During my travel to Japan this year in July, I had the opportunity to visit several shohin bonsai growers. In Angyo I visited the nursery of Akimoto, a very friendly man, who sold me a small Shimpaku Juniper for a friendly prize. This coming Mame sized bonsai had a lot of good branches, a small compact trunk with good movement and tapering. So I decided to go with it, and in autumn I removed some foliage and turned living branches in to deadwood (jin) to add dramatic and reducing the size.
Today I took some time to adjust the foliage and place the branches. A few thin branches are not positioned because they are too thin and need just to be pinched when the overall foliage mass improves as it grows. Most of the future work will be careful pinching of the new growth to develop the wanted foliage pads.
The size now is 9 cm / 3,5 inches from base to the top jin.
Continuing the work from the last post, the Juniper is now ready for the next (third step) in its progression. The arrangement of the branches and canopy is often some of the appealing work for many, because it is here you may change a tree totally in a new direction, and show off some dramatic styling. But this is a slow progress work on this specimen, prepared as a longer termed task, with small changes each time.
in opposition to the work ahead, the branches were shortened dramatically in the first step five months ago (see previous post), and now the remaining branches are arranged for the future development. Branches are shortened especially at the lower part, were some long branches were left to speed up the positioning after wiring earlier. Leaving some branches for growth speeds the healing and hardening up time of the thicker branch wired, and later these sacrifice branches are removed. The time was now. Because it is winter (although unbelievable mild this year with nearly no freezing even in night-time) I leave a little of the branch back, because cutting it back to its offspring might harm the bigger branch if freezing is heavy even when the tree is protected. Better safe than sorry, and the then dried piece left can be removed in spring.
Achieving a good shohin means working ahead of a compact tree. This demands shortening the branches and pinching the needles carefully but steady during the growing season. A good feeding is necessary too as is plenty of light, placing the tree in full sun.
The styling for now is done, and thoughts can be made of the future pot. In spring the tree may be repotted, and the future development is much about pinching and filling in the canopy, with small adjustment now and then.
Also the deadwood will be worked on again, but I always let it dry out completely and let the weather influence it before touching it again after the basic work is done. new fissures and crack may occur when the sun has dried it out later on.
Final height of the tree is 17 cm including the deadwood top jin. Height from base to the top of the canopy is 11 cm.
This Juniperus chinensis, has been on its way for five months now since I acquired it at local bonsai shop in July. It’s a classic pre-bonsai with both flaws and positive features. My work with this tree is one step at the time, leaving plenty of time for the tree to recover after each operation is performed. What you see here will not be the final in one go demonstration, but the first steps towards the final styling, and later repotting.
First steps were to eliminate the redundant branches, lowering the height and use what’s removed in advantage of deadwood branches, in Japan called jin´s . The branches left back are without thinking much about their future positions at this stage, because they can be twisted and directed in several ways. In opposition to specially deciduous and other conifers than Junipers, like Pines i.e., it is “allowed” to cross and twirl branches of the Juniper to put these in the right position, because this happens in their natural environment too influenced by the elements and their growing habits.
After this first raw styling and preparation, wiring a few major branches and some deadwood jinned branches, the tree is left to recovery for some time. Until its time to make the dramatic influence of the design six months later. The time is December, where sap flow is very low due to dormancy in early winter. This is the best time to add deadwood at the trunk, called Shari. The added deadwood will add much a much more dramatic history to the image showing the robustness of the tree. Prepared early in its lifetime for this work to be done now, the nurserymen had at an early stage twisted the young trunk, bending it with a thick wire, and curved it appropriately. The result some years after, is a good movement that just needs to be enhanced by the use of a visual trick. The method is to remove some live wood showing the whiter deadwood underneath. This done in the right direction will add great movement and the illusion of a tree twisted by natural courses like storms and heavy winters e.g.
December is a good time too make deadwood at the trunk (shari), because sap flow is very low, and the wood is hard. Rotting of the wood has a much lower risk when performed at this time, and the callus will be smaller swelling looking much more natural to the size of the tree when growth is slow.
Finding the live vein may be something we all worry about, because cutting the sap flow to a branch, and with shohin in small scale, a whole part of the crown maybe, may be crucial. A good thing to know about junipers though, is that the live vein runs vertical so stripping off bark in that direction will do little harm unless it is connected directly to a branch above. Still junipers are forgiving with a little care.
The sap flows were the wood is softer. Or putting in another way; were the wood is hard sap flow is low, and may be removed. This is often the case were an area is sunken a bit, having the most sap flow going at the outer-side of the trunk at swelled points. It is clear when you examine the tree, that the thickest areas are present, and at the inside deepening the wood is harder and can be made to deadwood area without risk. At the same time this is the natural pleasing and aesthetic solution.
So far so good. Next task is the arrangement of the foliage at a later time.
For UK Bob Bailey I set up two pieces of shohin display this morning. To show how the western scroll paintings works in a shohin display. In lack of a blue winter scroll (Kakejiku) to hold the painting, I used what was in stock. A dark green or another winter reminding colour will work well too. Forgive me the lack of this at this time. Later I will do another winter display with an appropriate scroll painting holder, Kakejiku.
First piece is a shohin display using a Lonicera nitida (14 cm heigh), with a Potentilla fruticosa (15 cm) were the leaves have now dropped.
Next a 23 cm heigh Rhododendron lysolepsis with a accent planting showing a withered grass i.e.
Both displays accompanied by the scroll paintings of my artist wife. I find the result is pleasing, and it will be enhanced adding using a scroll with cooler colours to add the right feeling of winter time.
Behind this not so exiting headline hides a wonderful book, The Collectors Island No 1. The book is printed “Fondazione Cologni Dei Mestieri DÁrte”, an Italian foundation of arts started by a watchmaker. The book is one of a kind (and the first edition) collecting a series of articles about world collectors of art pieces.
In the book collectors of valuable art are presented with their art pieces; paintings, sculptures, cars, watches i.e.
So, what has this to do with bonsai? A little, because I contributed with an article and photos about Japanese bonsai collector Daizo Iwasaki, who passed away earlier this year.
I am really proud of being a contributor to this very special book, which stands out extraordinary in printing techniques and layout. I hope this honors’ the spirit of Daizo Iwasaki, and it places bonsai as art on a high level being included in this first edition of Collectors Island.
The book I received is No 411 out of the printed 1755 copies. No 412 goes to Naomi Iwasaki, Daizo Iwasakis widow.
Trying a new modern way using a scroll painting done by a western art painter A.A. Sanvig (www.aasanvig.com).
For a long time it has been discussed how we can adapt the traditional Japanese way of bonsai in the west, just not copying what already done. My own approach has always been to respect the Japanese foundation on which the bonsai culture is based. Without understanding the basics and the heritage we will not be able to adapt the art I believe. Many attempts have been made (and still is) transforming the traditional Japanese style into something more western art (or artificial?) styled displays.
I want to bring a new style of scroll painting to attention. Because I rest on the traditional Japanese way of displaying bonsai, this doesn’t mean I have to use Japanese paintings for the scrolls all the time, although I appreciate these paintings. But I thought a modern western painter could bring in some new refreshing styles of scroll painting, adapting the Japanese traditional scroll painting translated into a western artist mindset.
The task was to take offspring in the original scroll paintings, with simplicity and simple colours if not black and grey. What arrived was a simple but modern expression, now waiting to be used for a spring display some months ahead. I really look forward to see how well this will work in a bonsai display.
Further paintings will be produced this winter, also for Shohin three pieces displays.