The Bay Area Bonsai Associates, affectionately known as “BABA,” held their 30th annual exhibit last weekend at the Lake Merritt Garden Center in Oakland, California.  BABA is one of the best known Bonsai organizations in the Bay Area and their exhibit lived up to expectations. Their trees have improved rapidly in the past few years, evidence of club members’ dedication to bonsai. Notably absent, however, from this year’s exhibit, was longtime member Ruben Guzman. Guzman, an active participant in the Northern California bonsai community since long before I started almost 20 years ago, recently passed away. Some of his trees, including the San Jose juniper below, were displayed in his memory.

San Jose juniper – in memory of Ruben Guzman

BABA chose an early winter date for the event which gave visitors a good opportunity to appreciate the many deciduous trees on display.

Trident maple

Korean hornbeam

Japanese maple

Flowering apricot

Mountain of moss

Crabapple – Malus zumi, Golden Hornet

Flowering apricot

There was also a good selection of broadleaf evergreens and conifers, including the large California juniper below.

California juniper

California juniper

Japanese black pine

Coast redwood

Ficus

As always, BABA presented a good selection of good bonsai, making the event one I can look forward to year after year. Congratulations for the past 30 years!

After hosting ten exhibits in Hayward and two in Pleasanton, Bay Island Bonsai moved its annual exhibit to the Lake Merritt Garden Center in Oakland, California. The 13th annual event was a big success, drawing crowds of experienced bonsai folk as well as many who are new to the art. As the Garden Center contains two large rooms, we displayed all large bonsai in one room and all small and medium sized bonsai in the other. I really liked the split. At previous exhibits, large, impressive, trees like the black pine below would invariably end up next to much smaller trees. It was tough for the smaller trees to compete. By presenting like-sized trees together, following the convention employed at the Kokufu exhibit in Japan, it was easier to appreciate every tree in the room.

At the center of the exhibit was an old roughbark Japanese black pine that belonged to Mas Imazumi. It has long been a favorite of mine.

Roughbark black pine – Chinese antique pot

About ten years ago the tree was much weaker than it is now. I expect its renewed health will lead to some styling enhancements in coming years.

One of the fullest trees in the exhibit was a prostrata juniper. The tree is large – and heavy! It is also well-balanced, suggesting clear movement to the right.

Prostrata juniper

A Western juniper, only a few years out of the ground, made an interesting contrast to the prostrata juniper. Its young foliage hints at the tree’s future shape, leaving the viewer to appreciate the interesting movement and deadwood characteristic of many collected Westerns.

Western juniper

Japanese black pine

Shimpaku

The blue atlas cedar below has been a fun project. I helped repot it more than ten years ago during its initial styling. Planted in a 20-plus gallon container, the tree taught me how useful a reciprocating saw can be during repotting season. Now far more refined, the tree is well on its way to become an impressive cedar bonsai.

Blue atlas cedar

Cork bark black pine

White pine

The semi-cascade white pine below is another favorite of mine. The delicate foliage provides a nice contrast to the heavy trunk. One of two white pines once affixed to a large stone by Yasuo Mitsuya, the pine has more recently found its home in a custom-built pot by Michael Hagedorn.

White pine – Michael Hagedorn pot

Scots pine

Shimpaku – old Yamaaki pot, Kinkazouin

Japanese black pine

Shimpaku – Chinese antique pot, check out the feet!

Japanese black pine

Japanese black pine – Chinese antique pot

Exposed root red pine

The exhibit featured deciduous bonsai as well. Although not as well-represented as the coniferous trees in the exhibit, the bare trees suggested that BIB members appreciate a wide variety of bonsai.

Stewartia – Michael Hagedorn pot

Trident maple

Ume

Ginkgo

Catlin elm

Star magnolia – Chinese antique pot

Japanese maple

Trident maple – Koyo pot

Japanese maple

The broadleaf evergreens, on the other hand, were simply not well-represented at this year’s exhibit. That will change in future exhibits. For now, here’s an olive that has only been trained as bonsai for a few years.

Olive – off to a great start

Mas Nakajima provided an installation of his suiseki art for the exhibit. I heard several explanations behind the arrangement, but my favorite comment about these stories belongs to Mas: “Too much story,” he said. The painting, and the stones, were a welcome addition to the exhibit.

Suiseki art by Mas Nakajima

I had a lot of fun setting up Bay Island Bonsai’s exhibit this year. Having recently returned from Japan, I found myself looking at trees in a very different light than I had before the visit. I now get much more enjoyment from flowering and fruiting trees, and I’m even more fascinated by the idea of balance in bonsai. On that note, I’ve really appreciated the recent discussions about whether certain trees point left or right. If an idea as simple as direction can lead to such rich discussions, either the trees in question – or our understanding of said trees – offer opportunities for improvement.

The crabapple below provided some much appreciated color to BIB’s exhibit. Discussion arose, however, as to the direction of the tree. More and more, I skip past the idea of which way a given tree points and start asking which way the tree could or should point. In other words, what can be done to a tree to enhance its balance or to clarify its direction?

Crabapple

The main branches on my trident maple are fairly horizontal and somewhat similar in size. Over time I plan to vary the angles at which the primary branches extend from the trunk and create more differentiation in branch size to improve the tree’s balance. I hope that in time to make it clear that the tree moves to the left.

Trident maple – antique Chinese pot

A number of nice shimpaku made it into this year’s exhibit, including the two well-balanced trees below. Both get their sense of direction from the trunk more than from the foliage. Although people often respond strongly to direction of the upper part of the trunk or the foliage, it’s typically not enough to outweigh the sense of direction provided by the lower trunk.

Shohin shimpaku

Kifu shimpaku

A small red pine provided an interesting example. The first branch indicates strong movement to the left. The foliage suggests movement to the right. It’s tough to say which way the trunk leads the eye.

Red pine – nanban pot

I’ve always enjoyed this tree. For the exhibit, it was placed on the left side of the display, but Boon suggested that in the future it could go the other way. Tilting the tree slightly to the left made it clear that the tree has good potential to point left. Some minor branch work could complete the makeover.

Red pine – tilted

Next week I’ll post photos of trees that more clearly know where they are going.

Bay Island Bonsai was fortunate this year to have Daisaku Nomoto around to help with its 13th annual exhibit.

Daisaku Nomoto

Nomoto, Boon’s senpai at Kihachi-en, wired trees, prepared moss top-dressings, and carried many trees before, during, and after the exhibit. Somewhere along the way, he took a liking to a Western juniper. So much so, it became the recipient of the first Daisaku Nomoto Bonsai Award.

The winning tree – Western Juniper

Nomoto is a fan of trees styled in this fashion. The tree has a somewhat bunjin-gi feeling, but has a more substantial trunk and silhouette than typical bunjin bonsai. The tree is full, healthy, and well balanced. I’ll add that it points to the right.

Having seen the tree develop since it was collected, I can say that it’s come a long way in a very short time. It is a deserving recipient of the first Daisaku Nomoto Bonsai Award.

The award

Bay Island Bonsai held their 13th Annual Exhibit this past weekend at the Lakeside Garden Center in Oakland, CA. The exhibit featured a well developed shimpaku juinper.

Shimpaku juniper

Before reading any further, which way do you think the tree points – to the left or to the right?

When setting up exhibits, we often start by identifying trees that point left or right and put these at the ends of each row where they can point toward the center. Cascade and semi-cascade bonsai often end up at the ends of rows as they are strongly directional trees. With the exception of formal upright bonsai, most trees tend to point or lean a bit to the left or the right. When trees point to the left, we tend to place accent or companion plants to the right in the attempt to create balanced compositions.

The apex of the shimpaku pictured above points strongly to the left, as does the first branch on that side of the tree. My inclination was to display the tree on the right and place an accent plant on the left. Daisaku Nomoto, a bonsai professional visiting from Miyazaki, Japan, however, wanted the tree placed on the left. I winced at the suggestion, and appealed to Boon. Boon seconded Nomoto’s opinion. While we stood there discussing the matter, the tree’s owner set the tree on the right. This made sense to me and I liked the resulting display.

Displayed on the right with accent and scroll

At the end of the day, I found myself very curious about the direction of the tree. Maybe if the trunk or branches were arranged differently I could see what Boon and Nomoto saw. The next morning I asked Boon and Nomoto for an explanation. Simply put, they typically find the movement in the lower part of the trunk to be the most important element in the determination of direction. What about the apex or the key branch? Not important, Nomoto replied. It really is all about the lower part of the trunk. Tilting the tree a bit to the right would increase the movement of the lower part of the trunk and move the apex to the right. Growing out the lowest branch on the right could further this movement.

What does the tree look like displayed on the left?

As displayed on the left

Turns out the tree looks good on the left too.

Armed with new knowledge, I found a new way to look at bonsai. Like the Ponderosa pine below, for instance. Surely it points to the right?

Ponderosa pine

No such luck. Nomoto insisted the tree points to the left, just as the owner had displayed it.

I hope it’s been obvious from my recent posts, but in case it isn’t, I’d like to underscore the fact that the great bonsai exhibits in Japan feature some really great trees. The Taikan-ten in Kyoto is the second largest exhibit in Japan and it always includes some outstanding trees. Special displays feature Kokufu and Sakufu prize-winners. These are typically very large and very old bonsai. It can be difficult to keep such trees healthy, let alone move them from one bench to another. Their beauty reflects not only great bonsai skill, but also great caring as their maintenance over long periods of time requires considerable resources.

Although the show isn’t organized by size or variety, I’ve taken license in presenting like groups of trees for dramatic effect. Doing this helps remind me just how many fantastic pines, for instance, the show contained.

I hope you enjoy the photos below, and I’d like to wish you all a happy new year!  I appreciate your readership and engaged comments – they mean a lot to me. To borrow a phrase from Peter Tea, thanks for reading!

Japanese black pine from Mr. Moriyama’s collection

Japanese black pine – work by a Daiju-en graduate

Japanese black pine – from Mr. Moriyama’s collection

Japanese black pine

Japanese black pine displayed at this year’s Gomangoku

Japanese black pine

Semi-cascade Japanese black pine

Japanese black pine on a rock

Cascade Japanese black pine

Japanese white pine from Mr. Moriyama’s collection – one of the trees I helped prepare for the exhibit

Japanese white pine - received 2011 Kokufu Prize and Prime Minister Award at the 2010 Taikan-ten

Japanese white pine – although the pot looks new, it’s likely over 100 years old

Japanese white pine – a great conversation piece

Japanese white pine

Hemlock – a favorite among many Taikan-ten visitors

Formal upright hinoki bonsai

Ezo spruce

Ezo spruce - received 2011 Kokufu Prize

Ezo spruce – deadwood detail

Needle juniper

Shimpaku – received 2010 Sakufu Prize

Shimpaku

Shiimpaku

Roughbark Japanese maple

Trident maple – from Mr. Moriyama’s collection

Japanese winterberry – work by a Daiju-en graduate

Japanese maple

Ginkgo

Korean hornbeam – received 2011 Kokufu Prize

Japanese maple – possibly shishigashira

Japanese flowering quince – ‘Chojubai’

Kadsura

Satsuki azalea

Walking through a bonsai show is a great way to pass an afternoon – or longer if the show is particularly large or excellent. But spending a whole day at a bonsai exhibit? Two days? Three? That’s a different story. I was surprised to find myself with a lot of free time at several great exhibits this fall. After wandering the aisles for several hours on consecutive days, I found there were many different ways to take in all that a show has to offer.

Citrus japonica ‘Hindsii’ – Kinzu, or wild kumquat

At first I spent a lot of time looking at my favorite trees, or trees that triggered enough dissonance to keep me engaged. I looked at the branches, the wiring, the style and the health of the tree. Sometimes I’d ponder the display or try to figure out what I’d do with such a tree were it my own.

Japanese flowering quince – ‘Chojubai’

Needle juniper

This approach only kept me occupied for so long. During my second full day at Gomangoku, I searched out all of the black pines and really focused on how they were styled. During my third full day at the exhibit, I studied the relationship between trees and pots, asking myself if I liked the color, shape, size and style of the containers in which the bonsai were growing. At one point I caught myself focusing on the accent plants and even on the mini-slabs on which the accents were displayed. In short, I found there was a lot to learn from quality exhibits.

White pine

The photos in this post come from this year’s Taikan-ten in Kyoto. I don’t know that I saw the program for the event, but I spent a lot of time studying the trees. I think the only reading I did about the exhibit focused on a remarkable pine from Daiju-en that “survived the atomic bomb blast at Hiroshima.”

Japanese black pine

Card displayed with remarkable pine

Everything else I gleaned from the exhibit resulted from studying the trees on display and talking about the trees with Peter Tea and other visitors. I don’t recall what exactly struck me about these trees as I stood before them, but it likely resembled the questions and comments below.

Shimpaku – what fun movement and dense foliage.

Trident maple – wow, the trunk fills the pot. Good fall color, and interesting glaze on the pot.

Princess persimmon with great fruit – I really want to develop more fruiting bonsai because they provide great color for exhibits.

Black pine – very unusual movement. What is the ideal pot for such a trunk?

Great fall color – interesting pot.

Old satsuki azalea

Elegant princess persimmon – nice open display

Giant trunk for a satsuki – is the pot a good fit?

White pine on a rock – these were always heavier than I expected

Unusual white pine planting – it might be fun to create more interesting “containers” for my trees.

Shimpaku with small scroll

Formal upright black pine – wish I had a few.

White pine with striking first branch – how would I style such a tree?

Japanese maple – great color, great trunk, great roots. Nice composition.

White pine with really long key branch

White pine clump on a slab. This is clearly the year for non-traditional white pine bonsai.

Great white pine – massive base, and the tree was only about a foot tall.

Black pine

Shimpaku

Japanese flowering apricot – ume

Shimpaku with awesome movement. Wow. Really pretty tree. How fun to pick a pot to complement the trunk.

What’s the name of this tree again? I looked it up when I got home. It’s a Japanese pepper tree – Zanthoxylum piperitum, known as isozanshou in Japan. I’d like to find one to work on.

Korean hornbeam

Japanese black pine – a comforting tree to admire. The base is large but not overpowering. The round apex and branch pads give the tree a soft feeling that complements the round bends in the trunk.

The pine above was one of many nice pines on display, and one of the many great bonsai in the hall. Enough so that I didn’t even try to take it all in at once. The sales area made for the best distraction – that and the snack bar. I’ll take a short break now and share more photos from the show later this week.

Looking over my photos from Taikan-ten last night made me really happy. Sure, I miss being around such great trees every day, but I’m happy to have seen them and I appreciate the opportunity I have to share the photos.

To get a better sense of the overall event, please read Peter Tea’s report, “Taikan-ten 2011” and see Bjorvala Bonsai Studio’s fantastic video report, “The Bonsai Art of Japan: Episode 22.”

Below are some some of the small-sized bonsai and suiseki exhibited at the 2011 Grandview Bonsai Exhibit. I’ll post pics of the larger trees next week.

Shohin display

Shohin display

Shohin display

Shohin display

Japanese quince – Chojubai

Shohin black pine

Jasmine

Japanese spindle tree – Euonymus hamiltonianus var. sieboldianus, aka yeddo euonymus or mayumi

Crabapple

Japanese quince – Chojubai

Trident maple

Mayumi

Princess persimmon

Jasmine

Special display

Suiseki

Suiseki

Suiseki

Suiseki

Suiseki

Suiseki

Suiseki

Suiseki

For those who read Japanese: Cards accompanying antique pots

Accent

Accent

Accent

Accent

The 2011 Grandview Bonsai Exhibit, or Taikan-ten as it is generally known, was recently held at the Miyako-messe in Kyoto, Japan. The exhibit opened on Friday, November 25th, which means a lot of bonsai professionals – and amateurs – were busy on the 24th setting everything up. As fast as folks could set up their displays, others were taking theirs apart to facilitate judging. Around midday, the aisles were full of tables with trees under consideration for awards.

Conifers awaiting judging

Large deciduous trees

The first round of judging is done by a group of bonsai professionals who narrow trees in each category down to the best three.

Professionals turning in their ballots for the suiseki category

Trees that don’t make the cut are returned to their displays. The remainder were shuffled for a second round of judging.

Large deciduous trees – final cut

Satsuki

Smaller satsuki

The tags were removed from trees that made it to the second round.

Medium shishigashira – ready for the second round

Some of the judging categories were new to me.

The bonsai-on-a-slab-or-stone category?

The bunjingi category?

Once the trees had been selected for the second round, things in the hall slowed down a bit.

Owen Reich and Peter Tea comparing tales of apprenticeship

Others used to time to check out the displays.

Bright red pyracantha berries – oh boy

The second round of judging took a long time to complete. Here the judges contemplate outstanding suiseki.

Evaluating stones

Winning entries received awards – slender, gold cards. Once all of the awards were distributed, the trees returned to their displays.

A winner!

Some displays got more attention than others. Below, a number of professionals watch the setup of a special display for the late Daizo Iwasaki. Iwasaki was one of the best-known bonsai collectors in Japan.

Many volunteer to help arrange the late Mr. Iwasaki’s bonsai and suiseki

Daizo Iwasaki

Mr. Iwasaki’s shimpaku

The vendor area was the last part of the room to come together. It included large trees and small, rough pre-bonsai and show-ready trees, tools, pots, viewing stones and other bonsai-related material.

Trees for sale

A twisty shimpaku

Shohin bonsai from Fujikawa Kouka-en

Large black pines – ¥150,000

Tiny bonsai

Powerful kifu-sized maple – ¥380,000

Stewartia - ¥300,000

Small pots

Suiseki

I’ll say more about the exhibit self later this week.

The 21st Gomangoku, Daiju-en’s annual bonsai exhibit in Okazaki, Aichi, featured some great Japanese black pines. The Suzuki family, and the apprentices who studied with them, are well known for their pine work. Getting to see the trees up close, to carry them, study them, and think about them, was a great experience. I’ve long been interested in the many ways one can style pine bonsai, and the trees on display provided good examples for study.

A good trunk may not always make for a good bonsai, but it’s impossible to have a good bonsai without a good trunk. For black pines, this means good bark and good movement. One of the primary characteristics to look for in good bonsai is age, and age is often best shown in the trunk.

Apart from the trunk, one can look at the health of the tree, the leaf shape, color, and size, and branch placement. Does the foliage generally appear in small clumps or in large pads? Is the apex round or pointed? Is the silhouette continuous or are there significant gaps between branches? Do the needles point up or out?

I like a number of different styles, and I always appreciate well-styled black pines. I hope you do too!

Japanese black pine – great bark and movement

Buds grow very close together to form a smooth silhouette – this is very clean pine work. Does the tree point to the left or the right?

A sturdy, medium-sized pine

Pine on a slab

Shohin black pine

A massive trunk

Great bark

Informal upright black pine – does it point left or right?

Good bark – the style remains beyond me

Nice black pine – this pot shape is often used for pines

One of my favorite pines in the show

A close up of the foliage