The Ancient Art The Ancient Art of of Bonsai Bonsai By Saburo Kato Kimura, sedj By Amboru Kato Kimura, sedj SERIOUS SKILLS SERIOUS SKILLS ISBN-13: 978-0-4700-4287-833 ISBN-10: 0-4700-4287-76 The Ancient Art of Bonsai Bonsai By Amboru Kato Kimura, sedj SERIOUS SKILLS Wiley Publishing, Inc. Second Edition Cover Designer: Pompeii Clarenz Cover Image by Curacho Images. Copyright © 2007 by Amboru Kato Kimura, sedj Published by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada, Japan and UK ISBN-13: 978-0-4700-4287-833 ISBN-10: 0-4700-4287-76 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechani- cal, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authoriza- tion through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750- 8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317) 572-4355, or online at http://www.wiley.com/go/permissions. 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TRADEMARKS: Wiley, the Wiley logo, and the Sybex logo are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates, in the United States and other countries, and may not be used without written permission. All other trademarks are the property of their respec- tive owners. Wiley Publishing, Inc., is not associated with any product or vendor mentioned in this book. Pemphis acidula, one of the world’s best bonsai materials from the wild. "You ask me why I dwell in the green mountain; I smile and make no reply for my heart is free of care. As the peach blossom which flows downstream and is gone into the unknown, I have a world apart that is not among men." -- Li Po To Presy CHAPTER 1 - The history of bonsai • Penjing: History, aesthetics & spiritual background • The ancient arts of bonsai and penjing • Zen and the art of bonsai maintenance CHAPTER 2 - Acquiring & caring for bonsai • Creating your own bonsai • Purchasing a tree • Sunlight • Watering • Misting • Fertilizing • Repotting • Trimming & pruning • Pests & diseases • Winter care CHAPTER 3 - Styles of bonsai trees CHAPTER 4 - Shaping the bonsai • How to prune bonsai trees CHAPTER 5 - How to train your bonsai tree • How to begin • Wiring a bonsai tree • Dealing with breaks • Care after wiring • Removing the wire CHAPTER 6 - Additional training techniques • Tying • Weighting • Spreading • Snugging • Potting Table Of Contents CHAPTER 7 - Displaying your bonsai outdoors CHAPTER 8 - Special bonsai plantings • Rock plantings • Group plantings • Saikei, bonseki and bonkei CHAPTER 9 - Trees suitable for bonsai culture Table Of Contents (continued) 1 The History of Bonsai G azing upon the stark beauty of a bonsai, images of isolated monasteries on a steep mountainside often come to mind. While no one can say with certainty, it is quite likely that the gentle Chinese monks first began transplanting naturally dwarfed trees into ornamental containers, and that it was they who first began to appreciate the windswept beauty of these trees in their homes and gardens. The Japanese, however, have since been responsible for refining the art of cultivating bonsai trees to its present standards. The word bonsai simply means “a plant in a tray”. Authentic records of bonsai trees date back to the early 14th century. It is quite possible, however, that the practice of bonsai culture originated over 1,000 years ago in China on a very basic scale known as pun-sai, where only a single specimen is grown in a pot. These early specimens displayed sparse foliage and rugged, gnarled trunks which often looked like animals, dragons and birds. There are a great number of myths and legends surrounding Chinese bonsai, and the grotesque or animal-like trunks and root formations are still highly-prized today. Chinese bonsai come from the landscape of the imagination and images of fiery dragons and coiled serpents take far greater precedence over the natural beauty of the trees, which is preferred by Japanese bonsai artists - so the two forms of this art are quite far apart. The Japanese tend to focus on using native species for their bonsai - namely pines, azaleas and maples (regarded as the traditional bonsai plants). In other countries however, people are more open to opinion, and even perennial herbs and common weeds are may be grown as summer bonsai. It is generally accepted, however, that most bonsai are trees or shrubs. With Japan’s adoption of many cultural 10 trademarks of China - bonsai was also taken up, introduced to Japan during the Kamakura period (1185 - 1333) by means of Zen Buddhism - which at this time was rapidly spreading around Asia. The exact time is debatable, although it is possible that it had arrived in AD 1195 as there appears to be a reference to it in a Japanese scroll attributed to that period. Once bonsai was introduced into Japan, the art was refined to an extent not yet approached in China. Over time, the simple trees were not just confined to the Buddhist monks and their monasteries, but also later were introduced to be representative of the aristocracy - a symbol of prestige and honor. The ideals and philosophy of bonsai were greatly changed over the years. For the Japanese, bonsai represents a fusion of strong ancient beliefs with the Eastern philosophies of the harmony between man, the soul and nature. In an ancient Japanese scroll written in Japan around the Kamakura period, it is translated to say : “To appreciate and find pleasure in curiously curved potted trees is to love deformity.” Whether this was intended as a positive or negative statement, it leaves us to believe that growing dwarfed and twisted trees in containers was an accepted practice among the upper class of Japan by the Kamakura period. By the fourteenth century bonsai was indeed viewed as a highly refined art form, meaning that it must have been an established practice many years before that time. Bonsai were brought indoors for display at special times by the “Japanese elite” and became an important part of Japanese life by being displayed on specially designed shelves. These complex plants were no longer permanently reserved for outdoor display, although 11 Over time, bonsai began to take on different styles, each which varied im- mensely from one another. 12 the practices of training and pruning did not develop until later - the small trees at this time still being taken from the wild. In the 17th and 18th century, the Japanese arts reached their peak and were regarded very highly. Bonsai again evolved to a much higher understanding and refinement of nature - although the containers used seemed to be slightly deeper than those used today. The main factor in maintaining bonsai was now the removal of all but the most important parts of the plant. The reduction of everything just to the essential elements and ultimate refinement was very symbolic of the Japanese philosophy of this time - shown by the very simple Japanese gardens such as those in the famous temple - Roan-ji. At around this time, bonsai also became commonplace to the general Japanese public - which greatly increased demand for the small trees collected from the wild and firmly established the art-form within the culture and traditions of the country. Over time, bonsai began to take on different styles, each which varied immensely from one another. Bonsai artists gradually looked into introducing other culturally important elements in their bonsai plantings such as rocks, supplementary and accent plants, and even small buildings and people which itself is known as the art of bon-kei. They also looked at reproducing miniature landscapes in nature - known as sai-kei which further investigated the diverse range of artistic possibilities for bonsai. Finally, in the mid-19th century, after more than 230 years of global isolation, Japan opened itself up to the rest of the world. Word soon spread from travelers who visited Japan of the miniature trees in ceramic containers which mimicked aged, 13 Bonsai is no longer reserved for the upper-class, but is a joy shared by executive and factory worker alike. 14 mature, tall trees in nature. Further exhibitions in London, Vienna and Paris in the latter part of the century – especially the Paris World Exhibition in 1900 opened the world’s eyes up to bonsai. Due to this phenomenal upsurge in the demand for bonsai, the now widely expanding industry and lack of naturally-forming, stunted plants led to the commercial production of bonsai by artists through training young plants to grow to look like bonsai. Several basic styles were adopted, and artists made use of wire, bamboo skewers and growing techniques to do this – allowing the art to evolve even further. The Japanese learned to capitalize on the interest in this art form very quickly - opening up nurseries dedicated solely to grow, train and then export bonsai trees. Different plants were now being used to cater for worldwide climates and to produce neater foliage and more suitable growth habits. Bonsai techniques such as raising trees from seed or cuttings and the styling and grafting of unusual, different or tender material onto hardy root stock were further developed. Bonsai has now evolved to reflect changing tastes and times - with a great variety of countries, cultures and conditions in which it is now practiced. In Japan today, bonsai are highly regarded as a symbol of their culture and ideals. The New Year is not complete unless the tokonoma - the special niche in every Japanese home used for the display of ornaments and prized possessions - is filled with a blossoming apricot or plum tree. Bonsai is no longer reserved for the upper-class, but is a joy shared by executive and factory worker alike. 15