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Bonsai Focus EDITORIAL 5
Who we are
Publisher
Bonsai Europe Publications
Houtrustweg 96,
2566 GJ The Hague
The Netherlands
Europe:
Tel.: +31 (0)85 90 20 900
Office hours: 9am - 5pm (CET)
USA:
Tel.:(+1) 703-738-9965
Office hours: 9am - 5pm (East Coast)
E-mail:
[email protected]
Website:
Team work
www.bonsaifocus.com In bonsai, as in art, ego can sometimes be a stigma of being difficult and not suit-
an issue. Understandable, a bonsai artist's able to style in different ways, just for the
Chief Editor:
Farrand Bloch life is not always a bed of roses and many flowering. Try to look beyond those flow-
[email protected] others make a claim for fame, too. The ers and let Osamu Fukudate convince you
Galician El Tim is something completely that the satsuki is, indeed, great material
Editorial staff:
English edition: Ann Scutcher different, however. The group, consist- with which to do creative stuff.
French edition: Patrick Bosc, Mat- ing of Alberto, Leo and Luis, A real bonsai friend is the Ficus,
thieu Mavridis
German edition: Jörg Derlien
work as one organism, strong, flexible and vital, it
Dutch edition: Hein-Dik Barentsen joyful together on can even grow
Italian edition: Erika Lakin
one tree without indoors if you prefer.
Spanish edition: Ana Ricart
any discussion You can go wild on
Advertising & Marketing: or bad words. creative ideas with it,
René Rooswinkel
They don’t mind as does Florida based
[email protected]
whose tree it is Jerome Kellerhals.
Subscriptions & Administration: that is worked Not sub-tropical, but
Marja Heijmink
[email protected]
on, a good result is very native is Harry
what counts. Quite Harrington’s approach to
Issn UK: 1874 - 6853
rare I think. refining feet with thread and
Issn US: 1876 - 6137
Osamu Fukudate is an approach grafting on field maples.
Price: € 12.95 upcoming bonsai artist who studied at Even more native, or local, are the suiseki
the garden of satsuki specialist Kunio stones found in Britain’s river beds by
© Copyright 2019
Bonsai Europe, world rights reserved. No Kobayshi. So no wonder his first main stone hunter Alan Harriman. His mission
part of this publication may be repro- appearance is with this very same variety. is to encourage you to go out and find
duced in any form without the written
permission of the publisher. Though we have already shown some suisekis for yourself.
stylings of satsukis, the variety still has Enjoy the read.
Bonsai Focus has a co-operation with
Kinbon magazine, Kyoto, Japan
Translations:
Peter Warren
Farrand Bloch
Chief editor
4 THIS ISSUE Bonsai Focus
Our Icons Beginner On the cover

Beech, Fagus crenata
Owner: Dario Mader, (Switzerland).
Video available
Advanced
bonsaifocus.com
Photo: Bonsai Focus Studio
Scan the code

with your phone Expert
11
6 News
Various news items, agenda, events
8 Shohin
Morten Albek on shohin juniper
11 Gafu-ten, Kyoto
The best shohin from the Gafu-ten, Kyoto, Japan
14 Design sketch
16 Jan Culek examines the juniper of Drew Warner
16 Keep ideas flowing

The pots of Walter Venne
20 Another vision
Chiharu Imai looks back on some of his remarkable works
24 Native bonsai
Angkor Wat inspired Jerome Kellerhals to create a 'root over
statue'
20 27 Gallery
A selection of amazing bonsai
35 Raw and too many branches
Osamu Fukudate solves the problems of a satsuki azalea
51
43 Tony's column
Tony dives into what is going on in the bonsai scene
44 The show stopper

The bonsai passion of Nik Rozman
24
47 Fabulous feet
Thread and approach grafting with Harry Harrington
51 The knot of El Tim

Team work on a Pinus sylvestris
59 Gallery
35
A selection of amazing bonsai
65 Grown from scratch

A growing guide for Malus sieboldii
70 Suiseki
Alan Harriman, the stone hunter
73 Part-time 'deshi'
Paolo Nastasi travelled to the land of the rising sun
75 The bonsai friend

As bonsai, the Ficus is just great
6 NEWS
Bonsai alongside famous sculptures

When one thinks of art does the word
bonsai come to mind? Does this living
sculpture and ever-changing play with For more international shows and
nature evoke the viewer to both feel and events visit our website:
www.bonsaifocus.com > Events
inspire? The trees typically don’t lend
themselves to being placed in a museum April 7 Expo Bonsai UK
exhibit alongside a Monet or Picasso. Where: Harlington Sports Cen-
And yet this constantly evolving art that tre, Pinkwell Lane, Harlington,
Middlesex. UB3 1PB
evokes so much from so many deserves a
Info: Mark Moreland 07850
more permanent place of display. 771201 Email:
During the Milwaukee Bonsai Society's [email protected]
Board was definitely interested.
The bonsai would be on display on a

April 11 – 14.
daily basis, in an art facility, alongside Bonsai on the
Bayou
traditional sculptures by world famous
The Lone Star Bonsai
artists, like Alexander Archipenko, Henry Federation and Amer-
ican Bonsai Society’s
Moore and many more. Three years later Annual Convention,
the bonsai exhibit at Lynden Sculpture featuring Ryan Neil,
Boon Manakitivipart,
annual exhibition, 2013, a fund raiser for Garden opened its gates. Almost two Will Baddeley, Enrique
a public bonsai collection was announced. Castaño, Danny Coffey, Mike Serant.
hundred people, a mixture of bonsai
Where: Houston Marriott Westchase, 2900 Briar
A desire for such a collection had existed enthusiasts and art lovers, attended the Park Drive, Houston, TX 77042
for several years, but this was the first Info: www.facebook.com/HoustonBonsai/
Grand Opening of the new bonsai exhibit.
concentrated effort to making it a reality.
May 10 – 12 EBA Annual Congress
In Milwaukee (suburb of Wisconsin) there
In association with French Federation of Bonsai.
is no current permanent collection, nor A special exhibition was arranged for the Where: Albi, near Toulouse, Southern France
was there a place to put one. However, World Bonsai Day 2018. The members of Info: [email protected]
over the next few months the local bonsai
the Milwaukee Bonsai Society had been
community took a huge leap of faith and May 18 – 26 The
extremely supportive of the efforts to 8th Satsuki Bonsai
raised a substantial amount of money
toward establishing such a collection. establish the collection. The idea was to Festival
A unique exhibition of the
give them the opportunity to show their extraordinary satsuki azaleas,
bonsai at Lynden. Bonsai artist Jennifer of the Satsuki Bonsai Association of
Kanuma (Japan). Where: Crespi Bonsai, Parabiago
Price selected nineteen of the trees to be (Milan), Italy Info: www.crespibonsai.com
included in the exhibit. Jennifer presented
a small demo along with a guided tour to September 13 – 15. 13th International
discuss each tree within the exhibit. Bonsai & Suiseki Meeting - Crespi Cup,
2019 Bonsai, suiseki and pots of an exceptionally
high-level. Exceptional guests: Master Shinji Suzuki,
The Lynden Sculpture Garden can serve and Master Sadamitsu Kataoka. Where: Crespi
Bonsai, Parabiago (Milan), Italy.
as a template for other exhibitions to Info: www.crespicup.it
While the fund raising was underway, emulate, where art can meet nature and
October 12-13 The
possible locations were researched. One bonsai, that ever-changing art form, will 7th European Bonsai
location, The Lynden Sculpture Garden, continue to grow. San Show
was the most intriguing possibility. Guest of honour: Mauro
Info: www.lyndensculpturegarden.org Stemberger. Demos: Bjorn
A proposal was made to the Lynden Bjorholm, Jan Culek,
Board of Directors: Bonsai is the art of Mauro Stemberger. Where:
Living Sculpture and epitomizes the Parc des Expositions,
Saulieu 21210, France.
Lynden slogan: 'Where Art Meets Nature'. Info: www.european-
Would you be interested in serving as the bonsai-san-show.com
location for a public bonsai exhibit? The
Bonsai Focus NEWS 7
European bonsai dinosaurs
at Bonsai Generation, 2019
No, it's not a new Western being announced here, but a daring initiative by Michael
Tran, the Generation Bonsai event, 2019. This year he has a very special set up, he has
invited all the good 'oldies' of bonsai to gather so that the audience can lavish praise
on their mature experience and expertise. It's like opening a very expensive, fine old
wine. Sit back and enjoy all the good taste and flavour. Guest lecturers are Walter Pall,
Luis Balino, Jorge Campos, Peter Krebs, Danny Use, Luis Vallejo and last, but not least,
Serge Clémence. Similarities to the legendary movie, The Magnificent Seven are quite
evident. There will be simultaneous demos and workshops during the weekend of May
11 - 12, 2019. More info: Michael Tran +49 176 20778488
Minoru Bonsai, Alter Bammentaler Weg 10, 69151 Neckargemünd, Germany.
7th edition of Saulieu

The European Bonsai San Show, in short
Saulieu 2019, will take place again in
October from 12 – 13th, down in, yes,
Saulieu France. Same place, same venue,
with guest of honour, Mauro Stemberger's
amazing collection on display at the 7th
edition of this grand show. Then there's a
demo with Bjorn Bjorholm. Jan Culek will
be showing his skills, as well as Mauro The European Bonsai San Show, Parc des
Exposition, Saulieu, France
who will also be giving an amazing demo.
Japanese love American pots

By Jonas Dupuich (bonsaitonight.com)
It was fantastic to visit a ceramics competition in Japan and to see Roy Minarai of
Kawauso Pottery recognized for his work. Roy took second in the glazed category for
this year's pottery competition at the 2019 Gafu-ten exhibit held in Kyoto, Japan. Roy
entered three pots, a blue glazed mokko, a green oval and a red square. It’s quite an
accomplishment for any potter, let alone one who started making pots just a few years
ago. We congratulate Roy Minarai on this amazing achievement.
8 SHOHIN Bonsai Focus
Juniperus chinensis
Morten Albek styles a shohin from raw material
Text and photography: Morten Albek and Bonsai Empire
Juniperus chinensis itoigawa
variety is a type of raw bonsai material
often found at bonsai nurseries and shops. These trees
tend to show little variation, or interest regarding form
and movement. This tree, however, does show some very
interesting design possibilities that will make it stand out
from the crowd once developed further
Analysing the tree

Let’s look at the good points in this tree.
At times no-one will see what you see. I felt it had some great features with its
It shows very healthy growth with fresh pre-worked deadwood and plenty of healthy growth to work with. Previous work
new tips. Another good point is that there is not overdone, so room left to make some personal styling and improvements
is no stressed juvenile foliage. Often

shown as sticky needles, separating
it from the soft typical kind of scale
growth of this variety, a sign of either
a weak tree, or a tree that has been
pruned to rigid. Inside dense foliage, it
is natural to discover weaker growth,
shaded out by dense foliage. Therefore,
it is time to open up and let in light,
forcing new growth further back to
Negative points, also important to Above: Lifting the tree from the pot shows a very
keep the tree small and within shohin look for, is the slight inverse tapering healthy root ball; also a root growth that claims
size, meaning that it must not exceed 20 at the base of the tree. Natural looking repotting soon. Below: characteristic branch
trees show a tapering from the base
cm in height measured from the rim of towards the top. Inverse tapering is
the pot. difficult to correct. In this case, I find
the fault less dominant and roots
Nothing is perfect and imperfections are
replaced at the future repotting will
an important part of bonsai design, so make up for some of it. Deadwood
work in the future will help overcome
let the trees look natural. Imperfections
some of this, too
are the small details, where a branch has
a sudden movement or break, making it
look natural and less obviously formed by
human hand. Such small details make a
tree interesting.
Bonsai Focus SHOHIN 9
Remove any small, weak growth placed in the inner
parts of the tree
Selecting branches
When cutting away any thick branches,
First job to do is cleaning up consider the possibility of turning these
into jins (dead branches stripped of bark).
Or cut them at the base. Unlike many
deciduous trees, juniper branches don't
“
heal over the scars to completely cover
a wound. Junipers often draw back sap a

Oddly placed, or obviously unnecessary branches, are The thick branch pointing towards you has been
also removed, leaving a good number of short and made into a jin
long clean branches with foliage at the ends little before growing callus, leaving the
wound open. Have this in mind when you
are cutting any larger branches.
Embrace the imperfections that make your tree

look natural
Left: Aluminium wire is used to wire

the many branches. Right: the main
branch needs only to be wired at the tip
Wiring
Wire is not removed before it bites slightly into the branch, because
juniper branches won't hold position if they aren't beginning to swell
around the wire. This is a delicate technique and branches have to
be observed closely during the growing season to remove the wire as
soon as thickening occurs. Waiting too long will make scars difficult
to grow over. Removing wire too soon might result in the branch not
staying in the desired position. If so, rewire the branch applying wire
in the opposite direction of the first wiring, and give it another go.
10 SHOHIN Bonsai Focus
The main branch is given fan-shaped foliage pads Detail work is essential with shohin
Branch placement
When I am shaping branches I ensure I leave enough
foliage to cover the design solutions I take. Leaving a
little more than necessary at the first initial styling also
secures enough energy production by a good amount of
foliage for photosynthesis. This will strengthen the tree
and branches will hold the new position faster. When
branches show good vigour through growth, they are
later shortened more and foliage reduced further.
Before and after
Please compare the juniper before styling and after. Note how all branches are
The original video lecture is part of
now facing down, just like an old conifer in nature. Branches on old conifers the online 'Shohin Bonsai Course'
always come down, forced by the weight of snow created together with Bonsai Empire
This juniper shohin bonsai tutorial is one of 16
lectures featured in Bonsai Empire’s 'Shohin Bonsai
Course', in which Morten Albek explains a wide
range of bonsai and shohin bonsai techniques. Two
lectures can be previewed free at:
www.bonsaiempire.com
Bonsai Focus 11
Shohin Gafu Ten

Juniperus, 22cm x 37cm Pot: Shudei
Acer buergerianum, Pot: Ikkou Oval
Cotoneaster, Pot: Heian Kosen Rectangle
JSB Honorary Presidents Award

Mr. Masashi Orihara of Yamato City Kanagawa Pre-
fecture
Pinus thunbergi, 20cm, Pot: Shudei

Chirimen Kazura, Pot: Kinyou
Acer buergerianum, Pot: Soba
Chojubai Kutani, Pot: Ikkou
Fortunella Hindisii, Pot: Cochin
Juniperus, Pot: Shudei Round
Saxifrage, Pot: Oyama
Minister of Education Award (Second Place)

Mr. Atsushi Onishi of Mitoyo City Kagawa Prefecture
12 Bonsai Focus
Pinus thunbergi, 20cm Pot: Shudei

Fortunella Hindisii
Acer buergerianum, Pot: Toufukuji
Chojubai quince, Pot: Yusen
Gardenia Lapis Lazuli
Chirimen Kazura / Trachelospermum asiaticum, Pot: Shukuhou
Acorus gramineus, Pot: Kutani
Minister of Agriculture award

Mr. Ikuo Kawasaki of Toyooka City, Hyogo Pref.
Gardenia, Pot: Kozan Rectangle
Crataegus, Pot: White Cochin
Acer buergerianum, Pot: Shukuhou
Fortunella Hindisii Lapis Lazuli
Pinus parviflora, Pot: Shudei
Ardisia japonica, Pot: Imari
Ministry for Foreign Affairs award
Mr. Hajime Suzuki of Machida, Tokyo

Bonsai Focus 13
Crataegus, Pot: Toufukuji
Acer buergerianum, Pot: Kouzan
Chojubai quince Lapis Lazuli
Fotunella Hindisii Kutani Ikkou, Pot: Mokko
Juniperus, Pot: Shudei Mokko
Farfugium japonicum, Pot: Mino
Minister for the Environment award
Mr. Shinichi Sotomatsu of Maizuru City, Kyoto
Text and photography: Kinbon, Japan, Bob Ruitenberg

14 DESIGN SKETCH Bonsai Focus
The 'wire' tree

Jan Culek sketches options for the juniper of
Drew Warner
Although it seemed completely wired and styled, this juniper still looks like a
wild bush. What it needs is a totally different approach to get it just right. Jan
Culek explains
F
or the possible future design leans the design to the right. The counter
of this juniper, I decided to tilt balance branch on the left side should be
it to the right side. This new
closer to the trunk to avoid too wide a sil-
position improves the main
trunk line and the position of houette and rounded shape to the crown.
the main branches. Optically, the base of

Have your bonsai material the tree also gains a little more volume in As the future pot, I have imagined an
this new position. unglazed oval or rectangular container.

judged on its qualities and
I would try completely removing the left
future potential. The design
portion of the foliage and turning it into a Another option
sketches will help you visual- jin. The left big branch competes with the There is a second option for this tree that
rest of the tree and for such a small tree can be considered. This focuses more on
ise the potential of your tree.
there is too much foliage. its cultivation and is planted into a much
The trunk would be gradually improved bigger container. It could even be planted
with the creation of a shari as you will to grow freely in the field for several years
see in the sketch opposite. to gain much more volume to the trunk
and gradually make a new shari on the
There is an abundance of branches on trunk. After this, the tree would offer far
the trunk to create the main structure more design options and features and
of the tree. The biggest most significant completely new possibilities for creative
branch would create a main branch that styling.
Details
Juniper (Juniperus chinensis 'horizontalis')
Owner: Drew Warner (USA)
Origin: Kishu shimpaku grafted on to a San
Jose juniper
Height: 51 cm
Estimated age: 25 years
Bonsai Focus DESIGN SKETCH 15
A B
A
B
The tree seen from various sides. Using branch A as the main branch and making The design showing a fine shakan style. Using almost only the right side branches.
branch B into a feature jin Branch A cascades gently downward. Branch B has been made into an elegant jin
Want to send your bonsai

The final design in an oval unglazed pot picture, too?
If featured, you are rewarded with the signed
original sketch. Send via e-mail a jpeg (minimum
size 1mb) of your bonsai.
Photographs should
be taken against a
light background
and from all sides.
Add in your e-mail
a note of the age,
height and the variety.
Bear in mind that publication can take a long
time. Bonsai Focus has the right to make a choice
without further notice. The submitted material
will not be returned. Send your e-mail and at-
tached jpegs to: [email protected]

16 POTS Bonsai Focus
Keep ideas flowing...

Everything beautiful inspires Walter Venne
Text and photography: Walter Venne
For Walter Venne every bonsai exhibition is like a gallery where an artist can exhibit their work. Through such
exhibitions Walter's pots have found their way into the hands of many bonsai enthusiasts and Masters
How did it all start?

It began via my hobby of bonsai, more
than 40 years ago. I had a balcony with
my first small apartment, decorated by
flower pots with acorns and chestnuts. At
some point they started to germinate, so
I planted those in other flower pots and if
they became too big I'd cut off the top.
At that time, I had no knowledge of

bonsai. Then you see a bonsai for the first
time, are fascinated by it and the spark
springs to life. I first went to the library
for some information about bonsai. I
started collecting everything that looked
like a tree. Soon the space on the balcony
was swamped by bonsai. I saw
an announcement of an
exhibition in Heidelberg, at
the time, the only bonsai
centre in Germany. So I
went there and it was like
a world trip to me. I stood in
a bamboo forest with Japanese
stone lanterns, water splashing
and bonsai like I've never seen before, nor
since, then it became my hobby.
Who was your teacher? Why ceramics, what makes it so
I did not have a teacher. I have learned fascinating?
from all the mistakes one can make. The Clay is the oldest material on earth, at
most important thing is patience just as some stage everyone has held clay in
with bonsai. If I had not been such a their hands, or had Plasticine as a child at
patient person, I would have given up school.
very quickly. If you have some imagination, you can
form something out of it by the simplest
means. I think that's where the spark
springs from. However, you cannot learn
Bonsai Focus POTS 17
everything this way — a little talent and

imagination is needed, too.
What is your philosophy on

bonsai ceramics?
I'm not sure that I can say that I have a
philosophy on making bonsai pots. The
whole thing just developed in this way.
First, because there were no bonsai pots
here, then because it's fun, now I cannot
“
stop making them.
Do you make your own glazes?

I use finished glazes, but rather like to
experiment with then. I run glazes into
one another or, with additives, change the
way they flow.
I have made pots that look like wood
What do think of the Japanese

glazes, tones and shapes?
Of course, when I started to make pottery
many years ago I copied classic Japanese
pots. Now I'm no longer interested in the
classical Japanese shapes. I want to carry
on in my way and make individual pots.
Then I want to make more of my own
creations. I've made pots that look like
they're made from wood, or rock slabs
that appear to be petrified wood, or pots
the surface of which look like bronze.
18 POTS Bonsai Focus
So I hope that I never run out of ideas and I do not have to live from making pots.
Moulds, slipcasts or hand
that my customers keep appreciating my I'm now retired and if I wanted to make
work. shaped, which do you prefer? money, I would do something completely
Of course, I would like to visit Japan, but I don’t use any moulds for my pots, but different.
I don't think it would change my way of I have some plaster casts of so-called I see myself as a craftsman. For me every
working. ‘cloud feet’ that are added to the pot and bonsai exhibition is like a gallery where
shaped in such way that they don’t have a the artist exhibits his works. At the start,
similarity to the cast.
What or who inspires you? I made pots for my own use, I didn't think
Plenty of things. I see in nature wood, it would become a trade. It's not about
stones, plants and so on. From these I get Can you make a living from earning money, it's a pleasure to me if my
ideas for the shapes and the surfaces of your pots? pots are well received by the customers.
the pots.
Anything with a beautiful shape inspires
me, it can be furniture, works of art, or
even cars!
What do you like about

bonsai and making pots
for bonsai?
Bonsai has always been a little es-
cape from everyday life for me, a way
to switch off and come to rest. When
I make pots, I love it when I can fully
exploit my imagination. I still have a lot
of ideas. It does not matter if I cannot sell
the pots created through my imagination.
I am even happier when I see my pots at

exhibitions, or in bonsai magazines.
So how do you see your future

as a potter?
I'd prefer not to do commissions in the
future. I don't like using the calculator
and making the same shape and glaze
multiple times so that maybe one will
suit the customer. It's like a curse, these
pots always go wrong, or break. I could
spend the same time making much more
beautiful pots.
Bonsai Focus POTS 19
Bonsai: Walter Pall
Which was the

most difficult pot
you made?
This was a 6-angled pot,
a commission from Walter
Pall. Speaking of difficult, I do
have bonsai myself and what
much unnerved me was that you
always, had to cover the drainage holes
with netting before planting the tree. This
netting then started to grow into the root
ball. My pots have a grid with small holes
at the base. These holes can be used to
attach invisible anchoring wires. Another
thing I found out is that the grid creates a
fine sub-climate for the root ball.
20 CASE HISTORY Bonsai Focus
Another vision
Chiharu Imai looks back on some of his
remarkable works
Text and photography: Kinbon, Japan
Chiharu Imai is a well-known bonsai Master in the west, famed for
his sensitivity and excellence of technique. Here he looks back on
some of his best work with junipers
1993: Rejuvenating a juniper

that had become over grown After the work and repotting is
finished. Height: 88 cm Width:
The strength and power of the lower 94 cm
Pot: Shidei rectangle
trunk is the most important feature; The foliage is now much tighter
and compact and the powerful
sadly the live vein is pretty straight and trunk much more impressive
rather uninteresting. Before beginning
to work on the branches, Mr Imai plans
a change of angle. There is now a sense
of movement in the trunk. This changes
the overall feel of the tree, which is then
accentuated by the branch removal and
compaction of the remaining branches.
The lower right branch before work begins
Before work. Height: 107 cm Width: 104 cm Front after angle change. There is now movement in
Pot: Japanese rectangle the lower trunk
The apex branches before any are removed The same after branch removal. How to fill the hole
again is the challenge
Bonsai Focus
1994: Change of angle and

front for a juniper
In order to change the front, angle and
entire character of a tree dramatically,

“ CASE HISTORY 21
it is essential to not only have the skills To see the finished image before you
to do so, but also artistic vision and the start is the key to success
foresight. To see the finished image before
you start is the key to success. When you
are doing something as dramatic as this
transformation, being able to consider
if it will fit into a pot at that angle and
position is essential as it is important to
improve the tree rather than simply come
up with a new and radical idea. With this
transformation we can clearly see that Mr
Imai has the skills to make his vision a
reality.
Present front. It appears as if it will Mr Imai’s vision is somewhat different, a change of front and angle to
be created to become a vertical tree make a semi cascade
After compressing the trunk down, the

outline of a semi cascade can be seen
Using a ratchet to compress the

trunk, the horizontal trunk line is
moved down, with a wire pulling it
After the styling and repotting is
to the lower jin
finished. Pot: Flower shaped Shidei.
The initial shape of the material is
completely forgotten. An impressive
semi cascade has been created
22 CASE HISTORY Bonsai Focus
1994: Juniper
Front before work begins. The front
The main part of this transformation is is not bad in terms of making the
to move the jin that is buried deep inside most of the trunk, all it needs is to be
tightened up
the tree so that it becomes a major part
of the design. The jin is not being used
to its fullest and to set it free will result
New front. Height: 52 cm Width: 50 cm. Using this
in a much more impressive tree with as the new front, Mr Imai already has a new idea
even stronger character. Mr Imai uses his starting to form in his mind
skills and technique to do the seemingly
impossible.
To get the tenjin (top jin) to point out, a Another front after a dramatic change. The tenjin
pointing upwards brings a whole new character to
towel was put into boiling water and then the tree
wrapped around the deadwood for thirty
seconds. Before the wood has time to cool
down, the jin is flexible and can be slowly
bent into position and held there with a
guy wire. A month later it is possible to
remove the wire once tension has been
slowly removed to ensure the wood stays
in place.
After final styling.

Height: 83 cm (this
includes the tenjin).
Apex and remaining Chiharu Imai's garden
branches are styled
and arranged to focus
on the trunk. In just a
short time, the juniper
has been transformed,
highlighting Mr Imai’s
skills and artistic sense
Bonsai Focus CASE HISTORY 23
In the 1944 publication 'Bonsai' Photographed for the 'Ota Collection Commemorative At the 2nd Sakkafu-ten in 1977 it was awarded the
Album' In 1959 Prime Minister’s award under the care of Mr Hideo
Chugun
Evolution of the famous juniper 'Yamato'

Here we see Mr Imai using his skills not not to transform it just for the sake of
to transform a tree dramatically, but

transformation. This tree, Yamato, has
to continue the natural evolution of a
a long documented history and Mr Imai
famous masterpiece. With a famous tree
applies his strict policy of protecting that
such as this it is important to preserve
and improve on what has come before, history with this latest chapter.
One year after Mr Imai’s work.

In 1995, before Mr Imai began to work on the tree. The results can be seen with the
The transformation began here. Height: 72 cm new step in the evolution of a
Width: 73 cm classic bonsai
Same after Mr Imai’s work. Height: 69 cm Width: 76

cm Pot: Shidei rectangle
24 NATIVE BONSAI Bonsai Focus
Ficus microphylla
Angkor Wat inspired Jerome Kellerhals to create a 'root over statue'
Text: Jerome Kellerhals, The Bonsai Supply. Photography: David Gordon
Jerome guides you through the techniques of wiring, defoliating, pruning, repotting and maintenance to achieve
denser foliage and smaller leaves on a Ficus
T
his green mound Ficus (Ficus
microphylla var. crassifolia
'Green Mound' ) has been in
training for less than 4 years
and has already started to
develop some dense branching.
I was inspired for this piece by Angkor
Wat, a temple complex in Cambodia. Note
that the statue is a Terracotta Warrior
from Xi’an (China) and not a Buddha. It is
very difficult to find a clay Buddha of this
size with such detail. With bonsai you
sometimes have to improvise a little. In a
couple of years, once the statue is covered
with roots and has weathered some more,
nobody will notice the difference.
All year long

So far south in Florida where I am, the
trees can develop fairly quickly since we
The Ficus with the statue after wiring and leaf

defoliation
have a growing season of about 9 months
and it never really gets too cold. This
allows us to work on tropical trees pretty
much all year long, as well as repotting
them all year round.
The only challenge we face down here

with Ficus are pests such as whiteflies,
thrips, and scale, which get very bad in
summer. The trees also grow extremely
fast, which is nice, but it can be difficult
to keep the ramification. A close eye has
to be kept on the wire, which must be
removed before it cuts into the bark of
the tree.
For your Ficus to develop fast, it requires a

lot of sun, heat, good fertilizer and space
to grow. Although the Ficus tolerates poor
CV
Bonsai Focus NATIVE BONSAI 25
Detail of the top section, the tree is being defoliated.

Below: The new foliage develops very quickly
Detail of the roots and statue
Born in: Switzerland

Married to: Mariannjely Marval
Children: Our 3 dogs
Education: The Hotel Management School,
Switzerland
“
Profession: Bonsai artist and owner of The
Bonsai Supply
Into bonsai since: Forever! I was born into
bonsai, my Mom used to live in Japan and she
studied bonsai and taught me
Favourite species:
Sea hibiscus, European olive, pomegranate,
Detail of the wiring, carried out with aluminium wire vitex, ficus, and Chinese pistachio
With bonsai you sometimes have to improvise

The result so far. Further refinement and developing dense foliage is the next stage
growing and light conditions, they do so
much better when properly grown in full
sun.
To achieve a dense canopy with smaller

leaves, the following steps need to be
taken:
Wiring
Green mound Ficus (Ficus microphylla var.
crassifolia 'Green Mound'), in particular, is
a very forgiving and vigorous species for
bonsai. It can be wired multiple times a
year. During the growing season we have
to keep a close eye on the wire that was
applied to the branches as it cuts into the
bark fairly quickly, sometimes even in just
2-3 weeks!
Pruning and defoliating

A Ficus responds well to pruning as well
as directional pruning. Since the leaves this, again, will slow down the growth
grow alternately, they can often be of the tree since all its energy goes into
trimmed back to achieve a denser canopy. producing the fruit.
One of the most common ways to obtain
a dense canopy is to defoliate the Ficus. In Another Ficus creation planted on rock. Below: Detail Smaller leaves
Florida we defoliate ours 2-3 times a year. of the roots growing over the rock To acquire small leaves, they can be cut in
Each time a Ficus is defoliated, it promotes half and shrunk to half the size. However,
new branch growth (particularly in inner this technique should not be practiced
and lower branches), back budding and until the tree has all its branches in place
smaller leaf growth. Please keep in mind as this slows down growth tremendously.
that it is important to leave your tree in You can also reduce the size of the leaves
the shade for a couple of days following by defoliating and the leaves will become
defoliation since, without leaves, the sun smaller over time!
may burn the newly-exposed branches.
And remember, a bonsai without any
leaves requires less water.
Repotting and maintenance

A Ficus is typically repotted every year, The tree a couple of weeks after defoliation
especially in tropical climates. As the tree

becomes more developed, less repotting
is needed. A Ficus that's planted into a
shallower pot actually permits a wider
and more dramatic root spread. The Ficus
seen here was in a deep growing pot for
the first two years to allow it to attach
itself to the statue. The initial cut of the
trunk was made about two years ago and
the development began in a shallower pot
to gain that wide root spread.
To maintain your Ficus shape, let it

grow in spring until the spring foliage is
hardened, then defoliation can be done.
Typically, I don’t start to fertilize until the
spring growth has hardened. In summer
I keep a close eye on my tree and make
sure that I don’t allow it to grow too
much. I keep it well-trimmed and make
sure the tree is kept well-watered during
its growing months. I then ease off in the
autumn and winter.
I usually do not allow my Ficus to fruit as

Photos: Bonsai Focus Studio
Bonsai Focus GALLERY 27
Fagus crenata
Guillaume Godderis
Pot: Tokoname
Carpinus coreana
Jean-Paul Polmans
Pot: Bryan Albright
Bonsai Focus 29
Pinus uncinata
Jose Luis Crespo Almanjano
Pot: Tokoname
Pinus pentaphylla
Matteo Dal Lago
Pot: Tokoname
30 Bonsai Focus
Quercus robur
Manuel Otero Abril
Buxus sempervirens
François Gau
Bonsai Focus 31
Crataegus monogyna
Warren Radford Pot: Koyo
Pinus sylvestris
Xavier Massanet Pot: Tokoname
32
Bonsai Focus
Quercus pubescent
Nicola crivelli
Juniperus rigida
Alexandre Escudero
Pot: China Ikko
Bonsai Focus ADVERTISEMENTS 33
COLLECTED TREES inspire wild ideas
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& Ryan Bell • May 9, 2019
1451 PLEASANT HILL ROAD • LINGLESTOWN, PA 17112 • USA
WWW.NATURESWAYBONSAI.COM
Bonsai Institute Terakawa

Hotsumi Terakawa
Juniperus communis
HI RIU EN
trained & styled by
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Falcon by Henk Fresen
Hiryuen
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Via Bernardi, 1/2

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Demonstrations, workshops, cources and bonsai maintenance

Tel. 328 7364997 Mail [email protected] www.hiryuen.com
e-mail: [email protected] www.terakawabonsai.com
34 ADVERTISEMENTS Bonsai Focus
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Raw
Bonsai Focus STYLING 35
...and too many branches

Solving the problems on a satsuki azalea
Text and photography: Kinbon, Japan
Osamu Fukudate’s (Shunkaen Bonsai Museum) first entry into the Sakkafu-ten received the Satsuki award. He also
won recognition from the judges at the 43rd Nippon Bonsai Sakkafu-ten. As a result, he now has the opportunity to
show off his skills here
O
samu Fukudate has
prepared a field grown
'Satsuma-beni' multi-trunk Osamu Fukudate
tree. It is a very raw piece
of material, which needs
starting from scratch, giving us great
insight into his skills and vision for the
future. Around the back of the current
front there is a section that has died off
and some dead patches can be seen on
the trunk. He will start by considering the
front and planting angle.
How to style the tree?

First of all, he starts by examining the
front. He looks at the movement in the
branches and either side could well be
considered as the front; however, looking
at what is likely to be the most important
branch on the tree, it is clear that there
are areas of damage and deadwood at the Material: Satsuma-beni.
Before work. Height: 70 cm
base.
Width: 112 cm
Osamu: 'It has begun to callus over and
the dieback has stopped, so it will be okay
to use it. Satsuma-beni is a very vigorous
species.' As a result, the movement of the
branch will decide the front.
What was a clump-style tree will become
a windswept style tree, with a dramatic
change of angle. 'The trunk lines do not
lend themselves to becoming a standard
shaped tree, so it would be impossible to
force it that way. The best character this
tree has is the natural movement in the
branches, so this will be the best way of
maximising that character. I think it best
to create the windswept style.'
There appears to be a number of quite
unnecessary branches and they will need
to be removed, but first, some of the finer
branches need to be thinned out so the
CV
36 STYLING Bonsai Focus
The lower trunk peeking through. The movement and In order to make the lower trunk easier to see, the
flow of what will be the main trunk is not bad really obvious branches are removed Osamu
Fukudate
Born in: The Prefecture of Iwate. He
is now 38 years old.
His bonsai story: He developed
a love for bonsai and while having a
part time job he would grow and work
“
on many trees, especially junipers. He
really started his bonsai activities in
earnest six years ago when he became
the apprentice of Mr Kunio Kobayashi,
who describes him as being 'overly
Looking at the lower trunk from the back, the trunk By removing crossing branches and those getting in
with the best movement unfortunately has some the way, the movement of the trunk and branches
serious'. All the trees Osamu Fukudate
damage in the base, but every effort will be taken to can be seen had been working on during his early
use it years of bonsai were washed away
in the tsunami following the great
Tohoku Earthquake in 2011.
Throughout his apprenticeship he
The movement of that branch will has managed to acquire some trees,
which we look forward to seeing as
decide the front. his career progresses.
main structure can be seen. We asked

Osamu to leave some of the unnecessary The tree is tipped to the right side
branches on the tree so we can discuss
their removal and take photographs. 'I
understand,' says Osamu as he starts to
work.
Change of angle
In order to create the windswept feel the
tree is tipped over quite dramatically
towards the right-hand side. By doing this
and inclining slightly towards the front,
that image is clear to see.
Lowering the character branch
“
Front after thinning out branches. A great character
branch with movement has been hidden
Mr Fukudate tests the area to be bent by hand to get
a feeling for how hard it is
First this area is wrapped in protective raffia
Metal bar is used to bend the satsuki's trunk
Two 6 mm thick aluminium wires are wrapped In order to bend the branch down, a metal bar is to be used, So that there is no damage to the branch, the
around the branch so the positioning is studied carefully metal bar is fixed securely to the trunk
The thick branch is very difficult to move. so Osamu Fukudate decides to use a
The area to be bent is grasped firmly and then pulled towards the metal bar jack
More has to go
As we asked for many of the unnecessary however 'I want to bend it to its limits',
branches to be left in place, there are still and so the branch was lowered using the
many more to be removed, but they have techniques shown.
been kept for the time being. The first As the branch has a section of deadwood,
important job is to lower the character extra care was taken using raffia, thick
branch. aluminium wires doubled up and the
Satsuki are well known to have stiff metal bar.
branches that are very difficult to bend;
Right-hand side after thinning out branches
“
The character branch has been lowered and now accentuates the movement even further. Due to the damage in
the branch and the fact that it is nearly impossible to bend old thick branches on satsuki, this is the maximum
it can be safely bent
Right-hand side after lowering the character branch
Why wire first and

then cut?
After a rough wiring. Mr Fukudate wants to remove some of those unnecessary

branches. Which of those branches are to be removed?
To extend our knowledge and to show how to make decisions, some of

the branches that will need to be removed have been wired. Let us take
a look at which of those are going to be cut off. In order to hide some of
them, we asked for unnecessary branches to be wired.
The first branch to be removed is a thick, straight one which crosses

and conceals the main character branch
It is cut off at the base
The front after the thick branch removal. There are still
more branches to be taken away
“
After branch
removal. The character
branch is now far more
apparent
Although already wired, some branches obstruct the

view of the main trunk
Although it has been wired, the The lower trunk area is

branches on the left-hand side are the now much easier to see,
next to be removed and the movement to the
right is obvious
The returning branch is turned into a jin
“
The branches on the left-hand side are cut
off, but a small section is left
First the area to be turned into jin
has the bark removed
The jin is shaped roughly using a pair of
branch cutters, then polished up using a
rotary carving tool
It now acts as a small accent point
on the lower trunk, adding a sense
of severity to the tree
It's not common to have jin on a satsuki . . .
The branch that was wired and lifted up

goes against the natural flow of the tree
and makes it look unbalanced
He decides that the branch

lifted towards the left needs
to be removed. To check
this, it has been hidden by
newspaper. It looks better
without it
After working on the jin, Mr Fukudate shows us even more of his determination
Some of the branches on the left are still

One more branch not quite perfect, but first, it needs to be
planted at the correct angle
After creating the jin at the base, Osamu Fukudate tells us, wire
cutters in hand, that 'there is one more branch I want to re-
move'. It is one of the thick branches that previously had been
covered in raffia, then wired and lifted.
'I bet you didn’t think it would be one of the branches already
covered in raffia and wired before removal,' he says with a
laugh.
Actually, this is exactly what we wanted him to do, to give us an
insight into why branches are removed. With no hesitation, he
removes it, once he's given the green light.

The Kurama stone that

was prepared for planting
A problem with the roots! the tree
Mr Fukudate starts to work on the root ball by

removing the soil carefully. Then, his hands stop;
'in the core of the root ball there is no soil at the
base of the trunk. I must root wash this. It will
cause extra work, but it's necessary for the health
of the tree'
Planting on a rock to accentuate the windswept style

After root washing, Osamu Fukudate shows us a Kurama stone that he previously selected for the tree. As
it is crescent shaped, the entire root ball fits neatly into the space. The natural angle it sits at is good and the
movement of the character branch is accentuated.
There is still something that doesn't sit quite right and as the tree is planted, we see the artistic eye coming
to the fore in order to solve the issue
Planting into a crescent rock
Considering the angle after placing it in the rock It is fixed in the pot and a small chojubai accent Covering of green moss is used to give a good effect
planting is placed at the rear left side of the rock
The balancing branches

The branches that are growing upwards on the
Mr Fukudate is not happy with the way in which the Some of the branches on the left are removed and the left-hand side are bent backwards and forwards to
apex appears to be quite flat. final job is to rearrange the remaining branches reduce their height
After work is finished. Height with stone: 66

cm Width: 102 cm Kurama stone
Empty space accentuates the movement
“ Main branch is the leader of the design
All comes clear once you see the main point

If you can see one point, others start to is understood the unnecessary branches
show themselves. At the end Mr Fukudate start to become obvious. If I remove this
tells us 'this is what 'Oyakata' (as Kunio branch, the main one then looks better
Kobayashi is known by his students) and the windswept feel is accentuated.' It
always tells us, the main point of this tree is certain that, to create a windswept tree,
is the strong angular movement in the straight branches and those moving back
main character branch. Making the most against the flow are quite unnecessary.
out of that branch and bringing out that The space created on the left side is an
character is the starting point. Once that essential part of the design.
Seen from right side Rear side Back
.
.
.
Bonsai Focus COLUMN 43
Raising the potters’ bar beyond Japan

By Tony Tickle, assistance of Banquo or regional identity in bonsai, then surely that should include
I’m sure that I am not alone in having shelves of beautiful pots having our own potters create the pots as a must? Yes, it might
created by some of the best potters outside the boundaries of be nice to have a Japanese pot, but is it essential? Surely with
Japan, as well as a couple from Japan itself. My collection has the sharp rise of the European potters, Japanese pots are not the
generally been bought from potters selling their work at bonsai sole pinnacle of bonsai pot creation? We only need remember
shows, although several have been very generously gifted to me. that a mere three years ago, our own Andrew 'Stone Monkey'
And, again like many others, I have fallen into that never-end- Pearson won a gold award in the prestigious Gafu-ten show in
ing circle of acquiring a pot in the hope that one day I will have Japan. Clearly our potters are now supping at the top table.
the perfect tree to sit in it and then having to craft a tree that
is worthy of such a beautiful container. And so the collection My personal choice when choosing a pot is to have it made
grows. And grows. To the point where, again like many others, specifically for the tree. I value the input and experience that
I consider myself to have a 'collection' of pots, just as I have a a bonsai potter can bring to the selection and creation process
collection of trees – and even displayed as if the pot were an art and more often than not, this delivers a more suitable solution
object as well. for the finished image.
Well, maybe that’s the answer – they are worthy of display on I have also been experimenting with planting trees on stone. I
their own, as indeed happens at several shows both inside and am really in favour of this natural look; however, it is difficult to
outside of Japan. I think we are generally all moving away from get the right balance between the size and shape of the stone to
the 'any pot will do as long as it’s the right size' mentality complement the tree. It also makes for a heavy display.
that has previously pervaded the UK bonsai scene.
We now accept that pot and tree must combine An enormous move forward of late is the
to form an overall aesthetic and, indeed, many emergence of handmade containers that
shows offer an award for best tree and pot give the appearance of stone and also
combination to promote this ideal. handmade pots that look similar to
stone, but are very abstract in their crea-
Being part of the bonsai scene in Europe tion. I like the direction in which this is
and latterly worldwide I have observed going, and some of the combinations
a growth in talent of bonsai pot makers. have been very dramatic. Unsurpris-
In the UK, the home of studio pottery, ingly, I see a lot of these presentations
the increase in quality and availability is appearing more frequently in exhibi-
phenomenal. So why is it considered more tions worldwide.
prestigious to use an old Japanese, or
Chinese pot when there are potters across Such handmade structures have also
Europe whose quality matches the pots that come allowed the creation of tall plantings with small
from Japan? After all, the trees winning accolades and bonsai to give the appearance of a mountain covered
awards at major UK and European shows are as likely, if not with small trees. Such creations would have been far too heavy
more so, to be displayed in a Duffet, a Krebs, a Walsall, a Benda before the new materials appeared.
to name a few, as they are an antique, or indeed any form of
Japanese pot. Of course, the bottom line is that the final creation must be
harmonious and the image pleasing to the eye. If the artist feels
A choice of container has for many years been set by Japanese that means a Japanese pot then that is all well and good. How-
principles and they have been a solid benchmark. That is fair ever, when it comes to judging in a show being skewed because
enough. But having a Japanese pot to support your special tree a particular judge favours Japanese ceramics over local pro-
has three major drawbacks in my opinion. First of all, owning duction, I think this is unfair. Consideration has to be given to
such a pot is something that most people simply cannot afford, those unable to have access to or the ability to afford expensive
especially if the pot is antique. Second, finding a Japanese pot is imported old ceramics. Even more so, consideration has to be
pretty tricky in the first place. There are a number of importers given to whether the overall aesthetic is correct or whether we
in Europe and the US, but the process of importing adds yet a are merely pandering to an outdated perception of 'how bonsai
further cost to the whole affair. should be'.
Third, I’m still surprised that it is considered more valuable to Stone Monkey has shown that the UK and European potters’
have a Japanese pot to support your tree, even when the tree is bar has been raised to the highest level. Why look any further
native to your own country. If we are to create our own national afield?
44 PROFILE Bonsai Focus
The showstopper
The bonsai passion of Nik Rozman
Text: Bonsai Focus Studio Photography: Nik Rozman
Nik Rozman has won big prizes at shows with his bonsai, but one of his major
achievements so far is winning Best of Show at the recent edition of the Saulieu
show with his mugo pine. His aim is to create the ultimate showstopper
What is your profession?

With a diploma in landscape architecture,
I currently have my own NikArt Bonsai
Studio in which I hold workshops and
beginner courses. I am also often on the
road having been invited for workshops
or demonstrations.
How did it all start?

Funny enough I’m not really sure how it
all started. One day when I was 10 years
old I just wanted to have a bonsai, so
luckily my parents bought me a Serissa
from a garden centre. Then I got another
and another and now I have a garden full
of bonsai. I know one of my uncles had a
few bonsai at one point, but I can’t say I
picked it up from him.
Who is, or was, your bonsai

teacher? Do you have plans to go to
I never had one bonsai teacher to whom I
Japan to become an apprentice
would go to for lectures. A few years after
I discovered bonsai I joined the Slovenian to one of the Masters? Do you
bonsai club, of which I am now president. think that is important?
There I visited a number of workshops I have had the wish to go to Japan ever
with Adriano Bonini, Vaclav Novak, Enrico since I started with bonsai. Sadly I have
Savini, Hans van Meer, Andrea Melloni not been there yet, but it is one of the first
and so on. I also tried to absorb as much things on my wish list. As for a long-term
information from the internet and books apprenticeship in Japan, I think it's a bit
as I could and travelled to exhibitions too late for me now since I would have to
where I would learn from the demos and leave too much of my life behind. But to
from the exhibited bonsai. go to Japan for just a few months is still
I would say the most important thing I an option.
have learned is to never stop trying to I do believe learning from the Japanese
improve your skills. And don’t be afraid of Masters would open a whole new world
trying out new things, even if you fail. It of knowledge, but I don’t believe it is an
is also important in the learning process absolute necessity. There are many world
to see the varied approaches of as many known bonsai Masters who have never
different bonsai artists as possible. studied in Japan.
CV
Bonsai Focus PROFILE 45
What is your philosophy on
bonsai?
Always do bonsai for fun or relaxation
and never out of necessity. Bonsai takes
time so don’t try to rush things. Always be
open to new things.
Do you have any other interests

or hobbies besides bonsai?
I really like walking in nature. Although
now that I think about it, it's rarely
without my collecting tools. I also like to
travel, which is also mainly because of
bonsai. So I could say bonsai is just the Nik Rozman
perfect hobby for me. Lives in: Kranj, Slovenia
Relationship: In a happy relationship for 4
Which trees do you most like to years now
work on? Why? Education: Landscape architect
“
I prefer our native species of Slovenia. Profession: Bonsai
Sadly Slovenia is not very big, but its
nature is diverse so we can find quite a
Into bonsai since: 2001
number of different species such as pines, Favourite species: Difficult to pinpoint
spruce, Prunus mahaleb, larch, hornbeam, one species. I like to work with a variety of
beech, hawthorn and so on. I also really materials, but if I have to choose, I’d say pines.
love olives, but the climate here in my
area is too cold for them.
Don’t be afraid of trying new things, even if you fail.
every tree is different and has something

What is your best achievement?
special about it. My best achievement is one of the most
recent when I was awarded a Best in
Show award at the last Bonsai-San exhibi-
What is your worst mistake?
tion in Saulieu, France. Also being invited
That would be similar to most beginners, to important bonsai events in China and
rushing things. It's often difficult in your Brazil is quite high on this list.
Do you have a bonsai that is early years of bonsai when you have only
your favourite? a handful of trees and you naturally want Your dream comes true when?
I couldn’t point out one of my bonsai as . . . I can develop a tree from collecting to
to work on them a lot. So you over-work
being my favourite. Maybe I could narrow exhibiting it in an important exhibition.
it down to five, but that is about it. I could them and they die. I have lost quite a few There is always a special charm when you
never say which is my favourite since of my trees for that reason. do all the work by yourself unlike some
46 PROFILE Bonsai Focus
trees and take a closer look. Then I know

I have achieved my goal. I always try to
make every tree a bit special, something
that is a little different from other bonsai
of the same style.
people who buy expensive trees and then

just list their own name as the artist.
Do you favour the Japanese or

Western bonsai style?
I would say I prefer the Japanese style
a little bit more. I like how refined it is.
Sometimes Western style strays much
too far from original bonsai 'rules' in my
opinion and is seen in extravagant and
unusual pots. Although
I also like how the
Western bonsai style is
a little more loose and
open-minded. So I have
found a nice balance
somewhere between
the two, which suits
me most.
Do you see the

future of bonsai
developing?
We can all see how fast bonsai is develop-
ing in Europe and most recently in the
USA. I think it is only a matter of time
before we will catch up with the Japanese
since the art in Japan is perhaps already
at its peak and has only little room for
further improvement. I am really glad
that this great art has spread so nicely
across the entire world.
What do you want to evoke

with your trees?
It’s not really that I would like to evoke
anything with my bonsai. I just want to
make people stop when the walk past my
Fabulous feet
Thread and approach grafting new roots to improve the nebari: Harry
Harrington guides you through
Text and photography: Harry Harrington
Many enthusiasts would like to improve the nebari of their bonsai. By using thread grafting and approach grafting
techniques this can be easily done
A young and pliable branch from either

a separate plant, or the bonsai itself, is
threaded through, or against, the trunk of
the tree. As the shoot grows and fattens,
the cambium layers of the branch and the
trunk are forced together and eventually
a joint or graft is made.
Thread and approach grafts can also be

used to attach new roots to a bonsai. This
technique is most often used to improve
the appearance of the nebari (surface root
structure) of deciduous trees.
Both thread and approach grafting new

roots are equally viable techniques and
should be seen as techniques that can be
The field maple displaying a total of a dozen approach and thread grafted saplings
used individually or in conjunction with
one another.
Suitable scions can be obtained from season.
seed, cuttings or air-layering. Roots can be and are often approach
Preparing a scion for approach
grafted to many species in early spring;
grafting new roots
The scion, seedling or sapling to be
The risks however, I would thoroughly recommend
I believe it's a question of weighing up summer grafting for those species with
approach grafted needs preparing and
the risks of both die-back of channel poor callusing characteristics, or species
shaped in the months prior to grafting.
edges as well as the possibility of poor or with a tendency to die-back around the
This is necessary so that it will fit into
slow grafting, or the risk of exposing the edges of wounds.
position at the base of the main trunk.
roots of the seedling during the growing In general, I prefer to carry out all my
An Acer campestre (field maple) that has had its roots trained over a rock. A field maple sapling is approach grafted on the left of the tree, and a second
Approach and thread grafting saplings will help to increase the number of roots sapling is thread grafted on the right
attached to the rock
approach grafts during the summer. To is kept and so the exit or 'top' is removed
Separating the newly grafted
minimise any risks to the scions, I ensure and dressed almost as though it were
that they are root pruned as appropriate root simply a low branch being removed.
during the preceding spring and planted The exit or 'top' of the scion will become As for newly approach grafted roots on
individually into small seed-pots so that noticeably thicker than the entry or deciduous and broadleaf species, I find
the scion can be lifted from its container 'bottom' of the scion. This allows one to that there is a tendency for the scion to
and planted (and grafted) to the main determine that the scion has grafted to produce new buds and shoots for up to
tree with minimum disturbance. the trunk. 2 years after grafting. These should be
Obviously, it is the base of the scion that removed as and when they appear.
Preparing a scion for thread
grafting new roots
To thread graft a seedling or sapling into
position, the scion will need to be straight For the majority of approach grafts,
and long enough to fit through a hole
the scion should be:
drilled into the trunk. Otherwise, the
(a) Bent so that there is an 'elbow' in the scion that
preparation and timing is that of
can be inserted into the channel in the main trunk
approach grafting.
(b) The part below the elbow grows into the soil
surface at the same angle as the surrounding roots of the
main tree.
(c) The part above the elbow has room to grow
freely allowing it to grow out, away from the trunk and
branches of the main tree.
(d) It's not essential, but if you have the opportunity, train
the roots of the scion to spread as shown in the diagram.
(e) Prune the scion roots in the spring before grafting so that
Bent so that there is an they are reasonably compact and can be replanted into the soil
'elbow' in the scion
of the main tree later on in the year. I would not recommend
any root-pruning of the scion at midsummer.
Example 1: Acer palmatum (Japanese maple)

August 2007: After cutting a channel into was used to ensure that the bark colour A channel large enough to receive the
the trunk base, ready to receive the scion. and texture would match those roots of sapling (scion) was cut into the front of
It is important to use a tree of exactly the the parent tree. It was fortunate that I the trunk base of the maple using a sharp
same species and variety when approach had a suitable air-layered sapling from knife to cut through bark and cambium
grafting new roots. In theory, any type of the very same tree in my garden that the layer. I then used a gouge to hollow out
Acer would have successfully grafted, but maple had come from 5 years previously a little of the wood underneath it so that
it was important that an identical variety and so I was able to use this. the scion would fit snugly. Soil was then
August 2007: Acer palmatum (Japanese maple) The newly-grafted scion in place at the base of the maple.
removed from the area where the scion
would be planted and causing as little
disturbance possible to the surrounding
roots of the main tree.
The sapling was inserted into the channel
I had made at the base of the maple and
was securely fixed into position using a
brass screw and aluminium wire staple
to ensure it would not be accidentally
knocked out of position while it grafted.
As with newly approach grafted branches, November 2010: 3 years later and the approach graft had healed sufficiently to remove the upper section
and having sealed the graft with wound above the graft. What had once been a young sapling, was now part of the parent tree
sealant, the scion then needed to grow

freely and vigorously until such time as
the cambium layers of the scion and main
trunk base grafted together.
March 2018: A further 8 years on, the approach graft After repotting into a new bonsai pot (by Victor
can be seen in the nebari during the repotting of the Harris of Erin Pottery). The base received a total of 4
parent tree approach grafts during 2007
Acer palmatum (mountain maple bonsai).

Height: 55 cm Trunk diameter above the
base: 6 cm Surface root spread: 25 cm
Example 2: Acer campestre (field maple)
This Acer campestre started life as a

pencil-thin sapling in 2000. It was
planted into the ground and allowed
to grow freely for 5 years in order to
encourage rapid thickening of the
trunk.
Spring 2005: After pruning the

root system.
The newly harvested maple was
planted into a nursery container
to allow the tree to recover, with
a view to carrying out further
work on the roots in the following
spring.
Spring 2006: A year later and the tree had recovered well from the previous In 2007 I approach grafted a further 4 saplings to the back of the trunk in order to
year's harvesting and root pruning and as is typical with all Acer species, had produce completely uniform surface roots around the base of the trunk.
rooted strongly through the year. It is possible to see a root that has been grafted, but not yet sealed and the tiny
Seen from the back of the tree with its surface roots uncovered during repotting. brass screw holding the sapling in place while it grafts into position
Although there are roots at the back of the trunk, they are too low and new roots
are needed at the same elevation as the rest of the nebari
With all but one of the grafts having taken, I removed

all traces of the original saplings and sealed the
wounds. On the right of the picture it is possible to see
where one of the grafts hadn't been secured tightly
enough against the trunk base during the grafting
process. It had therefore not successfully taken
Spring 2010: 3 years later and the grafts at the back of the trunk have healed
well. Having been allowed almost free growth since 2006 to encourage a
strong graft union, the graft scions were then pruned back hard in early 2009
to encourage the sap to flow into the main trunk rather than continuing into
the top of each grafted sapling
January 2014: Approach

grafted roots at the back
of the bonsai continue to
develop well; however, it
will be a number of years
before the scars entirely
disappear.
The field maple bonsai seen in 2016.

Acer campestre (field maple) Height: 35 cm
Trunk diameter: 5 cm above the nebari
Developed from a sapling since 2001. Pot by Victor
Harris of Erin Pottery
Bonsai Focus MASTERCLASS 51
The knot of El Tim

Text and photography: Farrand Bloch
Like smooth machinery, El Tim (The Team, consisting
of Leo, Alberto and Luis) work on amazing material and
produce stunning bonsai. Initially, the Scots pine specially
donated by Michael Tran's Minoru bonsai, looks like a bunch
of tangled branches
El Tim
Alberto tends to serve as the spokesman
of the group. ‘It all started when we, as Teamwork on a Pinus sylvestris
friends, wanted to make some very good
bonsai and did not yet know our way of
achieving this. We come from Galicia,
Spain and to ask Masters to visit seemed
out of our reach. One of us knew more
about the deadwood and another had The situation just before El Tim
good sense on styling, so we joined forces begins work
and have worked as a team ever since.

The team has three main members: Leo
Blanco Freire, Luis Vila González and
Alberto Baleato Pumar. Each one of us
has his specialty. Leo is very good in
the styling, Luis is fabulous with the
wiring. And me? I mostly do the
deadwood. But we all work on the
tree together, things just go in
a very good flow. It is mainly
fun time when we work on
trees, but we are very serious in
our aim to achieve the best result.
For us it's not important who owns
the tree, so long as it's done in the best possible
way,' Alberto explains. 'El Tim is a kind of joke;
in Spanish it means team and that is what we do,
work as a team.'
The Scots pine

The first impression is of a tree with very long
branches that all seem to droop down from the top.
The other problem is that the foliage is only to be found at
the tips of these long branches. Then at the base it is quite
thick with some stumps that are rough and messy. Evidence
of some wire scars shows that the tree has been worked on
before and then abandoned. Today El Tim will work on this
tree and, bolstered by their team spirit, will give new life to
this interesting Scots pine
52 MASTERCLASS Bonsai Focus
The preparative
work
First we examine
the tree closely
and then work
on cleaning the
needles and
removing those
branches that are
really in the way of Old needles are plucked
any good plan.
Alberto and Luis work on the preparative tasks: old needle plucking and removal Team work makes things go fast; in no time all major branches are being wrapped
by Luis of a dead branch tightly in raffia. Extra assistance from Alberto's Dad, Manolo Baleato.
Alberto makes a jin of the dead branch Wiring soon follows, which is carried out at a very fast pace
The plan
We want to make an elegant tree. The Side branches come from just
two spots
base is a bit bulky. It has an old branch
stump, which we'll reduce in size. Later The branch made into a jin
we can add a shari that runs up the trunk
joining the jin at the top. A
The result after raffia and the

main wires have been applied
The idea is to bend up the left branch (red) and create a top. Then
the right branch (blue) will go down further to make a first branch.
Almost like an octopus its branches spread out in

all directions. It's clearly visible that there are two
groups of branches a) and b)
B
54 MASTERCLASS Bonsai Focus
Wet raffia
Raffia is essential here for this kind of work,
we really need to wrap it tightly around all the
The jin at the base is a bit too dominant, so Alberto uses a
branches because we have to bend these long
chisel to carve it into a smaller jin. 'Later we can add a shari to
connect with the jin in the top,' Alberto explains The situation seen from above branches in order to create compact foliage pads.
It might look a bit strange in the beginning, but
in a few years' time the foliage will grow denser,
covering the tangled branches.
The earlier needle plucking makes wiring the twigs After a few hours the detail wiring is finished
easy
Next we wire all the smaller side branches
The big moment of placing the branches in the desired The first branch is pulled in and downward
position; a screw is needed to help anchor a guy wire
One of the very long branches is pulled

down as far as possible. It will serve as The jin serves as an anchor for guy wires
the main branch
Branches are set into place Hold the coil with the
pincers and carefully
Bending the branches of the Scots pine is bend the wire
almost limitless; however, when you work
in the spring, the sap flow is very strong
and so breakage and damage can occur.
Ideal time to do this kind of bending is
in the dormant period. Raffia helps to
“
reduce the damage. We work a lot with
pines and through experience we know
the limits.
We give interesting bends to the

branch, using a pincers. As you can
see the wire is bent, not the branch
Detail of the main branch seen
from the side
Extreme bending yes, but we know

when to stop
This part will be bent to the right
Main branch has been put

in position
The jin has been made a little smaller
Branches seem
to be tangled
56 Bonsai Focus
Alberto adds some

more screws. These are
needed to get the other
branches in position
with guy wires
Guy wires
The guy wires are used to pull all the branches in position and
are essential. Wiring is important, too. You can give movement
and bends to the very flexible branches, but placing them in
position needs the help of guy wires.
To create a more compact top it is necessary to bend some of the branches in a curl to shorten them. Guy wires are again of great help
Although Scots pines are very flexible some caution is necessary even if the Tightening the guy wire, the branch is then fixed
branches are wrapped in raffia
“
Branch by branch the plan of El Tim comes into being. Leo concentrates on making sure that the branch is in
the right position
The branches are bent over and entwined, but all
according the plan
The three guys work as one organism
Eye for detail is essential, so care is taken that every The branch is sprayed with water to keep the raffia
single pine tip is placed upright The top branch is being bent into position moist while bending
58 MASTERCLASS
“ Bonsai Focus
The untieable knot is untangled
Seen from the back
Compare the situation before work

with this newly-styled tree. A
dramatic change
Leo, Alberto and Luis are happy with the

result after a few hours' work
The final result. The tree has been

slightly tilted to the right to bring the
trunk's movement further upward.
The pot is a Photoshop montage
Bonsai Focus
GALLERY 59
Tilia
Pascal Houdusse
Pot: Klika & Kuratova
Pinus parviflora
Tomas Bustamente
Pot: Gyouzan
Pinus sylvestris
Alexandre Wemaere
Pot: China
Pinus uncinata
Juan Linares
Pot: Carles Vives
Forsythia intermedia
Bernd Lang
Pot: Klika & Kuratkova
Quercus ilex
Salvatore Liporace
Pot: Bryan Albright
62 Bonsai Focus

Olea sylvestris
Jorge Campos
Pot: China
Pseudo cydonia
German Gomez Soler
Pot: Antique Tokoname
Pinus parviflora
Bruno Heller
Pot: Tokoname
Juniperus sabina
Luis Vila
Pot: Yixing
64 Bonsai Focus
Picea jezoensis
Danny Use
Pot: Tokoname
Juniperus chinensis
Russ Farley
Pot: Walsall Ceramics
Bonsai Focus TECHNIQUE 65
Malus sieboldii
The challenge is to create a finished tree starting from scratch
Text: Kinbon, Japan. Illustrations: Kiyosuke Gun
In this series we look at creating bonsai from cuttings, grafting and other methods using interesting and unusual
species. With the help of illustrations, we will see how to take a piece of material through to completion
Malus sieboldii, or Toringo crab apple, is a Years 1 - 4

member of the apple family, a deciduous Flower formation Flowers are white
when they open
tree that can be found growing throughout They are pink when they
Japan. Botanically speaking, 'Miyama Kaido' is the are still flower buds
4 - 8 flowers form
same, the difference lies in the colour of the fruit, at the end of short
either red or yellow. In the world of bonsai, yellow branches
Shape of flower
fruiting trees are called 'Zumi', red fruiting trees are 1 - 1.5 cm
known as Miyama Kaido'; these names can, however,

be interchanged.
Historically any tree, including Zumi, with yellow 5 rounded petals
fruit has always been highly prized within the bonsai
world, with many people appreciating the brilliantly
coloured fruit. In the case of Zumi, they are best
viewed from December after the leaves have dropped
and, given the correct care, they will hold their fruit
Fruit formation
September to October
until February when the largest bonsai exhibition in
Japan, the Kokufu-ten is held. Any tree that keeps its
Yellow fruit
fruit until then is always very highly appreciated.
At the tips of the short side branches, new growth Shape of fruit
6 - 10 mm
shoots will begin to open and extend outwards. At the
base of leaves on that new growth, a number of white Next year’s leaf buds
petaled flowers will form.

Cuttings
Shape of leaf June to July: Elongated shoots
are cut back to leave just four
Leaves that form on main nodes
branches Elongated oval or
egg shaped oval
Leaves that form on Petiole:
sacrificial branches 1 - 3 cm
grow rapidly
Scar from the

Leaf blade is fruit
3 - 8 cm
Write the name on the tag
3 lobes
Leaf width
is 2 - 4 cm
66 TECHNIQUE Bonsai Focus
Taking cuttings
Cut the leaves in
Malus - HUSBANDRY
half to reduce the
surface area
Propagate:
With cuttings, air layer or
seed.
Placement:
Remove the
In winter, protect well
lower leaves
from freezing conditions. In
summer it likes full sun, but
Put into the soil at protect from the heat.
an angle around the
pot so they all get
Push the cutting into
sunlight
the soil
Pruning:
Use Akadama as the Creating plenty of short
main soil mixture twigs in order to develop
Cut in a V-shape
with a knife flowers and fruit is the key.
No flowers or fruit will form
on elongating vigorous growth, only
on those short branches that have
been cut back.
Wiring the trunk To assist flower formation, pinch
Following year in June - July back any of the fresh new growth to
four leaves. This will control growth.
After stopping the first flush of
Put movement in the growth, a second flush will start at
trunk with wire the base of leaf axils; this doesn't
usually extend rapidly.
If you want a branch to thicken, it

must be allowed to grow vigorously
while the tree is still young and in
development and before being cut
back short. Before cutting back,
ensure that movement is put into
Transplanting the base of the branch early in the
Two years later development.
If the wire has in March
been effec- Prune back the second flush of
tive you can
growth. If this is done repeatedly
remove it
over the years, lots of twigs will be
created easily, flower buds will form
Fix the tree into the pot and the likelihood of fruit is much
with a piece of string tied higher.
crosswise
Cut back short any of the
long roots and plant them
into individual pots
Watering:
It is a species that likes
water and so care must be
taken not to allow it to dry
Soil mixture: out at any time, especially when it is
Akadama 7 flowering, or when fruit has formed.
Kiryu 3
Charcoal 0.5
Repotting:
Malus is a vigorous species that
Push the roots outwards in sends out plenty of roots. It requires
Fertiliser
all four directions transplanting every other
year, either in the spring or
the autumn.
Prune the top Young cutting

section When you want fruit to
form quickly
Dormant Wire the long branches and
period put movement into them
Graft a branch
from an older,
fruit-bearing Protection after
tree on to a 2
year old cutting
grafting
Cut back short Encourage

adventitious
budding
Very easy
to thicken
and
become Grafted tree
straight
The stock must be

from a tree of the
same species
Transplanting
Years 5 - 7 September or March
Cut any upward
growing roots
Branch creation and pruning Remove some of the

surface soil
Branches are generally quite

fine, so allow them to grow
Dormant period long in order to thicken them Cut back any
long roots
Leave 3 - 4 nodes and then cut
Planting method
Transplant into a pot one size
Flatten out the branches. larger Tie down
June - July
Wire the upward growing

shoots
Cut the downward pointing
branches
Fertiliser
Soil mix:
Akadama 8
Kiryu 2
Charcoal 0.5
68 TECHNIQUE Bonsai Focus
Crown root gall Mix in surfactant solution
If crown root gall is found,

place the plant in a bath of Bactericide
Crown root gall
bactericide (Agrimycin) for 5
to 10 minutes
Diluted to
1:300
Surfactant
Remove all the old soil by

root washing
Tree begins to form fruit

September to October
Aim to give the tree

an overall triangular
shape
Branch and twig characteristics
The twigs will get slightly
bigger each year
Flowers and fruit form

on the twigs
2 year old
5 - 6 years after growing twig
from cutting or seed, it will
start to fruit
1 year old twig
It takes some time for the

trunk to thicken up
Fertilising regime: Cut back to a bud that is

Place fertiliser about a facing in desired direction
thumb space apart, of growth
once or twice in April - June,
and two - three times in
September
Fertilise using liquid feed
during July and August
The shoots at the tips will
grow very rapidly
Maintaining branch structure

Outline of the branch Prune back any branches
Pruning back to create a new leader
structure Dormant period
Leader is growing too
Years 8 - 10 strongly in one direction
Branch to become the

new leader
Cutting back to change the

direction
Shape when fruiting
September to October Cut back the upward
growing branches
An arc-shaped, rounded Malus sieboldii
apex is starting to form Height: 45 cm
Remove the downward

growing branches
entirely
This is the position
where cut was made
Cut any branches from
the inside of curves
Leave branches on the

outside of curves
Branch pruning
Dormant period
A well-balanced fruit
formation is desirable Movement in the trunk Cut back extending branches
will become less as it to 3 - 4 nodes
thickens
A pot that matches yellow

Branches will slowly stop extending.
or red fruit well
Shorter twigs will form flowers and fruit easily
Planting method
Plant into Tie down
Tie down
a shallow pot
Fertiliser
Soil mix: Akadama 8

Kiryu 2
Charcoal 0.5
70 SUISEKI Bonsai Focus
Ice-age suiseki
Alan Harriman:
the stone hunter of Britain
Text and photography: Alan Harriman
Here Alan Harriman reveals the various aspects of suiseki in a way that will encourage you to regard it as a hobby.
Hunting for stones yourself will provide you with quality stones, while testing your patience, imagination, practical
skills and stamina. Are you up for it?
T
here was a time in Japan,
about 600 years ago, when it
became fashionable to shape
garden trees into smaller
stylized versions adding
interesting rocks alongside and creating
mini landscapes in the garden. Over time,
some of these trees were grown
in pots and taken into the houses,
along with their corresponding
rocks — bonsai and suiseki united.
But how does a suiseki differ from
a pebble, or any lump of rock? The
answer to this can be found by
applying a few simple criteria and
the more stones you look at using
the criteria, the easier it becomes.
Hardness:
Granite is hard. Good. Most lime
stone is soft. Poor. It is not necessary to A rocky stream ideal to look for stones
know the geological name and origin of find it there somewhere.
the stone. Judging the hardness is not
difficult. Is it a suiseki?
Texture: A pebble can tick most of the above
Smooth is good. Rough, poor. For example criteria, but is it a suiseki? It may be a
sandstone is always rough in texture and very pretty pebble, but it has no character
will never develop a patina. A patina is because it has been shaped by rolling up
smooth to the touch with a slight gloss. and down a beach. Collect and display
Water aging: pebbles by all means, but please don’t
Corners rounded. Sides smooth. Sharp call them suiseki.
corners are usually a sign of recent
breakage. Presentation.
Shape: Even at this early stage, while holding
While hunting for your fantastic a stone on the beach, or by the stream,
suiseki, you will pick up dozens of you will be looking at how this potential
stones in an hour. Hopefully you suiseki could be presented. A mountain
will know by the location that they stone will need to have a flattish base
will be hard, so you are now looking for for showing the mountain to best effect,
irregular shapes among the unsuitable whereas most other styles will have the
rocks and pebbles. Be patient. You will daiza fitted around the bottom of the
Bonsai Focus SUISEKI 71
Being more down to earth, where once
there were volcanos there will be
igneous rocks; where there
were shallow seas, you'll
find sedimentary rocks.
In between, you will
find pockets of ironstone,
shale and so on. Seek out
a local shallow river or stream
that has stones on the banks,
particularly at corners, and have
a go. You will soon learn what to
look for.
Typical rocky river banks, were one might find the perfect stone
shape. If a stone has an interesting shape,

take your time before discarding it. A
good stone is easily missed.
To cut, or not?
The cutting of a stone's base to make it
flat and subsequently easier to make the
daiza, should not be an option. A
suiseki should be 100% natural
in shape. Cutting or shaping a
stone will devalue it and it
will not be suiseki. But note,
this is my opinion and is not
shared by all enthusiasts.
Hunting sites
I’m sure that you will agree
with me when I say that
the UK is a beautiful and diverse island, Cleaning your stone
surrounded by beaches, harbours, cliffs, Depending on where your stone was
criss crossed by rivers and a multitude of found, it may be quite clean, or may have
streams, but we have had three ice-ages, some form of deposit on it. Start by using
that we know about, where ice more than warm water, detergent and a scrubbing
a mile deep has enveloped everything
brush. Remove anything adhering to the
as it marched across the country. When,
stone, like barnacles or hard clay, with
eventually, the ice melted, its contents
were deposited in that spot. Hence large a piece of wood. Obviously, a metal tool
rocks can be found in the middle of an could leave a mark. If the stone is still not
otherwise rock less field, in addition to clean, and it is not limestone, immerse
the multitude of smaller stones that we it in a proprietary dry cleaning liquid,
assume have always lived in that place. I leaving it there for half an hour. Repeat
mention this since, throughout the coun- the process, if necessary. If it still won’t
try, you can find different types of rock
come clean, live with it! Wash the stone
together at one site.
in clean water and allow it to dry. Most
I find it interesting that the red sandstone
stones, however good the patina, will dry
of Yorkshire was formed initially from
a desert, when the position of the UK with a dull surface. If this is the case, a
was south of the Equator. Get your head little baby oil or wax polish will remedy
around that one! the situation.
72 SUISEKI Bonsai Focus
Always take rubber boots. You might need them
Making the daiza

This is the stumbling block for lots of on to the stone, standing it in the correct time later. Draw around this card on to a
budding suiseki collectors. This isn't the position. Make this replica, exactly as you piece of wood that is slightly thicker than
time and place to explain the process want it to look: depth and profile of sides, the depth of the recess to be cut out. Use
in detail, but I can give you a rough idea position of feet, and so on. When finished, a hardwood with a fine grain. Mahogany
of how I get started. For stones with flat allow the Plasticine get cold. Carefully is good. You're now ready to make your
bases, draw around the stone. For stones remove the stone, and cut a piece of card daiza. Alternatively, you can ask someone
with irregular base, it’s not so easy. I start to the exact shape of the inside rim of the to make it for you.
off by making a Plasticine daiza, pressed daiza. Take care with this and it will save
A Plasticine impression to help make the daiza when The irregular based stone used with the Plasticine
the base is not flat
A rocky beach is a very good source for finding

stones
I hope these few notes have whetted your

appetite for the art of stones. So do you
have patience to search for a few hours?
The imagination to spot suiseki among
the rocks? Stamina for the long walk to
Card template, made from the top of the Plasticine With the outline drawn on to the wood and with the your chosen site? Practical skills to make
impression, is used to draw around on the wood impression by the side of the vice, the initial wood
removal becomes easier. The serious fitting is done your Daiza? The Northern Suiseki Group
with chalk on the stone was formed 5 years ago. It's always good
to contact other groups or people, so find
us at: www.suisekiuk.com
Bonsai Focus TRAVEL 73
Part-time 'deshi'
Paolo Nastasi travelled to the land of the rising sun
to deepen his knowledge
Text and photography: Paolo Nastasi
Years ago there was no tradition of going to Japan to improve one's knowledge. However, times have changed...
T
aisho-en, run by Masters
Nobuichi Urushibata and his
son Taiga, was one of the first
to give foreign students the
opportunity for short-term
apprenticeships. Master Nobuichi, famous
for advanced techniques like thread grafts
on maples, sent his 20 year old son Taiga,
on a 6-year apprenticeship with Master
Masahiko Kimura. When Taiga returned
to his home town, Shizuoka, he began his
professional career in his father's nursery.
From this union came Taisho-en Nursery
where I went to deepen my knowledge.
And so I had the opportunity to refine my
abilities. My first trip to Japan dates back
to February 2015 and lasted 5 weeks.
But before that I worked many years
alongside my teacher, Salvatore Liporace,
as a professional apprentice, becoming
an instructor myself. I started my bonsai
interest at 16 and there were times that,
instead of going to school, I went to look
for yamadori. All the time I obsessed
about improving my knowledge.
The deshi
At Taisho-en, the working days are very
At work on one of the junipers, which has
intense. The apprentice, or full time a number of grafts Getting my certificate from Taiga (left) and Nobuichi Urushibata
student, must do everything; clean the
garden, welcome customers and prepare
tea, arrange the tokonoma, perform the An itoigawa juniper that I
day's work. Masters expect maximum worked on The result after my work In the workshop of the Taisho-en
concentration from the student and
under all circumstances to do the best
they can. The Master generally has one or
more disciples (Deshi) who will have to
undertake a long period of apprenticeship
of generally 5 years.
There are also the so-called part-time
students (Gakusei) who attend the bonsai
school for one or more short periods. In
74 TRAVEL Bonsai Focus
the absence of the Master, students will

be guided by the senior Deshi. I worked
for 12-14 hours a day with an hour of rest.
I started at 8:00 with the cleaning of the
garden (each student has his own tasks to
do). After that you do the work assigned
to you by the Master: restyling, cleaning
needles, processing shari, grafts, etc. In
The Zuisho pine as it was
the meantime, you must always be ready before the work
to help the teacher.
No days off
At 12 noon we go to lunch, one hour later
we start again with the watering and
Wire had severely bit into The deep scars have to The first Zuisho pine after my work
controling the state of health of all the the bark heal over
bonsai at Taisho-en. We then resume the
work assigned on that day until 18:00. But
Zuisho pines
the plan of the day is variable as it might On my latest trip I had the chance to work on different pines, or
be necessary to prepare plants to be sent 'Goyomatsu'. The 'Zuisho' variety especially struck me the most
abroad, or prepare for an exhibition. because it's a tree variety with an elegant
Generally there are no days off, except in posture, appreciated for the very short
unusual circumstances. needles and the fine, thick branching. The
formal-style pine tree, originating from the
“
Care must be taken with
Wonderful garden of Master Kimura, had arrived at
the selection of the buds.
Try not to rejuvenate the
Because our work is being judged you tree with too aggressive
Taisho-en for a few months. It was totally
always try to gain the trust of the Master. pruning and use as little
out of shape. wire as possible
I consider every formative step a starting The second Zuisho was
point and I will make at least one trip a in need of a different
approach
year to the rising sun to retain the link
with my Masters.
The best thing is to be in a wonderful
place full of valuable specimens. The one The best thing is that you are in a
downside during my trip is the distance
wonderful place among
from my amazing family. Daniela, my life
partner and our little Leonardo are my
amazing bonsai
number one supporters.
In Japan, bonsai is taught in a different

way, but my Master Salvatore Liporace,
who has also had a Japanese education,
helped me to better understand the way
the Japanese do things.
What I learned is that you need a lot of
discipline, dedication and passion, these
Nobuichi Urushibata
are essential to enter the Japanese world checks the work carried
out by students
of bonsai.
Bonsai Focus TREE GUIDE 75
The bonsai
friend
As bonsai the Ficus is just great
Text and photography: Vladimir Ondejcík, Alena Ondejc íková and Bonsai Focus Studio
Figs are keystone species in many tropical forest ecosystems. Figs have figured prominently in some human cultures,
such as Buddhism, objects of worship and many practical uses. For bonsai they are a great source of material with
many style options
Majestic appearance
Ficus are exceptionally interesting trees.
Their appearance grabs our attention
with their growth and majestic stature.
They are considered trees that are very
adaptable, resistant and energetic. Those
who travel to tropical countries can often
see old churches, grotto entrances, or
houses engulfed by these giant plants.
Ficus belong to the colourful botany of the
Oriental countries. However, we also find
these trees in many other regions from Ficus benjamina
southern America to the Mediterranean.
In nature there are about 2,000 species
of Ficus, the majority being consistently
green. Typical for Ficus are the long air
roots, which start growing downwards
from the branches and, over time, create
a strange, braided trunk that will contrast Ficus retusa
with colourful fauna and flora.
In your home
Ficus are among the most appreciated
of tropical deciduous trees that can be
grown very well indoors. If you start
growing bonsai in your apartment, we
recommend resistant and good looking
Ficus retusa. This is easy to propagate as
well. If it has enough light, it can easily
bear pruning and wiring. Other suitable
species to cultivate are Ficus benjamina, F.
carica, F. pumila and the varieties of F. retusa
such as panda and kimen. The succulents
Ficus indica
have F. petiolaris, F. palmeri, F. arnotiana, as
suitable varieties.
76 TREE GUIDE Bonsai Focus
Inside of the huge Ficus on the Ficus - HUSBANDRY

island of Sri Lanka
Propagate:
With cuttings, or air layer.
Placement:
The mushroom tree Plenty of light is a must for the Ficus.
It can thrive in extreme heat if its soil is
In the Royal Botanical Garden at kept moist. When Ficus is grown indoors it is a
good thing to put them out in the garden in spring
Peradeniya, on the island Sri Lanka when the night temperatures stay above 15 ° C. In
winter, we have to watch the heating, because dry
grows a huge old fig tree (Ficus
air from a hot radiator will kill all living plants.
benjamina). The extent of its crown
stretches 2,500 m2. From a

Pruning:
distance, it looks like a flat
Easy to shape with the cut and clip
method. It's really a very vigorous plant
mushroom. But when you
and that's why they can grow back branches really
quickly, even if you make a mistake. After each cut
“
go under its voluminous
you make in the tree it will create a flow of wound
crown, you find yourself 'milk'. This will stop and the wounds will soon
heal over.
in an extraordinary thread
of old branches, which

Ficus benjamina. (Photo Peter Thali)
are growing far and wide from the Repotting:
Ficus are not demanding of the soil type you use,
short trunk. but it is necessary to use an airy substrate. For this
you can try crushed zeolite. Repot the tree at the
Ficus: adaptive, resistant time of full growth, preferably in April,
May.
and energetic
Watering:
Ficus likes water. It cannot bear to be
soaking wet though, when its roots are
likely to rot. It is necessary to water it well, then
let the soil drain a bit so that the bonsai is not
standing in the water.
Wiring:
Very easy to wire. However, when using
wire you need to take great care that,
because of its rapid growth, the wire doesn't bite
into the bark.
Ficus in the Wann Ying Garden, Taiwan. Excessive heat is not a problem so long
as it is kept moist
Bonsai Focus TREE GUIDE 77
In Taiwan women work on preparing the grafts for Gede Merta from Bali creates thick trunks with small Many young Ficus twigs are bound together. In a
Ficus Ficus twigs. (Photo Peter Thali) few years' time they will create a single massive
branch. (Photo Peter Thali)
A double trunk 'sokan'

style. In the Wann Ying
Garden, Taiwan you can
see this big Ficus tree
trained as bonsai
Above: A fantastic cascading Ficus in Wann Ying garden Taiwan.

Left: Defoliated Ficus shows a very refined branch system
Ficus - SPECIES
Common name: F. retusa Fig plants can be monoecious
Ficus F. indica (hermaphrodite) or gynodioe-
Genus: Skill level: cious (hermaphrodite and
Ficus Beginners and advanced. female)
Higher taxon: Soil type: Foliage:
Moraceae Likes a soil mix which has Various sizes and shapes from
Species: good drainage qualities. oval to almost rounded.
F. benghalensis Volcanic rock or kiryu sand Bark:
F. benjamina improves drainage. In general grey/brown, with
F. carica Flower and fruit: shallow fissures.
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Bonsai Focus NEXT ISSUE 81
Issue 158 - 181 May / June
Delicate and rugged

Nik Rozman dives into the world of the Larix, a feminine, but
rugged variety in one.
Master of the pines

Kenichi Abe is the real master of the pines from the Azuma
Shohin style Mountains of Japan.
Techniques in refining shohin with Alexandre Escudero.
Cascading branches
Todd Schlafer, a very ambitious, upcoming bonsai artist from
Colorado, works on Scots pine.

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157/180

2/2019 March / April

New trees are

Pinus thunbergii 74cm

Plastic rectangle pot 18cm x 13,3cm x 7,5cm

Set shohin pots

Our Icons Beginner On the cover

Scan the code

16 Keep ideas flowing

44 The show stopper

51 The knot of El Tim

65 Grown from scratch

75 The bonsai friend

Bonsai alongside famous sculptures

The bonsai would be on display on a

7th edition of Saulieu

Saulieu 2019, will take place again in

October from 12 – 13th, down in, yes,

Saulieu France. Same place, same venue,

with guest of honour, Mauro Stemberger's

amazing collection on display at the 7th

edition of this grand show. Then there's a

demo with Bjorn Bjorholm. Jan Culek will

Japanese love American pots

Juniperus chinensis itoigawa

variety is a type of raw bonsai material

often found at bonsai nurseries and shops. These trees

tend to show little variation, or interest regarding form

and movement. This tree, however, does show some very

interesting design possibilities that will make it stand out

from the crowd once developed further

Analysing the tree

is no stressed juvenile foliage. Often

First job to do is cleaning up consider the possibility of turning these

into jins (dead branches stripped of bark).

Or cut them at the base. Unlike many

deciduous trees, juniper branches don't

a wound. Junipers often draw back sap a

wound open. Have this in mind when you

are cutting any larger branches.

Embrace the imperfections that make your tree

Left: Aluminium wire is used to wire

juniper branches won't hold position if they aren't beginning to swell

around the wire. This is a delicate technique and branches have to

be observed closely during the growing season to remove the wire as

When I am shaping branches I ensure I leave enough

foliage to cover the design solutions I take. Leaving a

little more than necessary at the first initial styling also

secures enough energy production by a good amount of

foliage for photosynthesis. This will strengthen the tree

and branches will hold the new position faster. When

branches show good vigour through growth, they are

later shortened more and foliage reduced further.

Before and after

Shohin Gafu Ten

JSB Honorary Presidents Award