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?”
The Taikan Bonsai Museum is the ward of Shinji Suzuki, onetime student of Hamano and now one of the better-known practitioners in the field. Located in Obuse, the museum is home to an outstanding collection of bonsai.
Benches anyway. The museum is in the process of moving from its original location to a new home across the street. The space is great, punctuated with little – or in this case huge – details that provide character to the garden.
But where are the trees? Obuse is near Nagano, home to the 1998 Winter Olympics. It gets cold enough to warrant winter storage for bonsai. Suzuki keeps the trees under his care in a series of greenhouses. Not ideal for viewing, but great for keeping trees alive until spring.
At last. And wow! Here are a few that I could see well enough to photograph.
A lot of trees caught my attention in this garden – almost all of them actually. As I walked from one marvel to the next I began to get a sense of Suzuki’s eye for bonsai. Almost any variety commonly grown as bonsai can be found here, and each is worth a closer look.
But there’s something else. I’d visited gardens where all of the trees are pretty. What I had not seen were gardens in which all of the trees were good. Suzuki has a knack for picking up quality trees, regardless of what shape they are in. And based on the trees he’s worked on for some time, it’s clear he can get them into shape.
An example. My face lit up when I recognized this white pine from Bonsai Today (story #31, cover #43).
The tree had clearly seen better days. But now, planted in a large wooden box and under Suzuki’s care, it’s on its way again.
Looks like a great place to study bonsai, doesn’t it? Turns out it is. Michael Hagedorn spent his apprenticeship here as Suzuki’s first non-Japanese student (read all about it). Michael’s senpai was a young man named Tachi who is now graduating and starting his own bonsai business. That makes this man the new senior apprentice.
Matt Reel of Portland, Oregon, has studied with Suzuki for some time now – and it shows (that’s his work on the black pine above). Matt’s planning to complete a full term apprenticeship with Suzuki. That means in a few more years, we’ll have another very capable professonal available to work on our trees. Outstanding news for anyone who wants to see bonsai in the US improve!
Boon, Matt, Jeff, Jonas and Vlad standing before two red pines formerly of the Imperial Collection.
Clockwise from far left: Tachi, Matt, Omachi, Boon, Yusuke (Matt’s kohai), Maciej (student from Poland).
One last note: if you get a chance to visit the Taikan Bonsai Museum, see if you can’t head a little further up the road to the Jigokudani Monkey Park where Japanese macaques watch tourists freeze from the comfort of their natural hot springs.
Urushibata’s garden is somewhat of a hot-spot these days. Known for dramatic collected material and outstanding shohin, there’s plenty around to capture the imagination.
The day we visited 3 foreign students (from Germany, Spain and Poland) and 2 Japanese were hard at work on trees in large workshops at the end of the lot. The European students were there for visits measuring between 3 weeks and 2 months.
Urushibata’s son “Tiger” was on site to answer our questions. He’s a recent graduate of Kimura’s garden and the influence shows. Many large shimpaku bore signs of intense carving, sometimes to very dramatic effect. It was clear Tiger had learned well.
Japanese black pine
For each large tree we may have seen 100 shohin bonsai. Below was one of very few mid-sized trees I saw that afternoon – technically a chuhin – with super movement:
Shimpaku – trunk detail
The sheer number of shohin in the garden was overwhelming. The photo below captures the main shohin area, but there were others scattered elsewhere.
Trees that seemed repetitive from far away proved interesting on closer inspection. Urushibata’s was quite the miniature forest.
Japanese black pine
Japanese white pine