Close by the Kokufu bonsai exhibit is the Green Club, home to a massive bonsai vendor area set up to accompany the event. Inside, some spectacular trees are for sale, including the shimpaku below.
What makes for good shimpaku bonsai? In addition to age, character, and beauty – general qualities that apply to all bonsai varieties – I’d say movement. Turning, twisting, even writhing formations of entangled live and dead wood characterize good shimpaku bonsai. Some of the better trees for sale at the Green Club this past winter have awesome movement.
Some of the trees for sale are quite refined, others are less so. And even though each of the these trees could easily be shown at most of the exhibits I’ve attended, all will benefit from further refinement.
Another awesome shimpaku
No matter how good the wood, bonsai really stand out when the branches exhibit the same age as the trunk. And the better the branch placement, the less likely we are to be distracted by imbalances that can draw our attention away from trees’ best features.
A graceful shimpaku
There’s also some room for fun when styling shimpaku. As the variety that best lends itself to abstract designs, shimpaku make great candidates for creative designs. I’ll admit it – I would not have thought to keep the lowest branch on the tree so far below the rest of the foliage.
Shimpaku with low branch
And I don’t know that I could have come up with such a well-balanced design for the shimpaku below.
Tall shimpaku bonsai
Of all of the trees pictured here, the following shimpaku reminds me the most of trees I’ve seen in California. Not unlike some California junipers, this tree has one main twist around the trunk and good deadwood.
Shimpaku with a twist
Finally, the shaggiest shimpaku of the lot. Less refined trees have been showing up more and more in Japanese exhibits as a trend towards more natural looking trees seems to be gaining traction. I would love the opportunity to decide how much work to do on a tree like this to best show off its unusual trunk.
Fun Shimpaku bonsai
As we prepared to begin a judging exercise at this month’s Bay Island Bonsai meeting, Morten asked a good question. It was something to the effect of, “Is the highest scoring tree the most valuable tree?” I knew the two were closely related, but had to think for a moment before coming to a conclusion. The trees to be judged included three shimpaku, an azalea, and a stewartia.
Tree 1 – shimpaku
Tree 1 – trunk detail
Tree 2 – azalea
Tree 2 – trunk detail
Tree 3 – shimpaku
Tree 3 – trunk detail
Tree 4 – stewartia
Tree 4 – root detail
Tree 5 – shimpaku
Tree 5 – trunk detail
The BIB judging categories include (see “Evaluating Bonsai at BIB Meeting” for details): trunk (1-10); branches (1-5); rootage (1-5); pot selection (1-5); aesthetics (1-5). After members completed their judging forms, we reviewed our scores together. The sums of the scores were 25, 22, 18, 16, and 15. Can you guess which trees earned which scores?
These scores, it turns out, were a pretty good indicator of the relative worth of these trees. What the scores don’t account for is potential. If a great tree has rangy branches and an inappropriate pot, it will score poorly. That may, in some cases, indicate a good buying opportunity. I reflected, at this point, about my own criteria for buying bonsai. I typically ask two questions of the trees I consider buying:
How good is the trunk?
Can I fix the defects?
Healthy trees with great branches and great roots, even when potted in great pots, aren’t worth much if the trunk lacks age, character, and beauty. These are hard characteristics to fix, and hard characteristics to fake.
After the judging exercise, we set up sample bonsai displays. We had trouble finding the perfect stand for the pine below. In character, the slab on which the pine sits is a great match, but it’s thickness was a bit much for some members.
Shohin black pine
We tried pairing the pine with a star magnolia.
Star magnolia – trunk detail
The magnolia is very full this time of year – so much so that it took a while for us to figure out which side was the front. That the rootbase was so good from both front and back is a clue that the mighty magnolia will look great when it loses its leaves this winter.
Bay Island Bonsai’s recent exhibit included a penjing display – a rare occurrence for the event. As time passes, I find I’m more concerned with improving the quality of the trees in the exhibit each year – and keeping the event fun. This piece has fun in spades.
Penjing with shimpaku
A number of figures have popped up in the past few BIB exhibits. The most striking example appeared in 2010. This year’s display boasts the greatest variety of figures.
Mise-en-scène with Golden Alligator
It takes a lot of work to get the details right. Kudos to Jeff for making the effort.
The curator at work
Like groves, penjing tend to be very accessible to visitors who are new to bonsai. While some bonsai are quite abstract in design, penjing and forest scenes are immediately identifiable – and fun!
Sunset on shimpaku island
Daisaku Nomoto has been busy during his brief summer visit to the Bay Area. Here are some of the trees he’s been working on, beginning with an old prostrata juniper.
Prostrata juniper – before
Prostrata juniper – after
Although I’m familiar with his work, Nomoto continues to surprise me. One of the greatest talents bonsai artists develop is their ability to see what a tree can become. Keeping trees healthy is rarely straightforward, and bonsai techniques can range from non-intuitive to incomprehensible. It’s the artistic vision, however, that I most appreciate.
Shimpaku – before
Shimpaku – after
The work always begins with an evaluation, and often an adjustment, of the front of the tree. From there cutback, wiring and styling follow. One would think that getting the tree in the pot at a satisfactory angle is easy until one notices how much Nomoto’s adjustments improve the line of the trunk and the balance of the tree.
Sometimes the trees get entirely new fronts. The photo of the juniper below is shown from the tree’s original front. To make better use of the shari along the trunk, Nomoto suggested using the other side as the front.
The tree’s orignal front after styling – now the back of the tree
Nomoto describing the benefits of the new front
Turning the tree around and tilting it forward made a striking improvement – I’m hoping to see it displayed at an upcoming exhibit. Here it is from the new front.
Shimpaku – new front after styling
The Sierra juniper below is quickly developing into a great tree. As Nomoto noted at last week’s Bay Island Bonsai meeting, planting the pot an inch or two deeper in the pot will reduce the reverse taper and make the tree appear more powerful.
Sierra juniper – before
Sierra juniper – after
Before letting me take any of these photos, Nomoto was adamant about getting the angle right. After snapping a shot of the shimpaku below, I showed the photo to Nomoto. Wasn’t good enough. Several adjustments and several photos later and he was finally happy.
Finding the front
Shimpaku juniper – after styling
Nomoto suggested shortening the jin on the right side of the tree. We’ll see if the tree’s owner agrees. You can see a shot of the tree before the styling at the end of last week’s post, Daisaku Nomoto bonsai critique. This post, as it happens, was featured last week by WordPress.com – the service I use to host Bonsai Tonight. It sent approximately 4,000 new visitors to the site, giving Nomoto a bit more exposure than he’s used to. He replied to this news with a grin: “Maybe 4,000 new customer?”