www.en.esprit-bonsai.

com
#90
Esprit Bonsai International #90

INTERNATIONAL

 The magazine for bonsai enthusiast s  O c t . / N o v. 2017

Mulberry
radia
radiance
p. 32

Into the
forest p50
Price: France 11.50€ - BE/Port Cont : 12€ - DE : 12,50€ - USD13.50 - £8.90

FROM CHINA TO JAPAN

OF BONSAÏ
Noelanders Trophy XIX
by Bonsai Association Belgium
international BONSAI show
3 - 4 Feb 2018

Top international demonstrators

Kunio Kobayashi (JP)
Bjorn Bjorholm (USA)
Milan Karpisek (CZ)
Giacomo Pappalardo (IT)

BONSAI ASSOCIATION BELGIUM

• Major European bonsai and suiseki exhibition

• More than 90 international bonsai traders
Venue :
• Workshop with Kunio Kobayashi and Giacomo Pappalardo Limburghal c.v.
on Monday, February 5th. Reservation needed. Jaarbeurslaan 6
B-3600 Genk
Belgium
www.bonsaiassociation.be www.limburghal.be
#90 Contents

p. 16 p. 25 p. 50

p. 32

Editorial
4 Techniques in Detail
The passion
News and resources

The Spirit of Bonsai 40 Let’s talk about deadwood

7 Interpreting and translating
Exhibitions
47 Approach grafting
to correct nebari that unites us
Events come and go, each different to the
Spotlight on Broadleaves
8 Satsuki Flower Trophy 50 Constructing a
others. But then again … at the heart of
Azaleas in all their hues every such venture there is always passion
hornbeam forest – both on the organisers’ side, and on the
13 “Salon national du bonsaï” visitors’. Often there is also the pleasure of
A heart-stirring weekend! Spotlight on Conifers being together, sharing and discussing. This
57 From ordinary to elegant is perhaps more palpable in events that are
Trees and People on a more human scale, which allow for
Re-Imagining a Tree closer exchanges and greater conviviality.
16 Michael Tran 66 The dynamic lines of a pine Having said that, major events
“Obsession with perfect
bring together so many people who are
techniques is the key” Potters and Pots focused on the same passion, that there can
To do this month 68 Tomas Gramming be an incredible energy about them. You have

20 Knowing when to act “I love seeing the trace probably had that feeling, of a sort of euphoria
that is difficult to explain, which comes with
of flames on pots”
belonging to a community, all moving in
Notes for Beginners
Besides Bonsai unison, heading in the same direction, despite
25 BONSAI THROUGH sometimes-differing opinions and methods.
HISTORY 72 Autumn colours
You feel as though everyone is joined together
Ikebana by an invisible thread, and that little phrase
Getting Off to a Good Start 74 Sogetsu: Flowers are great, but … “we are all connected” flashes up again.
30 Modifying the crown These are fleeting emotions that
76 Ohara: Chrysanthemums:
make for intense moments. You
flowers of life or death
Treegazing have to have that passion …
Clubs and Enthusiasts As things get going again after
32 Mulberry: the silk tree the summer break, there is no shortage
78 Bonsai Club de Monaco
Shohin: Small Bonsaï Creativity and action of exhibitions for us to enjoy, where we can
see and admire the objects of our desires,
34 A shrub’s year our hobbies, our inspiration. They are also
opportunities to meet other enthusiasts,
to chat, compare notes and lap up
new discoveries.
And that is exactly what I wish to all
Publishing Director: Christian Fournereau – Editor in Chief: Michèle Corbihan – Art Director: Antoine Simon – Designers to Layout:
Benjamin Madelainne – Translators: Abigail Grater, Nichola Lewis – Contributors to this issue: Cinthya Arenas, BonsaiTranslations, our readers: great new discoveries,
Valentin Brose, Thierry Claude, Serge Cousseau, Xavier Dreux, Francisco Ferreira, GMF, Jérôme Hay, David Jamet, François Jeker, Gilbert and emotions aplenty.
Labrid, Audrey Lafaye-Parlakyildiz, Soizic Le Franc, Antonio Ricchiari, Anne Royer, Marcel Vrignaud. – Advertising: Manon Foustoul +33297
248152 – Retail and Professional: Magalie Rous +33297593766 – Accounts: Anne Le Crom +33297593761 – Sales Inspection: Happy reading!
Pagure Presse, +33 144 698 282 – Reprographics: Antoine Simon – Setting and Printing: Rectiligne – ISSN: 1761-662X CPPAP :
0618K83283 – “Printed in France/Imprimé en France”. ESPRIT BONSAI INTERNATIONAL is published by LR Presse sarl: BP 30104, Michèle Corbihan
F-56401 AURAY Cedex, FRANCE – Registered office: 2 rue de Suède, Bloc 2, Auray, France – Limited liability company with capital of
84,500 euros – Companies register number RCS Lorient B.381289719 – Tel. +33 297 240 165 – Fax: +33 297 242 830 – E-mail: info@
esprit-bonsai.fr – Website: http://www.en.esprit-bonsai.com – Subscriptions: 6 issues per year – Legal deposit on the date of
publication – Cover: Pinus, Keiji Kandaka (Takamatsu), photo: Michèle Corbihan, design: Antoine Simon.
#90 EspritBonsaiInternational - 3
News and
resources

DIARY
In California,
United States
The GSBF CONVENTION
40 will be held on 25 to 29
October at the Riverside
Convention Center, California.
Many invited artists will
gather together at the Golden
State bonsai Federation has
gathered together a plethora
of invited artists headed up by
David Nguy, Kunio Kobayashi
and Boon Manakitivipart. The
trees displayed will also be in
a competition and could win
prizes up to $500 for the Best
of Show Award. Visitors can
vote for the People’s Choice
for which the prize is $200.
There will be number of
related events during
the convention.
Two excursions: a private
Bonsai Garden Tour with
David Nguy, or a Wine-
tasting Tour with Abe Far.
Bonsai enthusiasts will
have the chance to register
for numerous workshops
related to their interests.
Round-table talks, given by
one of the above-mentioned
guests, on a variety of subjects
such as literati bonsai, stone
appreciation, “What makes it
magic?”, or “Judging Exhibits”
are also offered on registration
– but places are limited!
¡ Riverside Convention
Center
3637 5th St, Riverside
CA92501, USA
www.gsbfconvention.org
In South Africa
From 17 to 19 November,
Port Elizabeth will host the
2017 South African Bonsai
Association Convention
and will showcase the best
bonsai in the country and
benefit from talks by national
and international speakers.
The South African Bonsai
Convention is expected to
boast an exciting exhibition
where over 100 trees will be
displayed, and numerous
demonstrations, workshops
and talks will be open to
the public. Juan Llaga, from Convention will be held on 4
Manila in the Philippines, to 7 November at Changhua
will be the principal guest of &Taichung in Taiwan.
honour at this convention. Exhibitions and
Hosted by Eastern demonstrations are on the
Province Bonsai Society
¡ Diaz Club, 3rd Ave,
Newton Park, Port Elizabeth,
6055, South Africa
Email: convention2017@
epbonsai.co.za
www.epbonsai.co.za/
convention.html agenda for these events,
which are important
Taikan Ten, Japan occasions for the
The 37th Taikan Ten will international bonsai world.
take place in the Miyako- ¡ Email: bci2017aspac14@
Messe exhibition hall on gmail.com or seanschuang@
18 to 20 November. yahoo.com.tw
¡ Entrance: about 900 yens www.bcibonsai2017.com/
9-1, Okazaki Seisyoji-
cho, Sakyo-ku, Kyoto
www.miyakomesse.jp/english/
BCI convention
in Taiwan
The 2017 Bonsai Clubs
International (BCI) Convention
together with the 14th Asia-
Pacific Bonsai and Suiseki

Gathering
Bonsai Europa 2017
Following the first successful edition in 2015, Bonsai Europa will become a major, innovative and perennial
return as promised on 7 and 8 October and is held again in Bury bonsai event in the United Kingdom.
near Manchester, but this time at the Castle Leisure Centre. ¡ Castle Leisure Centre
Over125 high quality bonsai trees are expected 1 Bolton Street
from all over Europe, and we would like to bet Bury BL9 0EZ, UK
there will be some very innovative displays! Hours: Saturday from 9.30 a.m. to 5.30 p.m.
Lectures will be given by various invited speakers: Jean-Paul Sunday from 9.30 a.m. to 3.30 p.m.
Polmans (Belgium), Michael Ryan Bell (United States), the Entrance fee: Exhibition and bonsai market £10 for the day, £15
Swedish potter Thor Hodvila and Carl Morrow (South Africa). to include access to the demonstrations, or a £25 weekend pass
Professionals’ market. inclusive of exhibition, bonsai market and demonstrations.
Tony Tickle, the organiser, would like Bonsai Europa to www.bonsaieuropa.com

4 - EspritBonsaiInternational #90

European Bonsai
San show, Saulieu
Destination Saulieu for October 14 and 15!
– that is the European Bonsai-San Show to
be held in Saulieu, Burgundy. A great show
will be held in the exhibition ground in the
presence of prestigious guests, and where
a red carpet will lead visitors to the trees on
display and taking part in the competition.
On Sunday, Luis Vallejo, Spanish bonsai artist
and founder and director of the Alcobendas
museum near Madrid, will give a talk on
“Nature and Time”, a poetic journey through
his garden and his bonsai collection that
will reflect time passing and the seasons.
David Benavente from Spain, Peter Warren
from the United Kingdom and Michael
Tran from Germany will simultaneously
give demonstration during the two-
day show on a 360° platform, and will
be at the forefront of the public.
Over one hundred Japanese and European
trees of the highest standard will be displayed.
The best trees will be rewarded with four
“Best of the Show” prizes and a special
prize will be given to the most beautiful tree
in the exhibition. The show’s ten partners
will vote for their best tree in their chosen
category and Esprit Bonsai International will
present an original, signed photograph by
Yvon Boelle for the best deciduous tree.
One of the largest professional markets in
Europe will be open during the two days.
The weekend is predicted to be a thrilling
event in the heart of Burgundy.
¡ Parc des expositions Jean Bertin
Rue de la Gare 21210 Saulieu, France
Hours: Saturday from 9.30 a.m. to 6.00 p.m.,
Sunday from 9.30 a.m. to 5.00 p.m.
Entrance fee: €20 for one day,
€25 for the weekend.
www.european-bonsai-san-show.com
www.en.esprit-bonsai.com
Find news in real time on our blog
and on the Esprit Bonsai FACEBOOK page.
Heathrow Bonsai Show
A gathering on Sunday 22
October at the Harlington Sports
Centre for the 8th Heathrow
Bonsai Show for a great day to
meet up and exchange views
on a mutual passion for bonsai.
The event will bring together all
bonsai practitioners who want to
share their enthusiasm through
an exhibition. The organisers
are convinced that this kind of
event is the best way to promote
bonsai and is bridge for the public ¡ Harlington Sports Centre,
to enter a wonderful universe. Pinkwell Lane, Harlington,
The programme includes Middlesex. UB3 1PB, UK
bonsai displays by clubs and Hours: 10.00 a.m. to 4.00 p.m.
professionals, a bonsai clinic Edntrance fee: adults £3,
which offers care and advice, and free for children under 12
information about the clubs. Contact: Mark Moreland,
John Hanby is the invited tel. + (44) 07850 771201
demonstrator and is the owner Email: markmoreland@live.co.uk
of one of the largest nurseries http://heathrowbonsai.weebly.com
in the United Kingdom, as
well as a bonsai school.
Snack bar.
News
The Crespi
Cup winners
We organised a competition where two
readers or internet surfers would win a visit
to the Crespi Cup. The prize went to Céline
Céline Doreau won a weekend
Doreau, and on the 16 and 17 September, to the Crespi Cup, and was
the lucky winner and her partner, Eric accompanied by her partner.
Sardi, went to Parabiago near Milan.
Erratum
In our last issue, in our article on the Fédération française de bonsaï
convention at Prades-le-Lez, we erroneously reported that, Roland
Gruneisen, who was honoured with an outstanding mention for his
hawthorn tree, was a member of the Seita Bonsai Club. In fact, he is a
member of the Seijaku Bonsai Club at Rouffach. www.seijaku-bonsai-
club-rouffach.com). Our sincere apologies to both clubs for this error.
#90 EspritBonsaiInternational - 5
 News and
resources
DIARY
The BCI
Convention 2018
On 12 to 14 October 2018,
the heart of Mulhouse will
beat to the bonsai rhythm,
when the Mulhouse exhibition
grounds will be given over to
the Bonsai Club International
(BCI) Convention, the
Fédération française du
bonsaï French Bonsai
Federation) Convention and
that of the French
Association of
Suiseki exponents,
within the ‘folie’flore’
and the Bonsai Euro
Top 30. Events and
exhibitions of over
200 bonsai trees
and 100 suiseki.
Twelve international
demonstrators
and speakers have
been invited.
You may also get
the chance to
display your own
trees! Send a photo
of your tree on its
own, a photo of
you next to your
tree, the tree’s
dimensions (height, in
centimetres, taken from the
soil to the crown), the origin
of the pot and your full name,
postal address and email
address. An international
jury will make the selection.
You can show your tree at
the Bonsai Euro Top 30 or
exhibit just for the three
days of the convention.
¡ For further details
and reservations:
www.world-bonsai-
mulhouse.fr
6 - EspritBonsaiInternational #90
Exhibitions and conventions
Bonsai Europa 2017
BURY, Castle Leisure Centre, 1 Bolton
7-8 october
UK
Street, Bury BL9 0EZ
www.bonsaieuropa.com
Kent Bonsai Club Autumn Show
10 a.m.–4 p.m. Admission: £1.
KENT,
8 october Refreshments, demonstrations
UK
and sales tables.
Contact: adrian58long@btinternet.com
European Bonsai-San Show
Parc des expositions Jean Bertin,
SAULIEU, FRANCE 14-15 october
Rue de la Gare, 21210 Saulieu
www.european-bonsai-san-show.com/
Heathrow Bonsai Show
HEATHROW, Harlington Sports Centre, Pinkwell
22 october
UK Lane, Harlington, Middlesex. UB3 1PB
www.heathrowbonsai.weebly.com
Golden State Bonsai Federation:
CALIFORNIA, 25–29 GSBF 40th Convention,
USA October Riverside Convention Center
www.gsbfconvention.org
The Bonsai Club Germany organises its show
«Bonsai fascination and Shohin Passion»
28-29 Rathausplatz 7, 31785 Hameln
HAMELN, GERMANY
october (Pied Piper City)
www.bonsai-faszinationen.de
www.bonsai-club-deutschland.de
40 year Vlaamse Bonsaivereniging
Final event: seven exhibitions,
MEISE, BELGIUM 1-5 november demonstrators, workshop.
National Botanical Garden
www.vlaamsebonsai.be
Aki Ten
Bonsai and ceramic exhibitions
Guest: Imai Chiharu
BRIXEN, ITALY 4-5 november
Forum Brixen
Romstrasse 9, IT-39042 Brixen (BZ)
www.akiten.it
South African Bonsai
Association Convention
PORT ELIZABETH, 17–19 Hosted by Eastern Province Bonsai Society
SOUTH AFRICA november Demonstration: Juan Llaga
Email: convention2017@epbonsai.co.za
www.epbonsai.co.za/convention.html
2018
Noelanders Trophy
Guests: Kunio Kobayashi, Japan. Bjorn
Bjorholm, USA. Milan Karpisek, Czech
GENK, BELGIUM 3-4 february Republic. Giacomo Pappalardo, Italy.
Limberhal
Email: secretaries@bonsaiassociation.be
www.bonsaiassociation.be
92nd Kokufu Ten, organized by
TOKYO, JAPAN 8-16 february the Nippon Bonsai Association
Tokyo Metropolitan Art Museum
European Bonsai Association Convention,
European Suiseki Association
ARCO, ITALY 4–6 May Convention and UBI Convention.
Demonstrator: Hotsumi Terakawa.
Congress Centre, Casino Municipal, Arco.

Interpreting and translating
The judgments we make when we look at a
bonsai – a work of art – must be meaningful.
This is what the artistic process is all about.
Author: GMF
W
e often feel the need to make
judgments on the quality of
works that we see in exhibi-
tions and books – which is
perfectly natural and right for people who
have a passion. But to hone our percep-
tion, solid knowledge is essential: yes,
knowing the techniques, but also knowing
what Nature looks like – its mystery, its
rhythms. The first and most important
thing is to learn. The second important
point is to understand the meaning
behind this learning process.
The Chinese say in order to find the
artist’s secret in a work, “you must make
a cultural effort, read thousands of
books and search endlessly”. These two
stages of building aesthetic judgments –
knowing, and then understanding – are
necessary in order to be able to explain
the opinion that you hold on a work. To
love a piece is not merely to let your-
self be guided by your impulses; rather,
it involves taking on board all the ideas
that help to achieve objective reasoning.
And it is an all-the-more sensitive process
given that bonsai is a living work of pure
contemplation – not just a technique! It
is a question of art and of its meaning.
An interpretation
of the world
“A work of art is no product of Nature.”
This quote from the German philosopher
Hegel (1770–1831) places the question
of bonsai at the heart of the debate. If
there is no Natural art, it follows that a
work of art is the result of human labour,
the fruit of a will and a consciousness
confronted with the natural realm. But for
what purpose? One thing that is certain
is that artistic forms appear in all civilisa-
tions: nobody can do without them. This
goes beyond the domain of history and
civilisation and defines what it is to be
human. There is no artistic creation in
the animal kingdom.
Let’s consider the principle that art is a
viewpoint on the world, an interpretation
of the world that is expressed through a
particular technique. In that case, what
differentiates this particular view from
an everyday interpretation?
To understand both of these
approaches, we might turn to Japanese
culture, in which each object, each being,
each organism, each act etc., possesses
two aspects: the “omote” and the “ura”.
Omote is the public face of things:
what everyone can see. A typical example
is a shopfront, or rules of good social
behaviour.
Ura designates the hidden face of
things: what appears when the façade is
stripped away. It is the dark, or perhaps
negative, or simply intimate aspect: what
is going on inside.
In human relationships, omote is what we
let other people see: what we say, the expli-
cit, the face we put on, everything that is
considered good manners and that ensures
the continuation of social harmony. Ura, on
the other hand, is the implicit, the real mea-
Phoenician juniper. Front A,
chosen by the tree’s owner.
The spirit
of Bonsaï
ning, a matter of intimacy; something that
must be grasped but cannot be articulated.
From form to meaning
Where bonsai is concerned, it can be
argued that the visible, technical, archi-
tectural aspect is a homogeneous and
harmonious vision. Appreciation can be
purely formal. On the other hand, an une-
ven, unspectacular, deformed look can
be retained to guide the mind towards a
meaning. Without being explicit, this must
be able to be understood by the viewer,
intuitively or rationally.
The two photos shown here are of the
same tree seen from two different angles.
During an exhibition in Italy, this juniper
could be seen on the first day with one
front (A) and on the second with another
(B). Although this may have seemed like an
error of presentation, it was not at all. On
the first day, the juniper’s creator placed
it in such a way as to show the nebari and
the magnificent deadwood that seems
miraculously to hold the greenery in place.
The bonsai master came in on the
second morning and rotated the tree on
its base to show its true front: the one
from which its form must be constructed.
No need to say more about it.
These two approaches – one based
on form, the other on feeling – are not
opposed to each other; they are linked
by the distance between them, and by
the many subjective variations that could
have been expressed. 
Front B, chosen by the Japanese master in
attendance when the tree was displayed.
#90 EspritBonsaiInternational - 7
Exhibitions

Brittany decked out

in the colours of
Japanese azaleas!
On June 3 and
4, the Satsuki
Flower Trophy at
Saint-Germain-du-
Pinel presented a
beautiful display
of trees as well as
workshops and
information on
discovering Japan.

SATSUKI FLOWER TROPHY

Azaleas in all their hues
The third edition of the Satsuki Flower
Trophy held on 3 and 4 June at Saint
Germain-du-Pinel, offered a journey
deep into the world of Japanese azaleas
– a Japanese moment in time and more
besides.
Text: Audrey Lafaye-Parlakyildiz
Photos: Jérôme Hay
The Satsuki Flower Trophy attrac-
ted a large number of visitors to its third annual
show held on 4 June 2017 at Saint-Germain du-
Pinel in Ille-et-Vilaine, Brittany. It was a highly
colourful event that once again gave pride of place
to the multi-hued Japanese Azalea in full bloom.
Novices, enthusiasts and professionals flocked
to this country setting to discover and admire
this juried exhibition organised by Jérôme Hay
and the Satsuki Flower Trophy Association. The
event took place in the 3000m2 (0.74 acres) of
the Jardin du Levant in a typically Japanese Zen
atmosphere.
Indeed, the entrance – a majestic red torii
(gate) draped with the hinomaru (the Japanese
flag) – set the scene and sent visitors off on a
peaceful journey that immersed them in Japanese
culture. A chronological frieze and explanatory
panels marked the way, giving an introduction
to the history of the Land of the Rising Sun and
plunged visitors into the world of Mount Fuji,
samurai, geishas, kimonos, and many other tra-
ditions and legends.
The calligraphy workshop offered by Megumi
Galpin, who transcribed first names into Japanese
characters, enthralled young and old. All these
features combined to create a pleasant atmos-
phere and transported visitors to an enchanted
universe.
Flourishing rewards
Saturday’s high spots were the display and the
selection of the best satsuki. The trees’ abundant
flowering this year was remarkable. The Satsuki
Flower Trophy was awarded by all the exhibitors
who, following professional criteria, chose the

8 - EspritBonsaiInternational #90
 The Aozora satsuki
by Lionel Penvern
received first prize that
was awarded by the
exhibitors themselves.
Height: 50 cm (19¾ in.)

In the nursery
gardens
information
panels introduced
visitors to the three best specimens. The visitors’ prize, how-
history of Japan, ever, was awarded to the bonsai azalea, that had
its geishas and most aesthetic appeal to the public eye. As with
other traditions.
each edition, awards were made to different trees
according to each prize’s criteria. The jury’s first
prize went unanimously to the Aozora satsuki by
Lionel Pernvern (The Lorient club) with its graded
shades of whites and pinks. The lucky winner
received a gift token for 500 euros to be spent
A traditional Japanese gate sets the tone at the entrance to in the Jardin du Levant. Two joint second prizes
the Jardin du Levant nursery that hosted the exhibition. went to the Kinsai satsuki by Michel Otto 

#90 EspritBonsaiInternational - 9
 Exhibitions
The Nyohozan satsuki by Jean-Bernard Gallais, was
awarded joint second place. Height 55 cm (21⅝ in.)
Visitors voted for their
tree of choice and the
prize was carried away
by this Hi No Maru
satsuki by Matthieu.
Height: 45 cm (17¾ in.  and the Nyohozan satsuki by Jean-Bernard
Gallais. The visitors’ prize was won by the red
and white Hi No Maru satsuki by Matthieu. The
Lorient club has once again shown itself to be
well deserving of its success, the fruit of conscien-
tious and motivated work for which it has been
reputed for many years.
Training sessions
From the start of the exhibition, workshops
were led by two bonsai specialists Renato Carta
and Jean-Bernard Gallais, while Jérôme Hay gave
two lectures on the culture and the construction
of satsuki, followed by a guided tour of the park,
a display of rare species around the pool, expla-
nations on the composition of Japanese gardens,
and the discovery of bonsai, to mention just a
few of the themes touched on with passion by
the owner.
As in previous years, Jean-Bernard Gallais
shared his knowledge acquired from the great
10 - EspritBonsaiInternational #90
Japanese masters. He is a renowned satsuki spe-
cialist and an active member of the Fédération
Française du Bonsai (French Bonsai Federation),
and many enthusiasts gathered together in his
workshop, where he good naturedly expounded
on each step to be taken in satsuki shaping, prun-
ing and maintenance, as well as techniques for
different styles and taking cuttings, allowing par-
ticipants to discover or to deepen their knowledge
of the species. Although bonsai azaleas are singu-
lar trees in the way they are cultivated, they are
relatively easy subjects to understand.
For his part, Renato Carta – a bonsai profes-
sional conifer specialist and owner of the Esprit
du Pin (the Spirit of the Pine) nursery at Quevy, in
Belgium – led workshops devoted to species other
than azaleas. Renowned for his work with coni-
fers, he trained under the masters Abe Kenichi
and Hiromi Tsukada. Participants brought their
own trees. Renato Carta gave technical advices
and style pointers for each tree – such as how to
Satsuki specialist, Jean-Bernard Renato Carta, a pine expert, Jérôme Hay, owner of the gardens and
Gallais, led a workshop. offered a workshop. festival organiser, gave lectures on satsuki.

A Gyoten satsuki with a less than classic trunk A Hoshi No Kagayaki satsuki by Michel
by Pierre-Yves Lidec. Height: 76 cm (30 in.) Bisserier. Height: 48 cm (18⅞ in.)

choose the front, and then the branches; shaping

by pruning and wiring, cleaning and repotting,
and maintenance, watering, and taking cuttings.
At the end of the workshop, participants could
exhibit their trees during the event to show off
the quality of their work.

Perfect lighting
Despite an uncertain weather forecast, the
weekend was dry, and Sunday was particularly
mild without a cloud in the sky – a luminous
setting in which the gardens and the display of
trees were shown off to advantage to reveal a full
palette of spring colours.
The sun shone kindly too on the organisers, The Kinsai satsuki
who had learned from previous years how to re- by Michel Otto
duce the queues in the catering area and at the was awarded
joint second
shop. No doubt the next show will be able to hold place. Height:
even more devotees.  48 cm (18⅞ in.)

#90 EspritBonsaiInternational - 11
 Exhibitions

The Jardin du
Levant is home
to a beautiful
Japanese garden
where visitors
can experience a
Zen atmosphere.

A Kaho satsuki by Jean Croizer.

Height: 80 cm (31½ in.)

 After an emotionally charged Saturday

with the awarding of the prizes, an informal, con-
vivial dinner awaited these confirmed enthusiasts
and was an ideal occasion to meet up again to
talk bonsai, their common passion.
All factors combined to make the 2017 Satsuki
Flower Trophy a particularly special bonsai event. A Kinssai satsuki by Pierre-Yves Lidec.
Visitors praised the high quality of the exhibition, Height: 95 cm (37⅜ in.)
the beautiful settings, and Jérôme Hay’s personal
collection.
The Satsuki Flower Trophy biennial has be-
come an unmissable occasion in the bonsai
world, and offers an expert look at the azalea, a
species that deserves a place of honour during its Anannualexhibition
spectacular flowering. It is held every two years, A new event on the horizon: the organized around a pricklier
which gives exhibitors the time to refine their Jardin du Levant has decided subject – the pine! The Jardin du
trees in order to display them at various exhibi- to hold a yearly event, with the Levant will host the 2018 Matsu
tions, and to register new satsuki. So the get- to- odd years being devoted to the Ten, which add a little zest for
gether for the next edition is set for spring, 2019.  Satsuki Flower Trophy and the conifer lovers. Scots, French or
even years given over to species Japanese pines will take centre
other than the Japanese azalea. stage at Saint-Germain-du-Pinel.
In 2018, the exhibition will be

12 - EspritBonsaiInternational #90
 Exhibitions

© MICHÈLE CORBIHAN
Coup de coeur was the

"SALON NATIONAL DU BONSAÏ"

expression given to the
Maulévrier Salon national du
bonsaï at the Parc oriental
in the Maine-et-Loire district
on 9 and 10 September.

A heart-stirring
This Chinese elm by Arnaud
Desbois was awarded the
public and the “Harmony”
Coup de coeur prizes.

weekend!
Coup de coeur (or heart-stirring), is the only way to describe
the fifth edition of the Salon national du bonsaï hosted by
the Parc oriental de Maulévrier in the Maine-et-Loire district,
as much for the prizes awarded as the warm, welcoming
atmosphere.

Text: David Jamet

Photos: Serge Cousseau Selected by the public and a jury,
and David Jamet the best of the beautiful trees displayed at the
Maulévrier National Bonsai Exhibition were ho-
noured by their coups de coeur. An expression
that set the tone for this unmissable event held
in western France, where on 9 and 10 September,
both professional and amateur exhibitors from
many parts of France, gathered together to share
their common passion as well as to display their
work to the wider public. The bonsai exhibition,
where over fifty trees could be admired by visitors
was held in the Maulévrier community reception
hall opposite the Maulévrier Oriental Park.
The coups de coeur prizes were awarded during
the evening of the Maulévrier National Bonsai
Exhibition in the presence of fifty people. This
great occasion of friendship among the bonsai en-
thusiasts present, was held in the park itself and
was followed by an enjoyable nocturnal show in
the grounds on the theme of Japanese tales. 

#90 EspritBonsaiInternational - 13
 Exhibitions
Enzo Ferrari, guest of honour and demonstrator from
Switzerland, exhibited one of his beautiful Mugo pines.
Nicola Crivelli, the joint guest of honour
and demonstrator, also from Switzerland,
brought a yew as well as other trees.
Two Swiss guests
Enzo Ferrari and Nicola Crivelli travelled from
the Italian region of Switzerland, and especially
for the occasion, they displayed three each of their
trees in a tokonoma.
During the weekend, and under a sometimes
threatening sky, the two guests of honour gave ou-
tdoor demonstrations in the professionals’ village
set up in Maulévrier’s Oriental Park. On Sunday,
they gave public lecture tours of the exhibitions
that were enjoyed as much by experienced bon-
saists as by the novices. The two stars of Euro-
pean bonsai captivated the public, whether bon-
14 - EspritBonsaiInternational #90
The Coups de cœur prizes
Coup de cœur “natural”: Chinese bird plum (Sageretia),
by Luc Artus
Coup de cœur “Elegance”: Scots pine, by Guillaume Poncet
Coup de cœur “Strength and power”: wild olive
by Pierre-Yves Lidec
Coup de cœur “Venerable”: Deshojo Japanese
by Christian Coquelle
Coup de cœur “Harmony”: Chinese elm by Arnaud Desbois
Coup de cœur “Enzo Ferrari”: Hinoki cypress
by Jacqueline Saviard
Coup de cœur “Nicola Crivelli”: shohin display
by Lionel Penvern
Coup de cœur – public vote: Chinese elm by Arnaud Desbois
Coup de cœur – Parlons Bonsaï (Let’s talk bonsai): Scots
pine by Alexandre Wemaëre – awarded after a preselection
by members of Parlons Bonsaï and internet votes via the
Parlonsbonsai.com forum during the two-day exhibition.
Nicola Crivelli demonstrated The potter, Pierre Rousseau, Enzo Ferrari showed his
on a larch. turned his pots on a wheel expertise on a Mugo pine.
before the public
sai practitioners or not, by their friendliness and
approachabilityw.
Various other activities were offered by dif-
ferent participants during the weekend. Pierre
Rousseau, a potter, enchanted young and old by
his work at the potter’s wheel, and some visitors
even had the chance to try their hand at this pot- The two guests of honour at
tery technique. François Gau, who was the guest the exhibition gave a lecture
tour of the exhibition.
of honour at the 2015 exhibition, surprised us
with his presence as a mere visitor, but he too set
to work on the delicate art of pottery.
The stonecutter, Olivier Dupé of OD Rénova-
tion, gave a demonstration of his skills by crea-
ting a Japanese lantern. The general public was
able to discover the art of bonsai through lecture
tours given by a member of the Association of
the Oriental Park.
Encadré

Coup de cœur “Natural”:

Sageretia, by Luc Artus.

Coup de cœur “Parlons

Bonsaï” went to the Scots
pine by Alexandre Wemaëre.

Coup de cœur “Venerable” was
Enzo Ferrari awarded his “Coup de cœur” to won by the Deshojo Japanese
the Hinoki cypress by Jacqueline Saviard. maple by Christian Coquelle.
Nicola Crivelli’s “Coup de cœur” was for the shohin display by Lionel Penvern.
Advice to beginners
In addition to the bonsai exhibition, some sui-
seki, meditation stones – figurative or abstract
stone landscapes, or human or animal forms –
were also displayed. A member of the Association
française des amateurs de suiseki (AFAS) gave a
lecture to reveal the principles of this unusual art.
A professionals’ village was set up near the
entrance to the park and to the exhibition hall.
The twelve exhibitors – specialist nursery owners,
potters, shelf makers and bonsai professionals –
offered trees, ceramics, display shelves, and trees
among many other items, and very much appre-
ciated the easy-going and friendly atmosphere
that reigned throughout the weekend.
The show’s partner, Esprit Bonsai Internatio-
nal, was present in the exhibition hall to wel-
come its readers – debutants and experienced
bonsaists alike.
Members of the Maulévrier bonsai club, the
event’s partner, set up a stand to advise visitors
who were interested in learning the art of bonsai.
During the two-day event, over 1400 visitors
came to discover the Oriental Park and the Na-
tional bonsai exhibition: a coup de coeur and an
unmitigated success for bonsaists and the gene-
ral public alike. Rendez-vous in September 2018,
for the next edition of the National Bonsai Exhi-
bition. 

#90 EspritBonsaiInternational - 15
Trees
and People

With 10 years of experience,

Michael Tran, a young

Michael Tran
German bonsaist, would
like to federate a new
generation of talents, while
promoting the rigorous
practice of bonsai.

“Obsession with perfect

techniques is the key”
Michael Tran, 34, founded his nursery near
Heidelberg, Germany. Every year, it organises
Generation Bonsai, an event dedicated to
young talents of bonsai.
Interviewed by Anne Royer
Photos by Michael Tran – Minoru Bonsai
Esprit Bonsai International – How was
your passion for bonsai born?
Michael Tran – It all started ten years ago.
I was shopping in a warehouse where they
sold stands made for plants. I couldn’t
believe that people would build a piece
of furniture just for a plant … I had no clue
whatsoever. Finally, I saw an exhibition
organised by the local club at the Heidel-
berg Botanical Garden … and I joined the
club!
At the very beginning, I enjoyed creating
a certain feeling in a branch, rather than
a specific shape. I wanted to learn about
bonsai because I thought and still think it
was cool.
E.B.I. – How did you become a profes-
sional bonsai artist?
M.T. – After joining the local club as a
beginner, I met Udo Fischer who became
my bonsai teacher. He offered me the
opportunity to work with him three to
four days a week; it was not a classical
Japanese apprenticeship. I learned the

16 - EspritBonsaiInternational #90

Michael Tran has set up his nursery,
Minoru Bonsai, in Neckargemünd, near
Heidelberg in south-west Germany.
basics of a demanding bonsai practice,
techniques and care. I then became self-
taught. And I never left Germany to learn
about bonsai.
Ten years ago, it was unthinkable that
I would become a bonsai professional.
When I finished my chemistry studies at
the University of Heidelberg, I had only
a few trees, nothing else. I took my bike
and then caught the train every day to go
to work at the club or with Udo Fischer:
I spent every penny and every ounce of
energy to become a bonsai artist. On the
train, I used to read magazines about bon-
Michael’s
collection
already boasts
some beautiful
specimens.
Each spring, young bonsai talents participate in
Generation Bonsai, an event hosted by Michael
Tran in his nursery (here in 2016, with Jean-Philippe
Hoareau, Bjorn Bjorholm and Matt Reel).
sai and just keep dreaming, constantly … is it important to give them space for
I had nothing, but it did not bother me at expression, encounters and sharing?
all. I was happy, absorbed by this goal. The M.T. – Through various platforms on the
more I dreamed, the more good people Internet, our generation has extraordinary
came into my life. Today I run a really cool opportunities and possibilities to commu-
bonsai nursery … and I keep dreaming! nicate, share and learn from each other.
The art of bonsai can spread much fast-
E.B.I. – What dreams would you like to er than in the past. With these tools, we
achieve in the years to come? can not only progress, but also completely
M.T. – I would like to create an international redefine the art.
bonsai exhibition that will help advance When I see what has been achieved
the art of bonsai. over the last thirty years, I am very excited
about what we could accomplish in the
E.B.I. – In 2015, you launched Gener- next thirty years. But we should not just
ation Bonsai – an event dedicated to focus on the Internet. The experience of
the young generation of artists. Why trees and displays, style and technique 
#90 EspritBonsaiInternational - 17
 Trees
and People
European spruce. Height: 87 cm (34 in.).
 can only be transmitted with personal
encounters and the pleasure of practising.
E.B.I. – What do you think the future of
European bonsai might look like?
M.T. – The spirit of European bonsai is
not very different from modern bonsai
in Japan or America. It is the trees and
nature that influence the techniques.
I see European bonsai moving further
and further away from formal styles, as
yamadori becomes the defining factor. I
also believe that the typical and endemic
trees of European mountains still remain
to be explored and to mature with the
right techniques. The future of European
bonsai will be composed of unique trees,
recognised throughout the world.
E.B.I. – What are the essential skills to
become a talented bonsai artist?
M.T. – Bonsai is above all a mental disci-
pline. Sure, it’s also physical since you have
18 - EspritBonsaiInternational #90
Detail of deadwood on the same spruce.
to practise again and again, master the
fundamental techniques and have the eye
to spot the trees with high potential. More
importantly, you must rethink what you
have learned, and relearn it. Stay hungry
for new techniques and improvements.
Hold yourself to the highest standards you
can find. Obsession with perfect tech- Michael is particularly fond of large conifers
niques is the key. (here, a Japanese white pine).
E.B.I. – What creative process guides
your work on a tree?
M.T. – Working on a tree begins by select-
ing the right material and nurturing it to I do not really have a style of my own,
reach that state where it can be worked but I like to create big interesting trees,
on. In general, I like to identify the best with lots of contrast and soft, relaxed foli-
possible trunk line and then I devise an age pads.
aesthetic styling strategy. The first styling
includes as many branches as possible E.B.I. – Which tree varieties do you pre-
while aiming for a clean base structure. fer to work with?
During the following operations, everything M.T. – Big yamadori of conifers, because
will be reduced to highlight the clean and they challenge you to adapt the basic
balanced structure of the tree. techniques and to get creative. Their
In the middle, European spruce.
Height: 100 cm (39 in.).

A mountain pine, before styling.

The same tree,
in summer
2017. Height:
90 cm (35 in.).

impressive size and power holds the

potential to convey the true character of
an ancient and respectable being. I buy
my trees from friends and professionals
in Europe, but I also like to collect them
in the Alps. I select rather large trees, with
plenty of movement and deadwood. The European beech
with multiple
masterpieces known to all, those who trunks. Height:
advance the art of bonsai, are generally 105 cm (41½ in.).
big trees … 

#90 EspritBonsaiInternational - 19
 Trees
and People

In practice
Minoru Bonsai
Alter Bammentaler Weg 10
D – 69151 Neckargemünd
Germany
Email: info@minorubonsai.de
Tel: +49 (0)176 2077 8488
www.minorubonsai.de
Generation Bonsai
www.generationbonsai.com

E.B.I. – Is it one of your main ambitions

to create a masterpiece? The curves of
M.T. – The main goal is to advance or even “White Dragon”
to redefine bonsai one day. To achieve on his arrival,
before Michael’s
this, the key is to create extraordinary styling work.
trees, of very high quality and with a per-
fect presentation. Whether such a tree is
widely recognised as a “masterpiece” or
not, I let others decide.

E.B.I. – Tell me about a tree of which

you’re especially proud …
M.T. – I have a very special affection for
a tree that we call “White Dragon”. When
I saw the material for the first time, I was
not especially fond of it… It took me some
time to realise its true potential. I was sur-
prised not to have noticed it earlier. It’s a
very modern tree with an overly dominant
deadwood and an almost too crazy trunk
line. This is definitely not a classic bonsai.

E.B.I. – Do you think a tree can ever be

completed?
M.T. – No, ideally it is constantly evolv-
ing and going through different cycles of
refinement and rebuilding. 

Mountain pine
(Pinus mugo), in
kengai (waterfall) “White Dragon”, an iconic tree
style. Height: by Michael Tran: a Japanese
70 cm (27½ in.). white pine with a tortuous
shape. Height: 85 cm (33½ in.).

20 - EspritBonsaiInternational #90
#90 EspritBonsaiInternational - 21
To do
this month

Knowing
when to act
On most old
Given how unpredictable conifers, the lower
(oldest) branches
the weather is, it’s better – and sometimes
the ones in the
to keep an eye on trees middle – often
slope downwards.
and judge which is the This is not
always the case
best moment to intervene, for branches
at the top.
rather than sticking rigidly
to a calendar.
Author: Gilbert Labrid

T his year has been marked, perhaps more

than previous ones, by climatic mood
swings that have defied many predictions. The
suddenly violent nature of events, as reflected 1 This cedar’s structure

by the weather, is worrying. For this reason, it is has all the branches
very difficult to give advice on which tasks to do pointing upwards.
The middle branches are
in a specific month. If you want to know when
young enough to be
to carry out the various tasks that are essential, positioned horizontally
it’s much better to think in terms of seasons. without any difficulty.
Also, there is currently an ever-increasing gap However, the first
between the situation in southern Europe and branch is too thick to be
bent without leaving
other climatic zones, for example in terms of
a curved part at the
rainfall: it rains when normally it wouldn’t, it point where it
doesn’t rain when normally it would, and the rain meets the trunk.
is interspersed with long drought periods. Erratic
springtime temperatures have hindered plants’
recovery after repotting. All of this may, and most
probably will, continue to evolve. Therefore, each
individual needs above all to make judgments
according to the region they live in, as to when
to undertake major work, and the protection of
their bonsai (from sun, wind, frost, rain etc.).
The beginning of winter is a good moment for
changing trees’ structure. Wire training is an
opportunity to carry out alterations that may
2 To achieve a natural
be small but are nonetheless essential. With
starting point for the
conifers, downward-sloping branches are lower branch, make a
characteristic of old trees, and so you need to get notch in its underside,
as close as possible to this form. Their direction as close as possible to
will give an indication of the tree’s style.  the trunk. Cut gradually,
checking its pliability as
you go along, until it
has become flexible
enough.

22 - EspritBonsaiInternational #90
 3 Make a clean cut. You can go to a maximum of half the 4 Once the branch has been bent downwards, the cut is closed and its edges
branch’s diameter to make it easier to bend. It is important to come together. Apply cut paste around the base.
cut in the right direction and to keep an eye on the angle of the The copper wire passes underneath the base. The notch weakens the
cut, to give the branch a better position. branch’s hold enough to prevent it from tilting upwards again.

Otherthingstodo
- Prune back long shoots from the late
summer.
- Repot apple trees, and fruit trees in
general, to get ready for the spring.
Protect them from wind, frost and strong
sunlight in winter.
- Cut back major roots of beech, horn-
beam and oak trees to just before the
points where they fork, to get ready for
springtime repotting. Or wind thick wire
tightly around large roots to create new
rootlets.
- Apply one last dose of autumn fertiliser.

5 The second branch is less thick, and meets the trunk at a more horizontal
angle. Here, the wire can be passed over the base, to force the branch downwards
and give it a position in line with the desired effect.

Box-tree moths
In regions affected by the presence of box-tree moths, which feed
off box plants, you need to keep an eye out for three to four attacks
per year, including in April/May and August. The last one usually
occurs in October. In a single night, a box plant can be totally defo-
liated, and in autumn this can be catastrophic. Leaves and shoots
Only one remedy is to be recommended: Bacillus thuringensis, under attack from box-
which is sold under various product names by different manufactu- tree moth caterpillars.
This is an adult
rers. It is totally organic, consisting of bacteria that contaminate the
caterpillar (1.5–2 cm
caterpillars. It should be applied after every rain shower – as it risks (½–¾ in.)). Young
losing effectiveness if washed away – and don’t get the leaves wet caterpillars are
when watering. Apply it as soon as you spot the first affected leaf. almost invisible.

#90 EspritBonsaiInternational - 23
 .G ,CTFKP FW .GXCPV
GT
G 2TQFWEVGWT
G
GWTQRoGP
T P FG

UCVUWMK
 XCTKoVoU
C K oU GP RTQFWEVKQP
E K
2QWT
W NG DQPUCvv GV
G NG LCTFKPK
.CTIG EJQKZ
K  FW LGWPG RNCPV
R CW
DQPUCv
P v
8KUKVG\
V
YYYNGLCTFKPFWNGXCPVHT
Y 
+D\ -ÆUÑPH
/HV
V KDLHV
DH 6GN    
  
 VW *HUPDLQ EQPVCEV"NGLCTFKPFWNGXCPVEQO
EQP CT
GX 3LQHO

)UDQFH




       




  




 












 
 
  
 

24 - EspritBonsaiInternational #90
Bonsai
Basics

Bonsai through history

Author: Antonio Ricchiari

C
ontrary to what most
people think, bonsai origi-
nated in China. The prac-
tice started under the name “pun-
sai” (a Chinese ideogram meaning
“potted tree”), between the second
and the fourth centuries AD, under
the Tsin (Jin) dynasty.
The story goes that it all began
with a poet, Tao Yuan-ming (365–
427), who planted a chrysanthe-
mum in a pot.
On another note, a definition of
bonsai appears in a book by Kenji Two examples of penjing in a Chinese book from the 20th century. The characteristics
Murata, Practical Bonsai for Begin- of these Chinese trees are different from those of bonsai, which is Japanese.
ners, written in the 1960s: “Bon-
sai, potted dwarf trees, are real
Japanese artwork, now become
one of the many wonders of the
Before bonsai
It is likely that a form of cultivation similar to bonsai was
world. Potted trees can be found
everywhere, but no one can be practised in Japan during the Heian period (794–1191).
compared to Japanese Bonsai as It served to evoke the “spiritual landscape” – a concept
it is the work of creative talent of that links bonsai to Zen Buddhism and Tao.
man.”

early Qing dynasty (1644–1911).

Japanese ideogram of the word
“bonsai”, which comprises the
words “tree” and “shelf-vase”.
In the beginning,
in China
The difficulty in knowing the
origins and history of how bon-
sai emerged in Eastern tradition
comes from the fact that its culture
is based on oral transmission. Pain-
tings from the Tang dynasty testify
to the presence of a bonsai on the
tomb of Prince Zhang Huai, in Xi’an.
In the late Song dynasty (960–
1280), potted trees were joined by
rocks and figurines to create minia-
ture landscapes called “pun-wan”,
which today are called “bonkei”.
The name “pun-wan” became
“pun-ching” (meaning “potted tree
with landscape”) between the late
Ming dynasty (1368–1644) and the
During this period, the various
schools started to create different
styles of small trees. As for the
term “bonsai”, this is more recent,
having emerged only around 150
years ago.
During the Qing dynasty, which
was a period of cultural and eco-
nomic revival, bonsai became
widespread and achieved its grea-
test level of popularity. How bonsai
came to spread from the Chinese
empire to Japan remains uncer-
tain: it may have been down to
Buddhist monks. Practising bon-
sai was the preserve of the elite,
as was the tea ceremony, in which
bonsai came to be an element of
the staging. 

#90 EspritBonsaiInternational - 25
 Bonsai
Basics

Arriving in Japan
The first written evidence of
bonsai’s spread to Japan comes
from the Kamakura period (1185–
1333). Illustrations on sheets of
parchment depict scenes of daily
life in which the first bonsai appear.
Also bearing witness to bonsai’s
dissemination is the dramatic work
Hachi-No-Ki, which means “The
Potted Trees”. It was from the 18th
century that trees were collected
from nature in order to be cultiva-
ted in pots.
From that time onwards, bonsai
cultivation was associated with a
legend that became the theme of
a popular play in the Noh theatre,
from the Muromachi period (1333–
1573). The story recounts how, one
winter’s night, a poverty-stricken
samurai was visited by a shogun
From the
who was travelling incognito for
Muromachi
financial reasons. The samurai period (1333–
didn’t even have a wooden table 1573), depictions
with which to make a fire to provide of Japanese
his visitor with some warmth. So daily life
featured bonsai.
he decided to sacrifice his three
precious bonsai: an apricot, a pine
and a cherry tree. The story ends
with the shogun richly rewarding
the samurai for his generosity.

The earliest
bonsai gardens
Towards the end of the Edo
period (1603–1868), the first bon-
sai gardens started to emerge,
patronised and appreciated by
the nobility. In this time of gene-
ral prosperity, the study of art and
literature flourished. The Tenmei
era (1781–1789) saw the launch of
an annual exhibition of pine bonsai
in Kyoto, at the Maruyama-No-Ryo
park. Participants came from dif-
ferent districts of five provinces,
each bringing a pair of bonsai.
In the Bunka and Bunsei eras
(1804–1829), tastes increasingly
turned towards broadleaves. As for Print from the Muromachi period: a
flowering trees (camellia and aza- bonsai can already be seen in the garden.
lea), they were very popular during
the preceding era. Many books Muromachi period. Bonsai begin
were published around this time, to appear in paintings.

26 - EspritBonsaiInternational #90
 Bonsai
Basics
Flowering bonsai were popular from the early 19th century.
This spectacularly blooming bougainvillea is from the
collection of Salvatore Liporace, Studio Botanico, Italy.
including Somoku Sodate Gusa by
Iwasaki Tsunemasa (1818), Somoku
Kihin Kagami by Kinta (1827), Somo-
ku Kinyoshu by Mizuno Chukyo
(1829) and Kinsei Jufu by Chosei-
sha Aruji (1833).
The Meiji era (1868–1912) saw
the appearance of the first bonsai
societies, as well as the word “bon-
sai” itself, which replaced the terms
“haci-ue” and “hacinoki” that had
been used previously.
The first artistic bonsai competi-
tion was held in 1892 in Tokyo, with
trees in the “classical pine” form dis-
played in glazed earthenware pots.
This major new venture spawned
a publication, Bijutsu Bonsaizu –
literally Artistic Bonsai in Painting
– a three-volume catalogue of the
exhibition.
The first exports
Thanks to the development of a
wealthy class of businessmen in the
late 19th and early 20th centuries,
the bonsai craze went from strength
to strength. The aim was to export
and promote these little treasures
outside Japan. At the same time,
cultivation techniques, styles and
forms of bonsai were improving and
developing. This period witnessed
the birth of modern bonsai. Masters
experimented with new cultivation
techniques and sought to achieve
new shapes.
On 4 January 1868, a law was
passed that meant the end of the
Shogunate. The final defenders
of this system were defeated by
imperial troops. In October 1868,
the victorious emperor entered Edo
and proclaimed it the country’s new
capital, renaming it “Tokyo”. The
court – which had resided in Kyoto
from 794 to 1868 – was transferred
to Tokyo. This was the beginning of
the Meiji period and the restoration
of imperial rule. It was a transition
that transformed society in the
Land of the Rising Sun, announcing
the end of feudal control.
Itoigawa juniper
(Juniperus chinensis
“Itoigawa”) by the
bonsaist Giorgio
The spread Raniero. Height:
to Europe 60 cm (24 in.).
In 1902, Albert Maumené – a
celebrated French botanist and
member of the Epernay Horticultu-
ral Society and the French National
Horticultural Society – published
the first book on the subject of bon-
sai in the West: Les Arbres Nains
Japonais (Japanese Dwarf Trees). It
was also in this period that a wides-
pread mania for these little trees
was born, sparking off numerous
botanical studies and the publica-
tion of articles in Britain and France.
The first bonsai exhibition in
London, in 1909, contributed to the
spread of these Japanese trees in
Europe. This remains an important
date for us Europeans, for reasons
both positive and negative. Visi-
tors did not have only good things
to say about the trees; some were
bewildered or outraged, convinced
that the trees were suffering and
constricted by being so small. 
#90 EspritBonsaiInternational - 27
 Bonsai
Basics
The birth of
a business
In the late Qing dynasty, in China
(1911), a few Japanese plant nur-
series opened shops in Tenshin
and Shanghai, selling trees from
the Japanese school. In June 1921,
the Bonsai Promotion Group, esta-
blished by Seian Shimuzu and a few
enthusiasts, set up an exhibition
and a magazine called Bonsai. This
group stopped operating as a result
of the Great Kanto Earthquake in
1923.
After the earthquake, many
nurseries moved to Omiya, in Sai-
tama Prefecture, north of Tokyo.
There they founded the Bonsai
Village, which today is internatio-
nally recognised as the epicentre
of the art. Established in 1924, it
accommodates various masters’
premises and most of the region’s
bonsai traders, for the purposes
of selling bonsai. In October 1927,
the first major exhibition bringing
together the significant work of the
Taisho and Showa eras (1912–1926 A bonsai holm oak.
and 1926–1944) was organised
by Bonsai magazine, at the Asahi
Shimbun Newspaper building in The emergence
Tokyo. This key display motivated of exhibitions
the Japanese to organise a similar In 1934, the first Kokufu exhibi- and it was like a spiritual renais-
exhibition the following year in the tion was born, at the Tokyo Metro- sance for the Japanese, following
city’s Hibiya Park, in the presence of politan Art Museum. It has since the ghastly bombings that they had
the city’s representative, Mr Naga- been held every year except in suffered at the hands of the Ame-
ta, and in order to pay homage to wartime. It brings together both rican army.
the Emperor’s coronation. amateurs and professionals, and In the mid-1950s, thanks to the
gives recognition to new creations. passion of several bonsai professio-
It has become the world’s most nals, exhibitions started to appear
important exhibition in the field, in large venues and impressive fairs
drawing the greatest masters and in Tokyo: it was a sign that bonsai in
their trees, which are of an extre- Japan had recovered. Two major
mely high artistic standard. events further contributed to this:
Also in 1934, two exhibitions the Tokyo Olympics in 1964, and
saw the light of day at Tokyo’s the exhibition in Osaka in 1970.
Ueno Park: one in the spring, and Being able to understand the
another in the autumn. Having beauty that these little trees have
become annual events, they were to offer can help us to interpret the
suspended during the Pacific War. art of bonsai. It can even become
In 1947, the Kokufu started up again a way of life, without the concepts
of nature and its beauty being uto-
pian. Cultural evolution over the
years has played its role and, in the
This juniper, by the Italian bonsai
artist Salvatore Liporace, was end, corresponds to the evolution
awarded first prize at the UBI (Unione of the aesthetic aspects of these
Bonsaisti Italiani) convention of 2011. little masterpieces. 

28 - EspritBonsaiInternational #90
 €19,90

Discover all the trees from the international bonsai

exhibition organised by Monaco City Council and
the Bonsaï Club de Monaco, from 9 to 11 June.

Book in French and English, to be published

in the middle of November 2017.

To order: en.esprit-bonsai.com or order form

Ref.: JMJ17 - 21 x 28,50 cms - 96 pages - Soft cover

#90 EspritBonsaiInternational - 29
Getting Off
to a Goo
od Start

Modifying
the crown
A tree’s crown evolves with
growth and sometimes has to
be modified to preserve the 1 At the end of winter, this group of maple must
regain a clear direction and recover lost tapering.
harmony of the tree’s shape. Among other things the crown needs to be modified.

Author: Gilbert Labrid

Constructing the crown of a tree

to harmonise with its architecture is one of the most
difficult things to achieve. The tip of the trunk must
be part of the central lead of the tree’s structure and
provide the general orientation. The crown’s position
indicates the direction of the sun – no sun, no life, no
tree and no bonsaists either!
The first thing to consider is the overall shape – the
front, sides and back – and to choose the high point
of the structure by identifying the elements that will fill
this space. With conifers one often reduces the height
by replacing the main shaft with a secondary branch
or by creating a jin.
With deciduous trees, the growth following severe 2 The branch endings are streamlined and the
pruning allows one to choose various options depend- crown is repositioned by selecting new growth.
ing on the tree’s age and species. Constructing the apex
is generally done after shaping has been completed.
The trunk’s tip is not the only apical point to be
modified. Because they have been pruned, branches
sometimes present a profusion of endings that must
be reduced to prevent their thickening. The points
must be shortened to restore tapering to the branch
that, with time, disappears. 

The thick, bare tip of

this beech branch
must be replaced
by the shoot at the
base. Cut at the red
line to regenerate
end ramification with
this well-placed and
vigorous shoot.
30 - EspritBonsaiInternational #90
 To shape the crown of this old oak one used the jin-
shari technique to disguise the trunk’s abrupt ending,
while allowing two shoots to grow to a point.

Shaping the head depends on the construction of the On a young cedar in training,
tapering. The yellow circles on this spruce show the the strongest branch is twisted
successive corrections to the tubular aspect of the trunk. to give more volume to the
crown. The shape of the second
branch will complete the
crown, which is often tabular
on old cedars. Depending
on the tree’s overall shape
and future evolution, one
can use one or the other to
create the crown’s direction.

The crown of
this white pine,
created from one
horizontal branch,
is oriented within
the movement
of the tree.

#90 EspritBonsaiInternational - 31
Treegazing
Mulberry: the silk tree
Tokens of times gone by, the ancient,
stocky silhouettes of mulberry trees crop
up across the countryside in the South
of France. Their cultivation used to be
associated with silk production. That was
another era.
I
n southern France, including Provence and
Author: Gilbert Labrid the Cévennes, it’s not unusual to come
across flat-roofed houses with pink roof
tiles, surrounded by squat trees with bright green
leaves. These are white mulberry trees, the last
vestiges of the age-old culture of rearing silkworms,
which flourished in the South of France for five
centuries. But sericulture disappeared almost a
hundred years ago, and vast swathes of land pre-
viously planted with mulberry trees have gradually
been turned into vineyards.
32 - EspritBonsaiInternational #90
The shiny leaves of the white mulberry are the
bombyx’s favourite meal, and the quality of the silk
it produces depends on their characteristics.
Without pruning, a
mulberry tree can reach
15 metres (50 feet) in
height and take on a
natural appearance that
better suits its character.
Silk quality
These days, when speaking of this species, we
normally mean the white mulberry, the introduc-
tion of which in the 15th century contributed to
the near-disappearance of the black mulberry.
Silkworms can also feed on black mulberry leaves,
but the silk they produce is of a considerably lower
quality. Black mulberries are still cultivated, how-
ever, to turn the fruit into wines and syrups that
are useful for sore throats and mouth problems.
It is quite unusual to know all the details of a
tree’s history so well. This is explained by the fact
that the establishment of large-scale sericulture,
and the processing of the silk made from the thread
produced by the worm in its cocoon, all depended
on the mulberry’s successful cultivation.
For centuries, production of this beautiful fab-
ric, with its exceptional sheen and fineness, was
an exclusively Chinese concern, and its manufac-
ture was a jealously guarded secret. The Roman
emperors paid premium prices for silks that had

The last glimmer of autumn before a storm. The hidden
richness of the leaves is revealed in strong sunlight.
come from the East via the famous “Silk Road”, a
long and perilous journey that involved dealing with
numerous middlemen.
A closely guarded secret
Back then, Europeans thought that silk was pro-
duced by some wonderful tree, a bit like cotton.
This is not far from the truth, but one essential
stage was missing: the role of the bombyx, which
lays its eggs on the leaves so that the caterpillars
can feast on them! It was not until the year 555,
when two monks stole some bombyx eggs from a
mulberry tree in China, risking their lives in the pro-
cess, and brought them to Constantinople (now
Istanbul), that the secret – which had been kept for
over three thousand years – was finally revealed.
It was only very slowly and gradually that silk
production spread across Europe, mainly because
of the multiple attempts at preserving its exclu-
siveness. Eventually some plants reached north-
ern Italy, and from there they went on to France,
following the Italian Wars, around the end of the
15th century. So it took a millennium for the pro-
cess to make the journey from Constantinople to
Nîmes, where the first plant nursery intended to
supply quality trees for plantations in southern
France was set up.
A striking contrast between the old hollow trunk, which
is almost cylindrical, and the young branches sticking out
in all directions above it. A classic image of a “pollard”.
The rate at which the knowledge spread is a
clear indication of the power – commercial, finan-
cial and technical – that was associated with this
finest of threads! Today, synthetic fibres and com-
petition from producers in Asia have brought to
an end the period when the industry was of major
importance in this region. The world-famous sci-
entist Louis Pasteur stayed in Alès for five years
(1865–70) to save sericulture from disaster, by
eradicating diseases that affected silkworms.
White mulberry trees (Morus alba L.) are about
15 metres (50 feet) tall, usually limited by regular
pruning and the removal of their leaves, which slows
down their already very slow growth rate. They can
live for at least 400 years, and most of the old spec-
imens that you might come across are stocky in
appearance, with thick trunks and branches sticking
out like a hedgehog’s spines – a form known as “pol-
lard”. In winter, modest crowns of straight branches
contrast with hollow trunks and the complex furrows
of the bark, with the fabulous shapes it conjures up.
But younger trees are spared systematic pruning,
because there is no longer anything to be fed. So
it’s autumn that provides the perfect moment for
the golden leaves to shine out against the dark valley
background, attracting all the dwindling daylight to
themselves as the sun goes down. Without ques-
tion, this tree has something luxurious about it! 
#90 EspritBonsaiInternational - 33
Shohin:
Small Bonsais
The shrub Caragana sinica is very
attractive with its flowers in spring
and its fruits in autumn. This one
needs total restructuring, which
will be done over the course of
a year. Height: 18 cm (7 in.).

Caragana sinica flowers.

A shrub’s year
A small shrub from Asia, Caragana sinica
has beautifully coloured flowers and
fruit. Two good reasons to work with this
When creating a bonsai, you always start with
easygoing species. the trunk: its curves will define the tree. In
most species, these curves must be created
Author: BonsaiTranslations when the tree is very young. Some species,
such as pines, can be bent when very old;
but others, such as maples, will break if you

The shrub
Caragana sinica
produces miniature bean pods at the end
of the summer, which are attractive for
exhibitions at that stage of the year. It flowers
in the spring, with lovely little yellow blooms.
Because of this, it can often be seen at the
Shunga-ten, an exhibition in Osaka in March.
try to bend them. A tree’s flexibility depends
on its wood fibres. When the wood is alive,
it is more flexible, because the fibres are
damp. In contrast, deadwood is very hard.
The shohin concerned here, of the shrub
Caragana sinica – or muresuzume in
Japanese – has very flexible wood … at a
certain time of year: that is, in the spring.

34 - EspritBonsaiInternational #90

Bending the trunk
This bonsai shrub is about 15 years old and
was produced by a Japanese professional. It
has an interesting trunk. Its roots have grown
and thickened in a long, narrow pot. When they
were sufficiently long and sturdy, they were
gradually uncovered, a little more each year.
But there is a major problem: the trunk is too
long and straight for a shohin. It needs to be
shortened. To do this, it can simply be bent
over, which will be achieved in several stages.
To bend a tree’s trunk, the wood needs to be very
flexible. It is more pliable if it contains a lot of sap.
For pines, this sort of operation should be done
in September. Caragana sinica is a species that
clearly shows when its wood becomes flexible. In
winter, its wood is very hard and breaks easily, but
when the sap rises again, it becomes very soft.
A A narrow area is unattractive at the B In the autumn, the foliage
base of the foliage, and must be corrected. needs to be restructured.
Initial selection
of the branches
Bending the trunk has brought the foliage
higher up and revealed a defect: extreme
narrowing at the base of the foliage, like a
neck. This flaw needs to be put right, after
re-creating a structure for the branches.
Each year, in the autumn, the branches that
will be useful for the following year need to be
selected, and those that are not useful need
to be cut off. Up to this point, this shohin’s
branches were almost completely removed
every autumn, so as to keep all the growth in the
tree’s trunk. To be able to analyse the structure
better, the foliage needs to be reduced.
2 The trunk
needs to be bent,
to bring it more
upright. It will
then be
compressed and
bent again to give
it a cascade form.
1 May 2016. This part of
the trunk is unattractive.
Usually bending an old trunk is an arduous
task: you have to wrap it in raffia, then
apply training wire, and use various
tools and braces to bend the wood. For
this tree, however, the operation will be
extremely easy and straightforward. A
simple loop of copper wire is all it takes!
3 Just one loop of copper wire
is needed to bend pliable wood.
C The branches are gradually cut off.
A few sap-drawers are left.
D A shoot has
appeared at the
base. We don’t
need branches in
this position.
E It is important to remove the
At this stage, it is a question of choosing the branches that are not part of the
position of the foliage: the whereabouts tree’s structure. If they are left in
place, there is a risk that the tree’s
of the primary branches. When choosing energy will be diverted into them.
branches, stick to the golden rule: cut off
thick branches, and keep thin ones.
#90 EspritBonsaiInternational - 35
 Shohin:
Small Bonsais

Putting the
trunk right
Before continuing with the 1 Two loops of
branches, we need to finish copper wire are
dealing with the trunk’s flaws. placed on the trunk:
one at the top and on 2 The upper part
After removing all the spines
the lower part. These of the trunk is
and cutting back the branches loops will be used as compressed by
slightly, it is easier to work on braces to compress twisting the two
the trunk, to rectify its defects. the trunk. wires of the loop.

3 The same is
done to the lower
part, until the
desired size is
achieved. 4 View from above.

B Every spring, new branches appear. It is

A The branches will simply be cut back important to make the branches thicken very C There is no empty space between
at this point in the work. gradually, so as to create a taper. the foliage and the primary branch.

Creating the
branch structure
Now that the trunk’s position has
been defined, we can continue to
work on the foliage. At this stage, we
just need to determine its position.
E An intrusive branch is cut off. A shohin bonsai is a simplified version
D The aim is to thin out the foliage and
of a large bonsai. For this reason,
make the primary branch more visible.
there is rarely more than one primary
branch. Essentially, a shohin consists
of a thick trunk, one primary branch,
and a very dense mass of foliage.
Here, we are opting for a cascade style
and will therefore create another pad
underneath the foliage mass. In bonsai,
a silhouette is created through foliage
masses and the voids between them.

F A space has been created between the G The length of the twigs needs
foliage and the primary branch. to be reduced to create a pad.

36 - EspritBonsaiInternational #90
Treating the scars
After cutting off a thick branch, it
is important to treat the wound
properly. The objective is to make the
scar disappear after a few years.
Working
progress
Creating a tree’s
structure from raw
material – that is,
a thick trunk with
hardly any branches
– takes five to seven
For the wound to heal well, excess wood years. Every year, the
needs to be cut off with a sharp knife. For this autumn, branches are assessed
the work is complete.
to adjust the growth.
Cutting back and wire
training are almost
inevitable. It is always
important to keep in
mind the final result
that you are after.

Cover the wound in cut paste. In Japan,

this is available in several colours, so that
you can choose one which is closest
to the colour of the tree’s bark.

Ready for wiring

In spring, this species of shrub
produces long, soft branches. The
wiring schedule is quite simple: you
just need to wait until the wood The tree’s angle has been altered In early spring, the flowers come out,
of the branches has hardened. In during repotting, in March, a month but it is too early to apply training wire.
Japan, this happens in June. If you ago, to obtain a cascade style. We need to wait another two months
apply training wire too early, the soft for the wood to be hard enough.
branches are too weak and may die.
Before wiring, the tree should be
defoliated either entirely or partially,
and the spines that this species of
In June, the branches have
shrub carries should also be removed.
grown a lot and are now
Wiring coincides with the defoliation strong enough to have wire
period. This is carried out at the end of applied. Before wiring, the
spring and aims to allow the sunlight spines that this species carries
and the wind into the heart of the need to be removed. We
can then proceed with either
foliage, to stimulate the production
partial or total defoliation.
of branches inside the tree. You
can proceed with partial or total
defoliation when you apply the wire.

#90 EspritBonsaiInternational - 37
 Shohin :
Small Bonsais

The leaves and spines We remove the leaves, but leaving Next, it’s the spines’ turn. Here, the
on the branches can be the leafstalks on the branch. defoliation is complete. A few leaves
removed before wiring. are left at the base of the branch.

2 The tree has

been fully wired.
The branches have
not yet been put
in position.

1 This branch has been sacrificed

for teaching purposes, to show the
correct wiring technique.
Anchor the wire at the intersection
of two branches and make coils
at an angle of 45 degrees along
the branch. The operation is very
easy without spines or leaves.

Watch out,
it’s prickly!
Caragana sinica, or
muresuzume, are spiny shrubs.
The spines can be painful 3 The branches are
when you are working on shaped. Note that the
them. It is good practice to foliage has again been
remove them before wiring. brought closer to the
new trunk.

38 - EspritBonsaiInternational #90
 This bonsai’s future
Each autumn, the branches will be
cut back to make the foliage denser.
At the start of each summer, the new
branches will be positioned. Little by
little, over the years, longer branches
will be able to be kept in the autumn. It
is a process of gradual refinement.
Note that the pot is far too large. This
is a training pot, not a display pot.
The tree will be placed in its final pot
when the foliage is all in position.
This tree still has two possible fronts. 
When all the branches are finished, the bonsai will be transferred to a
smaller, more attractive pot. It will also be placed on a much taller netaku.

Which would you choose as the front?

#90 EspritBonsaiInternational - 39
In
Detail

Let’s talk about

deadwood
Making deadwood look Deadwood is a focal point for trees, and especially for conifers,
natural is not something giving them real intensity. It is crucial for it to look natural, which
requires a certain amount of knowledge and technique.
that can be done without
preparation. You need
various tools, both manual No to jin seal
For deadwood to look natural, exceptional circumstances, a
and electric. But above any work you do needs to be little diluted jin seal can be used
all, you need to know the able to evolve over time. So
jin seal should not be used,
on very old wood that is not
very hard (fruit trees and some
wood. Here, a yew serves as because it fixes the wood broadleaves). It is of no use for
and stops it from ageing. In conifers.
a case study.
Author: Francisco Ferreira

Deadwood tells the story of

the stages of a tree’s life – particularly, but not
exclusively, on conifers. The important thing for
a bonsai is for the deadwood to look natural. A
branch that has been broken or torn off; a lightning
strike; an attack of wood-eating insects; a wildfire;
a rockslide – any of these events can be the
cause of a deadwood zone on a tree. It’s simply a
question of the passage of time!
A friend of mine, Patrice Bongrand, often says:
“Deadwood is alive.” This is a very interesting pers- 1 2 3
pective, because the word “alive” signifies evolu-
Deadwood evolves over the years. These drawings show how time “works”
tion, change, ageing. It’s true that deadwood needs naturally on wood – an inspiration for us in working on our trees.
to be able to evolve over time: cracking, taking on 1- some young deadwood: a few cracks have appeared, along
a beautiful platinum-grey colour, cracking even the wood fibres, and as yet they are quite shallow.
more, maybe losing a few parts that have become 2- a few years later, time has continued to work its magic. The cracks have
widened and new ones have appeared – smaller than and perpendicular
too fragile, and perhaps ending up disappearing
to the others. At the base of the branch, the deadwood is encroaching
altogether. This is the cycle of life. on the living part. This new deadwood is at the “cracks in line with the
There are numerous techniques for working on wood fibres” phase. Two different ages can be identified here.
trees’ deadwood: some require electric tools, while 3- as time has gone by, the two deadwood zones have evolved, always
others depend on manual ones. And you can age retaining their “age difference”. The older one has deteriorated and pieces
of wood have started to fall off. In general, the areas that are less exposed
wood by burning or sandblasting it. You can also
to sunlight are the least resistant, because they receive fewer ultraviolet rays
use jin seal … or not. that harden the wood and give it its colour. These areas retain moisture for
longer, and therefore rot more quickly and attract wood-eating insects.

40 - EspritBonsaiInternational #90
 The age difference
between the
deadwood areas is
perfectly visible here.
On the right, older
wood: the little cracks
perpendicular to the
wood fibres are very
clear. The younger
part, on the left, has
only just started
cracking in line with
the wood fibres.

The trunks of
these trees,
which are several
metres tall, have
been hollowed
out by time and
the elements.
The wood is
very decayed: it
looks like lace.

This yew, less than

a metre (3 feet) tall,
is clinging to a rock.
With good exposure Yew wood
to sunlight and Before starting work, you need to understand
thanks also to the how yew wood functions. Yew wood is very hard
rock, it is essentially and almost entirely rot-resistant, especially if the
free from damp and
lichen. It is therefore
tree has grown slowly – for example, in the moun-
very well preserved, tains. Because they grow slowly, yews’ growth rings
and has a platinum- are very close together. In addition, since all parts of
grey colour. these resiniferous trees are toxic except the flesh
of their fruits, they are not susceptible to attack
from wood-eating insects. The result of all this is
that yew wood lasts very well over time. In the past,
it was used to make very hardwearing mechanical
components, mainly for the maritime industry.
The wood has not decayed evenly: it seems to follow To work on a bonsai’s deadwood, you need to
the wood fibres, and the hardest areas of wood are
the most resistant. The wood takes on magnificent This large mountain yew’s find inspiration in what exists in nature, and take it
forms: shafts, waves, hollows, peaks … there is nothing deadwood is likewise as a model. 
monotonous about it. It’s a real feast for the eyes! very timeworn.

#90 EspritBonsaiInternational - 41
 In
Detail
Case study: a yew
The work on the yew that is our case study
here was carried out over seven years (see
Esprit Bonsai International no.87). And time
will transform the deadwood even more.
In the first phase of work, I only used
manual tools. Knives, blunt old screwdrivers
and gouges, mallets and jin pliers were the
main instruments for doing the groundwork
on the wood.
Next come brushing the wood, and then
sandblasting if necessary. 
Manual tools
Knives allow you to mark out jin
and shari in the bark. It is often
preferable to pull at the bark,
because it will separate along the
lines of the sap channels, which
will make for quicker healing.
Jin pliers are indispensible for
pulling at the wood and tearing it
away, along the lines of the fibres.
Mallets should be wooden, to give
The aim of the initial work with mallet
and gouge is to rough out the form.
42 - EspritBonsaiInternational #90
Manual tools used for working
on deadwood: knife, wooden
mallet, jin pliers and gouge.
a better sense of the strength of
the blows on the gouges.
Gouges and old screwdrivers
should not be too sharp, because
otherwise they will cut the fibres
too much and leave too many
traces of intervention. An old,
blunt screwdriver lets you tear the
wood away, leaving no trace of
cutting.
A yew tree, serving as a case study, shown here before intervention,
in 2007. Only the part circled in green can stay as it is. For the other
areas (circled in red), the wood needs to be reworked a bit, because:
– on the left, saw marks are visible
– the central part is too large and crosses over the
trunk, so some of it needs to be removed
– on the right, the deadwood sticks out too far
towards the viewer and must be cut back.
The top of the deadwood (circled in blue)
will be used in an original way …
The piece of
wood that has
been removed
(circled in blue
on the photo)
has been
reworked to
be displayed
on a stand.
The wood is simply cut back;
some pieces of wood fibre remain.
The sharp edges will be softened
using a wire brush and water. You
can also use a blowtorch to burn
them slightly. This work can be
continued with sandblasting.
The wood after brushing and
sandblasting. The little pieces of wood
have disappeared and the edges are less
sharp. Time will do the rest. Of course,
jin seal must not be used at this stage,
because it would bring the wood’s
evolution to an almost definitive standstill.
The middle part is handled Roughed out with mallet and gouge,
in the same way. then brushed, and finally sandblasted.

Here, the wood is being roughed out with a It will need to be sandblasted,
gouge. A few areas are burnt and brushed. to make the wood look older.

The same
technique is
applied on
the right-
hand side.

#90 EspritBonsaiInternational - 43
 In
Detail

Brushing
Brushes can be used to clean the wood or to
remove splinters that remain after the work with
the gouge. You can use either a Dremel with its
various brushes, or an electric rotary tool with
a more powerful motor connected to a flexible
cutter head for more substantial work. I use three
sizes of metal wire brush, and likewise for nylon
brushes. The shorter the brush bristles are, the
more “aggressive” they will be on the wood.
Metal wire brushes are used to remove pieces of
wood and to scoop out. Nylon brushes serve mainly
for cleaning the wood. Always make sure the wood
is damp during brushing, to avoid too much friction,
as this can often cause nylon brushes to melt.
The more regularly you brush the wood, the Electric rotary brushes are used to brush the wood: wire ones
greyer it will become. to remove pieces of wood, and nylon ones to clean it

Sandblasting
Sandblasting consists of using highly com-
pressed air to project sand. Sandblasting wood
has several functions: cleaning it; removing old dry
bark; wearing away hard edges; creating cracks; and
also hardening it. Sandblasted wood is harder, and
more resistant over time.
The result depends on the grain size of the
sand used, the air pressure, and also the distance
between the area being sandblasted and the
nozzle that is projecting the sand. The closer the
nozzle is, with strong air pressure and coarse sand,
the greater the abrasion on the wood. You there-
fore need to adapt the sand, pressure etc. to the
type of wood that is being sandblasted.
The more the years go by, the more natural the
effect will be. 

The sand is so fine that it gets everywhere – so the

person in the sandblasting cabin also needs to wear
protection (blast suit; protective mask with cartridges).

Before going into the sandblasting cabin, all the above-ground parts The deadwood immediately after sandblasting.
of the tree must be perfectly protected, and likewise the soil.

44 - EspritBonsaiInternational #90
As the years go
by, the colour
of the wood
becomes more
harmonious
– obviously
without using
jin seal.
Two years
later, in 2012.

In 2016, there is
no longer a visible
difference between
the parts that have
been worked on
and the rest of
the deadwood,
which continues
to evolve …

#90 EspritBonsaiInternational - 45
 Abonnez-vous !
Subscribe now !
In english
En français
www.en.esprit-
bonsai.com

l #89
#89

Inte rnat iona

www.esprit-bo
nsai.com nº89
INTERNATIO
NAL

Esp rit Bon sai

ns aï nº 89

 The maga
zine
Es pr it Bo

for bonsa
i enthusia
s ts  Augus
Ao ût /S ep t. - 20 17 t/Sept. 20
17
de sa culture

bo ns aï et
sp écialisé du
 Le m agazine

Making a
small maple

Faire un pe ttit
érable p. 38
Azaleas after
flowering
p49

s
L’azalée aprè

- £8.90
CFP -

floraison
- POL/S : 1200

€ - USD13.50
p49

 WIN
1300 CFPCFP

: 12€ - DE : 12,50
a weeke nd in Italy
CFP - POL/S :

For the Crespi Cup

( page 5)

EZ GRAFTING ASNuD mmer tasks

NCAL/S : 1300

L’été, GREFF Z
nez
g
  Ga n d e n It a li e
- BE/Port Cont
: 17,99 $ cad -

AIR-LAY
-e
u n we e kla Crespi Cup
pour (voir page 5)

TE
: 10,60 € - CAN

11.50€

& MARCOT
Price: France
: 100,60 € - ESP

Bo ns ai €
17
€
,60 € D

Ba sic s B u y in g a bo
€
6 5
n sa i p. 31 th
ï p. 31 e issu
h et er u n b o n sa e in
of €11,5 stead
ro a sd P ou r b ie n ac
le n mé 0 ren 0*
lieu de 9
,8
Franc

Tailored to the interests of his readers

Au cœur des centres d’intérêts de ses lecteurs
Articles for beginners and advanced bonsaists
Accompagnement pédagogique pour bien débuter
High quality photos
Reportages et photos de qualité
Includes articles on ikebana, pots, kusamono and suiseki
Rubriques sur l’ikebana, les poteries, le kusamono, le suiseki
Guidance from acclaimed experts from France,
Experts reconnus de France, d’Europe et du Japon
Europe and Japan

Abonnement / Subscription ESPRIT BONSAÏ Version française English version

Mme/Ms M. † 1 an, 6 numéros, France : 46,30€ † ‹•…‘˜‡”› ‘ơ‡”ǡ ͖ ‹••—‡•ǣ €19,50
† 2 ans, 12 numéros, France : 81€ † 1 year, 6 issues: €60
Nom /Name :
† 1 an, 6 numéros, Étranger : 55,90€
Prénom / Surname : † 2 ans, 12 numéros, Étranger : 97€
Adresse / Adress :
Règlement / Payment :
CP / Post code : Ville / Town : † par chèque domicilié en France (à l’ordre de LR PRESSE)
Pays / Country : † par carte bancaire / bank card (Visa / Mastercard) Date & Signature :
Tel. / Phone : N : FFFF
o FFFF FFFF FFFF
E-mail : Date d’expiration / Expiry date : FF/FF
* prix au numéro pour un abonnement 2 ans / Cover price for a subscription 2 years Clé / Key : FFF Magazine
tarifs valables jusqu’au 31/12/2017 / Rates valid until 12/31/2017 EB90 édité par

LR PRESSE - BP 30104 - 56401 AURAY Cedex - FRANCE / www.esprit-bonsai.com en.esprit-bonsai.com

 In
Detail

The nebari of this maple

Approach grafting
is not very appealing as it
lacks divisions at root level,
which for this species is
unfortunate. Maples often
have very attractive root

to correct nebari flares, so this tree needs to

be improved by grafting.

#90 EspritBonsaiInternational - 47
 In
Detail

The Acer species puts out new roots with ease, so air-layering
would have been possible. But as this nebari only needs a few
extra small roots, root-grafting remained the best solution.

Root-grafting is a very
common technique for
improving nebari, and
approach grafting is the most
suitable method. A maple is
used for this example.

Author: Francisco Ferreira

As well as grafting
the aerial parts of a tree, it is also possible to graft
roots to correct nebari. Approach grafting is one
One should always have a few young plants available for
of the most suitable methods as the grafted part potential grafting. These young cuttings here are ideal. One can
remains attached to the plant until the graft takes. also graft slightly larger plants that are about two years old.
When a branch is approach grafted, the aerial part
is always nourished by the roots. In the case of
root grafting keeping the aerial part allows the
roots to continue to develop while it fuses with
the rootstock. 
The importance of practice
Although relatively easy to do, grafting requires some
dexterity, as one must master the art of cutting, cleaving,
fitting the cambiums, attaching, protecting, and severing.
So it would be useful to practice on trees of different species.
With training, grafts will be more successful and more
attractive, and will be useful when the technique is applied
to beautiful trees.

48 - EspritBonsaiInternational #90
 1 One makes a cut, which will take the graft. The cut must be 2 The graft is prepared with a bevel cut – the technique
wide and deep enough for the root-graft to fit perfectly. The use of a used in approach grafting – with eight contact points.
very well-sharpened tool will help reduce scarring to a fine line.

3 The graft is inserted and fits perfectly into the 4 Everything must now be firmly attached so that the graft does not
incision made in the root-stock. move and for the two cambiums to rapidly fuse together. A simple
drawing pin is perfect for the job.

There are a few more grafts to

add and the work is finished
by applying grafting paste and
placing the piece in a pot. So
that the young plants could be
grafted as closely as possible
to the trunk, they were in fact
removed from their pots.
Now it is a question of waiting
patiently for all the elements to
fuse together before cutting the
aerial parts away from the grafts.

#90 EspritBonsaiInternational - 49
Spotlight
on Broadleaves

Constructing
a hornbeam
forest
To make a hornbeam forest,
the author has devised a
technique to determine
where the trees should
be planted. Here he offers
a genuine and complete
instruction manual to
help you create a beautiful
composition.
Author: Thierry Claude
Installed on a flat stone,
these 23 hornbeam
plants will constitute a
forest. A rather unusual
planting procedure
allows the final result
to be visualised. A lovely forest of hornbeams The stone is made out of reinforced concrete,
can set you dreaming and invite you to lose your- stained dark grey. A small sloped edge around the
self amid its greenery. To successfully construct left side keeps the soil in place, and on the right, in
a composition, you need to prepare everything an irregularly shaped indentation, a small pond is
properly. This forest comprises 23 nursery-grown signified by some aluminium foil.
plants and a flat “stone” made out of concrete.
Preparing the trees and developing the planting
layout for them are two fundamental rules when
you are setting out to construct a forest.
The necessary
The materials
To compose this forest, I have used 23 carefully
materials
A stone made of stained concrete
selected nursery-grown hornbeam plants in pots, 23 nursery-grown hornbeam plants in pots:
of various sizes. They are all similarly shaped – in 1 plant of 100–125 cm (39–49 in.) in height
terms of their taper, their slightly twisted silhouette 3 plants of 80–100 cm (31–39 in.)
and their fine, evenly distributed branches. 12 plants of 30–40 cm (12–16 in.)
7 plants of 20–30 cm (8–12 in.)

50 - EspritBonsaiInternational #90
 1 The stone is made of coloured concrete, with a
slope on the left to keep the soil in place, and an 2 Potted hornbeam plants – 23 in all – will be used to
indentation on the right for a pond. compose the forest.

3 The four largest trees, labelled A to D.

Preparing the trees

Once the trees have been cleaned and pruned 4 A selection of the 11 trees that have a slanting (shakan) shape.
and their nebari untangled, it’s time to wire their
trunks. The little pots are wedged and propped up
so that all the nebari are at the same level.
Then the trees are numbered by fixing a small
tag to the top of each, comprising a label stuck
onto a little aluminium wire.
Two essential rules
The four largest ones are labelled A, B, C and D; There are two key rules for creating a forest, before
the others are numbered from 1 to 19.  planting any trees on a stone or in a pot: preparing the
trees, and developing a planting layout for them.
• Preparing the trees
This stage is as with any initial intervention on a
potensai. With deciduous trees, you need to clean and
untangle the nebari, cut off pointless branches, and
in some cases apply training wire to the trunk. With
conifers, you need to wire the trunk and the branches.
Once the trees are planted it will be difficult to apply
training wire to them, and you risk damaging their
roots.
• Devising a planting plan
The planting stage, whether in a pot or on a stone, is
The 19 leaning the most difficult one for the trees during construction
trees are of a forest. It is important to understand that, once in
prepared and place, the forest cannot be modified. Without a precise
wired. They
are numbered
plan, when dealing with bare-rooted potensai, there is
from 1 to 19 not enough time to create a satisfactory arrangement
using a label so without risking one or more of the trees drying out.
that they can Preparing a planting layout is therefore crucial when
be recognised constructing a forest.
on the planting
plan.

#90 EspritBonsaiInternational - 51
 Spotlight
on Broadleaves

C Final planting simulation

with all the trees.

A A first trial run at positioning the B Planting simulation with the addition of
four main trees. Photo taken using a four small trees to the left of the main
tablet set up 1.5 metres (5 feet) from trees.
the edge of the worktable.

Preparing the simulation

Since the size of the pots does not allow us to
simulate a layout directly on the stone, the sim-
ulation principle used consists of positioning the
trees from a viewpoint some distance away from
the stone, without taking the depth of the planting D View of the arranged hornbeam

plan into account. The view from the viewpoint
gives a “2D” image that is close to reality.
A desk about 2.8 metres (9 feet) long is used
as a worktable to test planting layouts. One side
of the desk is against a white wall, so it is easy to
circulate around the other three sides.
The stone is placed on the worktable in front of
the wall. The left side of the stone is propped up
and marks out the boundary of where the soil will
be, on the left edge of the worktable. For a better
idea, it would have been preferable to lift it up to
the height of the nebari.
An iPad tablet is placed in line with the workta-
ble, about 1.5 metres (5 feet) from the end of the
table, at a slightly higher level than the trees’ nebari.
plants from slightly to one side.
Initial attempts at a planting layout
The direction of the forest is determined by the
shape of the stone, which is narrower on the right
and ends in a water feature.
The chosen planting format is of a single group
of trees, which best suits the trees that have been
prepared.
The process of finding the right positioning is
guided by the view on the tablet, with the stone in
the background of the line of vision.
In the foreground, the first main tree, A, is about
50 cm (20 in.) from the open side of the table, and

52 - EspritBonsaiInternational #90

E Looking down on the simulation.
is the same distance from the edge as it should be
from the edge of the stone – that is, about a third
of the way across the eventual soil.
The three other main trees are set back on each
side of this main tree.
The remaining trees, numbered from 1 to 19,
are placed behind, to both sides of the main ones,
in small groups. A sub-group of four small trees
takes shape on the left. Further back and on the
right come the other 15 trees, in decreasing order
of height.
The trees are positioned gradually, changing or
swapping the plants according to the effect that
comes across from the view on the tablet. Photo-
graphs are taken once a decision has been reached
on the positioning.
Planting specifications
The trees are meticulously positioned in rela-
tion to each other, with those on the left oriented
slightly outwards, and those on the right leaning
more towards the pond.
The main tree gives the forest its overall direc-
tion, towards the right.
Several groups of trees are defined: the group
with the four main trees; to its left, a group of five
small trees; and behind, on the right, groups of
three or four trees. Finally, on the far right, the three
smallest trees lean heavily over the pond.
The trees are laid out and placed in a fan shape.
Some branches will be pruned and lightly wire-
trained when they are planted on the stone.
F Bird’s-eye view of the final positioning
of the trees on the worktable.
Tracing out a plan
On a large sheet of paper, the positions of the
nebari of all the trees are charted to scale, along-
side which is sketched a rough outline plan of the
soil area.
Straight lines are drawn, starting from the posi-
tion of the tablet’s camera lens, passing through
each of the nebari points and extending beyond
the outline plan of the soil.
Labels marked A, B, C, D and from 1 to 19 are
stuck to metal washers that represent the trees’
nebari.
The next stage of the exercise transposes them
to the plan of the soil, by placing the labelled wash-
ers on their respective lines.
As with the first exercise with the trees in pots
on the worktable, the main tree, A (indicated by its
washer), is at the front and on its axis, about a third
of the way from the front edge of the soil. All the
other trees follow this one, positioned according to
the classical rules of forest layout: that is, with con-
sideration for groups, with varied spacing between 
different trees, avoiding any straight lines and any Geometric drawing
circular or square groupings, and not forgetting to of the trees placed on
the worktable, extended
leave some empty space in front of the planting. to the other side of
In principle, if each tree is be placed on its own the outline plan of the
axis, none should hide any other.  soil. Labelled washers,
signifying each of
the trees, are placed
according to the rules
for forest layout.
#90 EspritBonsaiInternational - 53
 Spotlight
on Broadleaves

Preparing the stone

The outline plan of the soil is transposed onto
the stone, and likewise the trees’ positions.
On each tree position, an aluminium wire is
placed, carrying the number or letter of the appro-
priate tree. The wires are from 20 to 30 centime-
tres (8 to 12 inches) long and between 2.5 and 3.5
millimetres (0.10 to 0.14 inches) thick, depending
on the height and width of the tree. The glue used
is a two-component type by the brand Sintofer: its
strength, staying power over time and fast action
1 Labelled aluminium wires, for fixing the trees in place, are laid flat to
leave its competitors in the shade.
make it easier to stick them with Sintofer two-component glue.
The wires are placed flat on the stone, with a loop
in the end that is to be glued. Because this type of
glue sets so rapidly, it is strongly advisable to glue the
wires in groups of no more than five to seven at a time.
If using a ceramic pot rather than a stone, rub down
the base with sandpaper first to make the glue hold.
Once the wires are glued in place, they are bent
upright.
The stone is now ready for the planting.

Installing the soil

A mixture is prepared, comprising 45% keto, 45%
akadama and 10% sphagnum dust. This is used to
form a ridge that is triangular in section, which is then
stuck all the way around the soil area. A layer of medi-
um-grained akadama, about 1 centimetre (38 inch)
thick, is then spread out across the area enclosed
by the ridge. 2 Once the wires have been stuck in place, they are stood upright.

An enclosing ridge made of a mixture of keto, akadama and sphagnum dust is formed,
and inside it is placed a 1 cm (⅜ in.) thick layer of medium-grained akadama.

54 - EspritBonsaiInternational #90

Planting the trees
The fixing wires for the trees on the stone make
it easier both to position them and to achieve the
desired slant angles. They are bent straight upright,
parallel to the trunks, before being wound around
each one.
There are two reasons for wiring the trees in this
way. Firstly, it allows the tree to be easily moved
for minor modifications to the planting layout. In
addition, at the next repotting, when the wires will
be removed and cut off at the level of the soil, it
makes it easier to take out the root ball without
damaging the roots.
The first trees are
fixed. A sprayer is
crucial for keeping
the roots moist.
The forest just
The trees are removed from their pots one by after planting.
one as planting proceeds. They are prepared and Alayer of
akadama covers
their roots trimmed. The main tree is planted first, the roots.
followed by the three other principal trees around
it. Then come all the others, in descending order of
size, as they are fixed to the stone in accordance
with their numbering. A water sprayer should be
kept handy to moisten the roots.
Once all of the trees are in place, the soil – akad-
ama – is carefully inserted between the roots, and
training wire is applied to a few branches. One
tree is missing: it didn’t fit comfortably, so it was
removed. 
#90 EspritBonsaiInternational - 55
 After a season’s growth,
the hornbeam forest has
already developed: one of
the main trees is missing,
and will be replaced; and
a small tree has been
removed because it did
not fit in. The pond idea
has been abandoned.

The trees have been

pruned back harshly  The remaining task is to give this compo- The forest has grown a lot. The branches have
to encourage another sition some soul and a sense of specific hornbeam been allowed to develop freely. One of the four
growth period, and some character. Improvements will only be made after main trees has not survived: it will be replaced.
plants have had new the plants have fully taken. In early June, the branches are pruned back
wire applied for slight
harshly to encourage a second growth period. All
adjustments to their form.
One season later the initial wires on the trunks have been removed,
The following spring, the forest looks complete- and have been replaced on those trees needing
ly different. The soil area has extended over the some modification to their shape. The aluminium
pond, which has been removed, partly because it wires are wrapped in strips of kitchen roll to pre-
was leaking, and partly to enhance the free space vent them from leaving marks on the trees’ bark. 
around the planting.

56 - EspritBonsaiInternational #90
 Spotlight
on Conifers

The tree arrived in my nursery in 2012. It had

been in this pot for several years. First and
foremost it needed to be repotted, plus some
care and attention to give it some vigour.

While this Scots pine

looks fairly ordinary
and lacking in
character, two styling
exercises over three
years will give it a
fine, slender form.

From ordinary
to elegant
Over three years, the author – a German
bonsai professional – transformed some
very basic raw material into a delightful
bonsai. It took two styling exercises, several
phases of wiring and a lot of motivation.
Author: Valentin Brose
It can be possible to
get a good result from an essentially
mediocre tree. That was the case for
the Scots pine shown here: the raw
material was far from spectacular, and it
didn’t have very interesting movement
– the sort of material that you see very
often. However, it evolved through two
stylings, which I did over three years.
At the time when I got this Pinus
sylvestris, it had already spent several
years in a training pot with quite
compact soil. The first thing I 

#90 EspritBonsaiInternational - 57
 Spotlight
on Conifers
In 2014, after two years’ cultivation,
the tree was ready for initial styling.
 did was to repot the tree in
spring to give it better soil. For Pinus
sylvestris, I normally use a mixture of
50% akadama and 50% pumice for
good drainage. This is also good for
mycorrhizal fungus. After repotting,
it was fed well to regain strength.
A first styling exercise
The first styling was carried out in
autumn 2014, when the tree was
strong again after repotting. For
styling, and especially if this involves
some bending, it’s important that
the tree is in a healthy condition.
58 - EspritBonsaiInternational #90
To start with,
the tree was
analysed.
The trunk
is slender.
First I analysed the tree to decide
on its front. As you can see, it was a
thin tree with old bark and several
attractive curves in the trunk. The
most suitable style for this kind of
tree is a bunjin or shakan style.
If you looked at the trunk from all sides,
from some viewpoints the curves
almost disappeared and the trunk
looked straighter. I tried to find the view
with the best overall movement together
with good branch setting to make the
front. A good trunk line is essential It has some
especially for this kind of elegant style. nice curves.
 1 Branch selection begins, after a bit of
tidying.

Choosing the branches

Next I needed to select the branches.
The first branch I cut off was too long
with no ramification inside and was 2 The first branch, on
too thick in relation to the whole tree. the right, is too thick and
After removing this thick branch has little ramification. The
one on the left is more
and several small branches, it
interesting and will
was easier to see which branches become the tree’s apex.
I wanted to work with.
At that point two branches were left
at the end of the trunk, of a thickness
that worked in relation to the trunk. The
branch on the left was more compactly
ramified, so I decided to use it to create
the apex. The other longer branch on
the right side would become the main
branch. I opted to remove the third
branch, which emerged from the same
point as the other two branches.
To create the apex, it’s good to use
a more compact branch with a lot
of ramification, because it is more
rounded and not flat, like a normal
branch pad. The branch for the apex
should also be thick enough to extend 3 The branch
the trunk line convincingly.  on the right is
cut off.

#90 EspritBonsaiInternational - 59
 Spotlight
on Conifers

The stumps from the severed branches are transformed into small jin.

Small jin
The stumps that remained from the
severed branches could be used to
make small jin, giving me three jin at
the middle of the trunk. I removed the
upward-pointing jin, because otherwise
it would have ended up in the way of
the main branch and would not have
fitted in with the lines for the later design,
which I wanted to give the impression of
an older tree with drooping branches.
I kept the other small jin, as they helped This jin will be
to give the tree a natural, wild character. cut off, because
it detracts from
the main branch
and does not
suit the aesthetic
of the intended
future styling.

60 - EspritBonsaiInternational #90
 A Before wiring,
I reduced the
foliage and also
cut back the
over-long
branches.

B I cut back the

foliage a bit more on
the strong shoots C After
than on the weaker tidying, the lines Tidying and wiring
ones, so that the tree’s and the structure To tidy the tree up, I removed the over-
strength would are more visible.
balance out. long needles and branches. Then, to
balance out its design, I wanted to
bend the upper right branch down to
create the main branch, and to bend
the upper left branch to the right to
create the apex. With these bends, the
direction of the tree would change.
Before doing this, I wrapped the
branches with raffia. 

The right and left upper branches are

covered with raffia before wiring, so that
they can be bent without being damaged. The two branches are covered in raffia. Then training wire is applied all over the tree.

#90 EspritBonsaiInternational - 61
 Spotlight
on Conifers

1 The shaping process

starts with the main
branch: it is bent gently
with one hand, and a 2 The
bracing wire holds it in its first branch
new position. is in place.

Styling begins
Next, I applied training wire to all the
necessary branches, and the styling
began. I started with the main branch,
bending it down carefully by hand.
I used a guy-wire to hold the branch in
position, so I didn’t have to over-bend
it for it to stay in place with the training
wire alone. With big branches, it’s better
to take it slowly, so the wood gets more
used to the new position. Pinus sylvestris
generally has flexible branches. They are
easy to bend if they are not very old.
The new structure was now complete.

3 The left branch is

bent, to become the 4
apex. This needs to be
done slowly, to
avoid breaking
the wood.

62 - EspritBonsaiInternational #90
 After styling: rest!
After styling, trees need a rest.
Keeping them in the greenhouse
in semi-shade helps. I try to
protect them from any kind of
stress – intense heat or freezing.
Also, dry wind is not good for
wired and bent branches.
In the first week I spray the
foliage with water a few times a
day. The soil humidity needs to
be carefully monitored. Do not
overwater. After styling, trees
need a bit less water for a while,
until they have recovered.

The first styling

exercise is complete.

A new pot
In spring 2015 the tree needed to be
repotted. Besides styling, finding a
suitable pot for a bonsai is another
very important aspect of the art.
I decided to plant it in an old
round Nakawatari Nanban pot.
A round shape is well suited to feminine
lines, and this pot’s simplicity lets the
lines of the trunk stand out. It also adds
a character and feeling of age, through
the texture of the rough Nanban surface. In spring 2015,
Afterwards I let the tree grow freely and we can see the
only cut back the strongest shoots. tree’s healthy
root ball before
The wire must be removed before repotting with
it cuts into the branches.  mycorrhizal
fungus.

#90 EspritBonsaiInternational - 63
 Spotlight
on Conifers

A fine cut at the base of this branch

allows it to be bent towards the back.

The branch on the left side

In February 2017, the tree is wired
again for a second styling exercise
that will refine its silhouette. It has
been in its new pot since 2015.
of the trunk under the main
branch was cut off when
the better branches above
had grown long enough to
bend them down instead.

A second styling exercise

In winter 2016, I carried out the second
styling. At this point, after removing
the wire, the tree looked a bit rough.
Some branches can need a second
and third wiring to stay in the position
you want them to hold. So I started
again, removing old needles and
wiring the new unstyled growth and
everything that had got out of shape.
Then I needed to refine it further,
with more exact positioning
of pads and ramification.
Additionally, I made an improvement
by correcting a branch that was
growing from the inside curve of the
one I’d used to form the apex. A cut
in the junction from above with a fine
saw gave the branch flexibility, and
I wired it to carefully bend it to the
back. Now it is less disturbing.  The tree after
the second
styling in my new
studio. Height:
90 cm (35 in.).

64 - EspritBonsaiInternational #90
 By August
2017, the
tree has
matured
a lot.

#90 EspritBonsaiInternational - 65
 Re-imagining
a Tree

The dynamic lines

of a pine

This double-trunked, five-needle pine by Mitsuo Soma, was selected for

the World Bonsai Convention held at Saitama near Tokyo in the spring of 2017.

66 - EspritBonsaiInternational #90
Re-imagining a tree
This section sets out to analyse the choices made by the artist
through trying out other options – to demonstrate the significance
of these choices, and quite simply to learn how to admire …
This five-needle pine seems
to have come straight from a
Hokusai drawing or a Shitao
calligraphic landscpe.
Author: François Jeker
T his double-trunked, five-needle
pine by Mitsuo Soma from
Japan, gives the impression of a
literati calligrapher living with his pupil
on the side of a mountain where
they have faced violent easterly
winds and bitterly cold weather
that have carved into their trunks,
their bark and their dead wood.
But these adverse conditions have
created a uniquely beautiful shape
of bare elegance and lightness.
And the master protects his
faithful disciple and teaches
him to find peace in his soul.
A difficult simplicity
It would only take a few energetic
brushstrokes of alternating straight,
taut lines and discreet curves
to reproduce this composition
of a two-trunked tree.
The piece is constructed on the
principle of dynamic balance with
the first branches on the same
side as the curve of the trunks.
The transparent foliage allows
glimpses of the branches’
movement and their ramification
Also notable is the dissymmetry
of the dead wood which starts
from one side of the trunk and
crosses over to the other.
Option 1 :
The first branches on
the right
1
By removing the first branches
on the left and adding a branch to
the right to counterbalance the
movement of the trunks the dynamic
equilibrium disappears and is
replaced by a static symmetry. The
easterly winds are less strong, and
the trees lose some of their energy
and become a little plodding.
Option 2 :
Densifying
the foliage
The very dense foliage no longer 2 The tree is now a vigorous lowland
allows one to see the ramification pine with dense foliage.
in detail. The tree looks more
like a lowland pine than a tree
that has lived through difficult
mountain conditions on steep rock
faces. It is no longer a calligraphic
image, but a realistic painting.
Option 3 :
An overlarge
disciple
If the smaller tree is enlarged, it
will become top heavy compared
with the larger tree. It has lost its
character. Perhaps the disciple has 3 If the disciple is too large the
become too big for his boots?  composition is thrown off balance.
#90 EspritBonsaiInternational - 67
 Potters
Pots and

The 42-year-old
Swedish potter Tomas
Gramming, who
lives in Gothenburg,
creates pots that are
strongly inspired by
Japanese tradition.
This pot has started
to dry, and Tomas,
who is also a pattern-
maker for cars, is
sculpting its feet.

Tomas Gramming
“I love seeing the trace
of flames on pots”
A pattern-maker for the car industry by
profession, Tomas Gramming took up
ceramics about ten years ago. The effects
Esprit Bonsai International – How long
of ash on Japanese wood-fired pots have you been a ceramicist?
fascinate and inspire this Swede. Tomas Gramming – I made my first pots in
2006 – in my kitchen. I started off by mak-
ing pots for my various bonsai. Not long
after that, I joined a ceramics studio to
work more seriously. These days I have my
Interview: Xavier Dreux
own workshop at home, in Gothenburg.
Photos: Tomas Gramming
E.B.I. – What sorts of pots do you make?
T.G. – I mostly make bonsai pots, but
sometimes I also do a bit of sculpture, as

68 - EspritBonsaiInternational #90
One of Tomas Gramming’s favourite pots, fired in a wood-burning
kiln. Since it was placed near the kiln’s air outlet, a lot of ashes
fell onto it, and together with the green glaze they have given a Using the same glaze, the effects obtained are very
golden-bronze finish. Dimensions: 11.5 × 4.5 cm (4½ × 1¾ in.). different on a pot placed deeper into the kiln.

Pots with motifs sculpted The tools are ready for a pottery session.
in the clay, awaiting finishing.

well as making Japanese-inspired utilitar-
ian pots. I’m very inspired by Japanese
ceramics, especially those from Shigara-
ki and Iga [Editor’s note: potters’ villages
renowned for their traditional wood-fired
pots] which are fired in anagama kilns.
I love the way the fire, flames and ashes
affect the pots during long firings.
E.B.I. – How does your professional life
relate to sculpture and modelling?
T.G. – I’m a pattern-maker for a car man-
ufacturer – Volvo, to be precise. I work
with designers to create attractive mod-
els for the brand’s future cars. It’s a cre-
ative profession, which demands preci-
sion, patience and a keen sense of form,
to produce perfect lines and surfaces on
life-size models.
It has helped me a lot in ceramics and
made me meticulous about the details
and finishes of pots.
E.B.I. – What is it that you like about
working with clay?
T.G. – What I love about pottery is the
way you work with clay that is still soft and
malleable, modelling it by hand until you
achieve a satisfying form. Then you fire it
and it keeps this form forever. Hundreds of
years later, it is still possible to see potters’
fingerprints and all the details imprinted
into the clay. It’s one of the aspects that
really impress me. It’s also the good side
of working with ceramics.
The most difficult thing is all those
moments where all the effort you’ve put
into making a nice pot turn out to be in
vain. At any stage – drying, firing – the pot
can twist or crack. Glaze can produce
undesirable effects, or even be totally
ruined …
It’s a long process from the wet clay
to the finished product: you can be com-
pletely disillusioned when you’ve put all
that effort into making a pot with a difficult
design and it comes out of the kiln with
defects caused by the firing.
E.B.I. – What defines your work as a
ceramicist?
T.G. – Through my career as a car pat-
tern-maker, I’ve learnt that detail is
everything. I’ve always tried to make very
high-quality pots with beautiful forms and
good proportions.
But this doesn’t mean that I only make
neat, precise pots. I use all the facets of clay
and I produce more organic, coarse pots.
I like throwing rustic-looking pots on the
wheel and intentionally adjusting their shape
to give them that much-sought-after wabi
sabi aspect. It’s very difficult to achieve a
convincing design by modifying a pot on the
wheel, because you have to be determined.
You can’t hesitate: you have to act directly,
but without overdoing the unevenness.

#90 EspritBonsaiInternational - 69
 Pots and
Potters
This wheel-
thrown pot was
deliberately
distorted to give it
the much-prized
aspect of wabi sabi.
I have a real affinity with those pots where
you can see how a person’s hands shaped
the clay and stopped just at the right
moment. When you see the pot after fir-
ing, it is possible to imagine, and almost
follow, the movements of the potter’s
hands.
I mainly work with matt and crackled
glazes. Sometimes I opt for a glossy finish,
particularly for shohin- or mame-sized
pots; but I find that with large pots, it
makes them attract too much attention
away from the tree.
The lines and cracks that are subtly
visible underneath the glazes bring depth
and definition.
Wood-burning kiln
“In summer 2012, I built this wood-burning
kiln, which is called ‘ittagama’ (little wood-
burning kiln). It is compact and efficient.
The fire is directly underneath the chamber
and the chimney. It reacts very quickly
and demands constant attention during
the firing,” explains Tomas Gramming.
This kiln can go up to 1300°C (2370°F). The
flames come up from the firebox, cross the
chamber and go out through the chimney.
This spyhole is particularly useful for keeping
an eye on how the firing is coming along in
the kiln: temperature, fusing glazes, etc.
70 - EspritBonsaiInternational #90
E.B.I. – What types of firing do you use?
T.G. – I use wood-burning and electric
kilns. I built the wood-burning kiln myself:
it’s a small one that I can get working on
my own. A firing lasts between 10 and 12
hours. This type of firing leaves its marks:
ashes settle on the pots, but in lesser pro-
portions than they do in an anagama kiln.
For these wood firings, I use my own ash
glazes and shinos [Editor’s note: white
glazes on which orange-to-brown motifs
appear because of the presence of feld-
spar]. I always try to leave some parts of
the pot unglazed, so that the flames can
colour the clay.
Every year I do five or six firings with
my little electric kiln, but I also try always
to do two firings with my wood-burning
Tomas Gramming built this little
wood-burning kiln himself. At
nightfall, the moon peeps through
the trees. Contemplation.
Rectangular pot, fired in a wood-burning kiln.
Dimensions: 19 × 13.5 × 5.5 cm (7½ × 5⅜ × 2¼ in.).
kiln. I would really love to do wood firings
much more often, but each firing is a
major undertaking in itself. I had to set up
my wood-burning kiln in my parents’ gar-
den, which is more than 100 kilometres
(60 miles) from my workshop. This means
that before every firing, I have to take all
the pre-fired pots over to their place. I also
have to glaze the pieces there, arrange
them in the kiln and fire them. That all adds
up to two long days before I get home.
The following weekend I have to do the
journey the other way around, to open
the kiln, take out the pieces, and package
them up for the trip back to Gothenburg.
E.B.I – Where do you find your inspi-
ration?
T.G. – I look at Japanese wood-fired pots
a lot. What I love most of all is seeing the
trace of the flames, and observing how,
gradually, over several days, the ash has
settled and agglomerated to form a layer
of glaze on a surface. The other side looks
totally different because it was away from
the flames and the ash.
Among my sources of inspiration, I
would also mention some Western pot-
ters. First of all, Tom Benda and Horst

Heinzlreiter, who always manage to come
up with new designs and new shapes. I
also appreciate the pots of Andy Pear-
son (StoneMonkey) and John Pitt. The
North American potter Ron Lang makes
very attractive pots and achieves lovely
finishes, glazed or otherwise, in his wood-
burning kiln. I also like the pots that Michael
Hagedorn made before he focused all his
energy on bonsai. I think he demonstra-
ted great skill with his bonsai pots, both in
terms of design and craftsmanship.
E.B.I. – I understand that you’re a bon-
sai-lover, above all. How would you des-
cribe your approach to bonsai?
T.G. – Yes, I’m also interested in bonsai.
Working with trees gives me a lot of inspi-
Green glazed pot – one of this Swedish potter’s
classic pieces. Dimensions: 13 × 8 cm (5⅛ × 3⅛ in.).
As well as being
a talented
potter, Tomas
Gramming is also
an accomplished
bonsaist.
Contactdetails
Email: tomas_gramming@yahoo.se
On the web: www.gramming-pots.blogspot.fr
ration for new pots, and vice-versa. I start-
ed bonsai in 2005 and I work essentially
with local species. More than the fact of
owning a handsome tree, I prefer the cre-
ative part of the art – the part that lies in
styling the tree. Consequently, most of my
trees are still works-in-progress. I concen-
trate largely on native species.
E.B.I. – Do you think that knowledge
of bonsai is essential to make bonsai
pots?
T.G. – Bonsai and pots are inextricably
linked. It’s very important for a potter to
have bonsai skills, so that he or she can
create pots that complement the tree,
with the ideal shape and the right colours
and size. When I produce pots to com-
mission, I often make a drawing from a
photo of the client’s tree. Then, it’s impor-
tant to have a good discussion about the
pot’s shape, size and finish. Sometimes
I propose several different pot designs so
that the client can choose between them.
Tomas creates
pots with
beautiful
finishes.
Finally, I start to make the pot. You can’t do
all of that if you aren’t a bonsaist yourself.
E.B.I. – How do you see the future for
bonsai potters?
T.G. – Social networks are playing a major
role in today’s potters’ development. The
constant flow of new pots and potters on
these networks drives ceramicists to inno-
vate endlessly with shapes, to be more
exacting, and to produce better-quality
pots. I think that the community of Euro-
pean potters will continue to push the
design of bonsai pots to greater heights.
Many of them are members of a collec-
tive* – the European Bonsai Potter Col-
lective – that has recently been set up.
However, some contemporary Japanese
potters rival Western artists in terms of
creativity. 
* European Bonsai Potter Collective is
a group of European potters recognised
for their talent. See www.topshelfbonsai-
pots.co.uk.
#90 EspritBonsaiInternational - 71
Besides
Bonsai

Autumn brings its share of

colours, flowers and berries

Autumn colours
for accent plants. As soon as
the evenings grow cooler, the
foliage of persicaria – Persicaria
capitata – starts to turn red.

A new season is arriving, and the time for bonsai

exhibitions is coming round again. Autumn is
like the grand finale before the winter break.
Time to admire shitakusa and kusamono in
their autumn colours.

Author: Xavier Dreux

S
hitakusa and kusamono are
Photos: Xavier Dreux
ideal for taking advantage of
(unless stated otherwise)
the diversity of autumn col-
ours. When placed in our
homes, they reconnect us with the sea-
sons and the passage of time.
Autumn is first and foremost a time of
red, orange and yellow tones. The plants
that are at their peak at this time of year fall
into several categories, according to their
key features: the colours of their foliage,
flowers, berries etc.
Autumn leaves
Aceriphyllum rossii, or Mukdenia rossii,
takes on magnificent colours in autumn,
bursting onto the scene from September/
October. As its Latin name suggests, its
leaves are similar to the maple’s, in both
The bronze foliage of Aruncus
aethusifolius stands out nicely
against the bright green of Acorus.
shape and colour. This is a wonderful per-
ennial for kusamono lovers, which gives a
good level of satisfaction in every season.
Selaginella is worthy of attention in
autumn with its lovely orangey-bronze
colours, and remains enchanting all year
round with its fine, evergreen foliage. Very
easy to cultivate, it is self-sowing.
Hostas likewise allow the start of
autumn to be announced. The leaves of
the genus’s numerous varieties turn total-
ly yellow and then die off. The period for

72 - EspritBonsaiInternational #90
using hostas is not very long, but it is long
enough to take advantage of them for an

© ROBIN JEHAN, GUERNESEY

exhibition.
Goat’s beard – Aruncus aethusifolius –
can also boast the necessary qualities to
be a star of the autumn, if it is cultivated
in semi-shade and watered regularly: its
foliage is finely cut and turns orangey-yel- The Japanese chrysanthemum: You’ll love this beautiful Saxifraga
low during the first cold spells. It is easy a classic of autumn flowers. fortunei “Blackberry and Apple”.
to care for, and doesn’t suffer from any
particular parasites. Its only downside is
that it’s not easy to find!
Also worth mentioning are grasses,
such as Hakonechloa macra and Imper-
ata cylindrica (see Esprit Bonsai Interna-
Sedum sieboldii
tional no.84). marks the end
of summer
Autumn flowers by flowering,
Several perennials flowers as the days and then by its
get shorter. Chrysanthemums – not a leaves turning
orangey-pink.
favourite in Europe, but flower of the
Emperor in Japan – bloom in all sorts of
colours in October–November. Choose to pink to red, and even sometimes with
varieties that have small leaves and flow- variegated leaves. They should be cultivat-
ers. ed in the shade, in well-drained soil, and
Very close to chrysanthemums are regularly fed. Beware of slugs and snails
asters – although the very large varieties of
these are to be avoided. They can be great
in the spring; and weevil larvae can also
annihilate these beauties. Keep a close Beware
in autumn for livening up a composition.
Cyclamen hederifolium is a very elegant
eye on them.
Also worth a look are toad lilies (Tricyr-
ofbirds
The advantage of plants that
tuber that flowers in autumn. It likes cool, tis). Resembling little orchid flowers, they
bear berries and fruits is to
well-drained soil. will be star features of compositions from
be able to use them also for
Without a doubt, the queen of autumn September onwards. They are very hardy
winter exhibitions, as long as
flowers is Saxifraga fortunei: from white and low-maintenance, and they thrive in
you protect the berries from
the shade.
birds by placing the tree,
And let’s not forget the alliums that
arrangement or kusamono in
flower after the summer: autumn snow-
a protective cage.
flake (Acis autumnalis), which does not
grow beyond 20 centimetres (8 inches),
and Sedum sieboldii, with its pink blooms
that rival the autumn colours of its leaves.

Fruits and berries

Autumn is also the season when many
fruits mature, and trees and plants are
covered with them. This is the case with
hawthorns, cotoneasters, holly (especially
Ilex serrata), Gaultheria, Ardisia … and also
© ROBIN JEHAN, GUERNESEY

dwarf roses, lily-of-the-valley (Convallar-

ia), lilyturf (Ophiopogon), etc.
Not only are these fruits typical of
autumn; they are also frequently red,
a colour that heralds the season when
The delicate little white flowers leaves on trees and bonsais take on red- This wild grape, Ampelopsis brevipedunculata,
of the autumn snowflake. dish hues.  has unusual little blue – or even mauve – berries.

#90 EspritBonsaiInternational - 73
Ikebana
Sogetsu

 The current fashion in arrangements by the Sogetsu

school of ikebana does not always have room for flowers.
A flower-arranging paradox!

Flowers
are great,
but …
Author: Soazic Le Franc

When you practise ikebana year

in, year out, there is an evolution in your choice of
plants and compositional lines – in a word, your style
– to the point where you attribute greater or lesser pro-
minence to containers, leaves, branches … or flowers!
Floral art used to be synonymous with “showcas-
ing flowers”; all the other elements used had to take
second place to celebrating the blooms. These days,
things are very different. Because of their strong lines,
some arrangements leave little room for flowers – or
even no room at all …

Doing without flowers

Flowerless arrangements exist in all schools of
ikebana, and are often made of leaves, notably aspi-
distra leaves. They are so elegant that nothing can
be added without introducing pointless effects to
the plant sculpture. For more organic arrangements,
where branches have been picked for their natural
beauty, small flowers can bring a touch of colour
without diminishing the composition, while a larger
flower will inevitably attract attention and therefore
make the arrangement one-sided. This is how things
used to be done, when the flower was all-round star.
Linear arrangements – strip-shaped leaves, wood,
metal, plastic etc. – that make for a stronger design,
can do without flowers. However, they will appear
harsh, especially if the lines are fractured. Here, the
flowers to choose are those whose shape and colour
allow them to be harmoniously integrated into the
graphic lines of the other elements. Whether the style
is modern or organic, you no longer have to use flow-
ers to be “fashionable”.
 “Approach”
A composition in two containers, made of rose branches with barely opened buds.
The fine, barely sculpted branches, which were taken from the garden, brush
together as they turn away from each other. Such simplicity, and yet so much life!
Arrangement by Yvette Petit, Asphodelinh studio, Sarzeau.
Using non-plant elements
The seasons are important, too. In autumn and
winter, the various fruits that appear on trees and
shrubs can take the place of flowers, offering a means
to add a splash of colour when the shoots are bare. It
is very pleasing to look at nature after summer and
make a choice – and an easy one at that – to fore-
ground the highly symbolic story of life. In spring,
the young leaves of deciduous trees are fragile and
thirsty. Evergreen foliage is to be preferred. Working
on camellias is particularly interesting and very pop-
ular among the Japanese, and while their leaves are
sturdy, their flowers are not at all …

74 - EspritBonsaiInternational #90
  “Genesis”
A containerless, flowerless arrangement symbolising
expectation. The tangle of stripped willow
branches holds at its heart the promise of life,
with leaves and berries of skimmia. All of these
plants can last for a long time without water.
Arrangement by Soazic le Franc.

 “Madder”
This composition was
created for the 2014
Floralies Internationales
flower show in Nantes,
 “Space plant” France. Although organic
The play of triangles, with the container and the clusters in its informal use of
of iris leaves around a metal stem, comes together pittosporum, it could have
into a design that is so strong, only one space is left to been punctuated by little
show off the anthurium: at the top point of the line. flowers. I chose instead the
Arrangement by Soazic le Franc. red lines of rattan strips to
accentuate the Japanese
aspect, in tribute to “Akane”,
Another option is to introduce a non-vegetal ele- our iemoto’s first name,
ment into the composition. This will give a contrast which means “madder”.
between the elements used, each enhancing the other. Arrangement by
Soazic le Franc.
If the plant element is sturdy, such as pine, then set-
ting it against metal may make for too much strength,
and so a flower – large or small, colourful or subtly
toned – will happily take its place.
Flowers are great, but the current trend is bringing That said, there are areas where flowers will always
them down off the pedestal that they used to occupy. reign: gardens, roadside verges, woodland, dunes …
Essentially, for the Sogetsu school, making an ikebana Whether a humble violet or a proud orchid that is not
arrangement is all about telling a story – regardless afraid to flaunt its charms, their beauty is everlasting
of how you go about it. and they will always light up our lives.. 

#90 EspritBonsaiInternational - 75
Ikebana
Ohara

 A symbol of life and eternity in Japan, the chrysanthemum

has a completely different meaning in France, where people
place it on graves on All Souls’ Day.

Chrysanthemums:
flowers of life or death
Author and arrangements:
Marcel Vrignaud

Chrysanthemums have a long

history of cultivation in China: references to them
appear in texts dating back to the 15th century BC.
The Chinese used boiled chrysanthemum roots to
cure headaches, and ate the flower’s petals in salads.
Around the 8th century AD, the Chinese chrysan-
themum was introduced into Japan and immediately
became the country’s most admired flower. It even
came to symbolise the Emperor. In Japan, receiving
the Order of the Chrysanthemum is the highest of
honours: it is equivalent to a British knighthood, or
to France’s Légion d’Honneur.

A symbol of eternity
The chrysanthemum (kiku in Japanese) is the
queen of flowers in the Land of the Rising Sun: a
symbol of peace, nobility and longevity. The ninth
month in the lunar calendar is Kikuzuki – “chrysan-
themum moon” – when the flower’s blossoming is
celebrated.
Autumn sees numerous exhibitions of this plant
in Japan, especially in castle settings. “Kikuningyo”,
or “chrysanthemum dolls”, in Echizen, Fukui pre-
fecture, is the most spectacular: life-size traditional
characters are dressed in chrysanthemum flowers
fixed in peat.
 A traditional chrysanthemum arrangement, with five varieties.
Although in Europe – and especially in France –
the chrysanthemum is seen as the flower of the dead,
in Japan it symbolises eternity, and can be found on
passports, on magnificent ceremonial kimonos and
indeed on the Imperial Seal, which is composed of
16 double petals.
Again in Japan, the kiku is considered a reflection
of perfection, loyalty, honour and good fortune. It
is also the official flower of many cities around the
world, including Chicago.

76 - EspritBonsaiInternational #90
 “Autumn garden”
Rowan, fern, Chamaecyparis,
lavatera, sunflower.
 “Elan”
Hydrangea, Prunus cerasifera “Pissardii”, hollyhock.
From autumn to the tomb
Chrysanthemums were introduced in the West in
1753 by the Swedish botanist Carl Linnaeus, who
devised their name by combining two Greek words:
chrysos (gold) and anthemon (flower).
In 1789, Pierre Blancard, an explorer from Marseille,
brought the first chrysanthemum back from China,
entrusting it to King Louis XVI’s gardener.
 “Entwinement”
Viburnum
opulus, King
The French tradition of the chrysanthemum as Solomon’s seal.
flower of the dead dates back to the First World War,
when flowers that were in full bloom at this time of
year needed to be found to honour those who had
perished in battle. Chrysanthemums were chosen,
and over the years the custom has slipped back from
11 November to 2 November – All Souls’ Day, or the
Day of the Dead. This association between chrysan-
themums and death is almost exclusive to France.
Across Asia, the flower is revered as one of the most
beautiful in existence.
The blooms last well in cut-flower arrangements,
and they are by far the biggest-selling flowers in Japan.
In the Ohara school, chrysanthemums are used in
almost all styles: from moribana to heika; from tra-
ditional landscape arrangements to bunjin bana
(Chinese in origin); as well as in the rimpa style. 
#90 EspritBonsaiInternational - 77
Club and
Enthusiasts

The Bonsaï Club de

Monaco is a long-
established and very
active club. It organises
a large number of
exhibitions, including
the “Jolis Matins de
Juin”, which takes place
every three years in the
Principality.
 The Bonsaï Club de Monaco brings together active members with good ideas,
such as the “Jolis Matins de Juin”, a triennial exhibition initiated by Baudouin de
Author: Cinthya Arenas Lorgeril (left). André Campana (right), the club’s founder, who is Deputy Mayor,
stands beside the club’s current President, Marcelle Chauvet-Médecin.
Photos: Bonsaï Club de Monaco

BONSAI CLUB DE MONACO

What characterises the
members of the Bonsaï Club de
Monaco – according to Marcelle
Chauvet-Médecin, who became its
Creativity and action
President two years ago – is a pas-
sion for bonsai and a love of nature.
The club also has two other hall-
marks: the quality of its activities,
and its creativity.
The history of the club goes back
to 1990, when a handful of bonsai
hobbyists, centred around André
Campana (now Deputy Mayor),
gathered together to create the

On behalf of the club,
Baudouin de Lorgeril has
just received from the
Japanese Ambassador,
Yoichi Suzuki, a
certificate of merit for the
“remarkable contribution
of its contributions
towards a better mutual
understanding and
the strengthening
of the friendship
between Japan and the
Principality of Monaco.”
Bonsaï Club de Monaco. They were
soon joined by other bonsai enthu-
siasts. Twenty-seven years later,
out of this initial core group, three
members still remain: Baudouin de
Lorgeril, Ange Trefoloni and Bernard
Jaworowicz.
Today, the club boasts 30 active
members, aged “from 9 to 77” and
with as many women as men, toge-
ther with a President who is eager
to serve as the club’s voice. It is a
structured group, but every indivi-
dual has a say.
Guided workshops
During monthly workshops on Fri-
day evenings, the word of the day
is “conviviality” – or, at least, it is
something that the club’s President
emphasises: “The club’s members
bring their know-how, which often
involves new ideas that, when fea-
sible, can be put into action. We work
on the plants in a spirit of convivia-
lity, and everyone helps out, whether
with pruning, repotting, choosing a
pot, selecting the most suitable soil,
or methods of repotting.”
Each participant brings his or
her own plants, and receives advice
accordingly. Here again, as Marcelle
Chauvet-Médecin explains, eve-
ryone has a role to play: “Baudouin
de Lorgeril, who is Vice-President and
specialises more in pines, advises
the members who prefer that type
of plant. Bernard Jaworowicz, Vice-
President in the “shohin” section,
has a strong preference for junipers.
Shohin have allowed several mem-
bers who don’t have much space
at home to work on smaller plants,
and to have access to bonsai. Ange
Trefoloni, a technical adviser, is par-
ticularly well versed in plant mainte-
nance using pest-control products,
which allows our members to look
after their plants naturally, knowing
the tricks but without polluting
nature.
In addition to these evening
workshops, on one Sunday every
month there are shohin workshops

78 - EspritBonsaiInternational #90

 Bernard Jaworowicz, Vice-President of
the shohin section, did a demonstration in
Rivalta di Torino in 2017 on a Scots pine.
which “are very successful among
our members. A picnic is organised
on those days, and there’s always a
convivial atmosphere.”
Dynamic from
the outset
The club has been active ever
since it was founded. In 1992 it
mounted its first international exhi-
bition, and three years later it orga-
nised the EBA (European Bonsai
Association) convention, as well as
that of the FFB (Fédération Fran-
çaise de Bonsaï – French Bonsai
Federation). Its President makes
special mention of the exhibition
that took place at the Auditorium
Rainier III: “We had the honour of
receiving HRH Prince Rainier III.” She
also speaks proudly of the setting
up of the “New Talent” competition
and exhibition organised by the EBA,
which the club participates in every
year.
And that’s without mentioning
the “Jolis Matins de Juin”. Marcelle
Chauvet-Médecin explains the ori-
gins of this triennial: “Baudouin de
Lorgeril came up with the idea of
organising an exhibition called the
‘Jolis Matins de Juin’ in the Principa-
lity. After various negotiations, and
with André Campana’s assistance,
we were able to launch this show.
Since 2008 it has been held at the
Exotic Garden every three years.
Trade stands, including potters, and
suiseki exhibitors are also in atten-
dance at the event. This year, again,
Master Takeo Kawabe, together with
John Armitage and Peter Warren
 CChristophe Maggiore, the club’s
computer consultant, at work on a Juniperus
sabina during a public demonstration
at the Monaco Expo Fair, 2016.
 An innovative shohin composition
by Bernard Jaworowicz at the
Noelanders Trophy 2017, in Belgium.
from Britain, did us the honour of
heading the judging panel and lea-
ding the workshops.”
A shohin prize
True to its creative dynamic, for
the 2017 edition of the “Jolis Matins
de Juin” the Bonsaï Club de Mona-
co set up the European prize for
“display shohin”, with a trophy on
which each prizewinner’s name is
engraved.
Since 2008, the quality of
the club’s trees has spurred the
Japanese Embassy to call upon it
once a year for decorations for the
birthday reception of His Majesty
the Emperor of Japan.
There are plenty of projects in
store for the end of this year, inclu-
ding displays of members’ trees
during exhibitions at Salvatore Lipo-
race’s studio (in Italy), in Andora
(Italy), at the European Bonsai-San
Show (in Saulieu, France), and at the
Musée des Arts Asiatiques in Nice.
 Members experiment with a new approach
to the ishizuki style by using deadwood
instead of a rock – displayed at the European
Bonsai-San Show, Saulieu, France.
In practice
Bonsaï club de Monaco
Résidence Azur
11/13 Rue Louis Auréglia
98000 Monaco
Marcelle Chauvet-Médecin: President
Baudoin de Lorgeril: Vice-President, organiser
of the “Jolis Matins de Juin”
Workshops: last Friday of every month,
from 8 to 11 p.m.
Website: http://bonsaiclubmonaco.free.fr
The Bonsaï Club de Monaco
has enjoyed twenty-seven years of
passion and activity – thinking par-
ticularly of the “Jolis Matins de Juin”,
organised by Baudouin de Lorgeril.
It is a major success, and above all
offers real opportunities for sharing
– a reflection of this dynamic man,
who has been a driving force in the
club since it was founded. There are
already plenty more dates in the dia-
ry for the Monaco club’s members
… and to delight us all. 
 A display by a member of the Bonsaï Club de Monaco
at the Crespi shohin exhibition in Parabiago, Italy.
#90 EspritBonsaiInternational - 79
 Bookshop Discover and enjoy our book selection
136 p. – 16,7 x 24,7 cm

134 p. – 16,7 x 24,7 cm

134 p. – 16,7 x 24,7 cm

144 p. – 16,7 x 24,7 cm

134 p. – 16,7 x 24,7 cm

134 p. – 16,7 x 24,7 cm
BONSAÏ SECTION

Mini Bonsaï Mini Bonsaï Mini Bonsaï Mini Bonsaï Mini Bonsaï Mini Bonsaï
L’érable japonais Le Genévrier Les Azalées Le Zelkova Ilex, malus et petits fruits Le Pin noir
Code : MINIBONS 24,00 € Code : MINIBONS2 24,00 € Code : MINIBONS3 24,00 € Code : MINIBONS4 24,00 € Code : MINIBONS5 24,00 € Code : MINIBONS6 24,00 €

244 p. – 17 x 24 cm
134 p. – 16,7 x 24,7 cm

128 p. – 17 x 25 cm

More details
on these books on
www.esprit-bonsai.com
Mini Bonsaï Mini Bonsai LLes pins en bonsaï
L'érable de Burger Juniperus rigida Code : PINSRE
C
Code : MINIBONS7 24,00 € Code : MINIBONS8 24,00 € Code : PINSREGB 23 €
C
224 p. – 17,4 x 20,7 cm

20,77 cm

64 p. – 15 x 18 cm
352 p. – 20,3 x 24 cm
120 p. – 21,5 x 27,5 cm
m

20,44 c
17,22 x 20

17,44 x 20
128 pp. – 17

240 p. – 17

PROMO
Satsuki Bonsaï Cahiers de l’apprenti Vos bonsaï en pleine forme LLes bois morts de nos bonsaïs
aïs Le petit Larousse des bonnsaï Bonsaïs
Soins et entretien des azalées Bonsaï Pratique 25,00 € CCode : BOISMORT 29,90 € Code: PETITBON 22,90 €
Code : SATSUBONS 36,50 € Code : APPRENTI 14,90 € Code : FORME 12,50 € CCode : DEADWOOD 34,00 € Code : BONSAITEC 23,50 €
96 p. – 21 x 28,5 cm Code: BONSAIS 7,90 €
270 p. – 21 x 28 cm
m

444 p. – 21 x 28 cm
m

220 p. – 20 x 24 cm

224 p. – 14,7 x 21 c
110 p – 21 x 29,7 cm

Guide pratique du Bonsaï
selon la Voie Naturelle - T1
Code : BONSAINAT 28,50 €
320 p. – 17 x 16 cm
TTechnique du Bonsaï 1 TTechnique du Bonsaï 2 Comment créer et entrenir 30 arbres & 10 forêt E
Erables du Japon,
vos bonsaïs Les 30 plus beaux bonsaïs d’Europe 3300 espèces et variétés
Code : NAKATECH1 42,20 €
C Code : NAKATECH2 60,00 €
C Code : CREERBON 20,90 € Code : LES30T2 19,90 € Code : ERABLE
C 20,20 €

120 p. – 22 x 28 cm
216 p. – 12,8 cm x 22,1cm
358 p.. – 24,5 x 17,5 cm

80 p. – 30 x 21,5 cm

256 p. – 24 x 33 cm

49 €

Bonsai shohin Bonsai Shohin

La bible des bonsaïs passion Festival 2016 Bonsaï Inspirations KAZARI, L’arte di esporre
Code : SHOHINPFR 2nd Edition The Foundations of Bonsai il BONSAI e il suiseki
Code : BIBLEBON 18,00 € Code : SHOHINPAS Code : SHOHIN16 20,00 € Code : INSPIRBON 25,00 € Code : FOUNDBON 20,00 € Code : KAZARI 49,50 €

The top range

193 p. – 19,2 x 24,2 cm
260 p. – 22,2 x 28,5 cm

224 p. – 20,2 X 24 cm

88 p. – 21,5 x 28 cm

FOREIGN

Esprit Bonsaï
apron
2 frontal pockets
for your tools

Forest, Rock Planting & Ezo 14,90 €

Principles of bonsaï Bonsaï techniques styles John Naka’s Sketchbook Spruce Bonsaï Shohin bonsaï 9,90 € subscriber
design display ideas Code : NAKA 176 p. – 23,5 x 17,1 cm
Code : DESIGNBON 41,00 € Code : BONSAITEC 23,50 € 34,00 € Code : FOREST 34,00 € Code : SHOHIN 29,00 € Code : TABLIER

For all orders, fill the order form page 82

80 - EspritBonsaiInternational #90
on Bonsai, Ikebana, Gardens and Suiseki
160 p. – 24 x 29 cm

64 p. – 30 x 21,5 cm
224 p. - 21,5 x 24,5 cm
120 p. – 16,5 x 24 cm
224 p. – 23 x 32,5 cm
IKEBANA SECTION

GARDENS SECTION
NEW
My Ikebana Oliviers, plantation Niwaki et jardins japonais
Jardins d'hiver entretien espèces Chant de Fleurs
Code : MYIKEBANA 49,00 € Code : JARDHIVER 39,90 € Code : OLIVEPLAN 13,50 € Code : NIWAKIJJ 28,00 € Code : CHANT 28,80 €

144 p. – 19 x 24 cm

216 p. - 19,7 x 26,2 cm

120 p. – 22 x 22 cm
128 p. – 24 x 29 cm

160 p. – 12,5 x 20,5 cm

Ikebana Ohara Jardins japonais Le Japon des jardins Parc Oriental La mystérieuse beauté
A song of flowers de Maulévrier ddes jardins japonais
Code : IKEOHARA 39,90 € Code : JJAPONAIS 18,00 € Code :JAPONJAR 28,00 € Code : MAULEVRI 19,90 € Code : BEAUTEJJ 17,00 €

148 p. – 21 x 27,8 cm

29,55 x 25 cm

96 p. – 14,2 x 20,5 cm
146 p. – 21 x 29 cm

160 p. – 18 x 24 cm

192 pp. 29
Ikebana Du bon usage
L'art floral au fil des Keshiki Bonsaï Les jardins japonais du jardin zen Bambous - Comment les
saisons Créer simplement des bonsaï paysages Traditionnels et contemporains choisir et les cultiver
Code : IKESAISON 29,90 € Code : KESHIKI 19,90 € Code : LESJARDI 29,90 € Code : BONUSAGE 39,90 € Code : BAMBOUS 14,95 €
208 p.– 24 x 29 cm

96 p. – 21 x 28,5 cm

108 p. – 21 x 28,5 cm

96 p. – 21 x 28,5 cm
European Bonsai
Poetical Ikebana San Show Les Jolis Matins de
2015 + 2016 European Bonsai San Show
Sh European Bonsai San Sh
Show Juin, Monaco 2014
Code : IKEPOETIC 59,90 € Code : LOTSAULIEU39,80 € Code : SAULIEU15 19,90 € Code : SAULIEU16 24,90 € Code : JMJ14 19,90 €
m
144 p. – 14 x 21 cm
148 p. – 21 x 28,5 cm

TO BE PUBLISHED
112 p. – 24 x 28 cm

In late October 2017

PROMO PROMO
Rumilo Style Les 30 plus beauxx Fleurs et arbress
bonsaï d’Europe 35,00 € 9,50 € Flora Japonica
Code : RUMIKO 39,90 € Code : LES30 17,50 € Code : FLARBRES 5,00 € Code : FLORAJAP 35 €

TO BE PUBLISHED TO BE PUBLISHED
112 p. – 21,5 x 28 c

In late November 2017 In late December 2017

L'Ikebana pas à pas Les Jolis Matins de Jardins

Juin, Monaco 2017 Paysages miniatures
Code : IKEPAP 25,00 € Code : JMJ17 19,90 € Code : PAYSAGES 12,90 €

or visit our website: en.esprit-bonsai.com

#90 EspritBonsaiInternational - 81
CHOOSE YOUR SUBSCRIPTION
ORDER FORM Amount
(in French) (in English)
Unit Total
PLEASE ENTER THE ARTICLE CODE Qty
1 year: 6 issues ˆ France: €46,30 price price
ˆ €60
ˆ Other countries:
€55,90
2 years:12 issues ˆ France: €81 ˆ €110
ˆ Other countries:
€97

Discovery offer: ˆ France: €16 Shipping cost please add to subtotal:

ˆ €19,50 For magazines or special issue only: EU, DOM-TOM €1,30 - Other countries: €2,15
2 issues ˆ Other countries: For any other items: €15 EU, Switzerland and DOM-TOM
€18 Other countries : please contact us

1 year: TOTAL PRICE

ˆ €34,99 ˆ €34,99
Digital version Subscription number

Complete your collection*

* In English from #72
EB1 - EB55 - EB57 - EB58 - EB59 - EB60 - EB61 - EB62
5€ EB63 - EB64 - EB65 - EB66 YOUR DETAILS
E
EB67 - EB68 - EB69 - EB70 11,50 € TITLE: MS. MR
8,50 € EEB71 - EB72 - EB73
EEB74 - EB75 - EB76 - EB77
EBI72 - EBI7
EBI73 - EBI74 - EBI75 * FIRST NAME AND LAST NAME

8,60 € EEB78 - EB79 EBI76 - EBI77 - EBI78 - EBI79

EBI80 - EBI81 - EBI82 - EBI83 * ADDRESS
8,70 € EEB80 - EB81 - EB82 - EB83
EEB84 - EB85 - EB86
EBI84 - EBI85 - EBI86 - EBI87
EBI88 - EBI89
8,80 € EEB87 - EB88 9,80 € EB89 * POSTCODE CITY

Esprit Bonsaï Special issue * COUNTRY

* E-MAIL
- 8,50 €
Subscriber
HS EB3 - 10 €
Subscriber - 4,50 €
HS EB4 - 5,90 €
- 8,50 €
Subscriber
HS EB5 - 10 €
- 8,50 €
Subscriber
HS EB
B7 - 10 €
Subscriber - 8,50 €
HS EB9 - 10 €
* TEL.
* ll this information is essential for the registration of your order. The details you enter here will only be used to set up your account.
ESPRIT BONSAÏ - DES ARBRES ET DES HOMMES - HORS SÉRIE N° 7

Your details will be kept private and not passed to any third parties.

PAYMENTT DETAILS (CHOOSE ONEE)

H O M M
D
T
A R B R

Des et des
arbres hommes
D
N
R
H O R

CHEQUE IN EUROS (PAYABLE TO LR PRESSE) FRANCE ONLY

A

U
B O N
T

HORS
P R

SÉRIE Patrice Laurent Thierr Jérome François

Nº7 Bongrand Breysse Font Hay Houette

L 19 60 7 H F 10 00 € D

MASTERCARD VISA
Pius Jean-Luc Joseph

R
Gilbert Gu
Labrid Maillot Notter Salles Somm

F an e mét o o i a ne 10 00 € Dom : 1 0 € Be : 11 50 € CH 14 50 FS AN : 15 0 AD

Subscriber - 10 € Subscriber - 8,50 € Subscriberr - 8,50 €

HS EB13 - 12 € HS EB14 - 10 € HS EB15
EB - 10 € PLEASE DEBIT € FROM MY CREDIT CARD
Subscriber - 8,500 €
CARD NUM
MBER :
nº 5

HS EB16
Bo
e E p

Le magazine
é

9,50 €
o

Les Jo
Matins
à Mo
HORS SÉRIE /

n 15

Œuv EXP DATE

A : KEY N° :
d’ar
HS EBI16
60 bonsaïs
à contempler 9,50 €
O

L 1 858 5 H F 10 00 € RD
N

Date & Signature

OM

Josep Maria Miquel, Entrez dans

RENCONTRE AVEC les coulisses
O

UN HOMME DE CŒUR DE MONACO

M

Pro
rotect back issues
BY BAN
B K TRANSFER :
with our high-quality slipcase • Belgium : IBAN CCP Bruxelles: BE67 0000 6000 3287 BIC: BPOTBEB1
SSturdy units bound in brown and embossed in g gold • Switzerland : IBAN CCP Bâle: CH09 0900 0000 4002 1791 0 BIC: POFICHBE
(holds a 2 yea s collection) • IBAN CCP Paris : FR97 2004 1000 0102 0813 9U02 076 BIC: PSSTFRPPPAR
One slipcase : €20
O
ubscriber €17,50
(su 0) Send this form to
Get 3 pay lesss : LR Presse - Esprit Bonsaï
€15 on
ne BP 30104, F-56401 AURAY Cedex FRANCE
Code : ECREB (subscriber €13,30
0)

d th
Subscribe online : www.en.esprit-bonsai.com
or visit our website Subscriptions will start with the next available issue.
http://w
tp://www.en.esprit-bonsai.com This offer is open until November 30th 2017.
All pproduct pprices ((ex
(exccluding transport) are given in euros and are valid
alid until 2017/11/30 For enquiries please call +33 297 240 165 or by mail to contactebi@lrpresse.fr
and only within the limits of available stock.stock.
November
2017
Featured in
the next issue
 European Bonsai-San
Show
 Koji Hiramatsu and Keiji
Kanda: two nursery
owners in Takamatsu,
Japan
 Xavier Busset:
a Frenchman moving to
Takamatsu
 Getting Off to a Good Start
 Notes for Beginners
 The Spirit of Bonsai
 Treegazing: Into the Mist
 Mochikomi in Detail
 Work on a Scots pine’s
deadwood
 Deadwood on hawthorns
and olives
 A shohin maple
 Re-imagining a Tree
 To Do This Month
 Club and Enthusiasts
 Besides Bonsai
 Pots and Potters
of Tokoname
 Ikebana
5th EUROPEAN
BONSAI-SAN OCTOBER 14th-15th
SAULIEU FRANCE 2017
SHOW
Guest of honor:
Luis Vallejo

Demonstrators:
David Benavente
Peter Warren
Michael Tran
www.european-bonsai-san-show.com – info@bonsai-san.com – Parc des expositions 21210 Saulieu

VILLE DE
SAULIEU