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

One of the trees displayed at Bay Island Bonsai’s 13th annual exhibit got a lot of funny looks. It’s a Rocky Mountain juniper, Juniperus scopulorum.

Rocky Mountain Juniper

It’s not exactly “show-ready” as we like to say – the tree is only a few years out of the ground and branch pads have yet to be defined. The tree offers, however, a glimpse of how floppy the tree’s foliage can be and plenty of interesting deadwood. Maybe too interesting. The large piece of deadwood on the left looks like something an undiscerning artist found on the ground and affixed to the first tree they dug. It is, however, very naturally connected to the live part of the tree.

Old deadwood – evidence of an older, larger tree

If you look closely, you can easily discern the old deadwood from the new. The deadwood supporting the live part of the tree lacks the deep fissures evident on the big jin. In the photo below, the upper part of the deadwood is light in color with subtle fissures. This wood has been exposed to the elements for a while, but not for as long as the jin on the left. The lower part of the deadwood is darker in color and lacks fissures. This wood has more recently been exposed to the elements.

Older and newer deadwood

A few days before the exhibit, I cleaned the tree’s deadwood with a water gun and then treated it with a mixture of lime sulfur, water and sumi ink. This helped to even out the different tones of deadwood on the tree. A new pot and some bright moss completed the show prep.

Rocky Mountain Juniper deadwood

Moss

Why so much effort for a tree that’s not quite ready for display? Interesting deadwood, great age, and curious foliage contributed to the decision. Beyond that, the tree offers a great puzzle for aspiring bonsai stylists. In other words, what improvements can be made to the tree? There are plenty of alternatives. It’s the kind of tree I’d like to walk by in the garden for a while before making up my mind. Although I don’t know what exactly is in store for the tree’s future, I do know it will  look quite different the next time I see it in an exhibit.

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.

The Japanese black pine below was one of the many great trees I saw in the workshop during my visit to Aichi-en last fall. I caught Peter Tea cleaning it up for the sales area at Gomangoku. You can see a before photo on Peter’s blog.

What made the tree stand out to me? The fullness, the health, and the density of shoots were impressive, and the bark and roots were also very good, but above all, I appreciated the silhouette of the tree. Solid blocks of foliage can do a great job defining a tree’s character.

Good balance between the left and right sides of the tree, a clearly defined key branch – the lowest branch on the left –  and a window in the foliage that reveals the trunk are all conventional markers of good pine bonsai.

Japanese black pine – front

When we look at the tree from the side, we can see that it “leans” strongly forward. Put another way, the apex lies in front of the center of the pot by a significant margin. This feature is common among pines in Central Japan, but I don’t see it as much on pines, or other trees for that matter, in Northern California.

Right side

Left side

The foliage in the back of the tree was solid and dense.

Back

Despite the tree’s beauty in this state, it was only intended to look this good for a short time. Normally, far more needles are removed in winter. Last I heard, the tree sold at the show but remains in the care of Aichi-en where it will continue to develop.

Bay Island Bonsai’s 13th Annual Exhibit!

If you are planning to be in Northern California this weekend, I strongly encourage you to head over to Bay Island Bonsai’s 13th Annual Exhibit at the Lakeside Garden Center in Oakland, CA. The event promises to be a good time. It’s our first exhibit in the location and we’re really looking forward to it – come join us!

Every once in a while I see interesting bonsai with extra-interesting features. One of the more common is the extra-long branch. A white pine that fits this description caught my attention at last year’s Taikan-ten.

White pine – 2011 Taikan-ten

The first branch shoots straight out and then rises up, providing the tree’s primary point of interest. At the photo shoot for the 2012 Meifu-ten, trees with similar features caught my attention.

Satsuki azalea – 2012 Meifu-ten

White pine – 2012 Meifu-ten

Not long after noting the white pine above, Peter Tea and I turned around and spotted the pines below.

Garden pines

Clearly, something’s up here. The question in my head today – what role do extra-ordinary branches play in bonsai? Do they add spice to bland exhibits – or are trees better off without them? Peter does a good job plumbing the issue in his recent post on The Strange Trident Maple.

I was on the fence about whether or not to call  attention to the primary branch on the pine below until I realized it pretty much emerges below the start of the nebari at a bold 90 degree angle. More food for thought.

White pine – 2012 Meifu-ten – what would you do with this tree?

Jojakko-ji was the hilliest of the temples I visited. Winding paths led higher and higher up the mountain until I could see Kyoto in the distance. The temple was founded around the end of the 16th century by Nisshen, 16th Head Priest of Honkoku-ji. Jojakko-ji’s website offers a step-by-step primer on the temple.

Niomon gate

Great roots

Memorial stone

Mossy hillside

Although the maples at Jojakko-ji were a week or two shy of peak color, there was still plenty to be seen

Tahoto (two-storied) Pagoda

Atop Jojakko-ji – Kyoto in the distance

Grave

Stone figures

Moss and maples

It took a while for me to find the next temple. Numerous pedestrian paths clogged with tourists wind through hills, houses, shops and an intimidating bamboo forest. I passed this bamboo gate just above the bamboo forest.

Bamboo gate

Fortunately, I made it to Tenryu-ji, Temple of the Heavenly Dragon, before dusk settled in. The entrance was understated. Once inside, I found an animated group pitching coins into a pond, trying to land the offerings in the lap of a frog atop a frog.

Good luck!

Pond with frogs and yen

Further inside the complex, I saw people strolling along a covered walkway that connected the various temple buildings. I couldn’t for the life of me find my way inside.

Tahoden

Rounding yet another aged temple building, I beheld Sogenchi Garden.

Sogenchi Garden

The garden was beautiful – and famous. I’d seen it in many Japanese landscape books. Turns out it is quite old. It was designed in the 14th century by Musou Soseki. It was the first Special Historical Scenic Area named by the Japanese government and has since been recognized as a UNESCO World Cultural Heritage site. The main hall was located right next to the garden.

Main Hall

The current main hall was built in the late 19th century. Over the years, the temple has been struck by fire 8 times, most recently in 1864. Set square against the pond, it offered great views of the garden. But I still couldn’t find a way in.

Maples across the pond

Great stone work

Famous red pine reaching across the water

Tenryu-ji has taken advantage of the Internet. They have a website and a twitter feed that features great photos of the garden throughout the year – it’s worth a visit.

Sogenchi garden and Main Hall

I left Tenryu-ji happy to have seen the garden, but puzzled at having missed the entrance to the temple buildings. As I headed toward Togetsu-kyo Bridge, Arashiyama’s tourist hub, I found more and more tourists. I headed against traffic for about half an hour before I saw the entrance to the temple. Turns the garden entrance and temple entrances are at opposite ends of the complex. Out front, I discovered one of my favorite stone arrangements.

Stone garden in front of Tenryu-ji

Once inside, I traversed the covered walkway and peered inside the temple buildings. Having finally seen the place inside and out, I spent my remaining time appreciating the garden.

Sogenchi garden from the main temple hall

So ended my two-day visit to Kyoto’s gardens. The next day I woke early to help with the setup at Taikan-ten. Before returning to my hotel in Otsu, I walked through downtown Kyoto and passed, again, the winding streets below Kiyomizu-dera where I found a shrine illuminated by scores of lanterns.

Yasaaka Shrine

Thanks for visiting Kyoto with me. I will return to the regularly scheduled bonsai blogging next week. Happy New Year!

Arashiyama is a neighborhood on the western edge of Kyoto with many temples and related tourist destinations. It appeared to be a popular destination for Japanese in town to see the fall color. As I walked the skinny streets through farms and modest residential neighborhoods on a day that threatened, but failed to deliver rain, I passed thousands of visitors pointing cameras and exchanging “wows” at every red, pink, orange, and yellow tree we passed. It was as if the whole town was on holiday, and for the most part, it was. I rode a Kyoto City Bus to the end of the line and began my tour at Daikaku-ji Temple.

Daikaku-ji Temple

Daikaku-ji began life as the detached palace of Emperor Saga, but was converted to a temple in 876. Elevated walkways connected a number of buildings in the complex and offered a great view of the gardens.

Elevated walkway and garden

Detached buildings

Flower display at main garden

Seiryo-ji Temple

Awesome fall color greeted me at Seiryo-ji, a 1000-plus year-old temple a short walk from Daikaku-ji. Also known as Saga Shakado, the temple grounds feature a beautiful pond with a picturesque island.

Great color

Colorful maples and moss

A sheltered walkway led visitors through the garden about 4 meters from the ground. The views were super.

The view from the garden’s covered walkway

Island with lantern and pagoda

In search of the next temple, I walked a ways up a shop-lined street and found a large gate, Toriimoto.

Toriimoto

Asking several passersby where I could find Adashino Nenbutsu-ji and receiving several answers, I walked for some time up and down this street, often consulting my map, until I happened upon a staircase that led to the temple.

Adashino Nenbutsu-ji

Adashino Nenbutsu-ji sits in a area where bodies were often discarded. Today the temple, established in 811, contains over 8,000 statues that memorialize the souls of the dead. On occasion the statues are lit with candles – an event I’d like to see some day.

Statues memorialize the souls of the dead

Pagoda at the center of Adashino Nenbutsu-ji

Bamboo forest at the edge of the temple grounds

1,000s of statues

Moss and lichen make for unmistakable age

Colorful maples brighten the scene

The path leading to and from the temple

Gio-ji Temple

Gio-ji is famous for an intriguing story (Tale of the Heike) involving discarded concubines, and for its beautiful moss garden. I saw no signs of concubines.

Moss garden at Gio-ji

Stone lantern

Maples and moss

The sky above Gio-ji

Danrin-ji Temple

Danrin-ji is Japan’s first Zen temple. It was founded in the ninth century in Sagano. In the 14th century, construction of Tenryu-ji began on the grounds and at some point the temple moved to its current location.

Pagoda at Danrin-ji

Fall color

Stone lantern near Danrin-ji

Nison-in Temple

Nison-in, formally known as Ogurayama Nison-in Kedai-ji, is famous for its statues of Shaka and Amida. Once designated as one of the “Four Auspicious Temples” in Kyoto, it served as the location where candidate High Priests received purple robes, symbolic of the highest rank in Buddhism (Temple brochure).

The entrance to the temple

Temple gardens

More fall color

The view through the main gate

Awesome color

Tomorrow: Temple Week, Day 7 – Jojakko-ji and Tenryu-ji