International BONSAI OnLine March-April 2021

2021/NO. 2 March - April

Volume 43 Issue 166

THROUGH THE PINE NEEDLES T hank you all for subscribing to my new FREE bimonthly International

BONSAI OnLine! I hope you have enjoyed our first digital edition and have shared the link with your friends and bonsai organizations.

During the first month we have had over 11,000 views and over 1,300 subscribers from 57 countries! My blog has also been quite popular with over 1,100,000 views and over 1,800 subscribers from 202 countries.

I did not realize there were that many countries. We even have a subscriber from the Vatican.

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This issue contains articles on early spring flowering bonsai, including the popular Chojubai Japanese flowering quince by Owen Reich. Jonas Dupuich shows us his techniques, with detailed photos, on how to grow Japanese black pines from seed. Tim Priest shares the redesign of his well known Sierra juniper bonsai into the next level of refinement. This masterpiece bonsai will be on display at the upcoming 2021 7th US National Bonsai Exhibition. John Romano continues to instruct us on the repotting of shohin bonsai. The ever popular Masahiko Kimura explains how he

repots and selects containers for the judging of the Kokufu Bonsai Exhibition.

Virtually all bonsai exhibitions and conventions around the world have had to reschedule dates because of Covid-19. Bonsai meetings are now often held by Zoom in order to safely provide information to their members. Hopefully, now that the vaccine is becoming available, we will begin to safely gather to discuss the art of bonsai and shows will begin to take place.

Our 2021 7th US National Bonsai Exhibition will be held on September 11-12, 2021 in Rochester, New York. People are beginning to submit photos of their finest bonsai for the selection process. Please

e-mail me photos and I’ll be sending acceptance letters soon. The lecture/ demonstrations and critiques are all scheduled, all we need is to confirm the travel arrangements for our international judges and visitors. More information soon, so please schedule your participation in this long-awaited important event.

When we are safe to begin traveling again I hope to meet you at the many bonsai gatherings I’ll be attending. Let’s all hope for an early spring. Please be safe and continue to care, improve, expand and most importantly, enjoy your bonsai.

INTERNATIONAL BONSAI 3 2021/NO. 2

FEATURES 8 Bonsai Unearthed: Part 3 Chojubai Dwarf Japanese Flowering Quince

By Owen Reich TM Volume 43 Number 2 Issue Number 166

2021/NO. 2 March-April Publisher & Editor William N. Valavanis

16 Training Chojubai Dwarf Flowering Quince

By Kyosuke Gun 19 A Little Magic With Shohin Bonsai – Part 51 Repotting Shohin Bonsai

By John Romano 22 If Trees Could Talk – Part 10 Sierra Juniper

By Tim Priest

Contributing Editor Julian R. Adams

28 “Witch” Hazel Is it? Witch Hazel or Winter Hazel

By William N. Valavanis

Contributors Jonas Dupuich Kyosuke Gun Masahiko Kimura Tim Priest Owen Reich John Romano Satomi Uchida Peter Warren

32 How To Grow Japanese Black Pine From Seed

By Jonas Dupuich

Staff Harvey B. Carapella, Art Director Joseph L. Noga, Image Director Alan Adair, Editorial Assistant Marc Arpag, Editorial Assistant Published periodically (6 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.

International BONSAI— ISSN: 0198-9561

The opinions expressed in International BONSAI OnLine are those of the authors and do not necessarily represent those of the International Bonsai Arboretum.

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© Copyright 2021 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 2021/NO. 2

40 Masahiko Kimura’s Fun Bonsai Classroom Lesson 10 Matching Containers To Bonsai

By Bonsai World Magazine, Peter Warren, Satomi Uchida

DEPARTMENTS 3 Through The Pine Needles 5 Gallery: International BONSAI Masterpieces 44 About The Cover– Crabapple 46 International BONSAI Digest – Tanaka Foundation Bonsai Exhibition

G a

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e r y

HIROSHI TAKEYAMA

INTERNATIONAL BONSAI MASTERPIECES

Spike winter hazel, Corylopsis spicata, trained in the multiple trunk style which is the natural form for this species. The focal point of this masterpiece bonsai is the base of the bonsai with numerous tapering trunks of different diameters and heights. It has been designed in an asymmetrical form with the heavy main trunk

on the left side of the container leaning towards the center of the composition. Plenty of space has been left to appreciate the long hanging yellow flowers. This bonsai has been shaped by Hiroshi Takeyama, Fuyo-en Bonsai Garden in Omiya bonsai Village, Japan for many decades.

INTERNATIONAL BONSAI 5 2021/NO. 2

JANDREW ROBSON

ade ood

Spike winter hazel, Corylopsis spicata, displaying blossoms in many different stages of opening. Here you can see the beauty of flowers fully opened as well as the anticipation of future blossoms by large fat buds. The multiple trunks are all joined at the base with surface roots displaying stability. The silhouette of this bonsai is well balanced

6 INTERNATIONAL BONSAI 2021/NO. 2

with an abundance of twigs. This bonsai was trained from a tree imported from Japan by Joe Harris at Iseli Nursery. It was kept and developed by Dennis Vojtilla for many years before Andrew Robson added it to his Rakuyo Bonsai Garden Collection four years ago where he specializes in deciduous bonsai.

JHIROSHI TAKEYAMA

Japanese witch hazel, Hamamelis japonica, trained in the informal upright style from a young seedling. This well shaped bonsai was field grown to develop the thick tapering trunk. Witch hazels flower from Autumn to late Spring depending on the species. The Japanese witch hazel flowers in spring with small spicy aromatic

flowers. This bonsai has been photographed as the flowers are just beginning to open to display their interesting spider-like flowers. It is part of the collection at Fuyo-en Bonsai Garden in Omiya Bonsai Village, Japan where the second generation bonsai artist has been training and cultivating this masterpiece for decades.

INTERNATIONAL BONSAI 7 2021/NO. 2

Bonsai Tips From Owen Reich

Bonsai Unearthed Part 3: Chojubai Dwarf Flowering Quince

A s a lover of all winter flowering plants, the shrub Chojubai dwarf

Japanese flowering quince, is near the top of my list of favorites for use as bonsai stock. It’s easy to understand the popularity of this plant in Japan as a never-ending flower show is hard to beat. Having at least one in your collection guarantees flowers during the most bland times of the year.

After autumn the weather can be a bit uncomfortable, but I feel it is one of the best times to enjoy your bonsai.

Bonsai appreciation can act as a vehicle to speed up time and satisfy your longing for the coming season.

There is a reason the two largest exhibitions in Japan are held in late autumn and mid-winter and excellent Chojubai dwarf Japanese flowering

quince bonsai are almost always present. A handful of winter exhibitions have occurred in the United States and it is my sincere hope they increase dramatically.

There have been few plants more frustrating than Chojubai to train as bonsai as the coveted rough bark and thick trunks require considerable effort to preserve. Often the oldest trunks

WM. N. VALAVANIS PHOTOS

Chojubai dwarf Japanese flowering quince, Chaenomeles japonica ‘Chojubai,’ trained in the multiple trunk or clump style. It was refined by Keiichi Fujikawa for nearly 30 years and is probably well over 100 years old. The antique Kinyo Chinese container is also over 100 years old.

This bonsai was displayed at the 2012 Kokufu Bonsai Exhibition in Tokyo, Japan.

8 INTERNATIONAL BONSAI 2021/NO. 2

die if cared for improperly but this matter will be addressed later. Some may want to know the secret to getting a well crafted quince bonsai and the answer is quite simple- time. The techniques laid out below will help, but like all good bonsai the only short cut to getting an ancient looking bonsai is the almighty dollar.

Background And Related Species Chojubai dwarf Japanese flowering quince, Chaenomeles japonica ‘Chojubai’, is one of a group of Dwarf Japanese flowering quince. In a previous article I discussed the Chinese quince, Pseudocydonia sinensis, which is a different species. The name “chojubai” translates to “long life plum/apricot.”

According to my teacher, Keiichi Fujikawa of Fujikawa Kouka-en Bonsai Garden in Osaka, Japan, and a number of other horticultural experts in Japan, Chojubai was not originally a cultivated variety, but a naturally occurring variety that was collected and propagated.

The name has stayed the same but the quality of the cultivar has steadily improved.

Many plants deemed good for bonsai in Japan have gone extinct in the wild such as Nishiki Japanese black pine, Pinus thunbergii var. corticosa and Itoigawa Sargent juniper, Juniperus chinensis var. sargentii ‘Itoigawa.’ The latter had a small native range and the former went extinct in the wild due to a craze for the corky bark. Some say a virus causes the corky bark and decreases their life expectancy much like the “breaking” tulips that spurred Tulipomania in Europe. This is likely the case for the variety Chojubai. The first selection could have been just a mutated branch or a single plant but this part of the story is unclear.

There are currently two main types of quince called Chojubai dwarf Japanese flowering quince. One has larger leaves and flowers that border on true red. I believe the branches and trunks tend to thicken faster but rough bark development takes longer. More single trunk and clump styles of this form are available in the Japanese market and their price is comparable to the other type when young. As they age, the quality of the branch structure is not as good.

The second and most desirable type of Chojubai has thinner shoots and smaller, blood-red flowers. This is likely a selection of the other main

variety but keeps the same cultivated variety name. The draw of the later type is that compact ramification can be achieved even in the smallest sizes of bonsai. Slower branch thickening means more shoots can be preserved and enjoyed before removing infrastructure that spoils the winter silhouette. Delicate branching on old specimens is ideal so this type of Chojubai demands higher prices.

Under the umbrella name of Chojubai dwarf Japanese flowering quince, other variations have emerged.

There is a type that has tons of branches that form easily and the trunk thickens quickly, but it has few flowers. Another type has lots of flowers but thickens extremely slowly. This is the case for many species of plants as well as selections and cultivated varieties.

A single plant that exhibits a particular quality that is propagated asexually will spread throughout a market over time if the same stock plant is used. It could be as simple as a single branch exhibiting a sport (mutated form), and then that branch was used for a cutting. That one rooted cutting could spawn a new “type” of Chojubai.

Seedling propagation of Chojubai has also likely diluted the purity of the cultivar. The bottom line is there is a fair amount of variation under the blanket name of Chojubai dwarf Japanese flowering quince. Most people will not care about these subtle variations, but the serious collector should ask questions about the provenance and behavior of a given specimen before purchasing to achieve the desired goals.

Another closely related cultivar is called Shirobai which has many of the characteristics of Chojubai but doesn’t bloom as often and the flowers are white. Many other white flowering quince can claim the mantle of Shirobai but the flowers need to be about dime-sized and the shoots thin and delicate. These are also hard to find outside of Japan.

The likely parent of Chojubai is called Kusaboke or Shidome in the bonsai world. This Chaenomeles has large light orange flowers and thin branches.

There are approximately fifty cultivated varieties of Japanese flowering quince, Chaenomeles speciosa, and Dwarf Japanese flowering quince, Chaenomeles japonica, available in the landscape trade in the United States, but few come close to matching Chojubai for the purposes of bonsai cultivation. There are a great number of Japanese flowering quince cultivars available in Japan.

The issue with most cultivars of Japanese flowering quince is that the leaves, stems and especially flowers are coarse or gaudy for a bonsai. The vigor of most cultivars leads to long internodes and the lack of judicious pruning and wiring when young will create erratic angle changes in trunks and branches. Many cultivars in Japan used for bonsai have beautiful flowers but structural defects are overlooked in order to create an explosion of blooms. Truly desirable Toyo Nishiki Japanese flowering quince, Chaenomeles speciosa ‘Toyo Nishiki’ bonsai are quite rare.

Toyo Nishiki Japanese flowering quince, Chaenomeles speciosa ‘Toyo Nishiki,’ displayed at the 2013 Kokufu Bonsai Exhibition in Tokyo, Japan. This bonsai won one of the six coveted Kokufu Prizes and has red, pink and white blossoms.

INTERNATIONAL BONSAI 9 2021/NO. 2

Styles And Container Selection Chojubai can be grown in any style although a formal upright style would be quite challenging. The most popular styles are clump, root-over-rock, semi cascade, informal upright and cascade.

The important factor to consider is that whatever style you want, the plants need to be started when young.

Multiple plants can be planted together but single plants are always more desirable. The popularity of combining Japanese flowering quince with other small plants for use as a kusamono or supporting composition for a bonsai is steadily increasing as they add a nice spot of color for evergreen bonsai displays in autumn and winter. This is also a great way to utilize plants that do not have the right qualities to be a bonsai due to structural flaws or major branch losses.

Chojubai in development or redevelopment can be grown in terra cotta containers or deeper bonsai containers. This cultivar looks excellent in Namako (sea cucumber) colored containers as the bluish green glaze harmonizes well with the

flowers. For a more striking contrast, Shirogochi (Chinese white glazed containers) are also an appropriate option. A third and more readily available option is a dark blue glazed container.

although it is risky and complicated with a clump or “pile of root” style. A far more rare method of propagation can be accomplished via grafting onto Japanese flowering quince. The success rate is often low but I have seen a number of specimens in Kyushu.

Large clumps are cut back hard and branches veneer grafted to the sides of the trunks.

Propagation The most common method of propagating Chojubai is by cuttings. Young vigorous shoots will root easily without any pre-treatment when the branches are semi hard at the beginning of summer. Large cuttings, as large in diameter as an AA battery, can be rooted although the rate of success is greatly decreased. For this method to work well, cuttings should be planted individually and not disturbed for five years. Spring and autumn cuttings will also root well.

Root cuttings can be made and for those among us who are the most impatient, a single long root or roots can be wound around a rock or mound of long fibered sphagnum moss and the roots will thicken to form a trunk.

Air layering is possible for Chojubai

Pests And Diseases The weakening of Chojubai dwarf Japanese flowering quince is most often caused by a few factors. One pest is sap sucking insects like aphids.

New shoots and leaf clusters can be severely weakened if not monitored closely. Aphids will also attack new flowers decreasing their longevity.

Small moth and butterfly nymphs can defoliate a Japanese flowering quince in a matter of days. Root knot nematodes can be a problem as well.

Infested root areas should be removed repeatedly with sterilized tools.

Another issue for weak plants is a lack of fertilizer as they are heavy feeders. While this is not a disease or pest, it weakens the plant’s ability to fight off all the pathogens nearly always present. Fertilizer rates need to be kept between causing deficency symptoms and excessive and closer to malnourished on older specimens. Deficiencies rear their head in the form of inter-veinal chlorosis, white margins, or even white new leaves. The major cause of issues is poor drainage. Check for fungus gnats as this is one indicator of poor drainage and lack of drying time between water applications. There are a number of fungal pathogens that hurt Japanese flowering quince and most can be avoided by suitable media choices. The important things to con-

Chojubai dwarf Japanese flowering quince are often trained in the cascade style because of the flexible branches. The light blue glazed container harmonizes with the flowers. This bonsai was displayed at the 2012 Kokufu Bonsai Exhibition in Tokyo, Japan.

JUAN ANDRADE

Several decades are necessary to develop a heavy trunk with Chojubai.

10 INTERNATIONAL BONSAI 2021/NO. 2

sider are the air exchange and drainage layer at the base of the container and an overly dense surface root layer.

A larger than normal size grade soil is always used for Japanese flowering quince at Fujikawa Kouka-en Bonsai Garden. An emergency repot into a taller container with a thick drainage layer is one way to reinvigorate a weak Chojubai dwarf Japanese flowering quince. A four inch tall container may have as much as two inches, or half the container volume filled with larger grade soil.

Another technique to promote health is to plant the tree on a rock.

Japanese flowering quince like warm roots and a relatively quick desiccation period before being watered again.

Repotting Opinion on repotting time for Chojubai will vary by who you ask and the local climate. However I trust the opinion of professional bonsai artists who repot in early autumn. In Osaka, Japan, this period is from late September to October. The climate in Osaka, Japan, is much like Atlanta, Georgia. One difference between these two cities is that the first hard cold snap is not until late November in Osaka, Japan.

Spring repotting can often lead to severe infestations of Root Knot Nematode which are difficult to get rid of.

Akadama Japanese soil (Aoki Deciduous Blend) is the media of choice. Aoki Deciduous Blend is a mix of Akadama 70% (softer type red clay), Kiryuzuna 10% (a type of slightly acidic crushed rock), Fujizuna 10% (lava rock from a Mt. Fuji eruption), and Yahagi 10% (a type of river sand although it is a fairly large particle size). Use a large particle size for the

drainage layer as a base. There are other mixes that will work well; one being a mix with a high ratio of screened pumice. Allow the Chojubai to send out a strong flush of growth for a month or two before repotting, then cut back hard and repot. In my travels across the United States, I have unfortunately seen many old Japanese flowering quince with one or more dead main trunks.

Poor drainage or overly aggressive repotting are the likely culprit. Chojubai do not like compacted soil. Letting your Japanese flowering quince to go too long between repotting will lead to trunk and branch decline. Some literature says to repot old specimens every three years but every two years is a safer bet.

The term “repotting” should be better explained. It doesn’t necessarily refer to bare-rooting a given plant or cutting large wedges out of the soil. These techniques are useful for removal of dead and diseased tissue in an emergency but should not be a common practice when maintaining your bonsai. Some do not like using a chopstick to aerate the root system of a plant which is fine. My experience with this method on extremely old and expensive Chojubai has always been successful so I’m not changing my techniques. Use a fine toothed root rake or chopstick to remove the drainage layer soil then cut the long roots back using sterilized scissors. Then, lightly feather the

perimeter of the root system from the outer edge towards the base until heavy resistance is felt. Next, gently push a chopstick or other dowel like device through the root system to break up the dense mat of roots on the upper surface. Last, anchor the plant with wire to avoid shifting in the container and apply a thin layer of chopped long fibered sphagnum moss on the surface to monitor how quickly the plant dries out.

Defoliation Young Chojubai can be defoliated twice a year, maybe more, to aid in the production of branches and allow for wiring of young shoots. Plants in the field are not always defoliated, depending on the grower, but specimens in containers are often defoliated during the creation phase to repeatedly wire and set structural branches. Older specimens can be defoliated once a year if they are healthy. Be sure to cut the clusters of leaves off on older branches or you may pull off more than just leaves.

Chojubai can partially or fully defoliate on their own during the summer. It’s basically a way for the plant to cut losses and restart with new leaves and branches. Weak Chojubai should never be defoliated. It is quite safe to defoliate a quince early in the autumn to appreciate the structure or just a little earlier to do your part to promote naked exhibitionism.

Chojubai dwarf Japanese flowering quince are often planted on rocks. This bonsai was displayed in a bronze water basin at the 2012 Kokufu Bonsai Exhibition in Tokyo, Japan.

JUAN ANDRADE

This Chojubai features exposed roots which were developed when repotting.

INTERNATIONAL BONSAI 11 2021/NO. 2

Branch Removal And Shortening Another frustrating habit of Japanese flowering quince is the production of suckers from the soil and base of the trunks. Like any shrub, Chojubai are basally dominant and favor production of new, vigorous shoots over preservation of older ones. This presents an issue for bonsai cultivation and these new shoots should always be removed as soon as possible or the upper branch structure will weaken and some of the trunks may die.

Pruning small shoots is carried out by shortening each flush of growth back to one, two or three leaves. The buds are at the base of each leaf axil.

Choose a leaf facing the direction you want the next shoot to grow and snip away. Shoots growing straight up or down should not be encouraged.

My preferred method for development of young quince is to allow shoots to fully extend, defoliate and wire past the point I intend to keep. Then, bend

branches into place and cut back to a desired point with wire cutters.

The ideal internode length on a mature Chojubai is around a quarter inch no matter the size of the bonsai.

As the branches on old quince mature, the “spur” like twigs that form will be longer. It is however, ideal to keep your branch structure as tight as possible and this may necessitate heavy branch removal in autumn. Cutting back old branches past the point where you desire ramification is best if visible buds are present.

Japanese flowering quince bonsai I’ve seen in Japan have always had a few of these tablets biodegrading on the soil surface.

Although I cannot read the Japanese label on the Promix, my educated guess is that it contains a macro nutrient blend with a healthy dose of iron and micronutrients as well. A product in the United States is likely available that serves the same purpose, but it makes some of us feel better to have kanji on the label. Biogold is often used for shohin size Chojubai. Larger specimens are given a steady ration of organic fertilizer cakes. Cakes are withheld during the hottest summer months to avoid excessive vigor. The occasional half strength application of synthetic fertilizer is also an appropriate idea for some micro nutrient availability.

Another frustration with Chojubai is that excess fertilizer will cause the old bark you’ve been so patient

Nutrition And Flowering Young Chojubai can be fertilized heavily if the soil media has good drainage.

Many high end bonsai gardens in Japan use a small synthetic fertilizer cake that looks like an Alka Seltzer tablet called Promix. This is sometimes called “thank you fertilizer” as it is applied during and after the major bloom period. The healthiest

Pruning an upward growing branch with a sharp pair of scissors.

Keiichi Fujikawa trimming a Chojubai bonsai in preparation for display at the 2012 Taikan Bonsai Exhibition in Kyoto, Japan. The displayed Chojubai below.

Do not damage the flower bud.

OWEN REICH PHOTOS

After pruning the upward growing branch.

12 INTERNATIONAL BONSAI 2021/NO. 2

to clean and preserve to shed like a snake. Overly vigorous older Chojubai will revert to a juvenile growth habit and the trunk will thicken quickly causing the ultimate strife. It’s a delicate balancing act to keep old Chojubai dwarf Japanese flowering quince happy but not too happy. This is another reason really good masterpieces are rare.

Fujikawa Kouka-en Bonsai Garden has created, refined and saved countless quality Chojubai bonsai for two generations. Some expensive lessons have been learned by others hence the great value of apprenticing in Japan. We do not have to continually make mistakes that others have figured out how to avoid for Asian species.

The blossoming season for Chojubai bonsai is basically never ending, although late autumn to mid winter is the prime period of bloom.

To get a heavy bloom set before an exhibition, defoliate about one month before the show and more blooms will set and open in a unified manner. Spent blossoms should be removed immediately after flowering to eliminate fruit, since they will rob the plant of energy. The largest fruit I’ve seen was the size of a golf ball.

Once I left a fruit on an inexpensive bonsai to see how big it would get, then was severely chastised when it was discovered.

It is truly unfortunate that import restrictions keep Chojubai, among many other species, from reaching the United States in the form of bonsai and pre bonsai stock. Europe allows importation with soil after a two year pre export quarantine in Japan.

Fujikawa Kouka-en Bonsai Garden exports them regularly to the European Union and I have personally monitored their healthcare. Yes, they do have

a number of pathogens that affect them but I know of none that are not already present in American nursery crops of other Chaenomeles species and cultivars.

While Chojubai are difficult to obtain, I encourage everyone to invest in specimens and those that have them to propagate more. Experienced bonsai professionals should be consulted to create and maintain quality bonsai specimens. The training of bonsai can be accomplished in part through knowledge, but the tactile factor should not be underestimated. Those who have been apprehensive about spending their time and money on instruction are encouraged to contact others who have pursued this route.

Bonsai professionals can not only help you advance the development of your bonsai, but also your skills.

About The Author OWEN REICH From an early age Owen Reich has been enchanted by the natural world around where he lived in the Southeastern United States.

While studying ornamental horticulture at the University of Georgia, a classmate introduced him to bonsai and the dream of having a bonsai nursery began. After graduating, Mr. Owen worked at Samara Farms in Nashville, TN as the manager for five years. While there he refined his understanding of horticulture.

In order to further his bonsai training he traveled to Japan to apprentice with Keiichi Fujikawa in Osaka, Japan to gain experience with a wide variety of species. Mr. Reich’s web site www.bonsaiunearthed.com contains many valuable articles and information which he has learned and experienced in Japan. He is now back in Tennessee teaching bonsai and continuing with his love of rare plant material.

Editor’s Note: This article appeared in the 2014/NO. 1 issue of International BONSAI and is reprinted because of the interest and popularity of Chojubai Flowering Quince.

These 2 Back Copies Include Articles

Chojubai Flowering Quince Spring Flowering Bonsai & More International

BONSAI 2014/NO. 1

ChiNe se Pe NjiNg

Chojubai are popular for shohin bonsai training because of the colorful small flowers.

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A Few Featured Plants From This Year’s Catalog Itoigawa Shimpaku

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Spring 2021 SeedlingS & pre-BonSai

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Training Chojubai Quince Bonsai

Dormant Season Pruning

Chojubai Flowers Red

1-5 blossoms form

By Kyosuke Gun

Flowers unlikely to grow on elongated branches

White 11/4”

1”

1”

Elongated branches pruned back

11/4”

Short branch

Flowers likely to grow on short branches

Cut above 1-2 nodes

Cut

Sowing Seed Cut

Split fruit in half

Mature fruit on old branch

April - May Shoot Pruning

July 40 seeds per fruit August seedling

11/2”

Pinch shoots when they grow 2-3”

Soil level

Sow seed 2 times seed diameter

Taking Cuttings Young growing tips

4-5 node cutting

June-July

3”

2”

Cut large leaves to reduce size

Cut

Soil level

Nodule Cut base “V” shape Wash roots

Root Cutting

Cut long roots Nodule

Above soil

September or March 16 INTERNATIONAL BONSAI 2021/NO. 2

Check For Crown Root Gall

Keep this end up

Wash roots and soak in pesticide for crown root gall

8”

4”

Pruning 5 Year Old Cutting

Cut

Flowers likely to grow on short branches

Flowers on short twigs

Branches growing on both sides of trunk. Shorten one of the branches

Soil level Leaves often drop in late-summer

12”

Large plump flower bud

After root pruning

Cut floating roots

Cut base “V” shape

After Potting

Pruning Roots & Potting

Rounded silhouette

Tie wires

Cut

Cut long roots

Cut off branches can be used for cuttings, even older branches

Organic fertlizer cakes

Round glazed container

Chojubai Dwarf Japanese Flowering Quince Bonsai Chaenomeles japonica ‘Chojubai’ The word “Chojubai” literally means “Long Life Apricot” because the flowers bloom throughout autumn, winter and spring. The rough bark and flowers are similar to the Apricot. The branches will not thicken quickly but are easy to cut back hard to keep compact. The leaf size remains fairly small and it is a fairly vigorous species. Flowers are mostly red-orange, but there is a white cultivar. Both are relatively small and beautifully shaped. Even without flowers the trees can be appreciated for their twig ramification and small leaves. Cultivation and care are similar to other deciduous and flowering trees. They require a lot of water to ensure they do not dry out. They also respond well to fertilization and both young and old trees should be fertilized in spring and autumn with organic cakes.

In the hot summer months they should be removed and liquid fertilizer is used. During the winter they should be protected from severe weather, but they are relatively winter hardy. From late summer onward they will often begin to lose their foliage, this is normal and should not be a concern. When developing, the branches should be allowed to grow before cutting back hard. This technique is repeated to quickly develop twigs. Chojubai suffer from crown root gall which is a bacterial disease that enters through open root wounds. It weakens the tree if allowed to develop, but if the root nodules are removed and a pesticide applied the disease can be controlled. Chojubai are often transplanted in autumn when the bacteria is less active.

Editor’s Note: This article has been reprinted from the 2019/NO. 3 issue of International

BONSAI. The article first appeared in the December 2017 issue of Bonsai Sekai (Bonsai World)

magazine published in Japanese. The article has been translated and edited for our readers.

INTERNATIONAL BONSAI 17 2021/NO. 2

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

By John Romano

R epotting shohin bonsai is one of the most important tasks in bonsai

tree specific, knowing if the species is a fast root grower (Trident maple, Forsythia, Larch) or a slow root grower (old pine, Juniper) If you are experienced and careful, you sometimes can forego a repot just to keep the growth engine moving without

This Trident maple, Acer buergerianum, trained as a shohin bonsai is planted in a shallow container and needs a yearly repotting.

WM. N. VALAVANIS

care. I often see students rushing to get through it because they either have so many trees to transplant or they are just not giving it the proper attention it requires. Since our shohin bonsai live in smaller pots, we need to maximize that space with proper soil and good roots.

Every time we root prune a tree during transplanting, we are going to slow down the growth of that tree until it recovers and puts out new roots and stabilizes again. Our goal is to minimize that trauma and get the tree off to a good start from that point onward.

Timing is essential for most trees.

Knowing when it is the best time of the year to repot a tree and work the roots is very important to the overall post-repot health. If we are just repotting to a larger pot and teasing out some of the outer roots, time of year is not as critical as when we are cleaning out the old soil and cutting back a major portion of roots.

Also related to timing is knowing if your tree needs repotting or major root pruning. This is also a timing question; in the sense of is this the proper time to repot or should I wait another year or season. A lot of this is ‘listening’ to what the tree is says: do they need to be repotted to a larger pot or kept in a smaller pot?

Are roots coming out of the bottom

pushing the tree up in the pot? Did the tree grow well in the last years or did it show some signs of stress or weakness? Is the soil compacted and water not draining well or is it still draining fine?

Some of these questions are

INTERNATIONAL BONSAI 19 2021/NO. 2

wires at the bottom of the pot and then place your small root saw along the inner edge of the pot loosening the soil and plant in the pot until it can be easily removed.

Now it is time to observe again.

Do the roots look healthy and vigorous?

Are they plentiful? As you then carefully untangle and expose the inner core, are there plentiful roots in the inner core or are all the roots at the end of long migrating strands? It is important to encourage roots as close to the trunk as possible and develop a healthy inner core and keep that intact. If that is not the case, it may be better to repot into a training pot or another slightly larger pot for more development.

If you cut back into a weak core too deep and pot in a small pot, the tree may struggle for longer than you want and can take years to recover.

What species are you repotting?

Maples can be completely cleaned of old soil and washed out whereas pines,which are more mycorrhizae

dependent, are handled more carefully especially with older trees.

What soil media are you using?

Deciduous species like maples like a bit more moisture and can use some extra akadama in the mix. Junipers can be a tad drier. Soils is another topic in itself but just be aware of the different needs of your tree.

I highly recommend watching Boon Manakitivipart’s ‘Repotting Japanese Black Pine’ video which is a very good primer on proper repotting techniques.

Annual Repots I have a few trees that need annual repotting because they produce roots so profusely each year. Forsythia is one of these, especially in small pots.

I have an older one and did not repot one year but kept it in a tray of water in the summer, it seemed to grow better but drooped on a few occasions.

You just need to be careful. If in the middle of summer, I realize a tree

JOHN ROMANO

skipping a beat. You would have to be careful about keeping the tree hydrated to do this and if you are not experienced, it may be better to repot.

Soils break down, this is both good and bad. If you’ve read Michael Hagedorns’ book Bonsai Heresy, you read about the advantages of akadama breaking down over time. On the other hand, in a small pot, the breakdown of the soil can impede water penetration and cause a problem that might not necessarily happen with a larger tree. We need to observe how our trees are growing and in what soil is best for each.

When we talk about doing the repotting work in a careful way, we need to look and listen to the tree.

Once you asked all the questions and made observations and decide that a particular tree does need repotting and root pruning, follow a careful process. Take it out of the pot carefully. First cut the tie and screen

20 INTERNATIONAL BONSAI 2021/NO. 2

This little American larch, Larix laricina, was collected in 2015 by Kris Springer in Maine. When purchased, it was about 24 inches tall and the right dead wood section was the original main trunk. When looking to purchase collected larch bonsai material I always first check for aged trunk bark as larch take at least 20 years to develop any craggy bark. Then I look for buds low to the ground as they don’t bud back well, if at all, on older wood.

Thread grafting is often used to get lower branches. With this tree, I noticed the smaller left branch was going to be the main trunk for this shohin bonsai.

For the first year after purchase, I allowed the tree to grow. During the second year it was repotted into my own soil in a grow pot to encourage roots near the trunk. Since it was very healthy, I created dead wood on the main trunk and wired up the new trunk. Three and four years were necessary to create more trunk movement and branch development with wiring. During the fourth year it was repotted since more roots were visible at the core and thus I was able to put it in a smaller grow pot.

Now in its fifth year of training it is eight inches from the soil level to the top.

Detail wiring and shaping have just been finished and in a few years of additional twig ramification it should be ready to show.

should have been repotted, it can be slip potted it into a little larger pot for the remainder of the season. I have a small Eastern white pine clump that is in a shallow pot. This tree surprises me each spring with roots coming out the bottom and pushing the tree upward! I have to repot this one each year. Not what I expected with this species but that is the case.

Some of my Trident maples require annual transplanting but each one is judged individually. In the case for all of the deciduous shohin bonsai I up the akadama blend to 60% which seems to work well in keeping them hydrated in hot summer months and allowing the roots to grow well.

Collected Trees I have worked with collected trees for shohin bonsai; both small trees that were collected and larger trees that are cut down and developed.

I’ll give you a specific example using collected American larch. I use this method for any size larch. I purchase larch from an experienced collector who pots collected them in good soil.

The first year I purchase the tree, I do nothing with it but allow it to grow.

Keep in mind that larches grow roots

aggressively when healthy. In the second spring, I usually repot them into my own bonsai soil in a grow pot. I evaluate the roots, usually long straggly roots and very few near the base. I cut back the longer ones and pot in a grow pot to encourage roots closer to the trunk. If the tree grows good that second year, I may start wiring and styling. Then I will take it out of the pot and evaluate again in a year. Sometimes they still need more root core growth and I’ll just put them back and wait another year.

Patience will go a long way especially if you aare trying to develop a shohin bonsai in a small pot.

Years ago I tried growing a shohin larch grouping on a small slab. I skipped that second year grow-out and potted the small trees on the rock right away. They all died the following year. Experience now tells me that the process requires at least three years, four if from collecting.

This may seem like a long time, but definitely worth the wait. Again, this is in general, sometimes trees were collected with a great compact root pad and can be worked on in year two but careful evaluation must be performed in each case. On the other

These 2 back copies include information on Larch

Collecting American Larch l Trimming Larch Developing From Seedlings l Training Larch And Many More Great Articles!

hand, some small larch I purchased have not shown much vigor in year two so I grow it in the same pot another year or more, until the vigor increases. It is certainly trickier with collected material, especially for shohin bonsai training.

So our motto is: Energize the core of your roots!”

And, as a final encouragement, when you are planning for next spring’s repotting and transplanting, do so with care and detail. This is one of the most important tasks you can do to create healthy, vigorous and beautiful shohin bonsai.

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.

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INTERNATIONAL BONSAI 21 2021/NO. 2

If Trees Could Talk

Part 10– Sierra Juniper O ne of my prized trees on display at the entrance to my bonsai garden,

2011– Before styling by Ryan Neil and Boon.

January 2012– Restyled by Ryan Neil.

AUTHOR PROVIDED PHOTOS

“Yasuragi Bonsai” (Peace and Tranquility), is a 450 year old, Juniperus occidentalis var. australis. The poetic name for this bonsai is “Koubyakushin,” which means “Small Sentinel of the Mountains.”

It stands 32 inches from the soil to the apex and is 42 inches wide and 36 inches from front to back. The Tokoname-ware Japanese container was created by Hisada Shizuo of the Keizan kiln.

My tree was collected by Ned Lycett of Deadwood Bonsai in 2005 from a drainage slew in a frequent avalanche zone in Desolation Wilderness in the Sierra Nevada Mountains of California. When located, it was buried in the ground up to the origin of its finest branches. The

tree was initially obtained by Boon Manakativipart who did its first styling.

Then in May of 2011, Ryan Neil acquired and restyled the tree in collaboration with Boon.

In August of 2011, Jim Walsh took a workshop with Ryan at the MidAmerica Bonsai Exhibition at the Chicago Botanic Garden. Jim was so impressed by Ryan’s talents that he decided he wanted to purchase a tree from him and since I regularly took care of Jim’s trees, he asked me for my recommendations. On November 24th of 2011 Jim purchased this Sierra Juniper from Ryan. Jim decided to leave the tree in Ryan’s care for the next two years in preparation for entry into the inaugural Artisans Cup in 2013, but the show was postponed.

Soon after, Jim became very ill

22 INTERNATIONAL BONSAI 2021/NO. 2

By Tim Priest

and was hospitalized for almost a year. Upon hearing of the postponement of the show Jim decided to leave the tree with Ryan until the rescheduled show scheduled for 2015, knowing full well that he may never get to see it because of his declining health.

Unfortunately, Jim passed away on June 7, 2013, breaking the hearts of many who loved him, just two months after making that decision.

Jim always referred to me lovingly as his “Sensei– Caretaker of the Trees” and in his will left me his Sierra juniper, as well as his entire bonsai collection. Ultimately the Artisans Cup took place and the Sierra juniper took 2nd place, after which I took possession of the tree on September 30th 2015. Later in 2015 it was voted one of the top 42 Bonsai by Bonsai Focus magazine. In 2016 at the ABS Learning Seminar/Michigan All State Bonsai Show it won Best of Show, Best Evergreen and received the ABS Award of Merit. It then won Best of Show at the 2016 Mid-America Bonsai Exhibition at the Chicago Botanic Garden and was displayed in the 2016 5th US National Bonsai Exhibition in Rochester, New York.

The Sierra juniper also was featured on the cover of the Number 3, 2017 issue of BONSAI, Journal of the American Bonsai Society.

In October of 2017 the tree went

TIM PRIEST

RYAN NEIL

October 2014– After trimming and refinement by Ryan Neil in preparation for the Artisans’ Cup Exhibition.

October 2015– After display at Artisan’s Cup Exhibition in Portland, Oregon.

JOE NOGA

September 2016– As displayed at the 2016 5th US National Bonsai Exhibition in Rochester, New York by the new owner Tim Priest.

INTERNATIONAL BONSAI 23 2021/NO. 2

TIM PRIEST PHOTOS

October 2017– The tree was unwired and allowed to grow wild since September 2016. Before restyling by Mauro Stemberger.

through a major restyling by bonsai master Mauro Stemberger. We both agree that it would help to make the tree more compact but Mauro cautioned that this would be very touchy. He was concerned that the top could easily break, bending it in place and that it would take at least ten years to bring it back into shape.

I asked Mauro what he would do and we agreed to go ahead with the size

October 2017– Two days after the previous photo the tree was restyled by Mauro Stemberger.

reduction. It was reduced in width by 12 inches to 42 inches and its height by six inches to 32 inches; the tree lived and no portion died.

Although the tree was in a highquality vintage 1970s Chinese container, I wanted it in a Japanese Tokonameware container. Since large containers are hard to locate I found one that Matt Ouwinga was selling. I asked Mauro’s opinion on the new container

Autumn 2020– Prepared for display in the 2021 7th US National Bonsai Exhibition.

and he said, “Yes, go ahead and buy it.” I’m pleased with the smaller container as it helps to make the bonsai look more massive.

After its restyle it won Best in Professional category at the 2018 Michigan All State Bonsai Show and 2nd Place Professional at the MidAmerica Bonsai Exhibition. It has once again made the cover of the Number 4 2020 issue of BONSAI, Journal of the American Bonsai Society. As far as the future, it will be displayed in the 2021 7th US National Bonsai Exhibition in Rochester, New York.

About The Author TIM PRIEST Tim Priest has been a professional commercial/ fashion photographer for 39 years. He is a Master Photographer and Photographic Craftsman winning numerous National and International Awards for his work. Tim started in bonsai as a hobby 16 years ago which quickly became a love and passion.

His world class trees have won several state, regional, and national awards, including Best in Show and Best Professional in Michigan and Illinois. At the 2018 6th US National Exhibition in Rochester, New York he won the best Evergreen Bonsai Award. His trees have been published on the covers of several magazines as well as a number of international publications and books. He maintains his bonsai garden, “Yasuragi Bonsai” (Peace and Tranquility), in Grand Rapids, Michigan.

24 INTERNATIONAL BONSAI 2021/NO. 2

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INTERNATIONAL BONSAI 27 2021/NO. 2

“Witch” Hazel Is It? Winter Hazel Or Witch Hazel

By William N. Valavanis

T wo early spring flowering species are often confused, primarily because

of their similar names and flowering characteristics. The “Winter” hazel, Corylopsis sp. and “Witch” hazel, Hamamelis sp., are commonly cultivated and trained for bonsai because of their unusual flowers and because they blossom very early in spring or late winter.

Both species area members of the Hamamelidacea, or Witch Hazel family. Other members of the family include Lorapetalum, Parrotia and Fothergilla. Another species, not related, but similar and often confused with these plants because of their early, fragrant, yellow flowers is the “Winter” Sweet, Chimonathus praecox.

It, too, is also trained for bonsai.

The Witch Hazels and Winter Hazels are both deciduous shrubs or small trees depending on the species.

Winter Hazel flower buds are rounded and swollen, while the Witch Hazel has slender “spider-like” flowers. Both are often displayed in full bud, just prior to opening and sometimes look better and more dainty before all the blossoms open in full bloom. Their delicate aroma can fill a room with their sweet and spicy fragrance.

The Winter Hazel is easy to propagate from cuttings, while the Witch Hazel is generally grown from seeds or grafts.

28 INTERNATIONAL BONSAI 2021/NO. 2

Witch Hazel Species & Cultivars

Winter Hazel Species

Common Witch Hazel

Spike Winter Hazel

Japanese Witch Hazel

Buttercup Winter Hazel

Chinese Witch Hazel

Fragrant Winter Hazel

Hybrid Witch Hazels

Chinese Winter Hazel

Hamamelis virginiana Autumn blooming ¾” Golden-yellow flowers Hamamelis japonica Spring blooming ¾” yellow flowers

Hamamelis mollis Spring blooming, fragrant 1½” Golden-yellow flowers

Hamamelis x intermedia n ‘Arnolds Promise’ Spring blooming 1½” yellow and red flowers

n

‘Diana’ Spring blooming 1” bright-red flowers

Corylopsis spicata 1-2” Long yellow flowers Grows to 6’ shrub Corylopsis pauciflora ½” Short yellow flowers Grows to 4’ shrub

Corylopsis glabrescens 1” Long yellow flowers Grows to 20’ shrub

Corylopsis sinensis 2” Long yellow flowers Grows to 15’ shrub

Gotana Winter Hazel

Corylopsis gotana Small yellow flowers Grows to 6’ shrub

Witch Hazel Hamamelis sp.

Witch Hazel Flowers

Witch Hazel Foliage

Winter Hazel Corylopsis sp.

Winter Hazel Flowers

Japanese witch hazel, Hamamelis japonica, trained in the informal upright style from a field grown plant displayed in the 2012 Kokufu Bonsai Exhibition in Tokyo, Japan.

Winter Hazel Foliage

Spike winter hazel, Corylopsis spicata, in full blossom featuring the long beautiful yellow hanging flowers. Trained in the multiple trunk style this bonsai was started from a field grown plant and displayed in a Kokufu Bonsai Exhibition in Tokyo, Japan.

Additional Training Information On Winter Hazel & Spring Flowering Bonsai

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INTERNATIONAL BONSAI 29 2021/NO. 2

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Juniperus chinensis 'San Jose’ Height: 29 inches Container: Chinese San Jose juniper is a common landscape shrub and often trained for bonsai because of the compact growth habit and heavy trunk development. This bonsai was started from a cutting over fifty years ago from the Hatanaka Bonsai Nursery in Anaheim, California owned by Umenori and Kiyoko Hatanaka. The tree, several decades in the ground, was then transplanted into a thirty gallon nursery pot. Mrs. Hatanaka trained this San Jose juniper bonsai and it is typical of her bonsai design being a large size and wider than tall. The present owner has been refining this prize winning bonsai for fourteen years.

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How To Grow Japanese Black Pine From Seed

By Jonas Dupuich

G rowing Japanese black pine, Pinus thunbergii, from seed isn’t the easiest way to make a beautiful bonsai.

It requires a variety of skills and it takes a long time. That said, the process of starting bonsai from scratch can be very rewarding, whether or not you end up with a masterpiece. The basics of growing pines from seed are simple. Place seeds in planting medium, water and wait for seedlings to appear. As bonsai enthusiasts, however, we can refine this process a bit. The first step begins with selecting the right parent tree.

Selecting Japanese Black Pine Cones For Bonsai Not all pine cones are created equally. Some are large and healthy while others are relatively small. We want the big, healthy ones for bonsai smaller cones are less likely to have viable seeds inside.

Fig. 1 Japanese black pine cones.

JONAS DUPUICH PHOTOS

Fig. 2 Typical unopened pine cone.

32 INTERNATIONAL BONSAI 2021/NO. 2

More important is the parent tree itself. Does it have good bark? Are the needles straight and dark green?

Are the branches compact? If so, you may have found a good parent tree. Make note of it and return in September or October when it’s time to harvest the cones.

Waiting until the cones are brown and open will be too late. Aim to collect the green or purple cones that have yet to open.

After bringing the cones home, give them a quick bath in a highly diluted lime-sulfur solution to kill any fungus or pests that might be living among the cones. Then set the cones out to dry.

Soil sifters, it turns out, make

great cone-drying trays. Place the cones in the sifter, then cover them with an extra screen to keep the birds away.

Don’t place the cones too close together as they’ll expand when they open. Warm, dry weather will speed up the time required for them to open.

I recommend collecting more cones than you think are necessary.

While some produce a handful of viable seeds, others produce none.

I also start many more pines than I want to end up with. Even when growing seedlings from an outstanding parent tree, it’s not certain that all seedlings will retain the characteristics of the parent. Starting more than you need is a good way to hedge your bets.

Fig. 3 Cleaned dry pine cones.

Fig. 4 Protect from birds.

Collecting The Japanese Black Pine Seeds

Fig. 5 Dried and open pine cones.

Fig. 6 Open pine cone.

Fig.8 After forcing open the cones for seeds.

Fig. 7 Tapping the cone to release the seeds

Within a week or two the cones will turn brown and open.

Once the cones are open, it’s time to get the seeds out. The seeds are nestled into the base of each cone scale (scale bract) with the wing (seed bract) facing outward. As the scales open, an action promoted by dry air, these wings, not unlike maple seeds in design, can catch the wind and help the seeds travel when they detach from their cone. If you look carefully, you can see the ends of the wings to which the seeds are attached.

Pick up a cone and tap it on its end. If the cone is fully ripe, some seeds will fall out.

Not all seeds detach so easily.

A few taps on the tip of the cone can release most of the seeds inside.

Several more taps may coax reluctant seeds away from their cone.

Not always satisfied by what comes out after tapping, I’ve dismantled more than a few cones to make sure I didn’t miss any good seeds inside.

This has proved more work than the effort merits. While I’ve pulled a few good seeds out of cones in this fashion, I haven’t found enough to make this

a regular practice. Most of the good seeds develop in the middle of the cone, where it is thickest, and these are the seeds that are most easily released.

The next step is to separate the good seeds from the bad seeds. Nonviable seeds are often light-colored and hollow inside. These can be discarded.

Viable seeds are darker with small brown and black spots. They’re also heavier, though this is tricky to discern in one’s hand. I usually crack a few open while I work to calibrate my understanding of which to keep and which to discard. After cracking a few good ones, I catch on fast.

After identifying the viable seeds, place them in a cool, dark place until spring when it’s time to sow them.

Fig. 9 Sterile seeds.

Fig. 10 Viable seeds. Keepers!

INTERNATIONAL BONSAI 33 2021/NO. 2

Preparing The Pine Seed For Sowing

Fig. 11 About 75 Japanese black pine seeds.

Fig. 12 After putting the seeds in a glass of water, many are still floating.

Fig. 13 One day later all but a few have sunk to the bottom.

The seeds are best planted in spring, somewhere between February and May, if you’re in the Northern Hemisphere. When you notice temperatures rising, or snow subsiding, get the seeds out from storage.

The next step is to soak the seeds in water for 24 hours. The idea is to “wake the seeds up” and cull any remaining duds from the bunch.

Some seeds will sink immediately, others will sink over the next 24 hours. If any seeds are still floating

after a day, they are likely sterile.

Using hot water for the soak will help scarify the seeds, but I haven’t found that the temperature of the water makes much difference.

Japanese black and Japanese red Left– pines do, however, benefit from brief Little Gem dwarf gardenia, Gardenia jasmoindes ‘Little Gem,’ trained from a cutstratification. ting by William Valavanis You can stratifyN.the seeds by placing them in the refrigerator for one-totwo weeks before planting. Place the seeds in a plastic bag with a moist paper towel or some shredded long-

fiber sphagnum moss to preserve humidity. If the bag fogs up after a few minutes in the fridge, that’s a good sign there’s enough moisture in the bags.

If you’re preparing seeds from different batches or according to different protocols, it’s a good idea to label the bags. I’ve found the stratified seeds sprout faster and more consistently than the nonstratified seeds by a wide margin.

Try it and see how it works for you!

Fig. 14 Seeds ready for fridge.

Fig. 15 Condension in bag.

Fig. 16 Japanese red and Japanese black pine seeds.

Planting The Japanese Black Pine Seeds There are two basic approaches to planting pine seeds. You can take care to place the seeds one-by-one in the pot, or you can simply sprinkle them over the soil as evenly as possible.

Start by preparing a shallow pot with bonsai soil. You can use standard bonsai soil mixes of scoria, 34 INTERNATIONAL BONSAI 2021/NO. 2

pumice, and akadama covered with a layer of sand, or nursery mixes like perlite and peat moss. After filling the pot, I water the soil and poke 1/4 inch deep holes in the sand with the slender point of a chopstick. After placing the seeds in the holes, I add a tiny amount of sand to fill the holes

and water again. The result looks no different than the starting point.

The alternative to the meticulous approach is to fill a pot with bonsai soil, sprinkle the seeds into the pot by hand, then cover the seeds with a thin layer of fine soil particles. You’ll find this approach can save a lot of time.

Fig. 17 Holes spaced just over 1” apart.

Fig. 18 Place seeds with tweezers.

Fig. 19 Cover seeds with sand.

Watching The Seeds Sprout Depending on the weather, seeds can sprout in as little as one week or as long as one or more months.

The taproot emerges from the seed and descends into the soil so it can push the seed up toward the sunlight.

The first immature needles will appear soon after. As they strengthen, they’ll fling the seed case aside.

Although sunlight and warmth

will help the seeds germinate, do note that the seeds will perish if they dry out at this stage. And if you have hungry birds in the garden, it’s a good idea to protect the seeds with window screen or anything that will let light and air pass but prevent birds from grabbing the seeds.

Within a few weeks of the first signs of germination, you’ll have a container full of pine seedlings.

Keep them in full sun. Water them just before they dry out. Hold off on fertilizer until the seedlings begin to elongate. Start with gentle fertilizers at half strength and slowly build up from there.

And that’s it, for now. Bonsai work can begin in as little as two months. Until then, enjoy the little ones while they’re young– they’ll grow up faster than you think.

Fig. 20 Emerging pine seedlings.

Fig. 21 Almost free of the seed case.

Fig. 22 Healthy pine seedlings.

How To Create Japanese Black Pine Seedling/Cuttings

Fig. 23 Plastic pots, 4” in size.

Fig. 24 Large lava for drainage.

Fig. 25 Bonsai mix– akadama, pumice & lava.

Pine seedlings typically produce a single tap root that reaches downward to provide a good anchor for the tree. Although they are good for forest trees, tap roots are not as good for young bonsai.

A couple of generations ago, bonsai enthusiasts figured out that cutting the tap root encourages lateral roots to grow. As these lateral

roots developed, the young trees grew faster, denser, and produced a flared trunk base that is often desired in pine bonsai. Many pine bonsai have been produced in Japan by this technique, and the technique has been gaining popularity in the United States for at least 20 years. I first learned about the process from Boon Manakitivipart and Bonsai Today

(Issues 12 and 20). I’ve been using these techniques for more than twentyfive years and have found they are a great way to produce lateral roots on young pines.

The basics of the process are simple: make cuttings out of young pine seedlings. I begin by filling a nursery flat with 4” plastic pots and adding the soil, one layer at a time.

INTERNATIONAL BONSAI 35 2021/NO. 2

Fig. 26 Making craters with a trowel.

Fig. 27 Craters filled with sand.

Fig. 28 Make holes with copper wire.

I plant the pines in a crater of sand to keep the cuttings moist. Once the sand was in place, I again watered

the soil and created small holes with large gauge copper wire. The sand helps prevent the cuttings from dry-

ing out. When the cuttings are ready, I’ll place them in the holes and gently firm the soil with my fingers.

Creating The Seedling/Cutting

Fig. 30 Healthy pine seedling

Fig. 29 The two weak seedlings on the left were not used.

Fig. 32 The seedling becomes a cutting. Use a sharp razor blade to make the cut.

Fig. 31 Time to make seedling/cuttings.

The next step is to create the cuttings.

I begin by uprooting one cutting at a time. I try to use seedlings that are healthy like the one on the right in Fig. 29. The two seedlings on the left are weak so I won’t use them to make seedling/cuttings.

There was considerable variation among the uprooted seedlings.

Although I typically worked with one at a time, I did a few at once for this photo.

I make the cuttings with a sharp razor blade, leaving about 1/4” - 3/4” of stem below the first young needles.

36 INTERNATIONAL BONSAI 2021/NO. 2

Fig. 33 Pine cutting floating in water.

Fig. 34 Plenty of cuttings available.

Fig. 35 Dip into root inducing hormone.

After making the cut, I drop the cuttings into water so they don’t dry out before they are planted.

When they are ready to go into the pot, I remove them from the water and dip them in powdered root hormone to stimulate root production.

I approach the planting of the cuttings with care. After setting the cutting in one of the holes I created, I gently pressed on the surrounding sand to close the gap. Try to move the cutting as little as possible to avoid disturbing the hormone. I also

skipped on water when I was done to avoid washing the hormone away.

I keep the seedling/cuttings in the shade for 1-2 months or until I see signs of growth. At that point I slowly move them into locations where they get more light. During this time, I mist the cuttings up to several times a day depending on the weather. Once the seedling/cuttings start growing, I begin fertilizing and move them into the sun where they’ll grow freely for the rest of the growing season.

Fig. 36 Planted seedling/cutting.

Fig. 37 Radial roots developing.

Fig. 38 Excellent fibrous radial roots at the end of the first growing season.

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: www.bonsaitonight.com

Editor’s Note: This article has been

compiled from two 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. www.bonsaitonight.com INTERNATIONAL BONSAI 37 2021/NO. 2

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Lesson 10:

Matching Containers To Bonsai– For Kokufu Bonsai Exhibition Judging

Masahiko Kimura's Fun Bonsai Classroom Japanese Edition: Bonsai World Magazine English Edition: Peter Warren & Satomi Uchida, Translators Editor’s Note: This article has been reprinted with permission from S Press Media Publishing Company. The article first appeared in the February 2014 issue of Bonsai Sekai (Bonsai World) magazine published in Japanese. The article has been translated and edited for our readers. We first printed it in the 2014/NO. 3 issue of International BONSAI, and has been repeated because of the timely season for repotting and selecting containers.

Masahiko Kimura is well known around the world for the dramatic, and often magical bonsai he creates. Beginning in 1986 we have featured the 50 part series "Magic Moments– The Artistry of Kimura" where he transformed some rather unusual material into spectacular bonsai masterpieces.

40 INTERNATIONAL BONSAI 2021/NO. 2

C ontainer selection is an interesting subject but one which is difficult to

convey in small photos. The character of a bonsai can change completely when placed in a different container.

We will try to convey a small part of that in this article.

Toward the end of every year our regular teacher, Mr. Kimura, is inundated with work relating to the selection of bonsai for the Kokufu Bonsai Exhibition. The main consideration is the transplanting of a bonsai into a more appropriate container.

Every year his apprentices, both current and graduated, gather to help with the task of transplanting all the bonsai.

For the apprentices, this is the perfect chance to study and experience first hand the container selection for a number of masterpiece bonsai

every year. We are getting a small window into that experience by introducing two different styles of Japanese five-needle pine bonsai.

A number of different containers have been prepared beforehand for each of the trees. The tree is removed from the container before being placed in each of the containers.

Mr. Kimura asks the opinion of the apprentices before deciding.

Mr. Kimura tells us that recently there has been a trend toward using slightly shallower and smaller containers when aiming toward acceptance into the Kokufu Bonsai Exhibition in order to make the tree look larger, leaving a more powerful impression.

The owner of this bonsai supplied two of his containers, both slightly smaller than the current container.

Zuisho Japanese Five-needle Pine Height

Pinus parviflora ‘Zuisho’ 15” l Japanese Container 16”

x

13”

x

3.5”

When removed from the container, a healthy colony of mycorrhizae, the white beneficial white fungus, around the edge of the root ball can be seen. A sign of perfect health.

The bonsai is matched with one of the Japanese containers of Tokoname-ware from the Shuzan Kiln provided by the owner. Making it this small will require the root ball to be reduced in size considerably.

A classical informal upright style bonsai with a perfect lower trunk, movement in the trunk and branch placement is a textbook bonsai with nothing to critique.

The largest of the two containers was finally used because the other pot was too small. As mentioned, there is a trend toward slightly smaller containers to make the tree look larger, and this is applicable in this case. However, there is a risk of selecting a container which is too small and damaging the roots as well as destroying the image of the bonsai creating an unnatural appearance. Mr. Kimura tells us that this is especially true with medium size bonsai where sizes of three containers need to be considered.

So, in this case, the larger of the two smaller containers was used so there is only a slight difference from the original container to be considered.

BONSAI WORLD MAGAZINE

The bonsai is finally planted into a Tokoname-ware container from the Shuzan Kiln which is one size smaller than the existing container, 14.5” x 10.5” x 4,” so it is slightly deeper. It makes the bonsai appear more powerful and impressive.

INTERNATIONAL BONSAI 41 2021/NO. 2

Japanese Five-needle Pine Pinus parviflora Height 34” Japanese Container 14” x 14” x 3”

The current container. The color is a little too light.

Container 1: It has a calm aged look.

Container 2: The shape and size are not bad.

Mycorrhizal fungi in the root ball suggesting great health.

Container 3: It is a little on the small side.

The top of the root ball is bulging out of the container and so the bottom is lowered.

After deciding on container 3, the root ball needs to be reduced a little in size in order to fit into the container.

42 INTERNATIONAL BONSAI 2021/NO. 2

As this is a temporary planting purely for the exhibition, a thin layer of soil is placed in the bottom of the container.

Trying to get soil into the gap around the sides will be difficult. After planting, soil is added to those areas.

A stylish literati style Japanese fiveneedle pine that is the epitome of the style. The tasteful elegance is accentuated by a purple clay container.

This bonsai has an aged appearance in both the bark and the sense of “mochigomi” (agedness in the container.)

The trunk movement and branch placement are exquisite.

This is a classic literati style bonsai displaying all the essential elements.

A literati style bonsai is not simply one which has a thin trunk and few branches, but one where the age can be felt in the textured bark which has built up year after year and from the delicate arrangement of the branches.

This is a perfect example of such a tree with unique movement that will be appreciated by all who view it and feel the calm, noble spirit that resides in the tree.

The small child tree is worthy of a mention as it is unusual. Growing from an important root, the child trunk will to many viewers make them think “it would look better without it.” We looked at the tree without the child trunk by covering it with white paper and the character of the main tree was

similar, however Mr. Kimura tells us “it becomes just a predictable literati tree without it.” It loses the one thing that separates it from other literati white pines and it becomes less

elegant, less unique, less literati.

After deciding on container 3, the root ball needs to be reduced a little in size in order to fit into the container.

Final container: Purple clay round bag shaped container, 15” x 15” x 3,” the top opening is 14.”

After transplanting, this literati style bonsai is displayed on a round table which balances well with the tree and sets it off nicely, creating the elegant feel that is required with a literati style bonsai. The simple pot has a deep character through the superb age and patina which can be seen and felt. We get the sense that it has been carefully used for many years.

The child trunk at the bottom is connected to the parent tree by roots and at first glance you may think it is unnecessary but it is a charming point for the tree which gives it unique character.

You may not notice but the planting angle has been changed ever so slightly towards the right. This difference is subtle but important.

INTERNATIONAL BONSAI 43 2021/NO. 2

ABOUT THE COVER Spike Winter Hazel From The Collection of William N. Valavanis, Rochester, New York

W

inter Hazel bonsai are harbinger of spring with their delicate fine twigs and large plump flower buds. They are especially appreciated in areas of long, cold and cloudy weather. I really enjoy the beauty of the opening buds rather than the lovely small yellow hanging flowers. This bonsai was originally grown in the ground to develop the fat trunk. Then once the trunk was formed the tree was potted and branches were selected and shaped. During the past 40 years I’ve been developing and maintaining this bonsai it has taught me many lessons on light requirement and allowing the tree to only blossom every other year for best health. This bonsai was displayed at the 2016 4TH Winter Bonsai Silhouette Expo in Kannapolis, North Carolina.

William N. Valavanis Cover photo by Joe Noga

44 INTERNATIONAL BONSAI 2021/NO. 2

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2018 ABS North American Bonsai Award Finest North American Native Species Bonsai Sierra Juniper Jeremiah Lee, Nipomo, CA INTERNATIONAL BONSAI 45 2021/NO. 2

INTERNATIONAL BONSAI

Tanaka Foundation Bonsai Exhibition Sponsor: Tanaka Foundation Location: Daitokuji Temple

Dates:

Kyoto, Japan

November 28 December 6, 2020

Daitokuji Temple is one of the most important temples in all Japan which is located in Kyoto, and is approximately 850 years old. There was about a one-quarter acre plot in the center of the temple compound which had gone unused for the past 150 years.

Seiji Morimae and the head abbot of the Hoshun’in sub-temple, Sokushu Akiyoshi, who is also the general head of Daitokuji Temple, spent the past two years planning and designing a bonsai garden.

The official opening will be on March 20, 2021, which is Mr. Morimae’s 62ND birthday. In a special preview of the bonsai garden, and exhibition of works from the Tanaka Foundation was held from November 28 to December 6, 2020.

The Tanaka Foundation Exhibition featured some 32 bonsai that have received Kokufu and Prime Minister’s awards; approximately 200 Chinese and Japanese masterpiece bonsai containers ranging from 100 to 300 years old; and 50 Japanese suiseki.

However, this only represents about 10% of the Tanaka Foundation collection.

The plan to create the Tanaka Foundation Collection began five years ago by Mr. Morimae, who has been in charge of selecting all the works. According to Mr. Morimae, who is the head of the Preparatory Committee, construction of the Foundation’s new museum in Kyoto has been somewhat delayed by the COVID-19 Pandemic, but should 46 INTERNATIONAL BONSAI 2021/NO. 2

begin sometime next year. The official name of the new museum will be “The Kyoto Bonsai Garden.” One can enjoy viewing numerous historically important suiseki. At the official March 20, 2021 opening, a number of bonsai masterpieces created and maintained by Seiji Morimae and his friends, Masahiko Kimura, Kunio Kobayashi, Shinji Suzuki and others will be on display.

Mr. Morimae stated “I never thought I would have the opportunity to design a bonsai garden and be charged with seeing it flourish long into the future at such an important historical location.

As of March, I will spend three days a week in Kyoto seeing this through.

Once the pandemic has subsided, everyone will be welcome to visit, and I look forward to welcoming you all there.”

The entry to the stroll garden features stones and moss in addition to bonsai masterpieces.

Seiji Morimae next to an historic Japanese black pine which has a recorded history of over 200 years from the Tokugawa Shogun family. It was rejunivated and reshaped by Shinji Suzuki.

SEIJI MORIMAE PHOTOS

The stroll garden features many award winnning and famous masterpiece bonsai artistically displayed for viewers appreciation and study.

INTERNATIONAL BONSAI 47 2021/NO. 2

A selection of containers from the Tanaka Foundation collection.

Containers varied in color and shape.

The main display room featured antique and historically significant antique containers.

Near mountain suiseki from Japan.

Distant mountain stone named “White Clouds” is the finest example of a white tiger stone.

Antique Japanese containers on display.

Famous Sargent juniper and Japanese five-needle pines were featured in the exhibition.

An old Ezo spruce trained from a collected tree in Hokkaido.

48 INTERNATIONAL BONSAI 2021/NO. 2

Seiji Morimae welcoming visitors to the new Kyoto Bonsai Garden Museum opening in March 2021.

A quiet, long pathway in the Daitokuji Temple complex leads visitors from the outer modern world through a traditional gate into Kyoto Bonsai Garden Museum featuring bonsai, suiseki and containers.

An award winning Japanese five-needle pine in the cascade style displayed next to a large garden stone.

INTERNATIONAL BONSAI 49 2021/NO. 2

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