2020/NO.4 WEB Hi Res

International

2020/NO. 4

BONSAI

EvErgrEEN BONsai

$10.50

THROUGH THE PINE NEEDLES T his issue contains valuable information on evergreen bonsai

with a wide group of species. Articles on spruce, cryptomeria and hinoki cypress are presented here.

Unfortunately, like most bonsai events and gathering around the world, the 2020 7th US National Bonsai Exhibition had to be postponed to September 11-12, 2021 due to the COVID-19 pandemic. If we follow the health guidelines I hope we can return to a new bonsai community around the globe. Photo entries for the selection process will begin in January and end in June or whenever the maximum number of trees has been met. I look forward to welcoming you to Rochester, New York next September where you can see, study and appreciate beautiful bonsai from around the United States.

The last editorial mentioned how technology is ever changing and the introduction of new methods to present bonsai education. When I first started International BONSAI 42 years ago there were no computers, everything had to be typed then sent to the typographer. When the Mac computer (with 2K memory) arrived the production became easier.

Microsoft Word was used to compose the articles, photos were adjusted in Adobe PhotoShop and finally designed in Adobe PageMaker. The only problem was that there was not enough memory to have all three

applications open at one time. Soon technology improved and producing the magazine became much easier.

As we conclude our 42nd successful year of publishing International BONSAI I feel it is necessary to keep up with the times.

So, the print version of International BONSAI is being suspended and this will be the last printed edition. It will be replaced with the new digital version of International BONSAI OnLine. The digital edition will maintain the same high quality we have established, both in articles, photography and presentation.

Beginning with the Spring 1979 issue, there have been 164 magazines.

Most present day subscribers missed valuable information which is no longer available. A few of these classic articles will be updated and presented in the digital version in addition to new, interesting and educational articles and photos.

Readers can easily subscribe to this new FREE digital magazine at www.internationalbonsaionline.com.

Plans are to begin publishing International BONSAI OnLine bimonthly. The magazine will be available to everyone at no cost and hopefully readers will continue to patronize our advertisers. There are 100 back issues available of the printed edition and can be ordered online.

I’d like to thank all subscribers, some have been with us for over 40

years, quite an accomplishment. Just think of the great bonsai reference library you have assembled to help with your creation and appreciation of bonsai. Next, all of our authors and translators have done a stellar job of composing and translating articles from around the world and must be acknowledged. Our advertisers have truly supported International BONSAI making their services and items available as well as organizations announcing upcoming exhibitions, conventions and other bonsai events.

And, finally the staff must be thanked for their outstanding photographs, layout, proofreading, high quality printing and distribution.

I look forward to greeting you soon at International BONSAI OnLine and continuing our journey into the beautiful, interesting and sometimes challenging world of bonsai.

If you have enjoyed International BONSAI please subscribe today, it’s FREE. I look forward to the return of safe bonsai activities for people around the world. Please be safe and continue to care, improve, expand, and most importantly, enjoy your bonsai.

INTERNATIONAL BONSAI 3 2020/NO. 4

FEATURES 5 Beginning Today– Small Bonsai Course – Lesson 35: Sargent Juniper & Ezo Spruce

By Kyosuke Gun, Mayutaro, Peter Warren, Satomi Uchida, Wm. N. Valavanis TM Volume 42 Number 4 Issue Number 164

2020/NO. 4 Publisher & Editor William N. Valavanis Contributing Editor Julian R. Adams Contributors Jonas Dupuich Scott Elser Kyosuke Gun Masahiko Kimura Walter Pall John Romano Satomi Uchida Peter Warren Staff Harvey B. Carapella, Art Director Alan Adair, Editorial Assistant Marc Arpag, Editorial Assistant

12 Air Layering Cryptomeria Bonsai

By Jonas Dupuich 18 Masahiko Kimura's Fun Bonsai Classroom – Lesson 35: Creating A Deep Rocky Mountain Scene Using Two Forests

By Bonsai World Magazine, Peter Warren, Satomi Uchida 24 If Trees Could Talk – Part 10- Engelmann Spruce

By Scott Elser 28 A Little Magic With Shohin Bonsai – Part 51– Shohin Bonsai Musings

By John Romano 31 A Huge European Spruce

By Walter Pall

DEPARTMENTS

Published periodically (4 times a year) by THE INTERNATIONAL BONSAI ARBORETUM for the educational promotion and expansion of the artistic and horticultural expression of classical bonsai art on an international scale for English language bonsai fanciers.

3 Through The Pine Needles

International BONSAI— ISSN: 0198-9561

36 About The Cover– Eastern White Cedar

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38 International BONSAI Digest – 45TH 2020 Gafu Shohin Bonsai Exhibition

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© Copyright 2020 by The International Bonsai Arboretum, World rights reserved. No part of this publication may be reproduced in any form without the written permission of the publisher.

4 INTERNATIONAL BONSAI 2020/NO. 4

10 Gallery: International BONSAI Masterpieces

Beginning Today–

Small Bonsai Course

Lesson 35: Sargent Juniper & Ezo Spruce Japanese Edition: Kyosuke Gun, Text & Illustrations Mayutaro, Coloring English Edition: Peter Warren & Satomi Uchida, Translators Wm. N. Valavanis, Editor

Editor’s Note: This article has been reprinted with permission of S Press Media Publishing Company. The articles first appeared in the September 2018 and August 2019 issues of Bonsai Sekai (Bonsai World) magazine published in Japanese. The article has been translated and edited for our readers.

INTERNATIONAL BONSAI 5 2020/NO. 4

Developing Sargent Juniper Shohin Bonsai Juniperus chinensis var. Sargentii ‘Shimpaku’

Comparing Sargent Juniper Varieties

ade ood Few buds

Needlelike

Fat & thick appearance

Fine textured Slightly yellowgreen

Dark green

Mature

Green

Round

Round Immature

Thickness halfway between Itoigawa and Kishu with an angular appearance

Square Kishu

Itoigawa

Shikoku

Seed Formation & Seedling Development Pollen cones at end of fine foliage

Flowers halfway along fine foliage

Green

Seed 1/8”

Mid-September pollen

Flower

Purple 1/4”

Female branch

Male branch

Following April-May

Air Layering is a goood idea for thick branches and trunks

June

9”

Air Layer June to July Remove a ring of bark 1.5 times the thickness of the branch

April

Wrap with long-fiber sphagnum moss and cover with plastic

New roots develop from the upper cut area

Tie tightly but allow to water to excape

Controlling New Growth Cut strong shoots back to silhouette Remove lower leggy foliage Removing Foliage During Dormant Season

6 INTERNATIONAL BONSAI 2020/NO. 4

Keep upper foliage

Keep small shoots cut back when they grow out of shape Pruning Shoots During Growing Season

4 year Sargent juniper seedling

Transforming Sargent Juniper Shohin Bonsai Juniperus chinensis var. Sargentii ‘Shimpaku

The popularity of juniper bonsai has increased so much that it is said every enthusiast has at least one in their collection. Junipers are a vigorous species which can survive harsh conditions which makes them ideal for beginners. They are easy to wire and style with dramatic changes possible. Often junipers feature dead wood areas. They possess characteristics that no other species has. Junipers grow deep in the mountains and at high elevations. They are easily propagated from new or old wood cuttings. Air layering is easy and specimens can be developed in a short period of time. It is possible to bend and manipulate even thick branches as shown below, wrapping branches with tape or raffia for protection.

Sargent Juniper 10 Years From Cutting 7”

Top View Of Branch Distribution Foliage evenly fanned out

Long uninteresting straight section

Clean peeling bark with toothbrush

Trunk 1/2”

After Transformation

Bending Heavy Branches 1’2” plastic tape or raffia Protect bark by wrapping with plastic tape or raffia

3mm alunimum wire Use a guy wire if trunk returns to the original position

4” Mist foliage for protection

Ensure wire is on the outside of bends when shaping

Cut Remove downward growing foliage

INTERNATIONAL BONSAI 7 2020/NO. 4

Growing & Training Shohin Dwarf Ezo Spruce Bonsai Picea glehnii ‘Yatsubusa’

Origin Of Dwarf (Yatsubusa) Ezo Spruce

Take Cuttings In June-July

Short Needles

Ezo spruce in Nature

Bud sheath

New mature growth

1/4 - 1/2”

Normal branch

New needles

Last year’s growth Remove old needles

Last year

Witchs’ broom

Compact dwarf growth with multiple buds

Lots of short needles with many buds

2 year needles

Cut base with sharp knife

2nd cut

Shoot Pinching In May New growth New growth

1st cut

Short

Long

Pinch Pinch Pinch tip of new growth

Remove 2/3 of new growth

Winter Protection Mid-December to March Section exposed to wind dies

Do not pinch weak shoots

Repotting

Plant cuttings on angle for Sun

Summer Protection

End March to early April Weak roots

Use shade cloth to protect form intense heat and sunlight

Cut long strong root

Sections under snow live Poly house Keep trees cold and humid and protect from wind Although Ezo spruce are native to cold climates, trees dying in winter is a concern 8 INTERNATIONAL BONSAI 2020/NO. 4

Young trees should be transplanted every two or three years

Biggest concern is high humidity on hot days

3’ above trees to allow for air flow & heat to escape

Outdoor table

Air flow is key

Growing & Training Shohin Dwarf Ezo Spruce Bonsai Picea glehnii ‘Yatsubusa’

Ezo spruce are native to the northernmost island of Japan. Dwarf or yatsubusa cultivars were incredibly popular and there was a massive boom 40 years ago. At one point some cultivars were being sold for $100 for a one year cutting. After a few years many of those trees started to die and their popularity decreased. The reason is that they were difficult to care for in other areas of Japan. They are native to boggy wetlands in the cold north and they do not like hot dry weather, nor do they like cold freezing winds. Ezo spruce must be kept moist and cool during the summer then protected during the winter. Although they like high humidity, they do not like the combination of hot weather and still, humid air. Keeping under shade cloth during the summer is essential, but also important to have air circulation. Misting them regularly during hot weather is the best way to keep them happy and healthy. Many dwarf (yatsubusa) cultivars will become incredibly dense if allowed to grow and need regular thinning out in May and pinching. This is an important part of balancing strong and weak areas. New shoots grow in all directions and those growing upward and downward should be removed. Use only those buds and branches that grow horizontally to help make narrow and flat foliage pads. The dwarf cultivars are excellent for shohin bonsai and rock plantings.

Before Shaping

Top View After Wiring

4”

Long branches cut back

Dwarf Ezo spruce 10 year cutting

Removing Old Needles After Wiring & Shaping

After Pruning A 3 trunk style has been created by pruning excess branching

3” Tweezers

Congested branches thinned out

Red dots indicate where small branches were removed

INTERNATIONAL BONSAI 9 2020/NO. 4

G a

l

l

e r y

JOE NOGA PHOTOS

INTERNATIONAL BONSAI MASTERPIECES

Tsukumo dwarf cypress, Chamaaecyparis pisifera ‘Tsukumo,’ is a dwarf cultivar of the giant Sawara cypress which is used for building temples and coffins in Japan. It is not commonly trained for bonsai, however two dwarf cultivars, Blue moss cypress and Tsukumo dwarf cypress are commonly used. The Tsukumo dwarf

10 INTERNATIONAL BONSAI 2020/NO. 4

cypress is extremely slow growing which makes fine quality bonsai like this masterpiece difficult to find. It was started from a rooted cutting and trained by Felix Laughlin for over 45 years. This beautiful bonsai was displayed by Kaya Mooney at the 2018 6th U.S. National Bonsai Exhibition.

Sierra juniper, Juniperus occidentalis var. australis, is native to the western region of North America. They are highly prized for their thick foliage when trained into larger size bonsai. This Sierra juniper presents the feeling of great age and has been estimated to be 300 to 400 years old. The beautiful, bright blue foliage is

characteristic of some Sierra junipers. The sharp contrast of the textured white dead wood and ribbon like dark brown living trunk veins presents an interesting design, which is characteristic of great bonsai. This bonsai was displayed by Richard Trumm at the 2018 6th U.S. National Bonsai Exhibition.

INTERNATIONAL BONSAI 11 2020/NO. 4

Air Layering Cryptomeria Bonsai

By Jonas Dupuich

T en years ago, I picked up a Japanese cryptomeria, Cryptomeria japonica, at Maruyama’s Bonsai Nursery in Sacramento, California. The tree was the left over base from which a large air layer had been removed. Although there was little taper, much of the trunk was straight so I thought this could become a good project.

The base of the trunk was a bit wobbly and I spent a long time spinning the tree on a turntable trying to identify the lowest spot from which I could layer a straight section of trunk. I ended up selecting a point about a

quarter of the way up.

The air layer process was straightforward. Having practiced on younger trees I was ready to cut into this much larger tree. I began by removing a large ring of bark. In hindsight,

Fig. 1 Japanese cryptomeria about 46 inches in height.

Fig. 2 Curvy trunk below, straight trunk above.

Fig. 3 After removing a ring of bark.

JONAS DUPUICH PHOTOS

I’d long wanted a cryptomeria bonsai after watching a friend’s tree develop over many years so I was excited when I found this tree. The tree is now in a different collection, it’s under the care of Michael Hagedorn.

12 INTERNATIONAL BONSAI 2020/NO. 4

hindsight, the ring didn’t need to be so large. I may have skipped using root hormone as crytomeria layer easily. After surrounding the cut with moss, I secured the plastic sheet in place with wire.

I completed this work in May, 2011. By fall, I saw lots of roots so I removed the moss to get a closer look.

Fig. 8 The ring of bark behind the roots.

This is where the fun started.

Although there were plenty of roots, I wasn’t comfortable removing the layer so I built a temporary pot in which the roots could continue to grow. The pot comprised two nursery flats lined with plastic screen held together with aluminum wire. I assembled the pot in place and carefully spread out the roots.

I added the soil incrementally, working it in between the new roots.

Fig. 4 Next, I affixed a sheet of plastic below the cut with aluminum wire.

Fig. 9 Spreading out the roots.

Fig. 5 All tied up.

Fig. 10 From the side.

Fig. 6 After adding long-fiber sphagnum moss and watering.

Fig. 11 Adding soil.

Fig. 7 New roots- November 2011.

ININTERNATIONAL BONSAI 13 2020/NO. 4

Fig. 17 View from below.

Fig. 12 After filling the pot with soil, I added a layer of shredded long-fiber sphagnum moss to retain extra moisture around the roots.

Below, the original cut was plainly visible. This is where I’ll separate the layer.

I didn’t worry cutting too close to the base of the new roots as leaving a stub allows me to rest the trunk on the bottom of the new pot, relieving pressure from the new roots and adding stability.

The end result for today was easily the strangest looking tree in the garden.

Sixteen months into the project, it was time to separate the layer.

Fig. 13 Cryptomeria in two pots.

Fig. 14 September 2012, time to make the cut.

Over the previous nine months, roots had grown to fill the makeshift pot, pushing the soil almost half of an inch above the edge.

Fig. 18 Sawing away.

Fig. 19 Almost there.

Fig. 15 Full of roots.

Fig. 16 Roots growing on the surface of the soil.

14 INTERNATIONAL BONSAI 2020/NO. 4

Fig. 23 After combing out the roots.

I lightly combed out the new roots growing on the surface of the soil. I also combed out some soil from the sides of the rootball to help the tree get established in the new pot.

Fig. 20 Look Ma– a new tree!

Fig. 26 2014 – Two years after separating the air layer.

Fig. 24 Securing the rootball.

Fig. 25 Separation and repotting complete, 34 inches tall.

From here, I treated the layer like a normal rootball and tied it into the new pot with wire.

Although the tree was strong enough to work on in 2015, I waited another year before pruning Fig. 27 2015 – The new roots are now strong enough to support the tree.

Fig. 21 Air layer removed.

With a little cajoling, I popped off the old pot.

Fig. 22 Roots everwhere.

INTERNATIONAL BONSAI 15 2020/NO. 4

Fig. 28 2016 – Before cutback.

Fig. 29 2016 – After cutback.

Fig. 30 2017 – After removing the lower branches and repotting.

As you can see, I’d been developing a new apex by letting the top shoot on the tree grow freely for several years.

Many Cryptomeria bonsai with large trunks lack taper on the upper part of the trunk as this last step can take a long time. In this case, the new apex grew for seven years before I

started an air layer to remove it.

I successfully removed the air layer earlier this year and the tree is now ready to be styled. Of course, the tree has been ready for styling now for the past five years. Because I neglected basic cutback during most of these years, the branches are

uneven and it will take many years to develop a basic silhouette. When I started pruning, I couldn’t get a good sense of where the future outline would be so I made some initial cuts.

Interior shoots are prone to sunburn on Cryptomeria, so I moved the tree under shade cloth where it will stay until the weather begins to cool.

Fig. 32 September 2020 before minor cutback.

Fig. 33 September 2020 after minor cut back.

Fig. 31 2019 – The upper section of trunk is ready to be air layered.

16 INTERNATIONAL BONSAI 2020/NO. 4

I’m also misting the tree whenever I pass by with the hose as Cryptomeria appreciate humidity and frequent overhead watering can help keep the foliage healthy.

Considering the scope of the work done on the tree, I plan to let it grow freely for another year before jumping into the branch refinement.

Fig. 34 September 2020 Cutback complete.

Fig. 35 September 2020 After wiring, 30 inches tall.

About The Author JONAS DUPUICH Jonas Dupuich is an award winning professional bonsai artist from Alameda, California. His writing, photography and publishing activities have provided the perfect background for his blog, one of the top bonsai blogs in the world. Mr. Dupuich shares new techniques that are introduced and illustrated by excellent photographs of beautiful bonsai from around the world.

Mr. Dupuich is the proprietor of Bonsai Tonight where he offers a wide range of bonsai soils, tools, and supplies online, as well as in California.

He tours the United States giving bonsai classes, lectures and workshops. His new book, The Little Book of Bonsai, provides guidance on bonsai care, and shaping. Check out his website and blog: bonsaitonight.com

Editor’s Note: This article has been

compiled from three excellent blog entries by Jonas Dupuich from Bonsai Tonight. These well illustrated and written blogs are published several times a week and are highly recommended. https://bonsaitonight.com INTERNATIONAL BONSAI 17 2020/NO. 4

Masahiko Kimura’s Fun Bonsai Classroom Lesson 35

Creating A Deep Rocky Mountain Scene Using Two Forests Japanese Edition: Bonsai World Magazine English Edition: Peter Warren & Satomi Uchida, Translators Editor’s Note: This article has been reprinted with permission of S Press Media Publishing Company. The article first appeared in the April 2020 issue of Bonsai Sekai (Bonsai World) magazine published in Japanese. The article has been translated and edited for our readers.

Masahiko Kimura is well known around the world for the innovative, dramatic and often magical bonsai he creates.

P lanted in shallow trays these Tsuyama hinoki cypress, Chamaecyparis

obtusa ‘Tsuyama,’ have an elegant air about them. Over the years however, the balance has become lost and they have started to deteriorate. Mr. 18 INTERNATIONAL BONSAI 2020/NO. 4

Kimura acquired them with the intention of breaking them apart into separate blocks, then planting on a rock. In recent years he has been drawn to creating these very realistic and quiet natural scenes.

Student: Master Kimura, this year there seemed to be fewer visitors to the Kokufu Bonsai Exhibition due to the spread of Covid-19. In recent years there have been a great number of foreign visitors coming to see the show, and it seems as though Japanese people were scared to come and be in crowds of people. It was unfortunate.

Master Kimura: Unfortunately it couldn’t be helped this year, I just hope it doesn’t last for long.

Student: In the public popular vote

a Hinoki cypress forest won at the exhibition with a staggering number of votes. I am glad to see this as material today.

Master Kimura: I was lucky to be able to purchase these two Tsuyama hinoki cypress forests at an auction, however if they are kept as they are then there is no hope for them at all.

I am going to give them a new lease on life as a rock planting.

Student: What is the issue with them?

Master Kimura: They have been in the pot together for several decades and the roots have fused together, however the arrangement of the trunks has become a bit disordered and is in need of help. Such group plantings need fairly frequent repotting to keep

Two different forests of Tsuyama hinoki cypress, Chamaecyparis obtusa ‘Tsuyama,’ before combining and planting on a rock to present the illusion of a deep rocky mountain range. The heights of the two forests are 29” and 30”. The oldest trees are over 50 years old.

Preparing The Rock And Trees 3. It has not been repotted for a long time and the roots have formed one big lump, growing upwards towards the surface.

It doesn’t look like an easy job to untangle the roots. When it was put together, the trees were planted deep in the pot.

1. The flat stone has plenty of undulations and natural hollows from which trees can grow. Aluminum wire has been attached in various places where the trees will be planted. It has the appearance of a vast rocky mountain range.

Dividing The Roots Into Block Sections

2. It has recently been slip potted into a larger pot, so it easily pops out.

4. A saw is used to divide the root balls.

Pre-bonsai in training growing in deep Japanese terra-cotta pots as well as plastic pots. These plants are well spaced on commercial plastic benches which allow for water drainage and airation.

5. Cross section of the compacted roots.

6. The root ball is cut into sections of two or three trees.

The saw is used to start cutting through the root ball, then it is separated by tearing the sections apart. If it is too difficult to do this easily, then cut through the whole way with scissors or the saw.

INTERNATIONAL BONSAI 19 2020/NO. 4

Trying Out The Image With The Various Blocks

7. The main trunk should be as straight and vertical as possible because it is the growth habit of Hinoki cypress. The spaces between the trees should be carefully considered so that they do not line up.

10. The root ball of the block containing the main tree is checked to see how well it fits in the natural hollow. The root ball is already cut back to be very small, it can’t go much further.

13. After altering the size of the root balls, the branches of the trees in each block are checked to make sure they are not growing into one another.

8. Trunk movement can be corrected with thick copper wire and pulled together to change the orientation and angle. This is done to all the blocks.

9. The thickest trunked tree is placed as the main trunk in the new group. From here everything else will flow.

the arrangement and angles of the trunks at their best. As a result of not being repotted, the shape has deteriorated. The trees have also become planted too deeply in the soil to give it stability. This means the surface roots start to form deep in the soil and the roots structure becomes 20 INTERNATIONAL BONSAI 2020/NO. 4

11. A block containing three trees is positioned to the left side of the two main trees. Will it fit in there easily?

14. Branches that are going to be too close to the neighboring block are reduced or removed so the trunks can be perfectly positioned.

12. The root balls of each block are in the way a little and so are cut back and have some of the soil removed. Scissors are used to give a clean cut.

15. Looking from the front, the block of three trees on the left fits perfectly in with the main tree group.

undesirable. My plan is to take the two plantings apart and to combine some of the trees on a rock planting.

professionals making them. Is it difficult to find good rock as material? You are well known for carving your own rocks so you can do as many as you want.

Student:That sounds interesting. In recent years you have been busy making many rock plantings, but there doesn’t seem to be any other

Master Kimura: I have been doing these for over 40 years now. At the

Planting On The Right Side Of The Rock

16. The main trees are positioned on the highest point, and the rock flows downward and to the right. Various different blocks of trees are tested to see which fits best.

21. The overall balance of the composition is considered, especially with the new trees on the right side. The thickness and the heights of the trunks; the spacing and gaps between the trunks are all considered so that nothing is regular or feels artificial. This is the crucial part of the composition and will affect the long term future. No compromise would be made.

17. The root ball of the block that is the best fit is far too deep and needs to be cut in half with a saw. If this is done too aggressively there is a risk the tree will suffer.

22. The peat muck is a mixture of small particle red loam and long pieces of longfibered sphagnum moss.

25. Peat muck is used on the rock to give an adhesive surface and to fill the cracks, maximizing the growing space.

18. Trunks that are bent are corrected with thick copper wire so they are straight.

23. Slightly wet red loam is used so it sticks to the peat muck better.

19. A single tall tree is planted toward the front on the right. It is starting to take on the feel of a forest in the mountains.

24. Before the root balls were seated on the rock, red loam was poured into the gaps in the rocks, as well as peat muck spread on the rock surfaces.

26. Peat muck is used to cover the root balls that have been cut into small sections.

27. On the rear left, the trees are seated on a bed of red loam and then tied down.

20. The size of the root ball is reduced before fixing in place.

start they were very popular and they went in and out of fashion. There are very few of those initial creations left around today.

Student: Back then the most popular species was Ezo spruce. There were a great many made but you don’t see

any of those today.

Master Kimura: Ezo spruce come from a marshy wetland area in Hokkaido and as a result they are not very drought tolerant. It doesn’t matter how much peat muck or protection you give to them, eventually they

will dry out and suffer. As a result it is difficult to maintain them for long periods of time. Bonsai is really about the creation of pieces that mature and improve over a long time, that is why Ezo spruce rock plantings are no longer popular as they cannot last a long time.

INTERNATIONAL BONSAI 21 2020/NO. 4

Planting On The Left Side Of The Rock

28. The main trees are planted on the top. The muck that was positioned there temporarily is removed to allow more soil to be added to the main tree.

29. Each of the blocks are seated on a bed of red loam which is worked into all of the crevices of the rock. They are then tied down so they cannot move.

30. The single tree in the front is positioned carefully on the left and right.

31. There is a feeling that one more tree is needed at the front of the composition. A small one in a pot is brought to check.

32. The additional tree fits in very well and the trunk line compliments the others.

Student: The two main species you use are Hinoki cypress and Juniper.

Trees that are planted halfway up the rocks have their roots surrounded with keto and are allowed to grow down into the soil in a pot below.

22 INTERNATIONAL BONSAI 2020/NO. 4

33. Once the position is decided upon, it is tied down with aluminum wire, using a pair of pliers to tighten.

34. All the planting positions have been decided and any available space between the root balls is filled with red loam. Chopsticks are used to work it into the spaces.

35. Once all the gaps are filled, a wall of peat muck is built so that the red loam cannot fall away easily when watered.

38. After all the gaps are filled, firmly push the soil to ensure a tight fit.

39. On the left, the root ball is on the side of the rock and soil will easily wash away.

A thin layer of peat muck is used to prevent this from happening.

40. Gaps between the peat muck walls surrounding each root ball should be filled with red loam.

41. Finally ensure there are no gaps in the soil surrounding the root balls.

36. There should be no spaces between the root balls, fill with red loam.

37. Any gaps should be filled with red loam.

Master Kimura: There is always a lack of soil with rock plantings and the watering of them becomes very difficult and losses will inevitably occur. Thinking about making things easy for the average enthusiast, this

42. The planting is now finished. Moss will cover the soil surface to protect from drying out.

technique is a good one to use.

Student: In the case of this Tsuyama hinoki cypress planting, will it stay just on the rock or will you put it in a pot?

Tsuyama hinoki cypress forest on a rock. A piece that instantly evokes the image of a forest, deep in a mountain range. Such pieces that are so recognizable have become very popular recently. Total height including rock is 38 inches.

Master Kimura: I don’t know, I haven’t thought that far ahead.

Tsuyama hinoki cypress are relatively strong against drought, and there will be more than enough soil for them to grow. I

don’t think it will be too difficult to grow these trees on this rock.

character. The whole forest scene looks like something straight out of the mountains.

Student: I see. The rock you are using is a superb one, it has great INTERNATIONAL BONSAI 23 2020/NO. 4

If Trees Could Talk Part 10–

Englemann Spruce

By Scott Elser

T his Engelmann spruce, Picea englemannii, has traveled to shows

across the country, so you may already be familiar with it because of its unique form. This bonsai has been seen at our local shows in Portland, Oregon as well as in the Artisan’s Cup in 2015, 2016 5th US National Bonsai Exhibition in New York and the Natives Exhibit at the Pacific Bonsai Museum in 2017.

More importantly to me, this tree

surprise appearance of Ryan made the experience very rewarding.

I think that they both were shocked to see a spruce so far south, especially old, native stock. Randy Knight had collected the tree two years earlier in the shadow of Mount Adams, two hours from my home in Portland, Oregon. Fortunately, I had already made the move to a bonsai container and had it locked down in the pot. Mr. Kimura was able to see through the tangled mess and we were able to create a great structure for the future tree.

After this initial styling the Engelman spruce grew like a monster, vigorous and thickening quite rapidly.

Quite the opposite of its century stuck on a lava rock. The tree continued to develop, but I didn’t really have a good idea of how to handle it. At the

was my introduction to Ryan Neil and his teacher, Masahiko Kimura.

We three styled and set the structure together in 2006, when through my teacher Boon Manakitivipart, I attended a Golden State Bonsai Federation workshop with Mr. Kimura, and his young Jedi apprentice, Ryan. What a serendipitous meeting with my two teachers and Mr. Kimura. As you can imagine, I was a bit on pins and needles working with Mr. Kimura, but the

2004– Engleman spruce growing in an Anderson Flat.

SCOTT ELSER PHOTOS

2006– A crowd gathers to watch during the workshop.

24 INTERNATIONAL BONSAI 2020/NO. 4

time, no American studying Bonsai in Japan had really worked with spruce, and no one locally had done much with Engelmann spruce, or any of the other great elongating species we have here. I was pretty much on my own. I just did the pinching that is in all the books. This technique worked, but took three times as long as it needed to. The big piece that was missing was the incremental pruning to open it back up and evolve the design.

After exhibiting the bonsai at the three national shows in consecutive fashion, I wasn’t happy with the tree, but didn’t quite know what to do.

There was a gnawing discomfort that it just wasn’t giving the impression of a wild tree. However, I was still very proud of the density that I had achieved, but that was the problem.

The crown was a solid helmet of foliage that lacked the wildness that was so apparent in the deadwood.

2006– Tree prepared for the workshop with Masahiko Kimura in California.

2006– Working on the tree during the workshop. Left to right: Masahiko Kimura, Ryan Neil, Scott Elser and Boon Manakitivipart.

INTERNATIONAL BONSAI 25 2020/NO. 4

I finally figured out that more space was needed between elements in the design, and that I needed to open things up dramatically. I also needed to elongate the foliage, rather than compact it. As I began looking for buds to prune back too, I realized there weren’t many. I thought this was due receiving less light the previous couple of years, but I realized that the real culprit was overcrowded branches created in the drive for density. It took a good dozen years to get here, but now I realized that it was time to reassess and create some space.

While pruning this bonsai I was very committed to the rule of two.

Only allow two branches at any intersection. It was then that I discovered that I had junctures of three and four branches all over the tree. In my desire to maximize the foliage mass for consecutive shows I had inadvertently sacrificed the structural quality of the tree. I was so focused on the creation of nice foliage pads that I didn’t re-examine the tree openly each time I touched it. It’s common to leave three shoots on a branch to create fullness for an exhibit, but since I had stacked all these shows up in a row, after four years those shoots turned into ramified branches which I hadn’t questioned. I also discovered that this caused the wire to cut in at an astronomical rate. Spruce are known for wire rapidly marking and this tree is no exception. That is very predictable on spruce.

To begin restyling this bonsai, I pruned the branches in 2019 to get it back to some structural integrity and open it to light. In 2020 I discovered that the hollow in the base was rotting away at an alarming rate. By the time 2006– The completed Engleman spruce ready to continue its development.

26 INTERNATIONAL BONSAI 2020/NO. 4

I got the cavity cleaned out, it was almost as big as my fist and the large jin was in peril. After several weeks of drying out the wood, I sealed it with epoxy and filled the cavity. I then inserted two aluminum rods the length of the jin to keep it from

breaking off. That jin carries the character of the tree, so its preservation was paramount. Now the search is on for a new, American container to propel the tree to its next chapter.

2015– Displayed at the 2015 Artisan’s Cup in Portland, Oregon.

2020– The bonsai was renewed to improve the design.

JOE NOGA

2016– Displayed at the 2016 5th US National Bonsai Exhibition in Rochester, New York.

2020– A new front was selected during the styling.

About The Author SCOTT ELSER Mr. Elser is a graphic designer who started early down the bonsai path by studying the trees of his grandfather, Mark Emmert.

Bonsai was a natural marriage of his love of the outdoors with his graphic design background. Combining his outdoor experience and passion for native Northwest species, he began gathering trees from the wild to build his collection.

He took his bonsai skills to another level when he began studying with Boon Manakativipart, graduating from his three year Intensive course in 2005. Armed with this in depth instruction, Mr. Elser began entering bonsai in the US National Bonsai Exhibitions, winning Best Evergreen in 2008 and 2010, and National Award for the Best Bonsai in 2012.

His pursuit of bonsai as an artistic endeavor continues with Ryan Neil at Bonsai Mirai. He draws on his profession as a graphic designer to create Northwest inspired bonsai and now teaches the same throughout the region.

INTERNATIONAL BONSAI 27 2020/NO. 4

A Little Magic With Shohin Bonsai Part 51– Shohin Bonsai Musings

By John Romano

Fpodge or this column, I compiled a hodge of various and miscellaneous

Japan and elsewhere have led me to amend some of this.

suggestions, ideas and techniques I have learned and tried over the years and have been fermenting (sometimes plagued) in my mind in relation to growing shohin bonsai. It is through our experiences, trial and error that we learn new and better ways to do things. I am always not only trying to do what is best but also what is easiest for me in my bonsai practice. We often struggle with habits that can be burdensome and time consuming. Finding new or different ways to streamline and make it our work easier and better for our trees is good. Do with these as you will.

Hopefully some will be helpful.

28 INTERNATIONAL BONSAI 2020/NO. 4

Chinese quince, Pseudocydonia sinensies, probably created from a young seedling.

Displayed at the 2020 45TH Gafu Shohin Bonsai Exhibition in Kyoto, Japan.

WM.N. VALAVANIS PHOTOS

Soil Soil is the holy grail of growing bonsai and good soil is essential for their health. In growing shohin bonsai for the past 30 plus years, I have learned things, often with stubborn resistance.

I have always made my own soil, usually sifting down to three sizes: large, medium, shohin, and sometimes a bit smaller particle for mame bonsai and kusamono.

Since first meeting Boon Manakitvipart in the late 1990s, I was won over by the equal amounts of akadama, lava and pumice mix, with a bit of charcoal. My own experiences and dialogue with other shohin bonsai professionals in

For Shohin Bonsai Conifers I still abide by this 1/3 ratio and it has worked well for me overall. This mix for shohin bonsai is screened down to approximately 1/16 to 1/8�

particle size. approx. Recently I have been adding a bit of kiryu (Japanese volcanic stone) to keep the soil a tad drier.

For Shohin Bonsai Deciduous I have been using the Aoki Blend small sized mix from Japan for the past three or four years and have

found it to be excellent. It is a blend of 80% akadama, kiryu and fuji lava.

Because I still work full time, it is sometimes a struggle in mid-summer keeping moisture in the soil of small trees. This mix has helped keep the deciduous hydrated for most of the day. It is important to get the “small” size (5mm) and not the shohin bonsai mix. The shohin bonsai mix in my opinion is too small a particle size.

The 3mm size can be used for mame bonsai and kusamono. You could also blend your own soil mix with that ratio yourself but, for me, it is becoming convenient to use the Aoki Blend which has proven a great choice for deciduous. It is also quite clean and pre-sifted.

Repotting I have learned that certain species require annual repotting and others can wait longer, even longer than normal. The issue we always face is that repotting and root pruning causes a slowdown in growth and less vigorous growth. So, if you can prolong repotting, while balancing the watering and nutritional requirements, you can often prevent that lag. It can be tricky, as not repotting can make the tree wilt or drop leaves if root bound.

When growing in colanders, you can

simply place a smaller colander in a larger one to eliminate the slow down. When repotting, leave the center of the root ball intact! Don’t hack away and disturb too deep into the center core when pruning roots.

Watering and Hydration This is your daily ritual with shohin bonsai. If you are often away from home, it can get tricky to keep your trees watered during hot weather.

Using an area with shade cloth during the midday heat is one good practice.

Also consider setting up a watering or misting system to aid in hydration during the hotter months. And, as mentioned in the soil section, using the appropriate size and ratio of ingredients aids in keeping trees hydrated.

Another suggestion might be to simply cover the pot itself during hot weather to reduce the heat that builds up in the pot. A pot can get very hot in summer heat which will evaporate moisture in the soil fast.

Research has shown that by shading just the pot, with a slanting board, reduced the heat level substantially in the soil. It might not be convenient to do this with a large collection of shohin bonsai but doing it selectively on tender plants might help.

Don’t be afraid to move your trees

Spindle tree, Euonymus sieboldiana (hamiltonianus,) trained in the cascade style.

Displayed at the 2020 45TH Gafu Shohin Bonsai Exhibition in Kyoto, Japan.

around on the benches into a more appropriate microclimate. Some trees may need a bit more shade for various reasons during the growing season.

You might find it wilting when it starts to get hot or dropping leaves.

Conversely, trees may want to get more sun. After a period in the shade to increase healthy growth, a return to more sun may be in order. Or as fall approaches and certain areas on the bench are getting more shade, you can move trees to more sunny areas. Evaluate and move trees where appropriate.

Pots I grow out most of my shohin bonsai in grow pots, or sometimes colanders.

Transferring trees to a slightly larger grow pot can increase vigor, help enlarge a trunk and increase foliage mass. Keeping some trees in very small pots can reduce vigor.

Wiring There is more than one way to wire a tree into a small pot. When only one drain hole is present, you can anchor your tie wires with a piece of copper wire bent into a “figure eight” shape to hold them in place. There are also other ways to wire in small trees.

Some seedlings and young trees might do with a period of time in the ground to increase trunk growth. I don’t do this often, but it has helped speed up root-over-rock style bonsai and trunk growth on other deciduous species and larch.

Defoliating Deciduous Species There is more than one way to defoliate deciduous trees. First decide if it is appropriate. If you decide to defoliate, make sure you feed the tree well in spring. Often we wait to fertilize deciduous species until the leaves harden off. The safer way is to partial defoliate, which can take the form of cutting leaves to a smaller shape, removing only strong outer leaves or removing one of a pair of leaves.

Winter Preparation I recommend spraying appropriate fungicide & insecticide once or twice before putting winter hardy trees away in winter storage. Traditional lime-sulfur spray in a 30:1 ratio is good.

Winter Storage Do what is best for your trees to protect them during the winter season. You INTERNATIONAL BONSAI 29 2020/NO. 4

Sargent juniper, Juniperus chinensis var.

Sargentii ‘Shimpaku,’ featuring dead wood and lush dark green foliage.

Japanese deciduous holly, Ilex serrata,’ full of ripe red fruit which persists throughout the winter season.

Chojubai flowering quince, Chenomeles japonica ‘Chojubai,’ trained in the multiple trunk style.

might need multiple dormancy storage areas depending on where you live and what trees you have. I have a greenhouse for hardier trees and my attached garage for semi-hardy Mediterranean trees where it does not go below 35oF. Usually the temperature stays in the mid 40os F. I use supplemental grow lights here for some trees.

Winter Watering I have lost the bulk of small trees during winter when the inner root ball becomes desiccated and dries out completely.

Watering in cold storage may only affect the outer roots and not get into a dense root ball. So, during winter I use a few learned techniques to aid in shohin bonsai hydration.

A Putting snow on top of the trees which will slowly melt and slowly water the trees.

Sekka hinoki cypress, (Chamaecyparis obtusa ‘Sekka.’ trained from a cutting in the formal upright style. Displayed at the 2020 45TH Gafu Shohin Bonsai Exhibition in Kyoto, Japan.

B Occasionally dunking trees in a pail of water to fully hydrate the root ball.

C When watering, water a few times to get the root ball fully watered.

Lastly, it is a good idea to water the shohin bonsai very well before putting them away so they start at a good point of hydration. A soaking rain before putting your trees away is a Godsend!

About The Author JOHN ROMANO John Romano lives with his shohin bonsai collection (and the rest of his family) in West Kingston and also works at New England Bonsai Gardens in Massachusetts where he teaches bonsai classes and has private students.

Mr. Romano’s shohin bonsai have been displayed in several U.S. National Bonsai Exhibitions. One of his shohin bonsai compositions won the Excellence in Design Award by the Rosade Bonsai Studio at the 2000 International Bonsai Symposium. He spent five years studying bonsai with Kenji Miyata and also studied shohin bonsai at the, Taisho-en Bonsai Garden in Shizuoka, Japan.

30 INTERNATIONAL BONSAI 2020/NO. 4

A HUGE EUROPEAN SPRUCE

By Walter Pall

T he European spruce, Picea abies, also called Norway spruce is the most

advanced stage. Of those that have survived the collecting trauma more than 50% will die within the next years. This is because most folks are in a hurry and think they can treat spruce like other collected trees.

common tree in Europe. In many regions more than 50% of all trees are spruce. As long as the climate is moist and cool they grow in many different habitats; on soil, gravel, sand, rocks, they can even be found in bogs. Thousands of spruce seedlings can be found everywhere. One should think then that this is a great species to collect in nature. But this is not so. Horticulturally it is difficult to keep them alive when collecting.

Often way over 50% of a lot die.

Then it is difficult to get them to an

One has to go very slowly and think twice before the next move. Five to ten years after collecting they should be established but still be raw material.

Then the main styling can start.

Again this has to be done in stages.

August 2013– A couple months later the tree has obviously survived the collecting process and now is in my garden already. It looks very vigorous– but what will be the future form?

WALTER PALL PHOTOS

May 2013– A treasure was discovered in the Italian Alps by Mauro Stemberger in spring 2013. Massimo Montemaggiore from Mauro‘s crew looks slim compared to the mighty European Spruce.

INTERNATIONAL BONSAI 31 2020/NO. 4

It often takes about 20 years overall before a spruce is presentable and stable. From then on it is hard to kill one. If this has not turned you off I have more news: the toughest part with spruce is to find a good one for bonsai. Among tens of thousands in most forests one cannot find a single really good one. Only in extreme locations, like at the timber line, one sometimes gets real gems. The good news is that these usually have very compact small root balls and survive collecting well. In addition such trees can be styled very soon and planted into the final pot within a few years.

Mauro Stemberger and his crew have collected such a spruce in the spring of 2013. It found it’s way into my garden soon after as the photos show.

Then I did nothing but watering and a bit of fertilizing. You must not be in a hurry with such precious material.

Many would have cut back the top very quickly and made styling decisions soon. I did none of this, just waited until the tree looked quite vigorous.

The spruce became healthy and vigorous two vegetation periods later.

Then again I did not start styling but only took the spruce out of the growing container to inspect the surface roots and work on them. Also, I had to make sure that there was very little of August 2014– Before starting the main styling it is very important to uncover the future nebari. The roots and the lower part of the trunk decide about the future of the tree. René Alber does a nice job here.

32 INTERNATIONAL BONSAI 2020/NO. 4

the original soil from the collecting area left. Then the tree was planted into an intermediate bonsai pot in a good looking position. No cuts were made on the crown again! All the green is needed at this stage to help new roots to grow abundantly. Only after this is done can one start styling.

This was a full year later.

Then the fun really starts. The tree is analyzed from all sides and angles. A few options are defined.

The best option was declared the final one. The superfluous branches were cut off totally or partially. Now all deadwood work has to be done.

One works with all kinds of tools to accomplish deadwood that looks like man never touched it. After this the main branches are wired and bent into the desired form. One should then pause for a few weeks or months and then continue with the smaller branches. When studying the tree again I found that the long straight part of trunk which had not

much taper was a real handicap. I decided to create a very large and long shari line. This had the effect that the boring part got much more interesting and somehow looks like it had movement.

Five years after the spruce was collected I had a Bonsai Master Class in my garden. As one of the projects the spruce was planted into what I thought was the final pot at that time.

The result was very convincing we thought. The classical pot from Japan fit very well the classical form of the crown. I could have left it like this and been pleased with the result.

After careful contemplation, I decided two years later to totally change the look by using a new pot. The pot, or rather container, is so wild that I have not found a tree for it in ten years. It was made by Mateusz Grobelny from Poland and looks like some insane alien has created what he thought was a bonsai pot. Well, we did it and I am happy with the result. The

August 2014–Now the nebari and trunk line are clearly visible and look good. But what with the mess on top?

plan is to untame the tree again and make it look more like a real wild, old tree in the mountains. The crown must not look like a bonsai crown and never get real dense with foliage pads according to my artistic feeling.

European spruce need coarse substrate, which holds a lot of water but still is well draining. I usually work with pure pumice and add 30% rough peat, or coconut fiber or crushed bark. Hard akadama would be good choice or any other well draining stuff that does not decompose and hold lots of water. Spruce need good watering in summer and cool to cold temperatures in winter, Location should be half shade. In winter they can be left outside in the garden. They need some fertilizing and otherwise should be left alone as long as possible.

When repotting only cut roots when absolutely necessary. Repotting should rarely happen. With very old trees, after ten years or later, leave them alone! If you don’t mess around they are hard to kill.

There are two interesting issues here: 1) full repotting in late summer.

2) making a really beautiful tree “ugly” on purpose. If one looks closely at the dates the tree was collected in May and potted into the plastic container right away. After this it was repotted three times in mid-August!

After decades of research, thinking,

trying, failing and succeeding I have come to the conclusion that mid-August is the very best time to fully repot a spruce, at least in my area. This depends on the local climate, of course. This is similar to most parts of central and northern Europe and also the northern part of the United States. My thinking is, at that time the tree has done all the homework for the summer and is basically ready for winter. It still has eight to twelve weeks to grow and prepare for winter.

In nature this time is spent to store energy in the branches, trunk and roots and to develop even more buds for the next year.

When repotting old conifers I try to not cut any roots. The full root ball is somehow crammed into the new container without hurting the roots much. Also at this time no cuts are made on the top. The green is all needed to create energy to help new roots to establish. I found that in the middle of August is the safest and healthiest time to collect spruce in nature and to repot in your garden.

While it can be very hot and dry, still this will get better every day quickly.

In the following spring the tree starts with full vigor right away. If repotted

in spring the opposite is true. The moist and cool weather in April is fine for spruce. But then it gets worse every day and the tree goes into summer without really becoming established. After repotting in midAugust the tree has twelve weeks to prepare for winter and then does not even need much protection in my area. In spring it will start vigorously right away. It is called “Late Summer Repotting” for a reason– because it is not “Fall Repotting.” Fall is too late!

The other issue is about the new look after having already successfully styled a good bonsai. The well behaving spruce in the classical pot got very good press. When I showed the tree with the crazy container on social media I got a lot of good feedback and more than one thousand likes. But there were also a few who really hated the idea to “destroy” a very good, classical looking bonsai.

Well, I fully accept that some hate it.

It is a question of taste and general feeling and very different ideas of what bonsai really is. For me it is an art. In my understanding of art it is NOT about following known paths but creating new paths. It is not about creating something beautiful, but

May 2017– By now the tree is well established and the crown makes sense. A big shari was cut into the long straight part of the trunk to improve the future view.

August 2015– Styling starts with a vision, then major cuts and after that detail woodwork. Here Thomas Haering refines jins with a Dremel after they were worked on with a Makita type die grinder.

INTERNATIONAL BONSAI 33 2020/NO. 4

about creating something which gives a strong impression. To just create another very good classical bonsai is not good enough if one has done it often already. It will be a copy of a copy. So why create something new if the old is so good? Well, because it is new.

The history of mankind has shown that, at all points in time, people thought that what was created in art was the epitome, the zenith and the end of searching. And then someone came with a radically different way and eventually succeeded. We may not succeed, but we should try.

I only write this to help people understand what is going on. I am not at all trying to imply that everybody should go this path. Only do it if you are convinced. On the other hand it should not be a big problem to restyle the tree and make it behave in a traditional pot again if that wish ever comes up.

Left– Little Gem dwarf gardenia, Gardenia jasmoindes ‘Little Gem,’ trained from a cutting by William N. Valavanis July 2018– Only five years after having been discovered in the mountains and collected, the spruce already looks impressive. The rather small Japanese Tokoname-ware pot makes the trunk look big.

August 2020– A very strange container by Mateusz Grobelny from Poland was chosen to give the tree a new home. Here the tree is held in the final position before it is fixed.

August 2017– It is always amazing to see how small the natural root ball of very old conifers can be. Marija Hajdic lifts the mighty spruce into a good pot.

34 INTERNATIONAL BONSAI 2020/NO. 4

October 2020– Three months after the final repotting the spruce looks very fit. Some moss and lichen will appear on the container and give a very natural feeling. The plan is to make sure that the crown stays loose like on a wild tree and does not look like a bonsai crown.

About The Author WALTER PALL Walter Pall is a professional bonsai artist born in Austria and now living in the Munich,

Germany area where he maintains a vast collection of primarily large size bonsai. He is now retired and likes to collect and shape wild material for bonsai. Although most of his bonsai were collected by him in the mountainous area near his home, he also trains domestic and imported specimens.

His speciality of the naturalistic style of bonsai has made him a popular teacher. Mr.

Pall has journeyed throught the world, especially in the United States teaching his artistry and vast bonsai knowledge both privately and at bonsai conventions. He is a prolific author of well written articles which are illustrated with his professional quality photos. A long time active member of online bonsai communities he maintains an extensive web site and blog: www.walter-pall.de INTERNATIONAL BONSAI 35 2020/NO. 4

ABOUT THE COVER Eastern White Cedar From The Montreal Botanical Garden North American Bonsai Collection, Montreal, Canada

T he ancient Eastern White Cedar, Thuja occidentalis, featured on the

cover stands 55 inches above the container. This species is a popular bonsai subject for Canadians as well as those who live in the colder regions of North America. Although most specimens are collected from nature, it takes a keen eye and horticultural

skill to find and tame a spectacular bonsai like this tree.

Noted pioneer collector of North American trees for bonsai, Nick Lenz, from Andover, MA, collected the Eastern white cedar several decades ago from the northern region of the Niagara Escarpment in Tobermory on the Bruce Peninsula in Ontario,

Canada. Three years of tender loving care were necessary to develop tree vigor before bonsai shaping could begin. The old wood presents a history of branches dieback and regrowth. It was initially trained in a wooden box and most branches were lowered with guy wires. Branches were lowered to enhance the dead wood features. Once the bonsai was established and trained, Nick Lenz custom made one of his famous containers for his bonsai. The craftsmanship color and design are superb.

The interesting hollow trunk seems mystical and draws one’s attention to the base of the tree. Two living life lines remain from what was probably a large tree growing in

NICK LENZ

The Eastern white cedar after collecting from the Niagara Escarpment and becoming established in a wooden training box.

36 INTERNATIONAL BONSAI 2020/NO. 4

inhospitable conditions.

In 2002 Nick Lenz donated several of his masterpiece bonsai to the Montreal Botanical Garden Bonsai Collection. There are five different bonsai collections and this tree is the crowning jewel of the North American Bonsai Collection. The impressive Eastern white cedar is

popular and impressive, not only for its beauty but for the nearly five foot size. Now under training for over three decades, the tree is estimated to be over 450 years. The Eastern white

cedar is the oldest bonsai in the Montreal Botanical Gardens Bonsai Collections.

Cover photo by Joe Noga

Nick Lenz designed and constructed this container for his Eastern white cedar.

The Eastern white cedar in the North American Bonsai Collection at the Montreal Botanical Garden in Montreal, Quebec, Canada. Other native species trained for bonsai are shown in the display compound.

Formal display of the Eastern white cedar arranged by curator Eric Auger.

ERIC AUGER PHOTOS

NICK LENZ

Three years were necessary before the tree could be safely planted and trained.

INTERNATIONAL BONSAI 37 2020/NO. 4

INTERNATIONAL BONSAI

45TH 2020 Gafu Shohin Bonsai Exhibition Sponsor: All Japan Shohin Bonsai

Association

Kyoto, Japan

Location: Miyako Messe

Dates:

January 10-12, 2020 Wide aisles and excellent lighting provided a perfect venue to appreciate and study the beauty of small size bonsai. Shoji screen dividers helped to provide visual sections to each dispay composition.

Dwarf pomegranate, Punica granatum ‘Nana,’ trained in a dramatic cascade style shohin bonsai.

WM. N. VALAVANIS PHOTOS

There were 535 individual shohin, mame and chuhin bonsai displayed, not counting accesories.

38 INTERNATIONAL BONSAI 2020/NO. 4

Sargent juniper, Juniperus chinensis var.

Sargentii ‘Shimpaku,’ featuring dead wood and lush dark green foliage.

Chojubai Japanese flowering quince, Chaenomeles japonica ‘Chojubai,’ trained in the multiple trunk style.

Pincess persimmon, Diospyros rhombifolia, probably started from a seedling or root cutting.

Left– Sargent juniper, Juniperus chinensis var.

Sargentii ‘Shimpaku,’ featuring dead wood and lush dark green foliage.

Dwarf Japanese deciduous holly, Ilex serrata var. subtalis ‘Koshobai,’ probably started from a graft.

INTERNATIONAL BONSAI 39 2020/NO. 4

Chojubai Japanese flowering quince, Chaenomeles japonica ‘Chojubai,’ trained with a rock to appear like a heavy trunk.

Left– Firethorn, Pyracaantha coccinea, trained from a cutting in the cascade style.

Dwarf kumquat, Fortunella hindsii, trained from a seedling.

Hawthorn, Crateagus cuneata, trained from a seedling.

Japanese five-needle pine, Pinus parviflora, trained for decades in the cascade style probably from a collected seedling.

A huge sales area featured an abundance of bonsai, containers, supplies and other items from dozens of vendors from around Japan.

40 INTERNATIONAL BONSAI 2020/NO. 4

Crabapple, Malus sp., full of fruit probably developed from a graft.

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48 INTERNATIONAL BONSAI 2020/NO. 4

1982 1982/NO. 1 1982/NO. 2 1982/NO. 3 1982/NO. 4

1983 1983/NO. 1 1983/NO. 2 1983/NO. 3 1983/NO. 4

1984 1984/NO. 1 1984/NO. 2 1984/NO. 3 1984/NO. 4

1979 Spring 1979 Azalea Summer 1979 Hornbeam Autumn 1979 Maple Winter 1979 Pine

1980 Spring 1980 Quince Summer 1980 Rock Planting Autumn 1980 Elm Winter 1980 Pine

1981 Spring 1981 Crabapple Summer 1981 Juniper Autumn 1981 Forest Winter 1981 Literati Cherry Cascade Three Tree Pine

Spruce Maple Informal Pine

Apricot Pomegranate Driftwood Pine

1987 1987/NO. 1 1987/NO. 2 1987/NO. 3 1987/NO. 4

1986 1986/NO. 1 1986/NO. 2 1986/NO. 3 1986/NO. 4

1985 1985/NO. 1 1985/NO. 2 1985/NO. 3 1985/NO. 4

Flowering Driftwood Ginkgo Pine

Flowering Formal Larch Fruiting

Azalea Slanting Crabapple Pine

1990 1990/NO. 1 1990/NO. 2 1990/NO. 3 1990/NO. 4

1989 1989/NO. 1 1989/NO. 2 1989/NO. 3 1989/NO. 4

1988 1988/NO. 1 1988/NO. 2 1988/NO. 3 1988/NO. 4

Wisteria Spruce Hemlock Pine

Pine Hackberry Display Hinoki

Forest Azalea Quince Juniper

1993 1993/NO. 1 1993/NO. 2 1993/NO. 3 1993/NO. 4

1992 1992/NO. 1 1992/NO. 2 1992/NO. 3 1992/NO. 4

1991 1991/NO. 1 1991/NO. 2 1991/NO. 3 1991/NO. 4

Forest Hornbeam Maple Pine

Beech Azalea Miniature Bonsai Pine

Pine Trident Maple Juniper Japanese Yew

1996 1996/NO. 1 1996/NO. 2 1996/NO. 3 1996/NO. 4

1995 1995/NO. 1 1995/NO. 2 1995/NO. 3 1995/NO. 4

1994 1994/NO. 1 1994/NO. 2 1994/NO. 3 1994/NO. 4

Complete Your Bonsai Reference Library

Tamarix Larch Driftwood Indoor

Azalea Stones Conifers Cascade

Crabapple Dwarf Maple Azalea Pine

Literati Deciduous Juniper Fruiting

1999 1999/NO. 1 1999/NO. 2 1999/NO. 3 1999/NO. 4

Quince Sinuous Mugho Pine Elm

1998 1998/NO. 1 Early Flowering 1998/NO. 2 Landscape 1998/NO. 3 Multiple Trunk 1998/NO. 4 Stewartia

1997 1997/NO. 1 1997/NO. 2 1997/NO. 3 1997/NO. 4

2002 2002/NO. 1 2002/NO. 2 2002/NO. 3 2002/NO. 4

Twin Trunk Miniature Drastic Pruning Rock Planting

2005 2005/NO. 1 Flowering 2005/NO. 2 Hackberry 2005/NO. 3 Hemlock 2005/NO. 4 Conifer

2004 2004/NO. 1 Wisteria 2004/NO. 2 Cryptomeria 2004/NO. 3 Autumn 2004/NO. 4 Pine

2001 2001/NO. 1 2001/NO. 2 2001/NO. 3 2001/NO. 4

Pine Pomegranate Fruiting Deciduous

2003 2003/NO. 1 Apricot 2003/NO. 2 Snowbell 2003/NO. 3 Hinoki Cypress 2003/NO. 4 Pine

2000 2000/NO. 1 Maple 2000/NO. 2 Azalea 2000/NO. 3 Collected 2000/NO. 4 Tropical

2008 2008/NO. 1 Azalea 2008/NO. 2 Summer Bonsai 2008/NO. 3 Trident Maple 2008/NO. 4 Unusual Bonsai

2007 2007/NO. 1 Spring Flowering 2007/NO. 2 Shohin Bonsai 2007/NO. 3 Gardenia 2007/NO. 4 Red Pine

2006 2006/NO. 1 Flowering Quince 2006/NO. 2 Maple Bonsai 2006/NO. 3 Firethorn 2006/NO. 4 Rock Plantings

2011 2011/NO. 1 Juniper 2011/NO. 2 Azalea 2011/NO. 3 Deciduous 2011/NO. 4 Rock Planting

2010 2010/NO. 1 Pine Bonsai 2010/NO. 2 Deciduous 2010/NO. 3 Twin Trunk 2010/NO. 4 Flowering Bonsai

2009 2009/NO. 1 National Exhibition 2009/NO. 2 Tropical Bonsai 2009/NO. 3 Multiple Trunk 2009/NO. 4 Twisted Bonsai

2014 2014/NO. 1 Chinese Penjing 2014/NO. 2 Conifer Bonsai 2014/NO. 3 Deciduous 2014/NO. 4 Driftwood

2013 2013/NO. 1 Formal Upright 2013/NO. 2 Slanting Bonsai 2013/NO. 3 Deciduous 2013/NO. 4 Twin Trunk

2012 2012 NO. 1 Elegant Bonsai 2012/NO. 2 Shohin Bonsai 2012/NO. 3 Informal Upright 2012/NO. 4 Cascade Bonsai

2017 2017/NO. 1 Shohin Bonsai 2017/NO. 2 Evergreen 2017/NO 3 Multiple Trunk 2017/NO. 4 Deciduous

2016 2016/NO. 1 Azalea Beauty 2016/NO. 2 Juniper Bonsai 2016/NO. 3 Larch Bonsai 2016/NO. 4 Pine Bonsai

2015 2015/NO. 1 Bonsai Beauty 2015/NO. 2 Rock Planting 2015/NO. 3 Juniper 2015/NO. 4 Forest

2019 2019/NO. 1 Spruce Bonsai 2019/NO. 2 Summer 2019/NO. 3 Exposed Root 2019/NO. 4 Unusual

2018 2018/NO. 1 Literati Bonsai 2018/NO. 2 Tropical 2018/NO. 3 maple 2018/NO. 4 Cascade

­­­

INTERNATIONAL BONSAI 49 2020/NO. 4

INDEX l 2020 Volume 42 AUTHORS Adams, Julian, No. 1, p. 28 Arpag, Marc, No. 3, p. 26

Cuan, Sergio, No. 3, p. 29

Chuah, Ho, No. 1, p. 26 Dupuich, Jonas, No. 1, p. 10; No. 2, p. 10; No. 3, p. 12; No. 4, p.12 Gun, Kyosuke, No. 1, p. 5, No. 2, p. 5; No. 3, p. 5; No. 4, p. 5 Kimura, Masahiko, No. 1, p. 18; No. 2, p. 18; No. 3, p. 18; No. 4, 18

Pall, Walter, No. 3, p. 32; No. 2, p. 31

Romano, John, No. 1, p. 23; No. 24, p. 24; No. 3, p. 24; No. 4, p. 28

SUBJECTS – TITLES About The Cover Halls Crabapple: No. 1, p. 34 Eastern White Cedar: No. 4, p. 36 Sargent Juniper: No. 2, p. 30 Full Moon Maple: No. 3, p. 36 Beech Training: No. 1, p. 28 Beginning Bonsai Course Camellia: No. 2, p. 1 Crabapple: No. 1, p. 5 Juniper: No. 2, p. 5 Holly: No. 2, p. 5 Magnolia: No. 1, p. 5 Needle Juniper: No. 4, p. 5 Trident Maple: No. 3, p. 5 Sargent Juniper: No. 4, p. 5 Needle Juniper: No. 4, p. 5 Bonsai Emotional Value: No. 2, p. 34 Camellia Small Bonsai Course: No. 2, p. 1 Cedar Elm

If Trees Could Talk: No. 1, p. 26 Chinese Quince Developing: No. 3, p. 12 Crabapple Small Bonsai Course: No. 1, p. 5

Schmalenberg Martin, No. 2, p. 34

Cryptomeria Air Layering: No. 4, p. 12

Vojtilla, Dennis, No. 2, p. 26

Eastern White Cedar

If Trees Could Talk: No. 3, p. 26

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Englemann Spruce

If Trees Could Talk: No. 3, p. 4 Hornbeam

Oriental: No. 3, p. 32 If Trees Could Talk

Englemann Spruce: No. 4, p. 24 Eastern White Cedar: No. 3, p. 26

Japanese Maple: No. 2, p. 26 Cedar Elm: No. 1, p. 16 Holly Small Bonsai Course: No. 2, p. 5 International Bonsai Digest 2nd US National Shohin Exhibition: No. 1, p. 34 94TH Kokufu Bonsai Exhibition: No. 2, p. 38 94TH Kokufu Bonsai Exhibition: No. 3, p. 36 45TH Gafu Shohin Bonsai Exhibition: No. 4, p. 38 Juniper

Needle: No. 4, p. 5 Sargent: No. 4. p. 5 Small Bonsai Course: No. 2, p. 5 Wiring; No. 2, p. 10 Magnolia Small Bonsai Course: No. 1, p. 5 Maple

If Trees Could Talk: No. 2, p. 26 Rough Bark: No. 3, p. 29 Trident: No. 3, p. 5 Masahiko Kimura’s Fun Bonsai Course Black Pine; No. 3, p. 18 Hinoki Cypress; No. 4, p. 18 Literati Pine; No. 1, p. 18 Rock Planting; No. 2, p. 18 Small Bonsai Course; No. 2, p. 5 Shohin Bonsai Magic Part 51– Bonsai Musings: No. 4, p. 25 Part 48– Fleeting Beauty: No. 1, p. 23 Part 49– Seasons: No. 2, p. 24 Part 50– Sumo Bonsai: No. 3, p. 26 Spruce

European: No. 4, p. 31

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