk to be above the ground in places.
The natural inspiration for the sinuous raft style is a fallen tree that has sprouted vertical branches and then taken root in places where it has come into contact with the earth.

Although trees of this kind themselves may conform to any style, they should harmonise and all be similar in trunk movement.

IKADABUKI

Another obvious one: a raft planting where the original trunk lies in a straight line.

Most rafts created from nursery stock follow this style because of the difficulty of bending a fairly thick trunk into sinuous curves.In such cases the trunk is usually buried in the soil or covered with moss to disguise its unnatural appearance.

The main problem to solve when making a straight raft is how to avoid a straight row of trunks.
This can be achieved by training some branches horizontally forward or backward before bending them up to form trunks.

It is even possible to create a fairly dense forest in this way.

NEAGARI
Most of us have driven down lanes where the steep banks have been washed away to expose the roots of an ancient beech or pine, and this style is based on such cases.

The roots, which must have mature bark and interesting shapes, add a dramatic, rugged appearance, so the design of the tree itself should echo this.

The foliage mass should be kept fairly small so that its weight or wind resistance doesn’t cause the exposed roots to bend over.

You might find wild specimens that lend themselves to training in this style, but more often than not, growing from scratch is the easiest method.

SÔJU

Two trunks, one smaller than the other, joined together at the base.

Trunks which divide significantly above the base are unacceptable.

The smaller or secondary trunk should be slightly to the rear of the dominant one to enhance the perspective.

The trees themselves may follow any appropriate style. These bonsai can sometimes be difficult to maintain in the long term, because as the trunks thicken with age, the fork between
them inevitably begins to fill.

This has the effect of raising the junction until eventually it is too high. When starting a sôju, make the angle between the trunks as wide as possible.

BANKAN

This most unnatural of all bonsai styles has heavy Chinese in uence. It became popular for a time last century and was grown in large numbers.

Although still popular among some hobbyists, it is seldom accepted in classic circles. The trunk spirals from base to apex while the branch structure follows that of the informal upright.

Unfortunately, the majority of commercial, mass-produced small bonsai — intended for the gift market - are bad examples of this style.

Far Eastern growers seem to think that this is what Westerners believe a tree looks like

KABUDACHI
Any (odd) number of trunks, which must be in a variety of sizes, all growing on the same roots.
This may either be created from suckers (shoots arising naturally from the roots) or by cutting off a thick trunk at the base and using the new shoots which spring up from the stump.

The trees can be any style. The horticultural advantage of using a clump rather than separate
plants is that the ‘trees’ do not compete for water and nutrients.

As with the raft and group styles, the trunks should have similar movement and characteristics but must also vary in thickness.

YOSE-UE

This style may incorporate any number of trunks from seven up to as many as you like.
The main interest is in the interplay between the trunks, which should be of different sizes and should be arranged to give the impression of depth and perspective.

No three trunks should form a straight line and no trunk should be obscured by another when viewed from the front.

The trees in the centre of the group or forest should be the tallest, with the thickest trunks bearing the most foliage.

The trunks on the perimeter should lean outward, reaching for the light.

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Of the two basic methods for shaping a Bonsai tree, pruning is by far the most important.

2009-05-07T22:12:00.000-07:00

Groups.
The planting of groups is essentially the same as that for one tree. However before planting is started, build up a mental picture of the group as it should look when finished. Avoid straight lines either front to back or side to side between two or more trees. In other words, do not have three trees in a row; the effect will be entirely unnatural.

Position and secure the main two trees first, the lesser trees are planted to complement and give depth to the larger main trees, securing each tree as it is planted. One can tie in the whole group with string ; going over the whole of the pot. This is not very attractive but might be found easier with complicated groups.

This Trident Maple is trained in the clump style and is approx. 45 years old

Rock planting.
Some rock such as tuffa, which comes from Derbyshire, can be drilled and chiselled away o form an almost natural pot within the rock itself. The soil mixture for planting a tree in a rock pot is exactly the same as that used for the same variety of tree. If the tree is to straddle the rock-roots growing down the sides into the soil-use a mixture of 50% peat and 50% fine loam. Mix this with water to give a sticky mud. Dampen he rock and apply a thin layer of compost over the face of the rock. Clean and separate the tots of the tree, positioning it so that the main roots run down any available crevices in the Sock. Bury the ends of the roots in the soil (the compost in the pot will be the same as when potting normally).

If it is necessary to tie the tree in position this can be done with twine or elastic-covered garden wire, protecting the roots with thin strips of rubber. If it is difficult to secure the wire, small rings of copper can be cemented to the rock surface.After tying in apply an ample layer of peat/loam mix over all exposed roots. To stop rain washing this off, plant moss over the whole planting, securing it with 'V's of copper wire. This will also help to stop evaporation. Always protect rock plantings from bright sunlight and heavy rain for at least a month, spraying the whole planting at least twice a day.

Training.
Of the two basic methods for shaping a Bonsai tree, pruning is by far the most important. This is carried out throughout the life of every Bonsai tree where as wiring to shape is only done when the tree's shape needs to be corrected fairly radically. Even then, it might only be me branch that has moved away from its desired position.

A flowering Peach Bonsai approx. 12 years old Pruning
Pruning can be divided into three main headings:

1) Heavy Branch Pruning:

This is a general thinning out of old, diseased, weak, or unnecessary branches that grew the previous year. This should always be carried out during the Autumn, early Winter or early Spring before the sap has begun to flow at full strength. I have used the Samuri Stainless Steel Cutters to great effect over the years.

2) General Pruning:

This is the pruning carried out throughout every growing season. It is designed to maintain and create shape, thin excessive growth, and produce an abundance of flower buds in flowering trees. Best to use delicate trimming shears to minimise and ancillary damage. General Pruning is also needed to maintain the ever-important balance between the smallness of the root ball and the top growth; if the top is allowed to grow away from this balance the roots will not be able to maintain it in good condition; the roots may rot or die out and a vicious circle can be created-the end result being severe dying-back or even death.

3) Leaf Cutting:

Leaf cutting is one of the 'secrets' of Bonsai training. In June, providing the tree is in good condition and has been amply fertilised to promote strong healthy growth, some or all the leaves of most deciduous trees can be removed by cutting them away with sharp scissors or defoliating shears.

One leaves the petiole or leaf stalk on the tree which, in two to three weeks, withers and drops off. The tree has a false autumn and anew set of leaves and shoots appear. The effect is to produce bushy growth, smaller leaves and much better autumn colouring.
The trees most suitable for leaf cutting are the Maple family, Elms, Beech, Birch, etc., but not fruiting or flowering specimens. To find out which trees are best suited for leaf trimmming and get an overview of all the different varieties of Bonsai have a look at "The A-Z of Bonsai"

Wiring.
Wiring is generally considered to be one of the most difficult techniques for shaping Bonsai trees. However, after a little practice on a small branch cut from an ordinary tree its mystery will soon disappear. The most important point to bear in mind is that one mustn't rush-take your time. Before using wire consider the subject from all angles. If it is possible to achieve the desired shape by pruning alone then don't use wire. If wire has to be used choose the gauge that just holds the branch in position-if it is too stiff the wood will tend to bend in and out between the coils.

Copper wire (sizes 8 to 24 are generally used, 8 being the largest) that has been annealed in a slow fire is more suitable than iron wire. It does not rust or look unsightly on the tree.Deciduous trees should be wired immediately after their leaves have attained full size when the sap is flowing freely. Wires should only be left on deciduous for a maximum of 6 months.

Some trees have very soft bark and the wire should have paper wrapped round it to protect the tree.Evergreen and coniferous trees take longer to become set in position and wires can be left on for 12-18 months. They must always be removed if they start cutting into the bark. Always start wiring from the base of the trunk, burying the wire in the soil to anchor it. After the trunk progress to the largest branches, continuing from large to small until finishing on the topmost smallest branches.

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The Importance of the Pot

2009-05-07T22:05:00.001-07:00

To be called a Bonsai the tree or shrub will have to live within the confines of a pot or container of some sort. To a certain extent the pot has the same function as the frame of a picture; it must show and display the tree to its best advantage.

It must not clash or tend to draw one's attention away from the tree. As it must last for at least a year or two, it should be chosen with care. For an example of the types of pots that I have used to rear my bonsai successful click here.

It must have at least one good drainage hole in the bottom to allow stale water to seep away and to encourage good air circulation round the roots of the tree. Generally speaking, the colour of the pot is usually subdued. Shades of brown, dark blue, green, black or off-white, are most popular.

Lighter colours are sometimes used with flowering trees but again the colour must be chosen with care. A Japanese quince would look out of place in a pink or orange pot because of its bright red flowers. The pot may be glazed or unglazed on the outside but it should not be glazed inside as this removes the rough texture of the clay on which the soil grips and holds the tree steady.A strong wind could literally blow a tree completely out of such a pot.

If one has difficulty in deciding on the right colour for a particular tree, play safe and pick one that is neutral. For instance, dark brown is suitable for almost any tree. It can always be changed at the time of the next repotting.Apart from the question of colour there is the shape and size to take into account.

The basic shapes are round, ectangular, oval, and hexagonal. Others can be more fancy: ponds, petals, etc. Choose the shape of the pot bearing in mind the tree for which it is intended. An upright Cryptomeria would look odd in a pot like a lotus flower, but perfectly at home in a plain rectangular one. Some pots have curved sides, some straight; the top lip may be turned in or out, or it may not have a lip at all; the feet may be "cloud" shaped or completely plain.

The height of the container can vary from a flat piece of slate, on which groups of small trees are often planted, to the tall pots, twelve inches or more, used for trees trained in the cascade style. A tall heavy pot would not suit the lightness of a group of maples, being completely out of proportion. In the same way, a cascade tree would give the impression that it was about to fall over if it has been planted at the edge of a very shallow pot. It can be seen that the size of the pot also depends on the tree and its character, as well as the size of the root ball. The rule of thumb is that the cubic capacity of the pot will be approximately a half to one third that of the tree.

Front or Back
When looking at a bonsai tree it is essential to determine the front. This might sound obvious, but looking at the back of a tree will simply lessen one's pleasure. There are a
number of simple ways to ascertain the front. Look at the top of the tree. It is often trained to incline slightly towards the front, giving a certain depth to the tree.

The branches will always be at their longest when breaking from the sides of the tree. There will also be well-defined branches growing at the back, though few if any at the
front, except near the top. This is simply to allow the form of the trunk to be seen.Very formally trained trees often have branches in sets of three. A tree of this type will have one branch to either side of the trunk and a smaller one at the back: each set going up the trunk and none at all at the lower front. When a planting consists of a number of trees the front is the position from where the viewer gets the best impression of depth and distance. The major trees, always taller, will be planted towards the front of the group.

This magnificent 50 year old Mountain Maple clings strongly to a rock When considering the question of front and back be sure to have the tree at almost eye level; looking down on it can be very misleading.

Display

The majority of bonsai trees are hardy and their natural habitat is the open air. Those that have to be protected from the frost and are looked on more as indoor bonsai will also benefit from a holiday outside in the warmer months. As this is the case, it is worthwhile making a permanent display stand in some quiet comer of the garden.

The ideal spot would be against a westerly heldge or fence where they can be seen and are out of reach of inquisitive pets and small children. Having the trees on a stand also makes it easier to tend them and keeps some of the more earthbound insects at bay.

The number and size of the trees will determine the size of the stand. For the collector with some six to a dozen trees it would be eight to ten feet in length and about four feet in height. It should be made of good quality wood treated with a wood preservative, or a metal framework and wooden top.

It is inadvisable to put them on a gravel bed as the roots will grow into the gravel through the drainage holes. Incorporating a shelf at the back will increase the surface area and allow smaller trees to be displayed. Above and at the back of the stand a weather shade can be made from strips of thin timber, such as plaster laths or a medium to small grade plastic netting that can be bought from most good garden shops.

This will stop hot summer sunshine scorching the leaves of deciduous trees and heavy rain washing the tree from the pot. It will also provide protection from a certain amount of frost. The bottom of the stand can be utilised as a winter storage area by either burying the trees to the rim of the pots or by building another shelf for them just off the ground.

The back and sides of this lower part should be enclosed with plywood or some other suitable material. Sliding glazed panels cover the front or a double curtain of heavygrade clear polythene secured at the bottom. On fine sunny days the front should be opened to allow the circulation of air but closed again before evening. This winter protection will only be found necessary in the more exposed parts of the country, or if the less hardy varieties are kept, such as members of the Prunus family.

A tool rack might also be incorporated under one end, where it is easily accessible and does not interfere with the trees.However much trouble is taken with the outdoor display the enthusiast will want to admire his trees in the home from time to time. As long as they are kept inside for no more than a few days they will not be harmed in any way.In Japanese homes there is an alcove in the main living room called a Tokonoma. This is a narrow recess, slightly raised above floor level, against one wall. It is used for the display of scrolls, bonsai trees and ikebana flower arrangements, etc. It will be the only place in the room to hold an ornament of any sort-at least this is so in the more traditional homes.

If a specimen bonsai tree is the focal point then a simple scroll and either a small bonsai or an ornament-beautifully weathered stones are often used-are displayed with it. These subsidiary objects should not distract one's attention from the principal tree. They are carefully arranged to achieve the triangle the Japanese love so much: that of heaven, earth, and man (heaven is the scroll, the minor object is earth, and man is represented by the bonsai tree in this case).

In the West we relax by sitting in deep comfortable armchairs and not on a thin mat on the floor. Therefore we display our bonsai on a higher level. The height of the average table is ideal for most trees, though the smaller ones should be still higher. Apart from this minor difference, the basic spirit of the Japanese display can still be maintained. The essential point to remember is that the tree should be shown with as few distracting objects as possible.

It will look out of place next to a cut-glass vase filled with roses, or on top of the television set. Avoiding competition also applies to the background. Heavily-patterned wallpapers can reduce the effect considerably. Natural colours are best: tan, off-white, ochre, etc. The use of secondary objects in the display is really a matter for one's own discretion. They can look extremely effective but large ornaments, or too many, will make a tree look out of place.

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Seasonal care and protection

2009-04-28T09:18:00.001-07:00

General care

Contrary to a popular misconception, the first principle of bonsai culture is to maintain the trees in a healthy state. The dwarfing of a tree is not achieved by soil starvation or by having the tree the minimum water necessary. Nor is it necessary to perform strange rites before a bonsai tree. Bonsai trees have similar needs to the oak or the tiny daisy. The essence of their care is continuity and regularity; a few minutes a day is infinitely better than a couple of hours every two weeks.

Fertiliser and humus
Adding humus to the tree should not be necessary as this vital element in the soil is added then the tree is repotted.

Fertiliser should be given at regular intervals from Spring to Autumn. Inorganic fertilisers are not often used with bonsai trees as their action is too sudden. Organic fertilisers have a low
continuous action. However, if a tree needs a quick lift then inorganic is preferable.

One of the easiest methods of fertilising is to use an organic liquid feed that can be bought from
a Garden Centre or a garden shop; it might be added that it is not essential to use Japanese
fertiliser such as soya bean mash, rice bran etc. Dilute the liquid feed to the minimum suggested.
One generally fertilises at 10-day intervals but this is not to be regarded as exact; if the weather
is very wet and one continues to fertilise, it will tend to produce a lot of long sappy growth which will have to be removed from the tree. In this particular instance the fertiliser should be cut down to about every two to three weeks. Watching the tree and applying when it is necessary is much the best.

One can also use solid fertilisers, again organic, but as a lot of these tend to form moulds on the soils, or to give off an offensive smell, one will probably find that liquid feeding is the most convenient. If the tree is to be leaf cut (see notes on Training), it should be given a little more fertiliser for three weeks before and after it has been cut. One can also slow down the frequency of the application between the middle of May and the end of June as the trees should be growing vigorously during that period.

Soil
The tree might be beautifully trained but the effect will be greatly marred by careless treatment
of the soil surface. Moss should be encouraged to grow or planted at the time of re-potting. This
cuts down excessive evaporation from the soil surface during hot weather, and also stops the
soil being washed from the pot during heavy rain. However, it should be thinned out every few
months by pulling up a tuft here and there to stop the moss from becoming too packed. All
weeds, especially liverwort, should be removed immediately and any small under plantings of
rockery plants should be thinned out from time to time.

When adding compost be sure that it isn't too fine. If compost is too fine it then cakes up and
the Bonsai tree cannot get air and water to the roots. If this happens it can die. Try using a
scoop and sieve when applying the compost to avoid this potential problem.

Rotting leaves, twigs and general debris should be removed from the soil surface. Not only do
they look unsightly but they provide an excellent breeding ground for insects. Apart from moss,
one can also decorate the soil surface with small rocks, gravel, pebbles, etc.

Fungus and mildew
As with other plants Bonsai trees are subject to attack from fungus and mildew. They should
always be kept in a light airy position where there is plenty of air circulation and ventilation is
good. Immediately one sees either fungus, mildew, or rust on one's trees they should be treated
with a proprietary brand of fungicide mixed to the manufacturers' instructions.

Insects
All insects are not committed to the utter destruction of expensive bonsai trees. Ladybirds, for
instance, feed on the young of the aphids. In the soil centipedes-thin and yellowish with a host
of legs-are beneficial, whereas wireworms-thin and yellowish with few legs-are enemies; as are
millipedes-dark grey with many legs.

The insects to be discouraged above the soil are as follows: the Aphid family, green black and
woolly (usually seen feeding on the sap of young growth), mealy bugs (tiny scraps of cotton
wool in leaf axils), red spider (occasionally seen on warm days on the underside of leaves;
leaves attacked turn bronze and drop off), thrips (thunder bugs, small holes and silvery marks
on leaves), boring insects (the leopard moth is one; the pupal case might be seen adhering to
the trunk or branch attacked), leaf miners (silvery or irregular lines appear on leaves). Other
more easily recognised pests are caterpillars, slugs, snails, earwigs, etc.

Ants, worms and woodlice do not cause as much damage as the above but they should not be
encouraged. Ants disturb soil, encourage aphids, and remove seed from seed trays. They may
also disturb soil and block drainage holes. Woodlice live under debris and rubbish and attack
seedlings and young growth close to the ground. Neither worms nor woodlice are likely to attack trees if they are kept off the ground. Ants can be discouraged by immersing the whole tree in water for twenty-four hours. Fo rpsecific information on Pests and Insects try "The Art of Indoor Bonsai" or if you want to know which pests are attracted to which trees check out "The A-Z of Bonsai".

The best way of discouraging attacks by insects is to maintain the health of the trees and by
regular spraying with cold water during the Spring and Summer. Occasionally, however,
insecticides are needed, but when these are used they should always be applied at their
weakest to avoid damaging young growth.

Seasonal care and protection
Varieties of bonsai trees that come from tropical and sub tropical climates will have to be protected from even the slightest frost As such they can be kept indoors during the winter months, but they will benefit from periods outside during the summer.

Most trees from Japan are hardy and a light frost will not affect them at all. However, continuous severe frost will stop the translocation of water from the roots to the trunk and branches and might also fracture the pots. To avoid this some protection can be given (please refer to chapter on Display). If a display bench, such as the one described in the chapter on
Display, is used one should have little need to worry about the extremes of weather that occur throughout the year. However, always be on the lookout for excessively heavy rain, high wind, burning sun, snow, etc., and take the necessary precautions
to ensure the health of the trees.
Re-potting
When re-potting most plants one chooses a larger pot to allow for the expansion of the root ball.

When Bonsai trees are re-potted the same pot is used unless the tree has been allowed to
develop out of proportion to the pot. Generally speaking, trees should only be re-potted when
they have become pot-bound. In other words, the roots will have thoroughly penetrated the
compost and will be growing out of the drainage holes. If allowed to remain in this condition they will eventually die through simple starvation.

The best time for re-potting is in early Spring, through March and early April, though some trees such as Winter Jasmine can be re-potted at almost any time of the year. It is still safer to re-pot in the Spring just before the tree has started to grow. The materials used are (1) small pieces of plastic mesh to cover the drainage holes, (2) garden wire to tie the tree into the pot, (3) gravel or flint chips to act as drainage in the bottom of the pot, (4) sterilised sand, (5) peat and/or leaf mould, and (6) sterilised loam.

It is suggested that soil mixtures are made up for three basic types of trees: evergreens,
deciduous trees, fruiting and flowering trees. For evergreens a mixture seven parts sterilised
loam to three parts sharp sand is ideal. For deciduous trees, use eight parts sterilised loam to
two parts sharp sand. For fruiting and flowering trees, use eight parts sterilised loam, one part
sharp sand and one part peat or leaf mould. Naturally enough, for individual species in any
group, the suggested mixtures might have to be altered to a certain extent: Pines for instance,
need faster drainage than Junipers. Therefore an extra part sharp sand would be needed.

To remove the tree from the pot, run a sharp knife around the sides of the pot, knock the sides
of the pot with the heel of the hand; the tree can then be lifted from the pot. Clean the pot
completely, cut pieces of plastic netting to cover the drainage holes, insert the holding wires
through the holes, put a layer of flint chips or sterilised gravel on the bottom and a thin layer of
compost. Remove all dead roots from the tree and cut back the remaining roots from the sides
and the bottom by approximately one to two thirds. This will depend on the age of the tree: the
older it is the fewer roots are removed. Position the tree in the pot, moving it gently backwards
and forwards to ensure a firm grip with the soil underneath.

Tie the tree in with the wire (not too tight), pour the soil mixture in around the sides of the root ball until the pot is full up. Work the soil in around the roots with fingers or a small stick-this is to ensure that there are no air pockets. After putting in the main soil and tamping it down a thin layer of top soil can be used; this can be of a finer grade than that used in the main potting. The tree can then be watered by immersing it to the rim of the pot in a bowl of rain water. When it has been thoroughly soaked, remove it from the water, allow it to drain and protect it for two weeks from harsh sunlight and heavy rain. This will give it a chance to get over the shock of re-potting. During this time do not fertilise it at all. For detailed instructions on how to re-pot your bonsai see "The Art of Indoor Bonsai"

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Acquiring a Bonsai-buying a trained tree

2009-04-28T09:16:00.001-07:00

With the increasing demand for bonsai trees it is not surprising that more and more garden centres and florists are stocking
them.

Most of the trees being sold are of an excellent quality, but there are few points to bear in mind when buying. Although
bonsai trees imported from the Far East are thought to be expensive, a small tree, say a Mountain Maple or Fig of eight to ten
years, can be bought for approximately £20 fully potted up. Naturally enough, one can pay almost anything for a Bonsai, the
record price being over £100,000 in Japan for an exceptionally beautiful tree over five hundred years old.

Apart from the age and the shape of the tree, its general health is of the utmost importance. The soil should be damp but not sodden unless it has just been watered-certainly not rock-hard and dry. The leaves should look bright and healthy-not burnt around the edges or spotted. If one buys a deciduous tree in the Winter, examine the last year's growth to see that it is
smooth and plump, with no sign of the bark wrinkling.
The tree should be steady in the container in which it is growing. The container must have at least one drainage hole. Moss growing on the surface can either show that the tree has been in its pot for a number of months or years, or that the dealer has taken some trouble in its repotting. When buying a tree from a shop during the Summer, be sure to give it at least two weeks outside, avoiding heavy rain and high winds, before displaying it inside again.

If a tree has been bought from a shop or the show house of a Garden Centre during the Winter, do not allow it to be exposed to the frost for the rest of the season as it will probably have begun to shoot. This is most important with deciduous trees, and whilst varieties of Junipers are very hardy, it is, as well not to take any chances. They will, of course, benefit from the fresh air during milder weather.

Trees can be propagated by any of the normal methods; in other words, by seed, cuttings, layering, dividing, air-layering or grafting. Grafting, however, is not used very often as it tends to leave a scar around the trunk for a number of years. To reduce scaring I use Kiyonal Sealant. Kiyonal is the perfect substance for healing wounds on Bonsai. It forms a skin but stays
liquid underneath so will not crack away from parts of the wound. It will expand and contract with the different seasons.

Natural free
In Japan, the most admired bonsai trees are those that Nature has trained herself. Wherever
growing conditions are a struggle, the tiny tree that has fought for decades to survive the storms
and droughts might be found high in the mountains clinging to a cliff, or yen on a grassy
moorland constantly being pruned back by wild deer. When collecting from nature, there three
essential rules.

1. Find a suitable tree.
2. Always have the owner's permission before removing it.
3. Be sure that it can be looked after; trees from nature, nlcss little more than seedlings, need
almost constant care for the first few months, as the shock of transplanting will be considerable.

The best season to lift a wild tree is early Spring-March/April time. The tools needed re a small
spade or strong trowel, secateurs, a saw, a strong knife, plastic bags or polythene heeting,
Sphagnum moss, scissors, and string.

Dig a trench around the tree at the furthest extent of the branches (normal trees usually have
roots extending this far; dwarfed trees will often have roots that have been forced to seek out
nourishment much further from the main trunk). Avoid cutting roots over half an inch in diameter until the trench has been completed. All roots will be cut so that the cut plants in at the bottom helping to stop moisture lying on the wound. Once the trench is dug, cut all the roots over half an inch in diameter. If the soil is firm, grasp the root ball in both iands and gently rock it to and fro.

If there is no tap root the tree can be lifted almost straight out; otherwise the tap root should be
cut down as low as possible.

Inside or out?
The idea that bonsai trees can be permanent house guests is a fallacy that should never have
arisen. Most of them are hardy trees and shrubs whose natural homes is the open air. Others,
that come from the tropics and sub tropics. need protecting from the frost and these should be
kept in a warm environment during the winter months.

This can either be your house or a warm greenhouse. However even these need to go outside as much as possible during the summer months. Hardy bonsai trees should never be brought in the house for longer than a few days at a time. To extend the tree's stay inside for longer than four or five days can cause injury to the tree. In the Summer the plant must be able to carry out the process of photosynthesis: this is The production of plant food and oxygen from carbon dioxide when the sun activates the chlorophyll in the leaves.
During the Winter the plant is resting and building up reserves of energy for the coming growing season. Too long in a warm room will persuade it to start shooting as though it were Spring. But this does not apply to trees from the tropics that need an approximate minimum winter temperature of 5degrees F or 1 degree C, although temperatures in excess of 7OF or 2C can be detrimental. If a normally hardy tree is then exposed to a hard frost the results.

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Classic Bonsai Styles, Chatper 2

2009-03-10T07:02:00.000-07:00

KENGAI

The difference between this style and the semi-cascade is thathere the trunk must fall below the base of the pot.

All other criteria are the same.

Good cascades are rare because of the difficulty in maintainingvigour in the lower parts of the tree, opposing its natural urgeto grow upwards.

This is probably the most difficult of all styles to designconvincingly, partly because of the horticultural problem, butmainly because we have few natural examples to recall asinspiration.

It is important to include dramatic features and sharp angles to evoke the feeling of a tree clinging to life in the harsh mountain conditions.

SHARIMIKI

Echoing the natural appearance of mountain junipers, whichproduce areas of bare, sun-bleached wood as they age, this styleis seldom successfully created from other species.

The focal point is the beautiful and dramatic shapes of the grainin the exposed wood.

These shapes may be natural but are more often elaboratelycarved and then bleached and preserved with lime-sulphur.

The foliage masses, although acknowledging some of the rulesof other styles, serve more as a foil or frame to the driftwood.

This style is suitable for conifers and rarely, if ever, applied todeciduous species of bonsai tree.

HOKIDACHI

This style was modelled on the natural habit of the zelkova andis seldom successfully used for other than related species, sinceit works best with trees bearing alternate foliage.

All branches should emerge from the top of a straight trunk andfork at regularly diminishing internals until a network of fineshoots at the tips forms an even-domed crown.

For broom styles to work well, they must be perfectly symmetricaland meticulously trained and pruned to ensure an even andgradual transition from trunk, through heavy branches, to thefinest terminal shoots.

Trying to rush the development will always end indisappointment.

BUNJINGI

This style is reminiscent of ancient pines, which tend to shedtheir lower branches as they get old.

It gets its name from the calligraphic style of ancient Chineseartists.

The focal point of the design is the trunk, so it should be full ofcharacter.

The branches are limited to the uppermost part of the trunk andshould bear just enough foliage to keep the tree healthy and vigorous.

The foliage should, however, be immaculately positioned.

The pots used for literati styles are generally round andcomparatively small to balance the sparse foliage.

They are also frequently’rustic’ in appearance, to re ect thetree’s rocky habitat.

SEKIJÔJU

In rocky terrain the scarce soil is constantly being eroded,

exposing the rocks and the roots of the trees growing amongstthem.

This style depicts such a tree whose roots, as they thicken, clingto any rocks beneath them.

The tree itself can be of any style, although broom and formalupright styles look out of place.

The most important factor is that the roots should cling tightlyto the rock and should have a mature texture.

This can take many years to accomplish.

First, the root-covered rock must first be planted in the groundfor several seasons to consolidate, and then exposed to the airand sun for the bark to develop mature characteristics.

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Classic Bonsai Styles, Chapter 1

2009-03-08T03:24:00.000-07:00

MOYOGI

This is a variation on the formal upright style but is much easier to create. The rules for the branch structure are the same but the trunk may have any number of curves, both from left to right and from front to back. The branches should ideally grow from the outside of the curvesand never on the inside as this creates a shock to the eye. The apex should lean towards the front.

The tree illustrated is just one of the many variations on the informal upright style. Unlike the Formal Upright, Moyogi works equally as well with deciduous and coniferous species.

CHOKKAN

As the name implies, this is the most formalised of all styles. The trunk must be ramrod straight and bolt upright, tapering uniformly from base to tip. The branches should be arranged alternately either side of the trunk with every third branch to the rear.

The branches should diminish in thickness and in length from the lowest one upwards, and should be either horizontal or sloping downwards. Ideally, the spaces between the branches should also diminish toward the top of the tree, in proportion to their thickness and length.

SHAKAN

Another variation on the formal upright style, except that it is not upright. The trunk is usually straight-ish, although it may have a gentle curve or two. The placement of the branches needs to be carefully thought out in order to stabilise the design and to prevent the tree looking as if it is about to fall over.

Unlike the previous two styles, the number and placement of the branches is less crucial, providing the opportunity for creativity. For instance, using only the top branches and training them down steeply can result in a dramatic image.

FUKINAGASHI

Although this is one of the more naturalistic styles, it is also one of the most dramatic. The aim is to capture the dynamic shape and movement of a tree living high in the mountains or on a clifftop, where it is constantly exposed to high prevailing winds.

There are no rules governing the trunk shape or location of branches, but in spite of this freedom this is one of the most difficult styles to create successfully. The difficulty lies in making the image appear authentic, rather than merely looking like a tree with branches on one side.

The trick is to ensure that the windswept effect begins at the base of the trunk and is re ected in every aspect of the tree.

HAN-KENGAI

Both this style and the cascade style depict trees clinging to a cliff face, where they are beaten by snow, wind and rockfalls. The trunk should have dramatic curves and taper, and the branches should ideally also cascade from the trunk. Tradition states that the inverted ‘apex’ should be positioned directly below the base of the trunk when the tree is viewed from the ‘front’, but this can inhibit the design somewhat.

These days it’s perfectly acceptable to allow the lowest point of the tree to be placed to one side of the pot, as if it was reaching out from a cliff face to find light. The one unbreakable rule is that the lowest point must be below the rim of the pot, but not its base.

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28/04 - The Secret Art of Bonsai Revealed 28/04 - Seasonal care and protection 28/04 - Acquiring a Bonsai-buying a trained tree 10/03 - Bonsai Essentilas: Fertilizer, Nutrient Selection and Major Selection, Organic vs Inorganic 10/03 - Bonsai Teacher : After 23 years of bonsai it was great to see a book that was teaching me new things page after page. The book is a beautiful book 10/03 - Classic Bonsai Styles, Chapter 2 09/03 - Classic Bonsai Styles, Chapter 1 09/03 - Displaying Your Bonsai Outdoors 09/03 - The History of Bonsai 09/11 – The History of Bonsai 30/10 – Simple Beginner Bonsai Treeps Tips 30/10 – Mini Bonsai Trees 30/10 – Bonsai Trees Can be Revived if You Have Patience 30/10 – Using Artificial Bonsai to Decorate Your House 30/10 – The Life of a Flowering Bonsai 30/10 – Bonsai Care: What to Condiser When Lookin After Your Plants 30/10 – The Chicago Botanic Garden's Bonsai Collection is Regarded by Bonsai Experts as one of the Best Public Collections in the World

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	04/04 - A visit to Patagonia is an adventure-travel rite of passage 03/04 - Big Skies and Silly Birds Abound in Argentina’s Península Valdés 03/04 - San Carlos de Bariloche is a resort center on the southern shore of Lake Nahuel Huapí 02/04 - A half hour drive from San Rafael takes the visitor to a heaven of spectacular beauty: Atuel Canyon and the Nihuil Dam 02/04 - Nahuel Huapi Lake is a lake of the lake region of northern Patagonia between the provinces of Río Negro and Neuquén 28/03 - The Palacio de Cristal is a glass pavilion inspired by The Crystal Palace in London 28/03 - The Royal Palace of Madrid is the official residence of the King of Spain 27/03 - Iguazu Falls, in Iguazu River, are one of the world's largest waterfalls 09/03 - Images of Andes (Argentina) 02/03 - Images of British Overseas Territory 27/02 - Images of Greenland 27/02 - Popocatépetl second largest volcano in Mexico, 5600 meters above sea level 02/11 – Images of Spain 02/11 – Images of Italy 01/11 – Images of Chile 01/11 – Images of Argentina 18/10 – Le strutture interne dell'albero 18/10 - Sistemazione 18/10 – Insetticidi, fungicidi e diserbanti 18/10 – Wabi and Sabi

Displaying Your Bonsai Outdoors

2009-03-08T01:44:00.001-08:00

Displaying Your Bonsai Outdoors aesthetics and bonsai should be displayed in an uncluttered environment where the details of the plant Remember that simplicity is very important in Japanese can be appreciated. This is, after all, a wonder of nature trees and shrubs made miniature. Gravel beds in the garden are good backgrounds for bonsai outdoors, and a simple stand or table before a blank wall makes an appropriate setting indoors.

Make sure that the front view faces the viewer. Your beautiful bonsai can greatly benefit by the right setting.

Outdoor Display
If you grow just a few bonsai plants, you will have no problem displaying them. All you need is something that elevates the pots so that you can view them from the front rather than from the top down. A patio bench, for example, will accommodate one or several bonsai plants, and can also define the edge of a deck or serve as seating.

Benches and Shelves
You can put together a simple bonsai bench in a matter of minutes. Select a sturdy wooden plank, such as a 2 x 12, and raise it on concrete blocks, bricks, or flat stones. If you use slats (2 x 2’s, or 2 x 4’s) instead of a single plank, water will drain through the bench. If you display bonsai on helves placed against a wall or fence, remember that the heat reflection from lightcolored walls can seriously damage bonsai plants in the summer.
Make sure these displays are sheltered from direct sun during the warmest part of the day, usually late morning through afternoon.

Tables
Outdoor tables will certainly hold a collection of bonsais trees, but they may not display them to their best advantage as all the pots rest on the
same level. If you do keep your collection on a table, choose one just wide enough for three plants, then place the larger specimens in the center, with smaller plants on the outside rows. Stagger placement so that no plant is directly behind another one. For better display, construct a unit along the lines of a patio table that has built-in benches. Make the center section (table) just wide enough to hold a single or double row of plants; the two
lower sections (benches) can be just a bit wider to show off a number of smaller specimens on each side.

Outdoor Bonsai Maintenance Tips
• Don’t crowd bonsai plants. You should leave about 8 - 12 inches of space between the outspread branches of adjacent plants so that each plant can develop independently.
• Make sure the plants receive at least morning sun, more if climate permits. This is particularly important in spring when plants are putting out new growth.
• Rotate containers about a quarter turn in the same direction every other week to expose all sides to the same conditions. Otherwise, new growth will be strongest on the side facing the light while roots will tend to grow away from the sun.

The exquisite beauty of a bonsai tree well trained in a simple style, and growing vibrantly in a pot of suitable size and shape, can be the
focus of many happy hours of contemplation.

Specimens placed too close to a wall or fence can become onesided as rear branches dwindle from lack of light.
• Rotating small containers is easy; turning larger specimens is more difficult. Use a lazy susan-type turntable, and you’ll be able to turn the largest bonsai with the push of a finger.

Display Stands & Winter Shelter Display Stands. Keeping your collection of bonsai trees on a stand makes them easier to work with and to see, and gives protection from extremes of weather. The large design on the left is simple to build from wood, having a shade of timber battens and a slatted bench-top.

There is a shelf for miniature bonsai at the back and a tool drawer under the bench. In severe weather, the trees can be placed under the bench
and enclosed with heavygauge clear plastic sheeting (shown rolled).

Building A Display Stand.
The number of trees in your bonsai collection will determine the size of the stand. When calculating the dimensions, be sure to allow each tree plenty of space, and remember that small as they are, they do grow. To allow for easier working, the stand should be made a little higher than an indoor table. It should be made of good quality wood, treated with a preservative, or it could have a metal frame with a wooden top.

The trees can be placed on a gravel bed, as this cuts down on the need to water; but in this case they should be lifted every now and then to make sure the roots are not growing into the gravel. Above the stand, around the sides and at the back, a weather-shade of thin timber laths or canes should be made. Each strip should be secured an inch apart. This will help protect the trees from all extremes: hot sunlight, heavy rain, high winds, and even a certain amount of frost. For harder winter conditions the bottom of the stand can be enclosed and the trees placed inside.

Winter Care
Container plantings of any kind are more subject to damage from cold than plants growing in the ground. Containers just don’t hold enough soil to insulate plant roots. Where winter temperatures are frost free or relatively mild (above 20F or -7C) you can leave a bonsai outside if its normal display area is protected from wind.

Spreading straw or mulch around the pots also helps insulate the soil. An unheated greenhouse is ideal as a winter shelter since the plants receive good light, are somewhat protected from the cold, and with a door ajar or vents opened slightly, get plenty of air. You can devise a polyethylene plastic and wood greenhouse by extending a leanto from under house eaves. Leave all or part of one end open, unless winters are severe.

Building A Cold Frame
With just a bit more effort you can build a simple cold frame - essentially a low greenhouse with a translucent hinged top. Placed against a south-facing wall and recessed into the ground it will keep plants dormant but not frozen (unless you live in the colder regions of Canada, for example).

Dig a rectangle about six to eight inches deep beside the wall. Using scrap lumber or plywood, build a frame with sides the slope down toward the front; a six inch slope is sufficient. Make sure the front is high enough (about 18 inches) to accommodate your shortest bonsai. Then set the frame againt the wall and spread 3 - 4 inches of gravel in the bottom.

Traditionally, old window Wind-swept style bonsai sashes formed the tops of cold frames, but you can also use clear plastic, fiberglass, or olyethylene plastic sheeting. In snowy areas, first cover the fame with fine mesh chicken wire or hardware cloth. Place the bonsai on the gravel base and surround and cover the pots lightly with straw. Close the lid for protection from extreme cold, opening it slightly for ventilation when the temperature is above freezing.

Winter Watering
During freezing weather, water your bonsai (if they need it) in the morning. This allows excess water to drain out before the temperature drops. Water-soaked soil expands as it freezes, which can cause containers to crack.

Related Post
28/04 - The Secret Art of Bonsai Revealed 28/04 - Seasonal care and protection 28/04 - Acquiring a Bonsai-buying a trained tree 10/03 - Bonsai Essentilas: Fertilizer, Nutrient Selection and Major Selection, Organic vs Inorganic 10/03 - Bonsai Teacher : After 23 years of bonsai it was great to see a book that was teaching me new things page after page. The book is a beautiful book 10/03 - Classic Bonsai Styles, Chapter 2 09/03 - Classic Bonsai Styles, Chapter 1 09/03 - Displaying Your Bonsai Outdoors 09/03 - The History of Bonsai 09/11 – The History of Bonsai 30/10 – Simple Beginner Bonsai Treeps Tips 30/10 – Mini Bonsai Trees 30/10 – Bonsai Trees Can be Revived if You Have Patience 30/10 – Using Artificial Bonsai to Decorate Your House 30/10 – The Life of a Flowering Bonsai 30/10 – Bonsai Care: What to Condiser When Lookin After Your Plants 30/10 – The Chicago Botanic Garden's Bonsai Collection is Regarded by Bonsai Experts as one of the Best Public Collections in the World

	My Favorites
	04/04 - A visit to Patagonia is an adventure-travel rite of passage 03/04 - Big Skies and Silly Birds Abound in Argentina’s Península Valdés 03/04 - San Carlos de Bariloche is a resort center on the southern shore of Lake Nahuel Huapí 02/04 - A half hour drive from San Rafael takes the visitor to a heaven of spectacular beauty: Atuel Canyon and the Nihuil Dam 02/04 - Nahuel Huapi Lake is a lake of the lake region of northern Patagonia between the provinces of Río Negro and Neuquén 28/03 - The Palacio de Cristal is a glass pavilion inspired by The Crystal Palace in London 28/03 - The Royal Palace of Madrid is the official residence of the King of Spain 27/03 - Iguazu Falls, in Iguazu River, are one of the world's largest waterfalls 09/03 - Images of Andes (Argentina) 02/03 - Images of British Overseas Territory 27/02 - Images of Greenland 27/02 - Popocatépetl second largest volcano in Mexico, 5600 meters above sea level 02/11 – Images of Spain 02/11 – Images of Italy 01/11 – Images of Chile 01/11 – Images of Argentina 18/10 – Le strutture interne dell'albero 18/10 - Sistemazione 18/10 – Insetticidi, fungicidi e diserbanti 18/10 – Wabi and Sabi