Our most popular book. So popular in fact, that we ran out almost one year ago. Now, due to popular demand (really!) we’ve decided to bring it back.
$5 Discount if you order in advance
Two good things will happen if you order yours now. First, you’ll receive a $5 discount. Second, you’ll be first in line when it arrives some time in April.
A luscious white pine that Michael Hagedorn wired in hopes that it will be accepted into the famous Kokufu Exhibition.
Michael Hagedorn is back
After a two plus month hiatus, Michael Hagedorn has suddenly resurfaced on Crataegus Bonsai, and in Japan no less. This is good news. Not only does it solve my problem (another day, another post; how can I keep this interesting?), but it also gives us a further glimpse into the life and times of our favorite American apprentice in Japan (Michael has a delightful book on the subject).
We won’t spill all the beans
Rather than simply steal Michael’s last two posts, we’ll just show you a few photos to whet that old appetite. After that, it’s up to you to make the short and simple journey over to Crataegus Bonsai.
Suzuki, Michael and friends. We usually just stick to bonsai and stay clear of the social scene, but this photo is just too good to pass up. Shinji Suzuki (Michael’s sensei) is on the left and Michael is second from the right. You can visit Crataegus for the complete cast of characters.
If you only go to one event every two years, this is the one. Don’t miss it.
It’s not far fetched…
… to think about an event this important seventeen months in advance. If you don’t, time slips by, your calendar fills up, and the next thing you know you’re kicking yourself for missing it.
Limited printings
After each Exhibition, Bill Valavanis puts out a world-class album. We still have some from 2008 and 2010 came in not long ago (purchase them both and save). However, if you want to have them all for your collection, don’t wait. A limited number of each was printed and as far as I know, there are no plans for reprints.
The 2008 Album. By the time the 2012 show rolls around, these may well be gone.
The 2010 Album. These just came in, but who knows how long they’ll last?
Graceful simplicity contrasted with a wild shape and texture make for a striking bonsai. I lifted this photo off of a facebook page titled ‘Bonsai Indonesia‘ by Silky Jemiran. The owner is listed as Zhylonk Kiakiz Alfarizhy. I did not commit the sin of chopping off the pot, though I did adjust the image to take out background noise.
Sherlock Holmes
Sometimes tracking down the real owner of a bonsai that appears on facebook requires the imagination and determination of a Sherlock Holmes. Even then, you can’t always be sure you’ve got it right.
Problem solved?
When I first saw the tree above, I thought it might belong to Silky Jemiran. Then I noticed that he listed the owner (see above). He also listed the owners of the two trees below. Problem solved (provided Silky got it right). However, in many cases, the owner isn’t listed and you might assume (often incorrectly) that the person who posts the photos is the owner. This is where Sherlock Holmes comes in handy.
There’s a lot going on here. Not the least of which are: some very distinctive aerial roots, a funky nebari, excellent ramification, a perfect silhouette and what looks like a very well suited earthy, handmade pot. Silky lists Wayan Suwendra as the owner.
Root-over-rock perfection. Everything works here; including the way the tree and rock merge into one dynamic form and the way the rocks on the left mirror the sweeping horizontal branch. Then there’s the well chosen pot that quietly provides a sense of earth and balance. Silky lists Rudi Julianto as the owner.
Only countless years and the ceaseless ravages of weather born hardship can account for the character that this astounding dead tree displays. It looks like a Bristlecone pine from the White Mountains just east of Owens Valley in California (I found it on Bonsai Mania and they’re not saying anything, but I’d bet my first born grandchild on it).
Dead for one thousand years?!
I’ve heard that Bristlecones can stand for up to a thousand years after they have died. It’s hard enough to fathom living for up to five thousand years (really!), but dead trees standing for another thousand years? That’s some pretty tough wood and a kind of postmortem determination that you don’t see everyday.
The limits of bonsai
The closest I’ve ever seen a bonsai come to looking like the tree above is where the ravages of time and the expert eye and hand of a very talented human (and a power tool or two) have come together. But still, nothing this perfectly wild and dramatic.
Gnarly Branches, Ancient Trees. Speaking of ‘the expert eye and hand of a very talented human.’ I think Dan Robinson is one of the very best at collecting and developing trees that exhibit that wild and dramatic look.
Definitely not Japanese. From Echo of My Heart, a series of photos of the bonsai art of Robert Steven.
Tokonomas
Not too long ago we featured a tokonoma by Bill Valavanis. To me, Bill’s tokonoma stands clearly in the Japanese tradition, with maybe a touch of Bill to distinguish it. In this case, we’ve got something a little different. It’s a tokonoma by Robert Steven, and though I’d say there’s a nod to the Japanese tradition, there’s clearly something quite different going on. A little Indonesia? A little something else? And, as is often the case with Robert Steven, more than a little daring.
Alive
Though it might be easy to lose track (miss the tree for the forest, so to speak), the bonsai that graces this unusual scene is a real show stopper. Elegant, flowing, dynamic, alive, robust, wild and just plain beautiful.
More art by Robert from Echo of My Heart. Though not a tokonoma, the planting and the background create a powerful scene.
A question and an opinion
Does the man on the ledge distract from the tree and the rest of the planting? Or is it just me? I’ve noticed how often I seem object to strong figures in plantings. Especially human figures.
Another opinion and another question
Usually I don’t care for dramatic scenes as backdrops for bonsai. Somehow though, this one works. Maybe it’s because it’s not overdone. There are some sun rays (often an overly dramatic statement), but they are subdued and contrasted with the clouds and fog in a way that seems natural. Anyone else?
Robert Steven’s books
Robert Steven is a highly acclaimed bonsai artist, teacher, author and frequent contributor to Bonsai Bark. His books are Vision of My Soul, and Mission of Transformation; with more in the works.
The flowers are white, and we’ve got plenty of white stuff on the ground here in Vermont. That’s as far as it goes, but we can dream. The photo is from Bonsai Guest House Osaka (facebook). Here’s their website. It’s hard to tell for sure, but I’m guessing it’s a Ume (Flowering apricot). I’m told that Ume is one of the few deciduous trees holds deadwood for a long time.
More than just a touch. I like it when azaleas show some leaves when they bloom, like this one. Sometimes you see them completely covered with flowers, which can seem a little unnatural and overdone. This magnificent Nyohozan Satsuki Azalea belongs to Melvyn Goldstein. Its height is only 10 inches (25cm). It, along with nearly two hundred other of North America’s greatest bonsai, can be found in the 2nd U.S. National Bonsai Exhibition Album.
A brief word from our sponsor
We have both the first and the second U.S. National Bonsai Exhibition Albums in stock. And our powerful but sweet book sale is still happening. This is your chance.
This popped up on Bonsai Mania from a photo of Roelof Jansen van Vuuren’s. It caught me because of its light airy feel and natural look.
A small cut or two?
This sweet Japanese maple (var?) planting reminds me a bit of the Sugar maples on the edge of my property. Sometimes I imagine them small and then start making mental cuts. These trees have the same effect on me; I wouldn’t mind grabbing my scissors and making a small cut or two. Especially on that long left branch on the tree on the right (I think I just disturbed my old fifth grade grammar teacher’s long rest). But then, maybe that’s part of its natural look.
Our Big Book Sale is ending soon
This one (up to 40% off) has been around for a while and I don’t think we’ll run it much longer. Maybe for another two or tree days. Maybe even until next week (no promises though).
Bonsai wire just went on sale
Our wire sale won’t end as soon as our book sale, but still, things get a little unpredictable around here, so don’t wait too long.
Why would a bonsai company offer Netsuke?
John Palmer (the founder of Stone Lantern) liked netsuke and decided to offer them. He had a group of loyal netsuke customers, so I decided to keep offering them when I bought the company almost ten years ago. Now they are on sale.
Kenzans?
I’ll stick with the same story for kenzans (aka flowering pins or frogs). They too are now on sale.
Robert Steven’s simulation of a Pemphis acidula that was submitted (below) by Surmardi of Indonesia.
Making our point
Though Robert doesn’t mention it in his critique, he does remove the background clutter that you see in Surmardi’s photo. To my eye, this change has as much impact on the tree’s appearance as Robert’s other changes. Preparing and photographing trees is a topic that we have discussed in this blog; most recently, in our last post.
Surmardi’s original begs the question: why not just raise the tree and photograph it with only the yellow background? The failure to do something that simple is a perfect example of how to diminish an otherwise very worthy bonsai.
Robert’s critique
This is a good example of bonsai that portrays a tree that has been shaped by natural forces. Although the trunk has a reverse-taper, it does not bother the eye. To the contrary, it becomes a unique point of interest, especially given that the artist is smart enough to place a large rock in a way that compensates and creates visual balance.
The two photos in this post were taken at the Omiya Bonsai Art Museum in Japan. You can view the uncropped originals and other photos from the Museum at Bonsai Network Japan.
Evolution.?
Has bonsai evolved as it has moved from Japan (and China) to the rest of the world? If you look at experimentation and innovation, I’d say yes, there is plenty of positive movement beyond Japan (and in Japan as well). However, if you look at display, you might draw a different conclusion.
Laziness and neglect, or spontaneous freedom?
I spend a lot of time perusing bonsai on the web. Many are poorly photographed with very little attention to detail,. This is particularly true on facebook, where a casual style seems to be the norm. Not that there’s anything wrong with a spontaneous casual approach that reflects a sort of ‘things as they are’ attitude. But still, when people do take the time to prepare the tree (right down to simply cleaning the pot) and the environment, genuine beauty, even magic, is more apt to be the result. In this light, I think these two displays speak for themselves.
