185/208

6/2023 Nov. I Dec

English edition
Edizione Italiano
Edition Franchise
Deutsche Ausgabe
Nederlandse editie
 EDITORIAL

Who we are

Publisher
Bonsai Europe Publications
Houtrustweg 96,
2566 GJ The Hague
The Netherlands

Europe:
Teh: +31 (0)85 90 20 900
Office hours: 9am - 5pm (CET)

USA:
Tel.:(+1) 703-738-9965
Office hours: 9am - 5pm (East Coast)

E-mail:
info@bonsaifocus.com
Website:
www.bonsaifocus.com

Chief Editor: Japan on your mind

Farrand Bloch
editor@bonsaifocus.com
Editorial staff:
English edition: Ann Scutcher
French edition: Patrick Bose
German edition: Jorg Derlien
Dutch edition: Hein-Dik Barentsen
Italian edition: Erika Lakin
Advertising & Marketing:
Rene Rooswinkel
sales@bonsaifocus.com
Subscriptions & Administration:
Marja Heijmink
admin@bonsaifocus.com
Issn UK: 1874 - 6853
IssnUS: 1876 - 6137
Price: € 15.75
© Copyright 2023
Bonsai Europe, world rights reserved. No
part of this publication may be repro­
duced in any form without the written
permission of the publisher
More and more bonsai students tend to go the restyling of an important American
to Japan to study bonsai. For a few months Juniper.
or maybe even for a full length apprentice­ Also American is our opening article on the
ship which takes approximately six years. 8th edition of the US national show. Jonas
All this knowledge ‘returnes’ back to the Dupuich’s report shows a big diversity of
students home country when they start native varieties which came from all over
teaching bonsai themselves. However some the North American continent and even
students prefer to stay in Japan and try to from beyond. Spanish Rafael Torres did not
make it there. Like Alessandro Bonardo allow himself to be limited by the fact that
who preferred to stay because in Japan he lives on holiday island Mallorca, and
craftmanship is very much respected and followed his passion to establish his own
there are lots of good trees to work on. Same bonsai nursery.
goes for Martin Diaz from Chile, featured In this issue its all about changing from
in this issue working on a pine. His motiva­ direction or approaching it from a differ­
tion to stay in Japan, has a slight different ent angle. Concluding that with bonsai you
reason; in his home country there are not sometimes need to tilt, tip it back up or even
many options for making a bonsai career on turn it around, to see the essence of the tree.
the same level as in Japan. But even when
students return back home, Japan stays on
their mind.
And so it did for Bjorn Bjorholm, who
recently decided to go back to Japan. It’s a
switch of direction after establishing his
own nursery in Nashville Tennessee (USA).
Embarking on a new adventure, selling the
whole nursery and all his private trees and
starting from scratch again in Japan. Al­
though this kept Bjorn busy, we managed to
get hold on a Masterclass in which he shows

Bonsai Focus has a co-operation with

Kinbon magazine, Kyoto, Japan

Farrand Bloch
Translations: Chief editor
Peter Warren

KINBON Bonsai Focus 3

 THIS ISSUE

O ur Icons Beginner On the cover

Korean hornbeam (Carpinus Coreana)

Owner: Kei Bonsai Kai
Photo: Bonsai Focus Studio

6 All American Bonsai

Jonas Dupuich, The 8th edition of the US National Bonsai Show

1 0 Styling: The tipping point

The obsessive nature of bonsai artist Martin Diaz from Chile

1 8 Suiseki: Sculptures o f'G aw a'

Suiseki from the river beds

2 2 Styling: Going up front

Takuya Suzuki turns things around

2 9 Gallery of Bonsai
Autumn at the Shohin Bonsai Fair, Green club Tokyo, Japan

3 1 Profile: Beach or Bonsai?

The bonsai passion of Rafael Torres

3 5 Workshop: Enjoy the moment

Chojubai (Chaenomeles japonica)

4 1 Pots: Only black and white ?

The individual style of Susumu Fujii

4 Bonsai Focus
4 6 Gallery of Bonsai
Autumn at the Shohin Bonsai Fair, Green club Tokyo, Japan

4 8 Step by step: Weeping bonsai

Jerome Kellerhals guides you through the styles of bonsai

5 2 Masterclass: From Shikoku ?

Bjorn Bjorholm restores a semi cascade juniper

6 0 Gallery of Bonsai
A selection of various bonsai

6 2 Shohin: Soft and delicate

Yukio Hirose works on a small Hinoki cypress

6 8 Technique: Growing from scratch

This time we focus on hornbeam

7 3 News
Events, Bjorn Bjorholm, a new online course with Kimura
 REPORT

M L AMERICAN BONSAI
The 8th edition of the US National Bonsai Show
Text: Jonas Dupuich Photography: Jonas Dupuich, Joe Noga, Mark Arpag
This fall, William N. Valavanis hosted the 8th US National Bonsai Exhibition on September 9th and 10th in Rochester,
New York.

t was my fifth visit to the biannual containers by Sara Rayner, Nao Tokutake,
event but only the second time I

I
April Grigsby, and Roy Minarai. In past
travelled by plane (I usually make years, attendees tended to congregate in
the 4300 km drive from California to the vendor area as shopping is a big focus
deliver trees to the event). I men­ for many visitors. This year, I was happy
tion the distance as it has a big effect on
to note that the exhibit area was just as
the trees visitors can expect to see in the crowded as the vendor area. It seems that
show. Although a majority of the bonsai as visitors’ understanding of tree qual­
on display come from the Northeast US, a ity and display improves, it makes more
great diversity of trees come from differ­ sense for them to spend time studying
ent parts of the country. Altogether, the trees and appreciating displays than
exhibition featured 304 bonsai represent­
simply zipping through the show before
ing over 100 species and cultivars from
getting back to the vendor area.
35 states, Puerto Rico, and Ontario and Kennet Bonsai Award. Finest bonsai from Canada:
Quebec, Canada. The sales area was just Thuja Occidentals by Mike Roussel
as diverse with 49 vendors from around In terms of educational offerings, the
the country. event featured critiques from noted pro­
fessionals and demonstrations by head­
From conversations with every vendor liners Koji Hiramatsu, Gerald Rainville,
I spoke with, sales were brisk this year, and Corin Tomlinson. The trio also served
likely a reflection of the higher-than-av- as the judges who determined the win­
erage attendance for the show. As always, ners of the event’s fourteen awards. As
the first items to sell out were hand-built for the exhibit itself, it was interesting to Continue page 8

6 Bonsai Focus
Bonsai West Award. Finest evergreen bonsai: Juniperus by Dan Turner, Illinois The vendors section

ABS North American Bonsai Award. Finest North American Native

species bonsai: Picea pungens by Karen Harkaway, Pennsylvania

u From across the country a great variety of colors, textures of

bark, foliage, and deadwood
Bonsai Travel Award. Finest Bonsai & Companion plant combination : Thuja oc-
Pinas thunbergii, Dinh Thang, Chicago cidentalis by Sathin Sukolovisit, Massachusetts

Bonsai Focus 7
Juniperus scopulorum, by The Blanton Collection, Tennessee

Ficus microcarpa by Leann Duling, Virginia

Juniperus chin 'Itoigawa' by Stew art Tieszen, Alabama

see the progression of several trends that
have been developing in the US in recent
years. By far, the biggest change from
past exhibits was the increased presence
of collected native conifers. Colorado blue
spruce, Ponderosa pine, Eastern white
cedar, Rocky Mountain juniper, American
larch, Douglas fir, and limber pine made
up a sizable percentage of the exhibit.
Overall, this is great to see. As new spe­
cies become popular, visitors to regional
exhibits can appreciate a greater variety
of colors and textures of bark, foliage, and
deadwood.
On the other hand, many of these rela­
tively recently collected conifers will
benefit from additional time in training. I
don’t know if this qualifies as a trend, but
in recent years, regional exhibits in the
US have been featuring collected material
that has more age and character in the
trunk than in the branches. I suspect this
will change in time as these trees gain
maturity. Continued application of time­
based refinement techniques like pinch­
ing, pruning, decandling, and defoliating
will continue to improve these trees as
they gain characteristics that reflect the
bonsai grower’s interaction with their
trees over time. On that note, it’s become
clear that exhibitors are becoming more
comfortable taking different approaches
to bonsai styling. Many collected trees are
getting contemporary treatments while
cultivated specimens or specimens that
have been in training for a long time are
more likely to present full silhouettes,
greater branch density, and complex de­
signs, whether classical or naturalistic.

8 Bonsai Focus
As native US specimens age we’ll see
what characteristics are most important
to their growers. In the meantime, I’ll
continue to follow the progress at re­
Superfly Bonsai Award. Finest deciduous bonsai: Acer palmatum 'Arakawa' by
gional events like the US National Bonsai Lucas Glass, Tennessee

Exhibition. This year’s event happened to

be Valavanis’ 100th exhibit - an incred-
ible achievement by any measure, and
an awesome example for show runners
around the world to follow.

EXHIBITION

Miniature Bonsai Kawada. Finest Shohin Bonsai: various trees by Brian Hollow Futago Bonsai Award. Finest tropical Bonsai: Chloroleucon tortun by Louis Car­
ell, Virginia (below) Yoshimura Award. Finest Classical B onsai: Juniper by Marc reiro, Massachusetts
Arpag, New York (photo: Joe Noga)

Jonas Dupuich runs a Northern California

bonsai nursery where he teaches and writes
about bonsai. He is the author o f The Little
Book of Bonsai and the Bonsai Tonight blog
See more at: bonsaitonight.com.

Bonsai Focus 9
 STYLING

The tipping point

The obsessive nature of bonsai artist Martin Diaz from Chile
Text and photography: Kinbon, Japan
Red Pine Height 45cm width
How creativity can transform a tree 80cm Front before work
with a very outspoken trunk shape.
Martin skillfully turns things the
other way round and re-creates a Red
Pine (Pinus densiflora).

he strong movement in the

upper section of the lower
trunk arcs across towards
the right, before changing
direction dramatically in a U
shaped fashion. The current styling of
this characterful and unique Red Pine is
to make it into a cascade style tree, but
Mr. Diaz has a different idea in mind for
the material.

10 Bonsai Focus
The back side before work
The idea that we had, accentuating the cascade.
The U bend in the middle o f the trunk. This is a
superb character which needs to be used.
Looking at the material and
considering the options
The material Martin has prepared for the
transformation is a cascade style Red
Pine with a lot of lateral movement from
left to right. The bark is aged and flaky
and there are plenty of branches and
ramification. It has been developed and
grown in this orientation and style for
many years.
Looking at the tree as a cascade style
The right hand side before work
u The strong movement in the trunk
needs to come out
The dead wood feature in the trunk gives a sense of natural beauty. A front needs to be chosen to show this
off.
tree, the apex is much too wide and large
for the size of the trunk and the balance
between foliage and trunk has been lost.
This is true for not only the left to right
volume of foliage but also front to back.
It has not been pruned back properly for
many years.
The upper section of the lower trunk
moves dramatically to the right and
the trunk then moves up and down in
a severe and extreme way. Looking at
this movement, it is difficult to see any
The left hand side before work
alternative to the current style. We sug­
gested to Martin that in order to highlight
the movement of the trunk, it should be
planted so that it tips a little more over
towards the right, enhancing the cascade
feel.
“Certainly that is an option, but I am
thinking about tipping it up the other way
and making it so that it isn’t a cascade”,
Martin replies. The shape up until now
will be discarded and a completely new
direction taken.
Bonsai Focus 11
Going up!
Martin: “The current cascade style is not
bad as the cascading branch has great
and strong movement towards the right
hand side but the lower trunk is too weak
to handle it and it looks unbalanced. The
U bend in the middle of the trunk is par­
ticularly strong, and trying to balance that
Martin explains to us his idea for a new tree. Tipping the
out and keep it as a cascade is going to be tree back towards the left, making the tree more upright
and bringing the U bend to the centre o f the composition
very difficult”, and with that explanation,
with the aim of making it the centrepiece.
the current styling is rejected.
The new idea that Martin has involves
changing the planting angle so that the
tree is lent over to the left, lifting the r

characterful trunk up and making it

more upright. In doing so, the deadwood
feature and the U bend in the trunk can
both be seen at their best. In order to
reduce the undesirable aspects of the tree
and maximise the desirable aspects of
J

Changing an incredibly characterful trunk

into an upright tree!
u
the tree, this is the best possible option.
Martin has focused on the U bend curve
and found a way to maximise that to its
Pruning unnecessary branches and styling the apex
fullest.
and each branch

The plan for the tree - front before work The previously cascading branch sticking up to the Lower right branch after styling. It feels a little bit
upper right hand side is lowered down long for a lower branch but that can be reconsidered
when the rest o f the tree is styled.

artin’s first introduction to bonsai was and started work after finishing their studies in Japan,

M through a friend whose parents owned

bonsai. After seeing them he thought
however Martin tells us "In Chile the bonsai commu­
nity is very small and there is very little opportunity
he could grow them and after graduating from
University he began an apprenticeship at Aichi-
en, the nursery of Mr. Tanaka Junichiro. After 5
to make a living doing bonsai. I want to be deeply
involved with bonsai for as long as possible and so I
intend to stay in Japan and work as a bonsai crafts­
years of apprenticeship, he graduated and began man.”
to work with Mr. Fujiwara Ken, who apprenticed at He has an unaffected and humble character and a
Daijyu-en, as did Mr. Tanaka. serious approach to his work. Those around him have
In recent years there have been a number of foreign great trust in his abilities and so we look forward to
apprentices who have returned to their own countries watching his career progress.

12 Bonsai Focus
 Before and after removing the front branch as seen from the right hand side. There are many branch­
es which spread out wide in all directions. The volume of foliage has been reduced after removing
the front branch.

A branch growing towards the front (circled) has been re­

moved to expose the movement of the trunk more which can Styling the right hand side branches to highlight the trunk
now be seen clearly.
movement

Martin considers a branch just to the side of the apex.

It is over the top of the lower right hand branch
After wrapping with raffia, it is carefully moved at The lower right branch group after lowering. There
the base and lowered. It is an old tree and has been a are many smaller secondary branches which can be
bonsaifor a long time so the branches are brittle. made into foliage pads spreading in all directions.

Removing a branch which hides the trunk

The space just to the right of the lower trunk is filled
In order to see the movement of the trunk further a with a branch on the left, marked by a circle. The
branch growing towards the front which starts just space created by the removal of the front branch will
below the apex is removed. be filled with a branch from above.

Bonsai Focus 13
Pruning unnecessary branches in the apex and styling

After pruning unnecessary branches. The branches on the lower left of the apex have been thinned out. After styling

Less branches
In order to show off the unique character
of the trunk, Martin reduces the number
of branches around the trunk to an abso­
lute minimum, especially any that cover
it. The movement from the lower trunk
up into the apex is severe and dramatic,
changing direction several times. IN
order to show off that natural beauty, the
distribution of the lower right branches is
key to creating a characterful tree

After styling the lower branches. Seen from the front After pruning the unnecessary branches in the apex

After styling
The lower left branch has
been extended to balance
with the movement of
the trunk. The tree
has been styled
into a semi cas­
cade upright tree.
The character of
the trunk has been
brought out to the
fullest which was
the goal of the
transforma-
r
tion.

14 Bonsai Focus
There is something not quite right with the trunk movement, let's hove a close look
The lower right branch is very effective as was not to his satisfaction. “The trunk The movement in the trunk is very severe
a character branch and helps define the movement is not interesting, the right and dramatic but it does appear to be al­
semi cascade nature of the tree and after angle movement in the trunk is now just most man made as it looks like 90 degree
the final styling, Martin was unmoved apparent and it's a bit dull:," said Martin bends. It is also perhaps a little severe for
from in front of the tree. The final image with displeasure. such a small tree.

u The reason for the unease:

The space and the angles in the trunk!
Close up of the trunk. The issue that
Martin has highlighted is the the two
lines of the trunk running parallel to
each other and the space on either side
of them, marked with a circle. The
two sections look similar and have
a regular spacing with an almost
exact 90 degree bend making it
feel man made and giving the
sense of unease.

The first stage of bending is done. Compared to the

start, it has compacted slightly
Using a jack, the trunk lines are pulled together

In order to give
the trunk lines
some variation
and movement,
a jack is used to
compress the two
together.

Bonsai Focus 15
It will be compressed in two positions

After the second stage o f trunk bending. The trunk has been pulled closer to the
After trunk bending lower trunk, changing the angle to become much more acute and removing the
parallel feel to the lines.
The trunk is compacted in two spots. At
the base of the trunk it has been pulled
in tight and then again in the apex back
onto the trunk line.
The trunk line at the base and the first
bend has an impact on the planting angle
as the trunk ends up hitting the pot edge
and so the work is stopped to remove the
tree from the pot and gently break down
the top edge of the root ball. The trunk is
bent until the trunk is touching the soil.
The tree is very old and brittle so the use
of the jack is done with great care, listen­
The trunk on the right hand side is compacted further
ing for cracking and tearing sounds.

A sense of severity has been

created by bending the trunks

After the trunk bending and restyle from the front

The feel of the tree has completely changed after the trunks
have been compressed together. The movement in the trunk is
now in harmony with the severity of the lower trunk and dead
wood features and the whole tree tells the tale of a severe envi­
ronment.

16 Bonsai Focus
Three sides after styling
After styling, seen from the right hand side
After replanting Height 47cm
Width 68cm
The result so far
“It would be ideal if the apex could be
moved a little more to the left and if the
trunk lines could be compacted even
more, then it would look even more
severe. The branch to the left of the apex
is also very straight and so I would like
to put movement into that but anything
more than what we have done so far
After styling seen from the left
would be too much of a stress on the
tree and so they are jobs for the future
development of the tree”, says Martin of
his plans to improve the tree further. His
skill and aesthetic eye have been show­
cased here very well and the tree has
been improved dramatically, bringing out
the severe character. It is his dream to
After styling from the rear
After the severe trunk bending and branch manipu­
lation, the tree was replanted with the abso­
lute minimal amount of root work done to
it as possible, essentially ju st replacing
it back in a pot. A t the next repot,
more appropriate work can be done
once the tree has recovered and the
planting position within the pot can
be changed to bring it more to the
right and reduce the pot size.
continue the journey and turn it into a
chuhin sized tree.
The natural character of the tree was both
the charm and source of the problems for
this tree but some quick alterations to the
design enabled a problem to become a
resounding success.
Bonsai Focus 17
 SUISEKI

Special stones presented in Tokonoma

Text and photography: Kinbon, Japan

The 9th Japan Suiseki Exhibition always shows the best suiseki Japan
has. Gawa means river in Japan, and most of these suiseki shown are
found in riverbeds. Shaped by the forcefull river.

Special entry
Kamogwa ishi ‘Kannon” (The bodhisattva of mercy
and compassion)
Width 6 cm Depth 4.8cm Height 13.5 cm
Owner: Mr. Rai Masatada, Kyoto

Matsumae Kotan Ishi (A stone from river Kotan, Japan)

Width 54 cm Depth 22 cm Height 25 cm
Owner: Japanese Suiseki Association Chairman, Mr. Shimamura Yoshinobu

Beni Taro Ishi Width 50cm

Depth 24cm Height 22cm
Kyoto International Culture Promotion
Group “Keiun-an”

Murasakai Kibune Ishi “Haseyama” Width 23cm

Depth 16m Height 14.5 cm
Meiji Jingu

18 Bonsai Focus
Main Stone: Senbutsu Ishi Width 64cm Depth 31cm Height 31cm
Scroll “Mugai” by KawabataYasunari
Mr. Tanaka Keiji,Kyoto

MainStone:SenbutsuIshiWidth64cm Depth 31cm Height 31cm

Setagawa Ishi “Saizan”
Width 23cm Depth 14cm Height 15cm
Mr. Hayashi Zensuke, Shizuoka Pref.

Bonsai Focus 19
 9

Suiseki are classified by:

Bonseki “ Width 22.5cm Depth 9cm Height 9.5 cm
Colour: Kohou-an Kyoto (*= here it refers to the ancient Japanese art of creating miniature
• Kuro-ishi (Black stones) landscapes on black trays using white sand, pebbles, and small rocks
• Maguro-ishi (Jet-black stones)
• Aka-ishi (Red stones)
• Ao-ishi (Blue stones)
• Murasaki-ishi (Purple stones)
• Ogon-seki (Golden-yellow stones)
• Kinko-seki (Yellow-red stones)

Surface pattern:
• Kigata-ishi (Plant-pattern stones).
• Mori-ishi (Forest-pattern stones).
• Hanagata-ishi (Flower-pattern stones).

By place of origin:
• Kamogawa-ishi (Kamogawa river stones). Abegawa Ishi "Haruchika” Width 31cm Depth 17.5cm Height 6cm
Jet black Distant mountain stones found in the
Kamogawa river in Kyoto prefecture.
• Kurama-ishi (Kurama stones).
Brown granite Island, Distant mountain, or Object
stones found around the Kamogawa river, Kyoto
prefecture.
• Setagawa-ishi (Setagawa river stones).
Black Mountain, from the Setagawa river in Shiga
and Kyoto prefectures.
• Ibigawa-ishi (Ibigawa river stones)
Black, bluish-black, or gray Coastal, Island, Water­
pool, Shelter, or Waterfall stones from the rivers and
streams of Gifu prefecture. Kaneyama Ishi "Misaki”
• Sajigawa-ishi (Sajigawa river stones). Width 21cm Depth 14cm Height 16cm
Black, bluish-black, or gray Coastal, Island, Water­ Mr. Sugai Minetaka, Hokkaido
pool, Shelter, or Waterfall stones.
• Furuya-ishi (Furuya stones).
Black or gray-black Mountain, Waterfall, Mountain­
stream, or Coastal stones from the mountains of
Wakayama prefecture.

More info: www.shimagata.tripod.com Setagawa Ishi Width 32cm Depth 9.5cm Height 3cm
Ceramic plate by Tsujimura Shirou
Mr. Kakinuma Shin’ichi, Gunma Pref.

20 Bonsai Focus
 Tokonoma:
Stone: Ibigawa Ishi
Width 42 cm Depth 27 cm Height 10 cm
Suiban: Bronze Oval Douban with Dragon motif
Scroll: “Mt. Fuji” by Hashimoto Gahou
Accent: Bronze aged turtle
Owner: Mr. Aokage Fumio, Kanagawa Pref.

Ibigawa Ishi

Beni Kamogawa Ishi “Akebono”

Width 35cm Depth 18cm Height 17cm
Mr. Saitou Akihisa, Okayama Pref.

Bonsai Focus 21
 STYLING

Don't hide what is good, Takuya Suzuki turns things around

Text and photography: Kinbon, Japan

Taxus Cuspidata Height 55cm Width 60cm Front before work Rear before work
27th February 2019

piece ofTaxus material that dramatically and it was half dead. The vein and nebari was most prominent and
has the feel of a freshly very distinctive shari trunk however was thickest and the old rear side was com­

A collected yamadori, with

professionals garden where it was

neglected. It was a tree that had once
been styled but the vigour had dropped
worth trying to save so he thought it
several free growing branch­ wouldn’t do any harm to try and recover
es. Takuya Suzuki first came the tree. After acquiring the tree no work
across the tree two years ago at at all was done to the tree for two years,
a fellow
with every effort made to concentrate on
half
recovering the tree to full health.
The old front was the one where the live
pletely deadwood and the live vein was
not visible. Takuya Suzuki started by con­
sidering the rear as an option for the new
front. “To hide this dead wood trunk is a
complete waste”, and starts to plan a new
front where it is much more visible.

u The long, stretched out horizontal shari trunk

is the highlight!
The old front had the nebari and live vein as the main focal point (left), and the back side is completely shari (right). With just dead wood showing there is a sense of
unease and so the previous owner chose the front where the live vein was most prominent.

22 Bonsai Focus
 The existing planting angle seen from the side. The
apex is pointing strongly towards the left of the pic­
ture, which is towards the old front.

Takuya Suzuki's chosen front, rotated slightly clockwise from the old rear side where the After changing the front and planting angle, the apex is now much more
shari is most visible. centrally positioned.

Change the back to become
the front
Takuya Suzuki plans to flip the tree
around saying “the presence of the shari
trunk may have been too much for the
previous owner but the character just
cannot be hidden away. I think that once
the branches on the top are styled and
grown to fullness in such a way as to cre­
ate balance, then the back side will be a
much better option as the front”.
The strong shari trunk growing out to the
side gives a real sense of stability as well
as a strong sense of direction, especially
from the new front which is from the old
rear slightly rotated clockwise. From this
position the apex is pointing towards the
back and so when it is repotted next, it
will be inclined towards the front. Takuya
Suzuki’s plan is starting to solidify and
it is time to begin removing unwanted
branches.

A branch covering the shari in the lower trunk is removed.

A branch covering the shari in the lower trunk is After removing the branch that was covering the
removed. trunk. Same seen from the left hand side

Bonsai Focus 23
After removing a long extending branch growing towards the front. Seen from After unwanted branch removal
the front

Repotting at the new front

After removing the most obvious un­
wanted branches, Takuya Suzuki decides
to repot the tree at the new front and
angle. He explains the reasoning, “Taxus
branches are very hard at this time of
year, when they are full of water and
growing, they are much easier to manipu­
late. The branch and trunk manipulation
work will happen next time when it is
growing well, so first, let's repot it, then
if there are no issues, it can be styled in
June or July.”

After root work. From the rear

Improving the direction of strong active roots

If this thick root is removed, the weak tree will weak­

A thick root growing in a bad direction is found, en further and branch death may occur. The direction
however it has plenty of fine roots and is very active. is changed using wire instead o f removing it. After root correction

24 Bonsai Focus
After repotting from
the back side
4 months after repotting and
ready to style
approximately 4 months after the repot­
ting, it is now June and the buds have
started to open and grow as normal. It
is time to move onto the next stage of
development.
In February, the obviously unnecessary
branches were removed and the amount
of foliage was reduced. In order to high­
light the shari trunk even further and
reduce the size more, Takuya Suzuki uses
a jack to pull down the apex closer to the
base, reducing the height by around 10
cm. It removes the leggy and thin necked
feel the tree had. The next step is to
prune and manipulate the branches to fit
with the new height and planting posi­
tion.
After repotting from the
front height 59cm
After removing all the
obviously unnecessary
branches, those that are
badly positioned and long
and leggy, the repot is
finished. Assum ing the
tree grows as normally
after the work, the styling
and wiring can be done in
June and July
Approximately 4 months after the initial work
(13th June 2019)
The apex has been bent down dramati­
cally. Another branch on the lower left
has been removed to further improve
the movement o f the tree and reduce the
size.
Takuya Suzuki uses a jack to slowly lower the apex
down
Before work seen from the right hand After lowering the apex, seen from the right
side hand side
Bonsai Focus 25
A boring trunk line has been compressed!

The trunk line before and after bending, as seen from the rear.
There is little taper to the rather boring trunk line, but after
bending it develops a sense o f severity.

Unwanted branch removal and

styling the left hand branches

Moving the back

branch around to
the left

After structural wiring of the right hand branch. The

movement of the branch is accentuated and the end A branch growing to the rear is bent from the base to The long back branch is reduced to a secondary
is brought closer to the trunk. become the first branch on the left hand side branch half way along

26 Bonsai Focus
The rear branch bent from the back to become the In order to further compact the outline of the tree,
left hand branch is still too long and is cut back to a the left hand branches should be made as short as
secondary branch half way along. possible.

Detail of the rear branch: even further reducing the

length would make it difficult to use, so it is com­
pletely cut off at the base.

Initial styling to set the outline

There are three main blocks of foliage, the apex, the left and
right branch groups. Each are wired to set the initial structure.
The right character branch defines the direction of the tree and
has the most important role which means it requires some vol­
ume and length. Before styling it was too long so it was cut back
to a secondary branch and then wired and positioned to give
movement and a smaller outline.
The branches are all a little weak and old looking, so much of
the work will be just to set a basic structure and then allow it

After initial styling. Each branch position has been decided upon but one o f the
to grow out before cutting back to new, vigorous shoots as they
back branches (circled) is giving Takuya Suzuki some issues.
develop.

The back branch before and after pruning (seen from the right)

The branch is removed leaving ju st a small amount

After initial styling seen from the right at the base. A s other branches start to grow and fill
The circled branch is the one giving Takuya Suzuki After removing the back branch as seen from the out, this branch will become unnecessary and will be
some concern. right removed.

Bonsai Focus 27
 4 months after the initial styling. Refinement

After refinement as seen from the right After refinement as seen from the left After refinement as seen from the front. About 4 months
after the initial styling. (9th October 2019)

wo years have passed since the repotting and

T the initial styling. The bare and empty looking

initial styling has filed out into a much more
mature looking tree which is looking something like
a finished tree. The small back branch that was left at
Right side Left side

the initial styling has now been removed and there is

space between the shari and character branch giving
it a much cleaner image. The concern over the power
and impact of the shari and the thin live vein with a
lack of taper and movement have all disappeared and
the character of the trunk and the character branch
are starting to come through. In two to three years of
maintaining it at this size it will surely be ready to be
displayed at the highest level.

28 Bonsai Focus
GALLERY

THE GREAT SMALL ONES

Autumn colours ofShohin
Text and photography: Kinbon, Japan
At the Ueno Green Club (Taito-ku, Tokyo, Japan) an autumn show was held with only shohin. Ueno Green Club is a place where Bon­
sai exhibitions are held and were you can shop for bonsai and related articles. Most bonsai stands only open during weekends. See
for more info: www.Bonsai-kyokai.or.jp

Carpinus coreana
Shigemasa Fujiwara, Pot: Gyozan rinka-shiki
20 cm | 7,87"

Bonsai Focus 29
 Diospyros kaki
Shigemasa Fujiwara, Pot: Owari
20 cm | 7,87"

Pyracantha
Shigekazu Isozaki, Pot: Seiizumi
17 cm | 6,69"

Malus
Ei Saito, Pot: Shikomaru
14 cm | 5,5"
30 Bonsai Focus
 PROFILE

BEACH OR BONSAI ?
The bonsai passion of Rafael Torres
Text: Bonsai Focus Studio Photography: Rafael Torres

Mallorca is not only the popular holiday island, it also has some amazing bonsai to enjoy. Rafael Torres followed his
tru passion and switched from baby products to bonsai

bonsai without prior knowledge of its

Your professional education?
I studied business management and oper­
ated a business in baby products sector
for eight years until I discovered that my
true passion and calling was bonsai, and
I wanted to dedicate myself to it whole­
heartedly.
How did it all start?
I purchased my first bonsai in a nurs­
ery, and it was almost like a crush - as if
something was calling me to buy it, and
so I did. Like many people who buy a
care, I made typical mistakes. I placed
it in a location with inadequate light,
didn't properly control its watering
and neglected other essential care
aspects, resulting in a disaster.
Eventually, I became interested in
seeking information on how to care
for it. However, the information I ini­
tially found was not very accurate, and
my learning curve wasn't as rapid as I
had hoped. Through a twist of fate, the
father of one of my employees hap­
pened to be a well-known bonsai enthu­ passion within me for what has now be­
siast. He invited me to visit his garden,
come my profession.
where I could truly appreciate and be
astounded by the specimens he had. Prior
to this, I had only encountered the typi­ How did you acquire the skills?
cal bonsai found in department stores. After approximately three years as an
That visit opened my eyes to the world of amateur, I made the decision to sell my
authentic bonsai. shares in my previous company and
Then, I began visiting him and assisting embark on a new venture with my wife,
with his bonsai for approximately three a company dedicated to Bonsai called
years. This experience ignited a profound 'Bonsaisense.' The beginnings were chal-

Rafael Torres (42)

Born in: Palma Mallorca, Spain
Partner: Deyssa Sanchez
Education: Business Management
Profession: Bonsai professional,
co-owner with my wife of
Bonsaisense
Into bonsai since: 2004
Favourite species: Junipers, wild
olive trees, and pines.

Bonsai Focus 31

Olea europaea
lenging as we were essentially starting
from scratch. Shortly thereafter, I had the
privilege of crossing paths with someone
I could consider my mentor, Bjorn Bjorn -
holm. I believe my professional journey
would have been significantly different
had I not met him. I invited him to our in­
augural event, which marked the launch
of our nursery, and it was a great success.
We established a strong and rapid con­
nection. Ultimately, we decided that he
would visit us a minimum of two times
a year. We organized our annual event,
'Inspire Bonsai,' established an interna­
tional school, and collaborated on the de­
velopment of many of Bonsaisense trees.
Simultaneously, it presented an invalu­
able learning opportunity for me. I believe
that, in one way or another, it contributed
to the growth of our business, and I will
always be immensely grateful for that.
Any plans to go to Japan?
That would have been my great dream
u As if something was calling me to buy it, and so I did
32 Bonsai Focus
when I started 13 years ago, but
unfortunately, it's too late now.
Bonsaisense is going to turn 10 in
2024. Time flies, and I find it un­
feasible to go to Japan under these
circumstances. I'm fortunate to have
the desire to keep learning day by
day and to continue developing my­
self in many different ways. Devoting
oneself 24/7 makes it inevitable to
learn, and it's crucial to stay enthusi­
astic and passionate.
Your thoughts on bonsai
I believe that bonsai is many things;
it's challenging to summarize it in
just a few lines, but I will try to share
some thoughts that occur to me from
time to time:
like to view it from the perspective that it
I think bonsai is of great importance to
helps people in various ways. We all know
many people around the world. I con­
someone who started because tending
sider myself fortunate to have had the
to that little tree in a pot brought them
opportunity to work in many different
a special calmness and reduced their
places in Europe and internationally. I
stress levels - 1am one of them. Humans
are inherently social beings, and bonsai
brings together different groups of people,
whether through associations, schools, or
simply a group of friends who share the
same curiosity and passion. It gives us
an added purpose in life, something truly
meaningful. Without us, bonsai wouldn't
be watered, fertilized, or cared for; it can
be frustrating when a tree doesn't re­
spond as we'd like, but it encourages us
to learn and progress, creating something
truly special within us.
We need nature in our lives, and bonsai
provides a way to have it close to home.
It's a comprehensive art form that relies
Prunus mahaleb
 adapt well to colder climates. I have many
clients and students in Northern Europe
with significant wild olive projects.
Obviously, besides olives, another impor­
tant native species for me is the Sabina
rastrera juniper (Juniperus sabina). We all
know the possibilities that junipers bring
to the world of bonsai; they can be con­
sidered one of the quintessential bonsai
Ulmus species, along with pines. Thanks to my
access to collecting excellent Sabina juni­
per yamadori, I've been able to experience
the entire process from their mountain
origins to becoming advanced bonsai,
on our botanical knowledge, both scien­ which has given me valuable knowledge
tifically and traditionally. Without that and perspective on the entire process
foundation, we cannot delve into the with this species.
artistic aspect that captures so much at­ Another species I equally enjoy working
tention. In conclusion, bonsai unites us with are pines. In any of its varieties, you
and gives us a purpose in life. Creating art can appreciate its beauty.
from a living being is one of the most sat­
isfying feelings one can experience. Those
of us who dedicate ourselves to it should
be grateful for this opportunity.

Which trees do you most like to

work on?
As I mentioned earlier, if they have the
conditions to be a good bonsai, I like all
species because each offers different
u I believe it's crucial to explore the
diversity of species

aspects to enjoy. However, I would say the

wild olive (Olea europaea var. sylvestris)
holds a special place in my heart, espe­
Juniperus sabina rastrera

cially here in Mallorca, where I've had

access to it from the beginning. It pos­
sesses excellent qualities for bonsai, such
as small leaves, distinctive trunk move­
ments, spectacular and robust wood.
I'm highly motivated by the challenge
of creating a tree from scratch because
when we collect them, they typically only
have the trunk with no branches or roots.
Therefore, they present a design and
cultivation challenge. It's a very versatile
species that can thrive in a wide range
of climates, as its wild nature allows it to

Bonsai Focus 33
Do you have a favourite
bonsai?
I think I could say that I have many
favourites, it's hard to name just one. For
example, the big juniper which stood at
the entrance of the World Bonsai Con­
gress in Japan in 2017, could be one, not
only for its beauty but also for its history
Your worst mistake?
My biggest mistake when I started was
not learning enough about the most basic
aspects of caring for a tree in a pot. I
prioritized the desire to create something
artistic and aesthetically pleasing over
fundamental cultivation. I could say that
there are many more mistakes, but this
how to create ceramics and paint. They
have something that really captivates me,
but for now, I haven't been able to find the
time to start.
Do you favour the Japanese or
Western bonsai style?
I believe it's important to emphasize that
if we define style, we could say it's the
collection of unique characteristics that
distinguish an artist, a work, or an artistic
period, giving it a distinct and recogniz­
able personality. However, making precise
comparisons is challenging, as even in Ja­
pan, the bonsai style changes and evolves
over time.
I think Japan has had the most signifi­
cant impact and influence on the world

Together with Bjom in his Eisei-En garden in the

U SA.

one, in particular, is very common among

beginners and even among those who
have been practicing bonsai for many
years but still don't delve into the topic

W hat is your best achievement?

I believe I could say that it's my capacity
for learning. I enjoy learning, studying,
and trying to put it into practice.
Your dream comes true when...
When I see that, after many obstacles,
I've realized that in September 2024, it
will be 10 years since we began this fam­
ily business project, one that we are pas­
sionate about with my wife, it's a dream
come true, and we enjoy it every day.
Any other interests or hobbies
besides bonsai?
I turned my hobby into my profession
and became orphaned of it. It may sound
crazy, but I consider it a hobby when I
have more time to work on my personal
projects, not just on the trees in the store
or for clients. I would also like to learn
of bonsai. Its most famous species have
been imported globally, sparking a great
interest in learning and understanding
their techniques, whether from afar or
by hiring Japanese professionals to teach
us their methods. Moreover, we currently
have excellent professionals who have
completed learning periods in Japan. One
could say there will always be a Japanese
style influence everywhere.
Nevertheless, I believe it's crucial to
explore the diversity of species avail­
able in other regions, such as Europe, for
example. We have had access to impres­
sive specimens and have had the oppor­
tunity to experiment with them and learn
from their growth. I'm not sure to what
extent we could call it our own style,
Juniperus sabina rastrera
but we must definitely work with differ­
ent growth patterns, taking into account
factors like location, fertilization, prun­
ing, etc. This, to a greater or lesser extent,
affects the aesthetics. Furthermore, in
Europe, we've been able to observe how
these trees grow in their natural environ­
ments, enabling us to create our repre­
sentative image and apply it to our bon­
sai. Sometimes this can lead to confusion,
and other times, it can be helpful.
In summary, I appreciate all expressions
of bonsai that are done with judgment
and good taste, regardless of the influence
they may have.

34 Bonsai Focus
 WORKSHOP

ENJOY THE M OM ENT

Chojubai (Chaenomeles japonica)
can grow on rocks too

Text and photography: Kinbon, Japan

Mr. Haruhisa Akimoto enjoys the moment of creating
bonsai even if takes a long time to get good results.

Looking at the material. Height 17cm

he material is a number of
young Chojubai that are es­

T
timated to be 7-8 years from
cuttings. The branch structure
is still rough and the shape of
the tree is yet to be determined. If each of
them is wired and styled then it will still
be many many years until they are ready
to be displayed in any way. Whilst bonsai
often takes a lot of time to develop, an­
The material for this piece is a young chojubai with very little in the way of branches, it is
other aspect is to create something that still a young tree in development. If each of them were made individually, it would take a
long time to get them to a finished state.
can be enjoyable in a short space of time.

Bonsai Focus 35

A large natural rock
Haruhisa Akimoto has
decided to create a rock
planting with the cho-
jubai plants. One solution
with young plants that do
not have many branches
is to group them together
with a rock planting or a
group planting. In this way the weakness
of the material gets hidden in the mix. It
could be called cheating but in fact it is a
good way to make the most out of young
material. Depending on the material, it
may be possible to display the tree im­
mediately after creation.
Another positive aspect of the rock
planting is the speed of development of
the material. The rock holds onto more
warmth compared to a pot and as a
result the root development and growth
is stronger. After a number of years of
enjoying the young trees growing and
developing on the rock, it is possible to
remove them and develop them as indi­
vidual plants later on.
The wire and weight are placed into the hole
36 Bonsai Focus
The rock prepared from
the front and back (31
x 11 x 12cm)
This rock has previously been used for a rock planting
bonsai. Some sections of the rock have been carved away
and sculpted. The wires have been set specifically for this
creation by Haruhisa Akimoto who already has an image
in his mind of where and how to attach the chojubai to
the rock. The wire is prepared with the lead weight
which is a spherical shape with a hole in
the middle and is used for fishing
and can easily be
acquired at a
fishing shop.
The fixing wire is passed
through the hole in the lead
A hole, roughly the same size as the lead weight, is
How to fix wire using gun balls
drilled into the rock at the desired place.
(lead balls)
When repotting trees, the fixing wires can
be used through the drainage holes in or­
der to tie a tree down, however on a rock
it is not that simple. There are a number
of methods that can be used to fix a wire
to the rock such as using an epoxy putty
but that can take half a day or more to
cure. Haruhisa Akimoto uses a technique
involving lead weights used for fishing, a
technique he will demonstrate here.
The weight and wire are hammered into the hole The lead weight is squashed into the hole and spreads
using a punch out. The wire cannot be removed and is solid.
The position of trees is considered when looking at the shape of the rock

The position for fixing the chojubai are

shown from above and the front.
This rock has previously been used for
bonsai rock planting and has signs of use
and carving scars (Areas marked A and
B). These areas have little character and
should be hidden as much as possible. As
a result Haruhisa Akimoto has positioned
wires to fix trees to cover the area.
In the area marked C, there are no signs
of work and the rock has a natural
character and texture. This area will be
left without trees and exposed. The area
marked D is the most interesting part of
the rock and is to be used as an arch or
the entrance to a cave, creating a natural
looking scene.
A major part of the creation of a rock
planting is to bring out the best character
of the rock as well as the trees. Any area
of rock that has little character or vari­
ation should be covered with a tree and
any areas that has plenty of character
should be accentuated to make it inter­
esting.

Haruhisa Akimoto is considering the balance and arrange­

ment of the trees.

Seen from the left hand side.

Thisface (B)has been cut in
a linear fashion suggesting
that the rock had previously
been standing upright with
this as the base.

Bonsai Focus 37
 Considering the distribution of trees
Whenever considering the arrangement of multiple trees
in a composition, always start with the main tree. In this
case, the main tree will be on the right hand side of the
rock, somewhere in the area marked A. The balance
with the rock is considered before the final position­
ing. After that, the smaller trees can be arranged
around it one by one until the final image comes into
being.

The tree are placed temporarily to check the image

The trees will be planted on the left hand side to hide Close to the right hand side of the main tree, the
the worked area. The main tree is placed on the left second tree is placed towards the back and flowing in
hand side of the area. the same way as the main tree.

The Chojubai that will be used as the main tree,

after dealing with the roots from the front and
from the underside. The soil has been removed
in the same way as it would be if it was being
repotted. Long roots have been pruned back

To accentuate the movement to the right hand side, a A smaller tree is placed very close to the on on the right
straight trunked tree is placed pointing towards the hand side to help fill the space on the right. There are
right. now five trees placed on the left hand side of the rock

Preparing to plant Creating balls of Keto soil

Pure Keto has poor water retention, so a Once it is even distributed, small balls Creating small balls makes the process
little Akadama is mixed in with it. are formed. much easier when applying

38. Bonsai Focus

Keto is placed on the rock and then the trees on top of the Keto

The trees are not planted directly onto the rock itself After checking the position and angle of all the trees, The fixing wires are not cut once tightened, but bent
but rather onto a bed of Keto soil. The roots can grow they are tied down using the fixing wires over the keto to help keep it all in place, when water­
into the keto and become solid. ing

The planting work is finished. The

smaller trees on the right hand side ave
been altered slightly to accentuate the
movement to the right.

Seen from the right hand side

With group planting and on rocks, the and perspective is essential.

distribution of trees is important to
consider from all angles and with vari­
ations on the left to right axis as well as
the front to back. Looking from the front,
even if the balance is good from the front,
if the trees are all lined up in a row from
right to left, it would look unnatural with
no front to back vari­
ation. In order
to improve
the scenic
nature,
a sense
of depth
When planting on a rock, first cover the
area with Keto and then place the trees
on top before fixing with the tie down
wire. If there is too much soil remaining
on the root ball, the trees may not sit well
on the rock and look unnatural. As far as
is reasonable, deal with the roots so as to
remove the old soil and reduce the size as
much as possible.
Seen from the left hand side

Seen from above. The distribution is not just varied from

right to left but also from front to back.

Bonsai Focus 39
 Placing moss on the keto to
protect it
After fixing the trees in place, the
roots are covered entirely with Keto.
Keto is quite bad at retaining water
and if it dries out too much it be­
comes very hard and water resistant.
In order to keep the trees healthy
and the keto moist, a covering of dec­
orative green moss is always a good
idea. It protects the keto from drying
out as well as making the composi­
tion more attractive.

Green Moss to accentuate the natural beauty

Moss that is thicker than 1cm. It wouldn't be a prob­ The moss is cut to reduce the bulk. It should be cut The moss before and after being cut.For shohin sized
lem for larger sized trees, but for shohin bonsai it is with care so as not to destroy the entire ball o f moss trees the moss must be small, thin pieces to make the
too thick and the final result will be poor. and in such a way that the green moss stays in finish look appropriate.
contact with the roots

The interesting part o f the rock has been

highlighted whilst the less interesting part
has been hidden. Overall a very fu n little
composition. After 2 to 3 years of work
and development on the branches, it will
be superb little tree worth of display.

After moss application. Height 30cm

Bonsai Focus
 POTS

The individual style of Susumu Fujii

Text and photography: Kinbon, Japan
Modern ceramic artists Susumu Fujii creates bonsai pots which
only 'color is black or white...

uring the 17th Modern Small

Pot exhibition Susumu Fu-
jii's highly unorthodox pots
were awarded the bronze
medal prize for their unu­
sual form and textures. They come from
a place of deep creativity and individual
style and here we introduce the true char­
acter of the artist.

A complete breakaway from conven­

tional bonsai pot design with a feeling
of freedom. In the middle of the seem­
ingly monotone combination of black and
white are variations in colour, glaze and
uneven forms and textures. A very mod­
ern feel is achieved

Pots displayed at the 17th Modem Small Pot Artist exhibition The black and white pots seem to have a lot of 'Color'
Awarded the Bronze prize for glazed section by the All Japan Shohin Association.
(Left 9x8cm Middle 17x13x7cm Right 12x6m)

Bonsai Focus 41
 Susumu Fujii
1949 - Bom in Nagasaki Pref.
1977 - Graduated from Ibaraki Agricultural
University
1997 - Received license
2016 - Established his own Kiln
2018 - Kiln renamed as Chikushi Kofu Kiln
2019 - First exhibition in Iwayata and Izutsuya
department stores, which became
an annual event
2021 - Opening of the shop “Ima Plants’’,
2022 - Awarded bronze in the 17th Small Pots
exhibition, glazed pots category
2022 - Exhibition at Sanetsu Fukuoka
2022 - Lectures given at Iwataya College

Goods from Bali

Shapes without any others to
compare against, they have
Dw arf Crab Apple planted in one of his
a refined yet rugged aesthetic
pots.
sense. The artist Mr. Fujii has a life his-
tory which is just as unique.
After graduating from the agricultural
department of a National University, he
Alongside the photographic studio where he works half the time as a professional cameraman, is a desk con­
obtained his license in flower arrang­ taining all the equipment for sculpting and shaping the pots. The workroom itself is modem and clean.
ing before opening a business importing
goods from Bali. In 2004 he began to sell
directly to the public and widen the range
of goods that were imported.

Until that point he had experience

of photographing ceramics. His work
involved the arts and ceramics and not
too long afterwards plants. In order to be­
come a master photographer he attempt­
ed to photograph plants and eventually
discovered bonsai. In 2016 he started to
make ceramic containers initially for his
own use. Now under the concept of “Liv­
ing a life with plants”, he makes and sells
his own designed pots under the name of
“Ima Plants’", selling them at department
store special events and through his own
website.
Growing plants and planting them in his
own pots has given rise to a new aesthet­
ic which appeals to a number of peo­
ple. The form and texture of the pots is

42 Bonsai Focus
A comma shaped pot with white glaze accent A n event at the Iwataya Department store in Tenjin, Fukuoka which has been held on a regular basis since
2019.

A square box pot with a light snowfall glaze

Pot planted with a Juniper

Bonsai Focus 43
deliberately original and the concept is to
fit in with modern interiors and life. The
inspiration for the shapes comes from
the clay during the creation process.
With regards to the award at the Modern
Small Pot Exhibition, "I create objects
that I personally would want and there is
a gap between them and the traditional
shapes of bonsai pots, which I deeply re­
spect. Receiving the award, I was incred­
ibly happy to have been recognised by the
bonsai community as being acceptable
alongside those traditional
shapes.” There is definitely
a place for the unconven­
tional alongside the tradi­
tional and anything that
gets new people interested
and allows them to live
alongside bonsai can only
p / •
be a good thing.
Examples o f flower vases with a delightfully natural shape.

Column shaped vase

with light snowfall glaze

u Planted in one of the pots, the natural shapes

and textures come to life in an incredible way

A rock shaped pot with

black glaze accent

Left: Pot planted with a Sekka Hinoki

Hand-twisted pot, black soil and white glaze, 12xl2x8cm .The inside of the same pot

44 Bonsai Focus
 Wide rim reverse Fuji pot, black clay, with black glaze, white veneer 24x19.5cm

Oriental Bittersweet planted in a black glazed pot with white veneer

Examples of bonsai planted m his pots.

His own gallery, “Ima Plants", which also operates

online and in Nakagawa City, Fukuoka Pref
Sharp cornered pot, black clay, black glaze, white Go to: ima-plants.com
veneer 12x6.5cm

Bonsai Focus 45
GALLERY

Shohin: Juniperus chinensis, Gardenia Jasminoides, Acer buergerianum, Chamaecyparis, Chamaenomelis,Pinus

parviflora
Masashi Orihara, (Akiya Award)

Prunus Tsuzuri Fuji

n Shigemasa Fujiwara, Pot: Owari
a 20 cm | 7,87"
p
a
J
n
o
b
n
i
K
:
o
t Pyracantha
o
h Shigekazu Isozaki, Pot: Seiizumi
P
17 cm | 6,69"

46 Bonsai Focus
Bonsai Focus 47
 WEEPING BONSAI
Text: Jerome Kellerhals Photography: Kathryn McCrary, Bonsai Focus Studio

Jerome Kellerhals guides you step by step through the styles of bonsai. This time he
creates a bonsai in the style of a weeping willow

weeping style bonsai is

created to mimic an old
weeping tree like a weep­
ing willow. Similar to the
windswept bonsai, this style
is fairly easy to create but can be chal­
lenging to maintain. The branches are
wired downward, and the new shoots
grow vertically, so as soon as they lignify,
they need to be wired down to maintain
the overall weeping effect. If the new
branches are not wired down into posi­
tion immediately, the weeping style loses
shape.

It is also quite difficult to create a well-

ramified weeping-style bonsai. The
canopies tend to look too bushy over
time. Therefore, weeping trees are mostly
displayed or photographed when
they are leafless to show off the
dramatic branching.

A weeping tree can look a little

spooky and dramatic. Although
the weeping willow may be the
first tree people think of when
they think of a weeping tree, many
other species also naturally weep,
such as the bottle brush, wisteria, weeping beech, river birch, weeping mul­
berry, weeping cherry, and many more.

%__ Old deciduous trees also naturally tend to

start to weep.

The weeping effect can be portrayed as

very dramatic or very subtle, depending
The material on what you are aiming for. The weeping
The pre-bonsai we chose for this branches can even have a slight wind­
project is an American elm (Ul- swept effect to one side to enhance the
mus americana). As you can see, interest of the material. Generally, the
it is quite tall, and it has elegant immediate branches coming out of the
subtle movement, all the way trunk should have a little movement, or
from the root spread to the top curve towards the sky and then be bent
of the tree. Admittedly, it does down towards the ground. This resembles
look like a bush at the moment, a tree growing towards the sky and then
but the potential is there! as the branch gets too heavy, gravity takes
over, and the branches dip towards the
ground.

48 Bonsai Focus
 STEP 1: Defoliate
Since this is a deciduous tree, the first
step is to defoliate the entire tree. Every
leaf is plucked off the tree to show off the
hidden branch structure. It is very difficult to
wire and shape a tree that has the leaves still on, as this
could hide some potential design ideas.

STEP 2: Removing unwanted branches

Now use a concave cutter and remove all the un­
wanted branches. Start at the bottom of the tree and
carefully choose the branches that are too thick and
can’t be bent without breaking - those need to go! We
want to keep a good amount of branches on the tree to
help create the illusion of a weeping tree. The branches we
choose to keep should be well distributed throughout the tree to
create balance. They should not be too close to each other.
 STEP 3 : W irin g
Now start at the bot­
tom of the tree and use
thicker wire to wire the thicker branches
together, and thinner wire to wire all the
thinner branches. We are using alu­
minum wire for this job.

STEP 4 : B ranch p la c e m e n t
There are a few things to keep in mind
when placing the branches on a weep­
ing-style bonsai. In this style, where the
branches are getting a 180-degree turn from up
right, we change the angle to face downward. This is the prime
time when branches break. To carefully position the branches
without breaking them, use the entire palm of your hand and
gently shape the big bends by massaging the branches into
place. As you start to bend, gently twist your branches into the
same direction as the wire. To create an aesthetically pleasing
design, keep the bottom branches longer, and shorten the rest
of the branches as you work your way up. The higher branches
should overlap the lower branches just by a tiny bit.

50 Bonsai Focus
CONTINUED CARE AND TRAINING
After careful wiring, as you can see in
the final picture on the facing page, the
weeping style has been created. It looks
powerful, mysterious, and elegant, all
at the same time. Now the challenge is
to maintain this style, striking the right
balance so the tree does not lose its
The final result o f the weeping bonsai
elegance and drama but instead grows
more elegant and dramatic over time. To
maintain this style, let the new branches
grow out and harden before deciding if
they should be part of the design or not.
If not, trim them. If yes, then wire them
down into the weeping style.
Example o f a weeping style bonsai. Betula pendula,
styled by Hermann Haas.
Example o f a weeping style bonsai. Betula pendula,
styled by Jean Paul Polmans
Freestyle Bonsai
Bend the rules of traditional bonsai, by Jerome
Kellerhals and Mariannjely Marval. The down-
to-earth style explains how to pot, grow, prune
and shape.
To buy the book: www.amazon.com
Bonsai Focus 51
 MASTERCLASS

FROM SHIKOKU ?
Bjorn Bjorholm restores a semi cascade juniper
Text and photography: Bjorn Bjorholm
Hidden by very overgrown and dense foliage, a Japanese Juniper is restyled by Bjorn Bjorholm
who brings it to an even higher level.

he term Shimpaku (or Shin-

paku) has become common
parlance in the modern
global bonsai lexicon.
Hop on any bonsai
related forum or website, and
the word is likely to pop up
in the first few seconds of
perusing. But what does
the term actually refer
to? Is it a species of Juni­
per, is it one specific cul­
tivar of Juniper, or does it
perhaps refer to Junipers
from a certain region?
Well the answer is rather
simple.
The term Shimpaku is a bonsai­
specific Japanese word that refers
to Juniper varieties (mostly Juniperus
chinensis) with scale-like foliage.
The term, in recent decades, has been
broadened out to incorporate any Junipe-

The old front, with the semi cascading main branch (A). It is a bit straight in the The tree seen from the right side, note that it leans quite a bit to the back, this
upper section (B) was done to bring the lower cascading branch more upward.

52 Bonsai Focus
 foliage somewhat reminiscent of coarse
Kishu or Itoigawa.
While it is sometimes rather difficult to
identify a Shikoku Shimpaku, perhaps
one of the best indicators is the match­
ing of the foliar characteristics with the
deadwood features. For example, if the
deadwood appears very heavy (again
similar to Northern Shimpaku), but the
foliage is rather soft, then there are only
three options
1. It is a Northern Shimpaku
with grafted foliage,
2. Or a Northern Shimpaku with
Seen from the left side showing the massivefoliage exceptionally rare naturally fine foliage,
3. But it can also be a Shikoku Shimpaku.
To dial down further, though, if the foliage
is so fine that it does not seem to match
chinensis varieties and cultivars. For
those unfamiliar with the importation
process from Japan to the US, all trees
must first be completely bare-rooted in
Japan before being shipped to the US and
placed under strict quarantine for 2 to 3
years depending on the species. This, of
course, is exceptionally risky, especially
when dealing with very old conifers such
as the one featured in this article.
Luckily, this bonsai was well-cared for
and made it through this arduous process
unscathed.
This bonsai was brought to Eisei-en in
Spring of 2023 for a full restyling and
detail wiring - its first after having been
imported to the US. The goal in rebuild­
ing the tree was to maintain the natural
integrity of the bonsai, while accentuat­
ing some of its features that had become

u Wired and pruned many times, resulted in a lot of fine

branches. I can show you how to make refined foliage pads.

rus species from anywhere in the world
with similar foliar characteristics. For
example, Rocky Mountain Junipers in
the United States would be referred to as
Rocky Mountain Shimpaku.
Delving further into the world of Shim­
paku Juniper, one will begin to encounter
a huge number of Juniperus varieties and
cultivars, the most common of which are
Itoigawa from the Niigata Prefecture and
Kishu from the Wakayama area of central
Japan. These are prized for their com­
pact foliar characteristics and deadwood
features. In addition, northern Japanese
Juniper varieties such as Hokkaido and
Tohoku Shimpaku are often utilized in
bonsai culture, although most of these are
grafted with other Shimpaku cultivars as
their foliage is difficult to maintain.
the deadwood characteristics, then it is
likely grafted with Itoigawa or Kishu. And
because Northern Shimpaku with excep­
tionally tight natural foliage are exceed­
ingly rare, the best answer would likely be
a Shikoku Shimpaku.
Strict quarantine
Such is the case with the Juniper featured
in this article. It was imported to the
United States several years ago by bonsai
collector Jim McLane and his wife
Rita of Birmingham, Alabama.
Jim and Rita’s collection
boasts hundreds of top­
quality and Kokufu-
level bonsai from
Japan, including
dozens of vari­
ous Juniperus

Kishu or Itoigawa
Another less commonly used Juniperus
chinensis variety is that of Shikoku Shim­
paku, which grows on the south-central
large island of Shikoku. These Junipers
often possess an interesting mix of char­
acteristics found in other Juniper varieties
from around Japan, such as heavier, less
striated deadwood similar to Northern
Shimpaku varieties, and semi-compact

Bonsai Focus 53
The deadwood in the upper section is a bit dull, typical for this variety, but this The lower left branch (A) has hidden inside a very interesting curving shape with
can be corrected later a very striking interplay with shari and live vein.

hidden due to overgrowth and potting small pads which emphasizes the power
angle selection. and size of the tree.

The tree was first reoriented, raising the
left side up slightly to bring the cascading
branch more into the light and rotating
it about 10 degrees clockwise to accen­
tuate the interplay of the live vein and
deadwood in the very upper portion of
the trunk. This was followed by a detail
wiring and placing them into relatively
In the future, the tree could certainly be
improved by hand-carving or sand-blast­
ing the chunkier deadwood areas, which
is something commonly done in Japan
with Shikoku Shimpaku. This would
allow for a better visual matching of the
deadwood and foliar characteristics.

1
More to see
If you would like to see a video version and detailed expla­
nation of the styling of this tree, go to: Bonsai-U.com.
This tree will be on public display at various times
throughout the year at the Aldridge Botanical Garden in
Birmingham, AL.
Info://aldridgegardens.com/

u The bark and deadwood of very old junipers are left more
natural to even further enhance their age

Firstly I want to clean up the deadwood and live vein

Then further clean the bark gently with a copper­

you can remove some of the flakes with a tweezers or brush. All meant for asthetic purposes, to enhance
small grafting knife the contrast between the live vein and the deadwood.

54 Bonsai Focus
To finish it ofifand create more consistency, I use a
dremel carving machine with a sandpaper bit. Very
gently move the bit over the bark with a very low
rpm. If you see some white tissue with is a bit moist,
then you have gone below the bark layer. So don't
Along the edge of the live vein there is still some dead The scraping tool left man made marks, so I use a
bark which I will remove with a scraping tool. picking tool with a very sharp tip to create some
grain to make that part look more natural again.

Detail of the live vein and deadwood, with a scraping tool I re­
moved some o f the old dried out bark so that the live vein stands
out even more.

After the preparative work I sprayed the whole trunk down

with water and then use a nylon soft brush to clean off the old
layer o f lime sulfur and algae. You can also use a water gun to
blast out all the dirt. I use a 50-50 mix of water and lime sul­
phur And I apply it on the deadwood which is not totally wet,
but slight humid, so it won't bleed over the live vein.

If we slightly turn the tree clockwise, you can see that

we can still see the base, but if you move further up
you see some interesting movement and interplay with
the live vein. Also we solved the problem with the
straight part (B).The more you turn it clockwise the
more interesting the upperpart becomes, however the
base will look worse and the lower main branch (A)
will be further away from the front. So for now this
will be the best option.

Bonsai Focus 55
 Detail of the Shari and the movement of the live vein,
now more visible in this position.

By tilting the tree towards

the right and slightly
towards the front as well,
section B improved quite
well coming more towards
you and making it more
dramatic.

u
Thinning out the tree
A challenge to re-compress the tree

Before I go into wiring the branches, I will

first thin out some foliage and remove
some unnecessary branches. During
mid summer junipers naturally shed a
lot of internal growth, these are almost
all old needles which will fall off. I will
run through all the small branches and
remove the scales growing underneath I remove the scales growing underneath the branches Extension shoots are left untouched

the branches and those which don't have

light green colored growing tips, the
socalled non viable growth. Then
I will be concentrating on the
viable growth. Shoots emerging
in the branch pits are normally
removed, however in some
cases you can use these new
shoots to bring foliage closer
to the base of the branch and
remove the elongated growth.
Extension shoots are left untouched
because I don't know yet were the foliage
is going to end up and I might need to Thinning out the tree and removing a
elongate some of the branches. Letting part of the back branch which grows to
far out o f the profile of the tree.
the extension shoots grow free for some
time after severe work on the tree will
help to reinvigorate junipers.

56 Bonsai Focus
Compressing foliage
I want to compress the foliage mass of
this juniper because it is taking the atten­
tion away from the interesting lines of its
trunk. When analysing the tree I see that
there is a large amount of foliage at the
lower right part. If I turn the tree further
it becomes clear that these branches grow
to far out of the profile of the tree. So I re­
move a decent amount of foliage and con-
fert the branches into jin. There is enough Seen from the original front the left side is just a giant slope

foliage left to avoiding a gab at the back.

u
Depth is super important for a design.
When viewing the tree from the front you
don't want your eye to dissapear to the It's one big giant slope
back and see a big open space.

The left side is one big giant slope which

makes it boring. I want to eliminate some
of the foliage out on the end and also
pull the branch more towards the base
to compress it some more with help of a
guy wire. And break the slope into several
levels. Not to rigid as a stepping cascade
The directional branch
I always start working with the wiring on the lowest directional branch. I am going to
break up the lower part of the foliage mass into three portions. A pad in the middle,
this will be the lowest part. Then I will stairstep to the the right with a pad towards
the interior of the tree. And finally stairstep back up to the left. To compress the whole
that part will be pulled more to the back.
The situation before pruning and wiring The same part now wired and positioned.

but with some level differances to make it

more interesting.
Concerning the Apex region, I want to
expose the deadwood a bit more, I am go­
ing to drop the foliage for about 5cm. But
during the process things can still change

Bonsai Focus 57
The lowest part o f the directional branch Using the foliage to fill in the gabs Positioning the fine branches creating pads

u
The wiring process
I t is going to use an unbelievable amount of wire

All primary and secondary branches will
need wire and most of the twiglets too.
After wiring I will start with positioning
the branches. Main goal is to create full
foliage pads. Creating a kind of hand­
shape with even spaces between the
twiglets. Once I have set the main shape
with the foliage on the outside I will
take the foliage of the inside and evenly
spread them down too. A bit similar
to roof tiles. Try to avoid jamming the
branches to create a dense look. Next I
will refine the underside of the pad by
viewing it right from the front. Removing
the dangling foliage with a fine shears
and slightly lift up the twiglets towards
the end which will give it a more aged
look. Then to even further refine it I prune
the strongest shoots. But be careful not to
give it an overdone look. The whole wir­
ing process took me almost 2 full days.

Then a couple o f hours later the whole

cascading branch has been wired and
set

58 Bonsai Focus
Final result seen from right side Final result seen from back side

Seen from the left side

Running through the final result

A: Lifting the tree up made the directional
branch stand out and made it more power­
ful. Also improved is the direction of the
trunk to the right which makes the tree
look more dynamic.
B: I did not push the apex down. I
did a little bit of pruning and only
wired it very sparsly, because
most branches were in the
right spot. You could make
the tree look more old by
compressing the apex but in
comparison with the domi­
nant cascading left branch
it would pull things out of
proportion. C: Instead I would
prefer to let the apex become
slightly larger in dymensions and
even fill in between the deadwood.
D: the live vein is far more visible then with
the original front.
E: I elongated some branches which will extend in
time and will visually break up the massiveness of
the deadwood.

Bonsai Focus 59
 GALERIE

Taxus cuspidata
Takamitsu Shimoda, Pot: Tokoname

io
d
u
St
s
u
c
o
F
i
sa
n
o
B
:
o
to
h Carpmus coreana
P Kei Bonsai Kai

60 Bonsai Focus
Bonsai Focus 61
 SHOHIN

SOFT ANO DELICATE

Room for more fun, when letting imagination go free
Text and photography: Kinbon, Japan
Yukio Hirose (Yamato-en) works on a small Hinoki cypress (Chamaecyparis obtusa)

Front before work Height 20cm Width 18cm

From the same central point a number o f trunks emerge in the typical clump
dwarf, yatsubusa type hinoki cypress with a trunk style suggesting it was grown from a cutting. There is a sense of age starting to

A
that has natural and soft movement rather than develop in the nebari and lower trunk. One trunk is being pulled down by means
the typical straight trunk trees you tend to see in a o f a guy wire.
forest. It is the typical clump style which has been
pot grown for a number of years and each trunk
is thin and has delicate movement, yet there is a sense of age.
An understanding of the species and character of this tree is re­
quired to make the most out of it, and the veteran master, Yukio
has just the experience required to do so.

In his workshop, Yukio has prepared a thin oval pot and aflat stone
ready for this tree.

62 Bonsai Focus
Just the one thick trunk on the left, in on instant it becomes a jin

The base at the front before work. The trunk on the left hand side is considerably Same after the removal o f the left trunk. Without any hesitation, Yukio strips off
thicker than any other, and it has a kink in the bottom. It is the most eye-catching the bark and creates a dead wood feature. Once the thick trunk disappears, the
tree in the clump and it must either be the focal point of the design or be removed remaining trunks are now almost all the same thickness and stiffness.
entirely.

Front before work After creating a jin with the left trunk, full tree. A Same rotated slightly clockwise. The remaining
little bit o f thinning has been done to the remaining trunks spread out in a natural fashion from this new
foliage front.

SEARCH FOR THE NATURAL LIGHT LOOK OF HIN O K I

Hinoki Cypress is highly prized as
construction timber in Japan, alongside
Cedar and they make up large swathes
of forests. The typical image of a Hinoki
therefore is of one growing in such a
forest with a bolt straight upright trunk,
however in bonsai we are not restrained
by that and we see twin trunk, slant­
ing and informal upright examples. In
the shohin world there are a number
of these trees grown from cutting and
there are a great number of variations
on styles when compared to something
like Cedar. They are stronger and easier
to grow than Cedar and are ideally
suited to cultivation as shohin trees.
There are a number of cultivars as well
which add interest, points out Yukio.
The material here is a soft and delicate
dwarf variety “Yatsubusa Hinoki”. Oth­
ers include Tsuyama Hinoki and the
slow growing Sekka Hinoki which has a
very particular and unique growth habit
and foliage type. This material is clump
with soft and delicate movement in the
trunks and how to maximize that char­
acter is the goal.

Bonsai Focus 63
 THE DIFFERENCE IN F E U BETWEEN H IN O K I CULTIVARS

Tsuyama Hinoki on the left and Yatsubusa Hinoki
on the right. Both are compact dwarf varieties with
a number of short nodes and bifurcations but the
Tsuyama is slightly more compact
On the left is Renzan Hinoki and the right is Yat­
subusa. A popular variety in Shohin Bonsai now is
the Renzan Hinoki due to the very dense and compact
growth habit which is tighter than Tsuyama
Both are Sekka Hinoki. On the left is one that is
regularly worked on, on the right is a branch that has
been allowed to grow out freely. The delicate branches
and tight compact growth make them highly desir­
able and if they are regularly worked upon then they
show their real ability.

u The deadwood got in the way, destroying the elegant

lines

The new front after wiring. Yukio becomes fixated Same after removing the dead wood. The thick trunk that was turned into dead wood at the back o f the tree is
on lowering the lower branches as he works but not removed after it was getting in the way and destroying the lines of the remaining trunks which now look more
every branch is lowered indiscriminately ju st those gentle and delicate.
necessary to give the tree a sense of age.

Wiring. Trunks that grow

directly and strongly
upwards have a young
look about them. The lower
branches are being styled
to give them age so the
trunks should reflect that.

64 Bonsai Focus
The tree is removed from the pot and root work begins. It has been grown in a pot for a long time and the Branches are easily damaged
roots are in good condition. The point to notice is that Hinoki branches are eas-
Uy damaged at the base when wiring, so they must
be securely held when applying the wire and then
when bending, especially with the lower branches.

A N OPTION?
The shallow oval pot feels a little too shallow and
uncomfortable.
The tree is placed in the shallow pot to see what it
looks like. There is plenty of space left to right, and
it isn’t bad but....

After root work is finished. The desire is to plant in

a shallow pot and so the root ball is reduced down to
make it thin

There is room for more fun

After the styling of the tree, the roots

are worked and the tree placed in the

pot that was prepared previous to work

beginning. There is a sense of a spread­

ing view from the space within the pot

obtained by planting on the left hand side

and accentuating the space on the right.

It is not a bad image and certainly the

best option in terms of making it easy to

display, however Yukio wants to have a bit

more fun with this tree and so he decides

to pull out the flat stone instead.

Bonsai Focus 65
Fixing the tree to the flat stone

The tree will be planted on the left hand side of the Wires are sat on tissue paper and then glued in After fixing the wired in place. The black areas at the back
flat stone. Fixing wires are to be set on the rock as place using instant setting superglue which is may well be visible and so it has been coloured using a
shown in the photograph. poured over the whole thing. black marker pen.

IT DOESN'T FALL OFF!

After a few minutes the wires are completely set Keto soil is squeezed and pushed into the surface The tree is then placed on top. It is the ideal size for
in place. A two part epoxy putty would take 4 to where the tree is to be planted the root ball.
5 hours to harden whereas this method is almost
instantaneous.

Starting at the outer edges,

the roots are covered with
keto.

A further accent point is added, a tiny leaf variety ofsat-

suki azalea, “Saotome Komachi”, is added at the base.

Finished planting on the

flat stone

66 Bonsai Focus
 Versatile 'Saotome Komachi' azalea

Branches cut from a larger plant are placed Yukio has been growing this Another example of the
at the base and on the left hand side. If rock planting of Saotome Satomoe Komachi. The
they are allowed to grow out, they will Komachi for 20 years. It has thickness o f the trunk
develop roots and eventually have a big a tiny little red flower. is exceptional as are the
impact on the image created. tiny leaves at the end of
After covering with decorative moss, it is displayed
the branches.
on a simple lacquered board. It has a simple and
elegant air and there is not much wrong with it.

Enjoying a unique scene is the

final enjoyment
The transformation in the tree is remark­
able, adding interest and playfulness
with the rock and accent plants. From the
A small wooden carving of a thatched hut is used as an accent. A thicker rectangular jiita is used in the
single tree growin in the pot, a completely top picture and a more natural edged one in the lower picture. Both give a similar sense of space and
elegance, but the latter suits the shape and texture of the rock slightly better.
different image has been created with the
final result a charming display.
The delicate and open nature of the tree
is the unique character point and that
has been fully accentuated and high­
lighted with the sterling and subsequent
display, something that will delight bon­
sai lovers.

The final choice for Yukio’s display is a small

figurine of a cow and shepherd boy to sit
on the natural edged jiita. The thatched hut
was a good choice but the figurine of a liv­
ing object gives a more animated display in
which we feel the life force of the tree. It is
a characterful yet delicate Hinoki which has
been brought to life.

After work is finished Height 24cm Width 28cm.

Bonsai Focus 67
How to create bonsai from cuttings, grafting and other methods using interesting and unusual species. With the help
of illustrations we will see how to take a piece of material through to its completion. This time we are working with
Carpinus laxiflora the red hornbeam

YEARS f - 3
Hankengai
Tailored into a semi-cascade-like shape that makes the most of the thick underfoot How to take care of acquired tree,
Carpinus laxiflora

View from the right side

23cm to base Flow of the trunk
seen from above
It tends to become a
slender branch Branch sprouting is weak in
the upper part o f the tree, so it
position where you
takes time to grow branches.
want to cut

old buds Cut o ff above old buds,

here it has more sprouting Front
power

Position where you

want to cut

Slightly flattened but no

scorching, etc.

Dark brown round Front

old buds

Red hornbeam

68 Bonsai Focus
 new planting angle
(planted in a semi­
cascade style)

Repotting
Mid-March.

Trim horizontally

The Japanese hornbeam Protect the incision with a

healing agent
It is a deciduous tree of the genus Ku- After planting Aim for a semi-cas-
matoda, family Betulaceae, and is native cading tree shape by
slightly changing the
to the mountains of Hokkaido, Kyushu, planting angle.
the Korean Peninsula, and China. In the
Kan to region, it forms thickets on flat­ old buds

lands and hilly areas, mixed with other

hornbeams. It is also often planted as a Check the planting
garden tree, and is a tree species that is angle before repot-

familiar to the Japanese.

The standard Japanese name for this
species is Akashide. (editor: Akai = red in
Square cascade pot
Japanese)

Among the hornbeams, the Japanese

Wiring and positioning
hornbeam, which has the smallest leaves, June-July.
is the most widely distributed in the
bonsai world, but the red hornbeam also
has relatively small leaves and is char­
acterized by delicate loose branches. In
addition, its spring buds are reddish, and
its autumn leaves (yellow leaves) are also
rated as the most beautiful, making it
as attractive as a bonsai tree. One of the
great appeals of this tree species is that
the older the tree gets, the more elegant
its trunk becomes.

In spring male catkins and female flowers

on the same tree develop, it's monoe­
cious. Female flowers are wind-pollinated
and develop into papery winged fruits
with small nuts. Male catkins appear
just before the female ones. The male
catkins are yellowish-brown with a tinge
of red and hang down from the branches
in the form of round strings. The female
inflorescences are green and are attached
near the tips of new shoots, growing up­
wards and drooping at the tips.

Bonsai Focus 69
 leaf shape March
Buds o f male
3-7 cm Buds of female inflorescence catkins

Oval in shape
Thin like paper

double sawtooth
April

female inflorescence

Tail-shaped at the tip.

Pruning of small branches male catkins

Dormant period

Apex Buds
Cut back to 2-3 buds April to May
Keep arch shape as guide
Cut creating an arc-shaped pad.

Fruiting Pluck off buds that pop out from

August to September the leaf outline.

There are seeds at the pe m a {e inflorescence

base o f female inflorescence

Male catkins can be Planting seeds

size 1-8 cm
removed
Beware of birds.

Seed shape

3.5 cm cover with a protective tissue

The shape of the

fruit bract About 4-10cm

Cover the seeds with

twice as much soil.

70 Bonsai Focus
Flower buds and leaf buds
3 types of winter buds how it develops
leaf buds are
small leaf bud

Female inflorescences
are contained within
thin winter buds.

short branch Male catkin

Female
Plump winter buds Female inflorescence
Contains male catkin inflorescence
Male catkin

Male catkin
Tree with fruit
September to October
(5-6 years after the adaptation)

15cm to the base

When the tree becomes old,

deep cracks form.

Fruit ears droop

Bark
young tree

Dark gray with raised vertical

stripes.

Key points for improving the branch setting

The best time to prune is during the
dormant season. Let new shoots extend
first to five or six leaves before pinch­
ing. Weaker branches should be left
untouched and let them extend as much
as possible. Prune back strong areas
such as the apex and external branches
to two leaves. Leave internal branches
untouched. On slightly contoured trees,
it may be necessary to pinch shoots that
protrude from the contours to reduce the
growth of the branch pads.
The best time to apply wire is around
June-July, when the shoots are still tender.
Build up the foundation of the trunk
and branch structure by firmly bending
from the base of the branches. When the
branches have grown more dense, it is
better to maintain the shape of the tree
by applying the clip and grow technique
with scissors, rather than using wire, to
give it a natural hornbeam appearance.

Bonsai Focus 71
 ADVERTISEMENTS

Large selection of collected redwood trees,

sierra junipers, and other native species.
Great bases and natural shari.
Formal upright, twin trunk, dump, raft, and
other styles.
Shohin to large specimen material.
Retail/Wholesale. • Mail orders accepted.
Check our web site at mcbonsai.com for
trees, pots, and stands.

'Bonsaischule Roh and Zack Shimon. P.O. box 317, Point Arena, CA 95468
(707)884-4126, E-mail <shimon@mcn.org>.

BONSAI
PREBONSAI

bonsai YAMADORI
THOR HOLVILA
w w w .n ijib o n s a i.d e SCHALEN

fhomas (jeppfH t 21 I 776^4 Offenbijrg | Germany I AUemagne

Chikugo-En
Bonsai Nursery
• bonsai (specializing in Kishu Shimpaku, Itoigawa, and Pine
• prebonsat
• imported Japanese pots, bonsai tools, wire,
books and accessories

18110 South Western Avenue

Bonsaischule Enger Gardena, California 90248
310/323-4011
Fel4strq|?e 21, 32130 Enger, Tel.: 05224-5879 Masaru Ishii Sorry, no cau fo g available Gary Ishii
 NEWS

Master Kimura's techniques

Bonsai empire presents a new online
course with Masahiko Kimura In this
Masterclass, filmed in his workshop near
Tokyo, mr. Kimura generously shares
his technical know-how, amassed in
a lifetime of experimenting with new
techniques and tools, handling a variety
of powertools to shape Jin and Shari,
Master Kimura explains his famous techniques
and making extreme bends in old, thick
branches by separating the live vein. Mr.
Kimura also provides a detailed wiring
class, and shows how to work with newly
grafted foliage to transform a Juniper. A d­
vanced level, 4 hours, price: $ 89.99. More
Info: www.bonsaiempire.com

Swiss suiseki and

bonsai
16. -17. March 2024
At the Hotel Meilenstein in Langenthal
(Switserland), Bonsai Long Valley is hold­
ing the exhibition for the Association of
Swiss Bonsai and Suiseki Friends.
The best bonsai and suiseki are presented
in a unique atmosphere.
There are trade stands and demonstra­
tors show their skills. Workshops and the
New Talent competition round off the
program.
Its an inspiring scenery for visitors in
the heart of Switzerland: the Auto and
Formula 1 museum, as well as an indoor
aquarium, are the hotel's highlight. The
bowling and fitness center provide active
entertainment and gourmets can look
forward to various restaurants and bars.
Go to: hotelmeilenstein.ch/ or bonsai-
boerse.ch or bonsai-vsb.ch.
Bjorn Back
to Kyoto
After lots of Rumours it is out in the
open, Bjorn is moving back to Japan to
establish Eisei-En Kyoto in Spring of
2024. Bjorn: 'When finishing my ap­
prentice in 2017,1had the wish to stay
in Japan and set up a business there.
However it was to costly and difficult to
get a permanent visa at that time, so I
_ decided to return to the US
and set up a bonsai garden in
Nashville Tennessee. The last
five years of establishing my
bonsai garden Eisei-En, was
an adventure. I had to really
start from scratch, build the
garden and create bonsai
from raw native material. All
this was quite a challenge. Now I will
19-21 January 2024, UBE Bonsai
convention
Demo's with KazuoYajima, Bjorn Bjorholm,
Koji Hiramatsu. Where: Isabel de Famesio,
C. del Capitan Angosto Gomez Castrillon, 39,
28300 Aranjuez, Madrid, Spain
17-18 February 2024, The Trophy
Exhibition of bonsai, suiseki, bonsai pots by
EBPC. Special line up of bonsai by Nippon
Bonsai Sakka Kyookai Europe. Including
private trees of Danny Use. Demos by Enrico
Savini (IT), Andres Alvarez Iglesias (ES), Piotr
Czemiachowski (PL), Pietro Sampirisi (IT).
Where: Limburghal, Jaarbeurslaan 6, 3600
Genk, Belgium
28 - 31 August 2026, the 10th World
Bonsai Convention
Where: Kuala Lumpur, Malaysia
odnsai
Centro Cuhurcrf do Forneiio
ArcinjijrJ - Me dr id

return to Kyoto to build an smaller gar­

Juniperus monosperma.Appox Age 800 years. Col­
lected by Richard Lee in 2015. Named the 'Tatsuma-
ki' ('The Tornado). It arrived in my garden at 2018 as
a raw material planted in a wooden box. Since then
I worked on the tree. And now this year it finds its
new owner because of our new future in Japan.
den, it is Japan after all, and to start with
an intensive school for bonsai. It all will
be a bit different than from the situa­
tion here in the US. I will be able to work
on some amazing trees and get bonsai
which I always wanted to have in my
collection.The time in the US has been
am azing and thanks to all my students
and everybody who supported us. I hope
to welcome you back in Kyoto in the near
future.

Bonsai Focus 73
 NEXT ISSUE

2024-1 #186 |#209- January / February

Kusamono's endless options j

This time we take a look at Wild flowers which 1

bloom in spring

' IM
After the leaves have fallen
After deciduous bonsai have dropped their leaves in late fall
and enter a dormant period, It's then time to prune

MASTERCLASS: Hidden beauty

Junichiro Tanaka from Nagoya, Japan, revitalises a giant juniper

Black pine 'soap'

With Masayuki Fujikawa we follow the development of a black
pine for a full year. ADVERTISEMENTS

Bonsai ist unsere Leidenschaft: www.bonsaipark.de

74 Bonsai Focus
Bonsai
P/aza
More than 1000 new products online
Acer palmatum Deshojo,
74,5 CM, ±2 5 years
€ 1.995,00
Rhododendron indicum Kagayaki,
43 CM, ± 25 years
€ 1.450,00
Rectangular handmade turquoise pot,
by Reiho 420 x 307 x 105 mm
€ 495,00
Round handmade unglazed pot,
by Bigei, 95 x 95 x 35 mm
€ 149,00
O m loop 4,2771 NL, Boskoop
Please make an appointment to visit us
info@bonsaiplaza.com | T: + 3 1 6 48 77 23 42
Pinus thunbergii, Matsu pumice 14 LTR., 3-5mm. Rhododendron indicum Nikko
18 CM, ± 25 years. € 14,95 45 CM, ±25 years
€ 139,95 € 895,00
PK Fertiliser | NPK 0-10-10 | 3 x Pinus thunbergii, Gouge set of 6 carving tools for
250ml 43 CM, ± 20 years jin and shari | dead wood carving
€ 20,49 € 650,00 gouges 111 mm wide |
matsu bonsai tools.
€ 137,50
Pinus parviflora, Juniperus chinensis Itoigawa, Mokko handmade unglazed pot, by
40 CM, ± 3 0 years 25,5 CM, ± 15 years Bigei, 160 x 140 x 45 mm
€ 795,00 € 195,00 € 165,00
Pinus thunbergii, Japanese stone lantern Kaku Yukimi
27 CM, ±30 years Gata Ishidoro
€ 1.395,00 €3.201,00
 Bonsai A sso cia tio n B e lg iu m presents

in te rn a tio n a l B O N S A I
17 Feb - 18 Feb 2 0 2 4

Demonstrations by
■ " , Lee Cheol Ho (South Korea) $

C hoi Song Ho (South K o re a )|

tr y . ’■ V- &
Yannick K ig g e n (B e lg iu m )

A ndres Bicocca (A rg e n tin a )

Lecture on "C o m p o sitio n in

the Tokonom a " by NBSKE

BTr? <

■a

1*1
4>d

M a jo r E uropean e x h ib itio n Bonsai, • Bonsai o f th e study g ro u p Shizen o f

Kifu & Shohin ' Francois J eke r '
-fr. *

Special line up o f bonsai by N ip p o n Special prize fo r the best f o r e ^ ^ B K J jw 4|

Bonsai Sakka Kyookai Europe p re se n ta tio n j|
Bonsai o f th e priva te co lle ctio n o f E xh ib itio n o f suiseki and exclusive
D anny Use
4 3 0 0 m ? in d o o r bonsai tra d in g area

G eneral info and tickets: Venue :

w w w .bonsaiassociation.be Lim burghal c.v.
Registration o f bonsai: Jaarbeurslaan 6
www.bonsa iassociation.be/trophy reg istration B-3600 Genk
C ontact: m B elgium
secretaris@ bonsaiassociation.be I . w w w .lim b u rg h a l.b e