golden statements, 2010, v33, sept/oct

Golden Statements Vol. XXXlll No. 5 1

Golden Statements Volume XXXlII No. 5 Sept/Oct 2010 - Table of Contents

GSBF Communications3 GSBF President’s Message Bob Hilvers14 GSBF Convention Registration Update Gareth Shepherd 35 Calendar of Events Timm Johnson

17 Bonsai Studio 4: ‘ACT’ Peter Adams 20 Bay Area Bonsai Associates Carl Morimoto

36 & Inside back: CBS Demo Michael Jonas

Color EssaysArticles

5 Seasonal Suggestions Marty Mann

6 Characterizing Viewing Stones - Jack & Sachiko Dennis

10 Daytripping at Lake Merritt Steve Carini

13 John Wang Demo Michael Jonas

15 Bonsai Bytes Joanie Berkwitz 21 The Aesthetics of Display Kathy Shaner & Larry Ragle

23 Bonsai Tour at Tak Shimuzu’s Michael Jonas

24 Repotting Fundamentals Mike Pistello

26 Have you met Peter Tea? 28 Bonsai at Marin County Fair George Haas

29 Got Captions?

Operations

BABA Exhibit

Bonsai Studio

Alcove Display

2 Golden Statements Policy 2 GSBF Officers & Trustees 4 From the Editor’s Desk 30 List of Advertisers

Tokonoma Aesthetics Kathy Shaner & Larry Ragle - pg. 21

Bay Area Bonsai Associates Show Photos by Carl Morimoto - pg. 20

Peter Adams ACT’s up Bonsai Studio 4 pg. 17

On the cover:

Shig Miya’s Foemina Juniper measures 19” x 38 “ At the time of the photograph, the tree was 50 years old with 30 years in training. It was featured in the tokonoma at the 2009 Dai Ichi Bonsai Kai annual show.

Originally dug from a gardening customer’s yard. Shig air-layered the top which he planted in his front yard and developed the bottom with its arrow-straight trunk. Later he in-arch grafted a new top for the single dropping branch. Photo by Michael Jonas

Front Cover

2 Golden Statements Sept/Oct 2010

Kathleen O’Donnell, [email protected] Tel: 916-448-6727 Marty Mann, Joanie Berkwitz Cindy Peterson, [email protected] 7241 E. Rocky Ridge Drive Tucson, AZ 85750 Tel: 520-299-5952 Michael Jonas, [email protected] Tel: 818-776-0813 Timm Johnson, [email protected] Blue Moon, www.blumoonprinting.comDave McCoy, [email protected]

ADVERTISING - Pricing and Policies: Send ad copy to Advertising Manager by posted deadlines. 1/8 page G 3.65x2.35 inches $30.00 add $5.00 for online color* 1/4 page G 3.65x4.90 inches $60.00 add $10.00 for online color* 1/2 page G Horizontal 7.50x4.90 inches $90.00 add $15.00 for online color* 1/2 page G Vertical 3.65x10.0 inches $90.00 add $15.00 for online color* Full page G 7.50x10.0 inches $160.00 add $20.00 for online color* Back Inside Cover C 7.50x10.0 inches $290.00 Front Inside Cover C 7.50x10.0 inches $320.00 Back Inside Cover 1/2 page C Horizontal 7.50x4.90 inches $155.00 Front Inside Cover 1/2 page C Horizontal 7.50x4.90 inches $170.00 Back Outside Cover C 6.85x5.85 inches $215.00 (G=grayscale C=color) * Display of ads in color online magazine is free with a one-year, six-issue order. All trademarks and registered trademarks are the property of their respective owners

CALENDAR OF EVENTS listings must reach the Calendar of Events Manager by posted deadlines. Listing is free. Listing of non-GSBF member club events is on a space available basis at the discretion of the Editor. Non-GSBF clubs within the GSBF boundary may require a listing fee.

ARTICLES, announcements and photographs intended for publication in Golden Statements must reach the Editor by deadline (above). Golden Statements reserves the right to edit any material submitted for publication. It is assumed that any submissions made to Golden Statements may be published both on-line and in print.

TITLES such as Dr. are not used in by-lines. FOREIGN WORDS are used without dia-critic marks or macrons for Japanese. UNSIGNED ARTICLES are by the Editor.

GOLDEN STATE BONSAI FEDERATION, founded in 1978, is a nonprofit, educational organization dedicated to historical, scientific features and appreciation of the art of bonsai.Visit our web site at: www.gsbf-bonsai.org.

Golden Statements Sept/Oct 2010 Vol.XXXIII no. 5

Deadlines for ads, calendar of events, subscriptions, articles and photo submissions:Jan/Feb issue deadline= Nov 20 Mar/Apr issue deadline= Jan 20 May/June issue deadline= Mar 20

July/Aug issue deadline= May 20 Sept/Oct issue deadline= July 20 Nov/Dec issue deadline= Sept 20

Editor: Columnists: Subscription Manager: Advertising Manager: Calendar of Events Manager: Printer: GS Web Designer:

“Golden State Bonsai Federation,” “GSBF,” and its logo are trademarks of Golden State Bonsai Federation. ©2009 GSBF All Rights Reserved. No part of this publication may be reprinted, copied, or otherwise reproduced without written permission from the Editor. Contributed articles express the opinion of the author and do not necessarily reflect the views of the GSBF Executive Board or the Editor.

GOLDEN STATEMENTS is published 6 times a year by GSBF. ANNUAL SUBSCRIPTION RATE:• Regular bulk mail within the States (US $20) • First Class- US, Canada, Mexico (US $35) • International via Air Mail (US $55)To subscribe provide your name, address and telephone number along with a check made out to: Golden Statements Mail to: Cindy Peterson, 7241 E. Rocky Ridge Dr., Tucson, AZ 85750

To avoid duplicate mailings, indicate “Renewal”. For an uninterrupted renewal subscriptions, your check must be received 6 weeks before the expiration date shown on the top line of the address label. Contact the Subscription Manager for subscription requests, address changes and corrections. Print copies of back issues are not available. There are plans to make back issues available for a fee in the future as archived pdfs.

GOLDEN STATE BONSAI FEDERATION

OFFICERSPresident: Bob Hilvers [email protected] 559-909-10511st Vice President: Gareth Shepherd [email protected] 831-688-96962nd Vice President: Abe Far [email protected] 619-234-3434 Corresponding Secretary: Cary S.Valentine [email protected] 760-445-2548Recording Secretary: Randi Keppeler [email protected] 650-598-0127Comptroller: Bob Meyer [email protected] 858-450-3006Treasurer: Elizabeth Likes [email protected] 818-352-3064Immediate Past Presidents: Ted Matson [email protected] 626-398-8412 Dolly Fassio [email protected] 530-295-8398 BOARD OF TRUSTEES A #1 Kirk Demarest [email protected] 530-680-8528 #2 Leo Martinez [email protected] 530-273-2628B #3 Mike Haley [email protected] 650-962-9336 #4 Linda Soliven [email protected] 925-776-2342C #5 Harold Mitchell [email protected] 559-297-8207 #6 Thomas Leonard [email protected] 831-423-6457D #7 Jack Reynolds [email protected] 760-397-8292 #8 John Van de Wouw [email protected] 310-543-2849E #9 Cary S.Valentine [email protected] 760-445-2548 #10 David Nguy [email protected] 323-223-9125MEMBERS AT LARGE: #11 Steve Valentine 760-445-2548 #12 Lonnie McCormick [email protected] 408-996-2954 #13 Mel Ikeda 714-957-3907 #14 Joe Byrd [email protected] 831-649-5934

COMMITTEESBonsai Basics: Steve Valentine 760-445-2548Bonsai Online Shopper: Michael Jonas 818-776-0813Circle of Sensei: Mel Ikeda 714-957-3907GSBF Bonsai Garden at Lake Merritt: Gordon Deeg [email protected] 650-325-2729GSBF Collection at the Huntington: Jim Barrett 626-445-4529Convention Briefi ng: Bob Hilvers 559-732-9286Elections: Cary S. Valentine 760-445-2548Giving Campaign: Lauri Feetham 408-274-7073Editor : Kathleen O’Donnell 916-448-6727Grants & Scholarships: Al Keppler [email protected] 559-227-5689Hotline: Joe Byrd 831-649-5934Insurance: Abe Far 619-234-3434GSBF Website Liaison: Joe Byrd [email protected] 831-649-5934Kinshu Award: Membership: Timm Johnson [email protected] 916-362-8147Parliamentarian: Art Tilles [email protected] 530-472-1533Offi cial Documents: Cary S. Valentine 760-445-2548Rules: Art Tilles 530-472-1533Workshops:

BONSAI COLLECTIONS

GSBF Collection at the Huntington Huntington Botanical Gardens 1151 Oxford Rd, San Marino, CA 91108 Phone: 626-405-2100

GSBF Bonsai Garden at Lake Merritt 666 Bellevue Ave., Oakland, CA Mailing Address: P.O. Box 16176, Oakland, CA 94610-6176 Phone: 510-763-8409


GSBF President’s Message, Bob Hilvers

Being new to this job, that is President of GSBF, I’m still struggling with some aspects of it…….Well OK, many aspects of it. The one that I’m

having difficulty with right now, not to put too fine a point on it, is the President’s Message. I tend to want to comment on current events such as the oppressive summer heat, that most of us are contending with just now, but in the back of my mind I know that you won’t be reading this until summer is over and the shorter days of fall are with us. It’s disconcerting. In order to provide some kind of meaningful commentary I need to try and be relevant three months in advance. Hmmmmm……I haven’t learned that trick yet.

What I think might work better is to do a little GSBF housekeeping. We are in need of a few good people, so I’d like to ask your help. The positions of Workshop Chairperson and Kinshu Award Chairperson are vacant at this time. Both of these positions are important to GSBF in order to carry on with our educational mission. Additionally, our Recording Secretary, Randi Keppeler, agreed to take the position on a temporary basis. So, we also are looking for someone that would be interested in this position. All of these jobs offer interesting experiences and rewarding challenges in bonsai. If you have an interest in any of these positions give me a call, or send me an email, and we’ll have a chat about what is involved.

As ramrod for the District Styling Competition at this year’s convention in Santa Clara, I need to start organizing teams. The concept, originally developed for GSBF conventions by Steve Valentine, has become one of our best loved events. Teams representing the five Districts of GSBF strive before a live audience to turn un-worked plant material into the “best bonsai” as judged by the audience. Good natured camaraderie, spirited competition, and perhaps a little running commentary between teams about the shortcomings of their opponents, provide an evening of fun and entertainment. If you are interested in testing your skills, creating a bonsai from scratch, teaming-up with your buddies to uphold the honor of your District and have a great time in the bargain, contact your District

Trustee and start forming your teams. Teams can be no larger than three or smaller than two individuals. Each District may only field a single team.

Finally as you may have read elsewhere in this issue of Golden Statements we will soon, with heavy hearts, be bidding farewell to Editor, Kathleen O’Donnell. She has labored long

and faithfully and has earned a much deserved rest. Kathleen has taken Golden Statements to a new level and she will be leaving big shoes to fill. Anyone interested in taking on the position of Editor of Golden Statements is asked to contact me via email or phone.

David Nguy styling a CA Juniper at the 2009 GSBF Convention - photo M.Jonas


Job Announcement - Kathleen O’Donnell Editor’s Desk by Kathleen O’Donnell

Being editor of Golden Statements is an honor and a privilege so it’s with mixed emotions that I’m announc-ing my upcoming resignation. This is meant to be more of a ‘job announcement’ than anything immediate. To assure a smooth transition, I’ve given Bob Hilvers my resignation effective on or before the end of his term as President. That means the soonest I would leave is with the production of the Nov/Dec 2010 issue. If the position proves hard to fill, or the transition takes more time than anticipated, my last edition could be as late as the Nov/Dec 2011 issue. All this seems like a rather long goodbye but it’s important to make passing the baton as seamless as possible.

If you’d like to give the editor’s job a go, don’t wait too long before contacting Bob. The search is on, and as stated previously, a smooth transition will take some time and care to coordinate.

On the other hand, if being an editor, i.e. gathering and soliciting articles, placing them in a layout, manag-ing a small team of volunteers to help proofread, sell ads, assemble the calendar of events, produce and distribute the magazine to homes and online isn’t your thing, there are other open positions within GSBF that may suit you better.

With my resignation, the Subscription Manager, Cindy Peterson, and the Calendar of Events Manager, Timm Johnson, will be vacating their posts. Then, at last look, GSBF also needs volunteers to chair the Kinshu Awards and Workshops.

If any of these openings interest you, or you’d just generally like to be notified when opportunities to serve are available, please contact GSBF President, Bob Hilvers: [email protected] or VP, Gareth Shepherd: [email protected]. You may just find it a rewarding way to engage in life.

Thank you, Kathleen

Someone recently half-kiddingly told me that, as an editor, I “spread confusion, like a disease”. Maybe, but I think my ‘irresponsibility’ is a matter of perspective. I grew up with permissive parents who let me discover through experimentation which behaviors, brought what kind of results, rather than relying on ‘rules’ to serve as lines in the sand. I hope you are stimulated, rather than confused by the range of material here.

I trust you, as I trust myself, to discover what the ‘take away’ is from exposure to ideas that may at times be at odds with conventional wisdom or the prevailing school of thought in the world of Bonsai and Suiseki.

You may find some examples of this ‘coloring out-side the lines’ in this issue of GS, and other examples of establishing lines by defining standards. I’d like for you and me to be exposed to it all. We all know that Peter Adams has the skills to create beautiful award-winning Bonsai. Yet he allows himself to still be playful. I find that rather refreshing.

Peter is fully aware that his article, Bonsai Studio 4, may be a little controversial. In the purest sense, it may not be what some call ‘BONSAI’ so he’s coined the phrase ‘ACT’ for what he’s developed and shared on page 17. Nonetheless, Peter very carefully and artistically created a beautiful ‘ACT’. I think it’s worth seeing and even trying on your own, just for the sheer fun of it.

In the world of Suiseki, Sachiko and Jack Dennis are also shaking it up. They’ve told me that their approach, which expands classifying stones by adding shapes, colors, objects, and patterns, is accepted and respected in many esteemed circles of the world. Yet, according to them, it’s highly controversial within the States. Well heck, is it just me, or does that make you just a little curious? Reading their article could spread ‘dis-ease’ since their classification chart is so hard to see in this small format. You may want to go online to see it or bring out the magnifying glass.

On the subject of establishing standards for a new territory, Kathy Shaner and Larry Ragle have a fascinat-ing piece inspired largely by the Toko-Kazari held in Hanford, CA, a show they judged in 2010. Judging plays a role in what we see and how we can commonly come to agreement on aesthetics. The authors describe the values they look for in evaluating bonsai displays in a tokonoma setting.

While I like being exposed to many ideas, I nonetheless recognize and appreciate the lessons and high standards brought here for Bonsai, with a capital ‘B’, by Kathy Shaner and others, and more recently by what the GSBF Convention is referring to as “The New Face of Bonsai”. Due largely to these Japanese-trained Western Masters, the art of bonsai has been ratcheted up in the U.S. and I agree with Bob Hilvers that this is a convention not to be missed. Be there or be square. ...wink.

The Orthodoxy- Heresy Yo-Yo

BASSIN’S BONSAI TOOLS, etc. EVERETT B. (EV) BASSIN

BONSAI ENTHUSIAST

& JOSHUA ROTH DEALER

Tel. (714) 827-0061 Cell (714) 392-5149

Email: [email protected]

http://www.mindspring.com/~bubbi


Seasonal Suggestions: by Marty Mann

Autumn Tranquility No. 125 - Sept/Oct 2010

Fall offers a turning point - a last hurrah of growing activity before they settle down to defoliation and rest during the cool winter months. Signs of vigor are gone. Fall colors have not yet begun to appear in September since the chemical changes required have not started. The Autumnal Equinox, with its equal days and nights, soon ap proaches and leads us into a true autumn of tranquility.

Light conditions begin to change. Trees which have had full sun exposure find themselves in more shade. So, watch the location of trees at this time of year and rotate them into more favorable light exposures allow-ing them to continue storing strength and food for the winter. Late summer feeding, with reduced amounts of nitrogen, may be continued throughout the fall months into November. The recom mended basic mix of 70% cottonseed meal and 30% bone meal may be supple-mented with foliar feeding for evergreens, conifers and other non-deciduous materials. Warm spells are com-mon at this time and trees often respond with new growth. This tender growth is susceptible to damage if any sudden cool weather occurs.

Deciduous trees will begin to show fall colors as soon as cooler nights become more common. After they have had their moment of glory, be sure to remove any brown leaves as they appear. Keep the trees free of accumulated trash which can house many undesirable wintering insects and encourage fungus buildup. Keep the trees open, light and airy.

The Autumnal Equinox. A rather formal sounding phrase advising you your bonsai has reached its seasonal turning point - it’s the last hurrah of growing activity before settling down for defoliation and rest during the cool winter months. As summer foliage begins to wane and signs of growth have stopped the trees must build reserves for winter dormancy.

Late summer feeding with reduced amounts of nitrogen (0-10-10) may be continued throughout the fall months into November. The recommended mix of 70% cottonseed meal with 30% bone meal may be used as a supplement (6-12-8) to encourage continued develop-ment of strong rootage and lignified woody branches. As November approaches, reduce all feeding of de-ciduous trees but continue small applications on most evergreens and conifers since these trees never really go

dormant in the California climates.

Protective shade during the summer months, espe-cially for deciduous trees, may now be removed. Most trees thrive in a fuller light exposure as the cooler and shorter days approach. In order to discourage any new leaf growth, watering may be reduced, however the basic rule is never allow your trees to go dry. Be espe-cially careful of the young leaves of trees which had been defoliated back in July since these leaves will be showing the best color but will also be the most sensitive leaves in terms of wind and sun exposure.

Now is the time to anticipate and enjoy better au-tumn color by reducing watering time as well. Once the leaves on Trident Maple, Japanese Maple, Liquid Amber, Gingko, Hornbeam and other colorful deciduous trees begin to loose their vigor and drop, it will be best to keep the bonsai areas and pot surfaces cleared. Remove all trash promptly. Continue to spray benches with an all purpose insecticide and a final spray of fungicide. Pests seem to make a final effort to destroy and injure trees as they feed heavily prior to moving into the pupa stage.

Some transpotting is permissible at this time of year, specifically bamboo, boxwood, conifer (pine), hornbeam, cotoneaster, podocarpus, privet, pyracantha, wisteria, willow and most varieties of deciduous trees. (Ref.: Bonsai Techniques #1, by John Naka, published in 1973). The key to safe repotting is to minimize any root disturbance and to exclude any se vere pruning of any kind. Trees can be transferred into larger or different con tainers. If in doubt about the health or condition of a tree wait until spring to repot.

This article has been extracted from a recently published book called ‘Bonsai Ideas’© by Marty Mann. Material is not to be copied without publisher’s or au-thor’s permission.

PerfectlyBuilt

-Custom-made Bonsai stands.

-Your choice of wood, size, style, and finish.

-Care kit and instructions included.

-American Made Brian Dupont

706.302.1180 www.perfectlybuiltonline.com


Characterizing Decorative Viewing Stones (Kazari Keshiki-ishi)A Perspective, Point of View, Opinion Article, Hierarchical Diagram Guide by Jack and Sachiko Dennis

Characterizing Stones in the Japanese Artistic Style is perplexing and to many a controversial, if not a divi-sive pursuit. Most exhibitors of stones and authors that write about them have trouble describing ‘what is right’ because there are so many schools of thought concerning the subject. ‘Who is right’ is the question that is often heard. To us ‘who is right’ is not very important but ‘what is right’ is the general quest that facilitates under-standing of the art and is the most significant for full en-joyment and appreciation of the Stones. The goal of this article is to dispel some of the myths often touted as fact in the science and practice of the art. It is also to answer the question of ‘what is right’ as it relates to the charac-terization of Decorative Viewing Stones in the Japanese style and convention as we have come to understand and know them. After all it is really only our perspective, point of view and opinion.

The study and practice of SUISEKI as a Viewing Stone not only offers the potential for seeing the invis-ible scenes of nature in a person’s imagination, they can also provide viewers with a mystical feeling of tranquility, poetic beauty and peace of mind. Balance, harmony, and respect for nature are inherent principles in the basic appreciation of the art. It is well to remember that you cannot depend on your eyes to present a clear picture in the energy field of a stone if your imagination is out of focus.

SUISEKI has become universally recognized and understood worldwide as “The Japanese Art of Stone Ap-preciation.” SUISEKI is defined as a stone that possesses qualities that produce an emotional feeling when the stone is viewed. That permits the viewer to see in his/her imagination a natural panoramic scene in the energy field surrounding the stone: hence in our Guide, Scenic Vista. That said, if a stone is considered a viewing stone but not a SUISEKI, and is no less an interesting stone, it can be admired for its intrinsic beauty but is really only a decoration and is of little value to most of those that practice the art of SUISEKI.

In our search for ‘what is right’ we found that cer-tain Object, Pattern, Abstract, and Colorful stones can be considered as a SUISEKI when the characteristics of age and suggestions warrant. Those object, pat-tern, abstract, and colorful stones that may possess the technical criteria for a SUISEKI but do not spark the imagination that facilitates seeing the invisible natural

Scenic Vista that surrounds the stone in the energy field of the stone can, however, be appreciated and admired as viewing stone decorations. It is fair to note that some practitioners of the art believe that a stone has to be in a landscape shape to be a SUISEKI1.

For the first time the unique shapes of the Desert View stones have been identified as natural scenic vistas and added to our diagram as SUISEKI. We feel that the categories of SABAKU KESHIKI-ISHI (Desert Vista Stones) can be found in no other list or chart to which we are aware. Of particular import we have also cre-ated the UCHU KESHIKI-ISHI (Cosmic View Stones) grouping that contains both patterns and shapes. As the evolution of our guide has progressed over time, and in keeping with the basic philosophy of SUISEKI that is described and defined in this treatise, it has become apparent that Celestial Patterns and Shapes that also can be characterized as SUISEKI did not have a recog-nized grouping in any diagram or list of classifications in which to connect to SUISEKI. Therefore, the Cosmic View Stones grouping was fashioned to facilitate fulfill-ing that anomaly.

The basic criteria for a celestial stone to be a Cos-mic View Stone is that when such a stone is viewed, the extraterrestrial vastness of the universe can be visible within a viewer’s imagination and may thus reside in the energy field of the stone. Moreover, there is no other chart, guide, or list that identifies and describes Abstract Shaped Stones (CHUSHO KATACHI-ISHI) even though odd and fantastic shapes of the natural landscape do regularly appear in nature.

It is noted in the Guide that Chrysanthemum stones can be classified in any one of four different descriptive categories depending on what the stone may suggest to the viewer. This disclosure is exclusive in our Guide. It has been said that Chrysanthemum stones are best classi-fied as Pattern Stones2 but we disagree with this assess-ment and think that they are best characterized by what they suggest to the viewer. Unaltered Natural (as nature made them) Chrysanthemum stones whose suggestions are that of a SUISEKI are highly cherished, treasured and respected in a manner analogous to reverence and therefore possess a very special place in the Japanese view of the art.

BISEKI (Beautiful Stone) is not considered to be a classification in our Guide because the word is believed to have been coined by the Japanese to specifically describe Chrysanthemum stones that have been carved and polished to enhance the surface beauty of the stone which to many would be a distraction to contemplation and therefore is a decoration unique to the Japanese as the crest of and in honor to the Imperial family. Some aficionados characterize other polished and carved flower pattern stones and colorful stones as BISEKI but


to us we feel that these stones are better characterized as stones in the Chinese style. California Aiseki Kai clas-sifies stones that have their bottom altered by cutting as BISEKI3. It is our opinion that these stones, that are otherwise natural, should be classified by what they suggest, albeit reduced in value in the minds of some. If the cut stone is also carved and its surface polished to enhance its color and improve its texture, it is best char-acterized in the Chinese aesthetic (CHUGOKU-SEKI) even though the stone may be in the Japanese panache.

We have learned that there isn’t any formalized way of practicing the “art” in Japan, with structured learning institutions, recognized and settled set of laws or rules; nor is there a preset and enduring philosophy, principles, or convention. The matter of rightness arises from individual perception of what is good, right, customary and traditional. There are, of course, some basic ideas and rules in use among the Japanese but no universal standard or method of practice. However the Japanese give great credence to maturity of age and antiquity for a stone to be a good SUISEKI.

It is recognized that the classification system pre-sented here is but a hierarchical guide and not a panacea by any stretch of the imagination. It is however, an at-tempt to identify the more common categories and styles within these categories of each classification in-so-far as it is possible and prudent to do so within the contempo-rary language of Japan in keeping the jargon, colloquial-ism and slang to a minimum. It is felt that any stone that can be described in the Japanese language can fit within our system. It is understood that there are many more different natural scenes, shapes, and patterns that can be identified and defined in the Japanese language and catalogued in this system accordingly. The goal was to identify and define the more commonly recognized and popular natural scenes, shapes, and patterns to facilitate the cataloguing and labeling of stones as a measure to achieve a common understanding of the stones that most practitioners strive to assemble. Stones that are shaped or have embedded patterns of the Zodiac are very popu-lar with collectors and are included in this diagram for that reason.

Judicious use of our diagram guide will aid in load-ing your mental data base with images of what a good stone looks like. We hope it will facilitate your ability to see what was invisible and help you focus your imagina-tion to better recognize the beauty in the stone when you see it. Moreover, we believe that a study of the art, and a classification system describing the stones, can go a long way toward feeding an individual’s brain, purifying the mind and nourishing the soul as stone appreciation emerges in one’s intuition and the imagination is fully focused.

There are a plethora of charts and lists available to

those who may wish to study and learn the art of stone appreciation but we consider ours to be unique in many ways. For example California Aiseki Kai conforms to the classification chart found in the Japanese publication, Shumi no Suiseki Nyumon.4 It is our recommendation that you use whichever classification system that floats your own objective boat. We are sure that we all have some-thing more to learn and so we should endeavor to re-spect the views of others that may be different than our own. In our minds, and in collaboration with our family, friends and acquaintances in Japan, we feel that we have discovered ‘what is right’ and our diagram guide reflects this idea, view and opinion.

Whether your goal is to amass a world class collec-tion of stones or you are endeavoring to just obtain a few stones to show with your BONSAI, you will learn that knowledge of the art will give you countless hours of quiet enjoyment. We do not have any plans to carry a stone into a Buddhist Temple or Shinto Shrine for meditation nor do we expect to become Tea Ceremony or Keido Masters but we do want to enjoy our stones as best we can with what we have. We trust the same for you. Happy trails to you on your way to discovery of some beautiful stones to admire and exhibit with your BONSAI or preferably as natural stand-alone works of art in their own right - SUISEKI. Footnotes - 1 Ragle; Nina; Aiseki Kai Newsletter; Volume 26, Issue 11, November 2008, page 2 2 Elias, Thomas; An Introduction to Chrysanthemum Stones; BONSAI and Stone Appreciation Magazine; Vol. 46, No. 3, July/August/September 2007, page 34 3 Ragle, Larry; Aiseki Kai Newsletter; Volume 24, Issue 10, October 2006, page 7 4 Ragle, Nina and Larry; GOLDEN STATEMENTS, The Magazine of Golden State Bonsai Federation; Vol XXXIII No. 2, Mar/Apr 2010, GSBF District D: Two Clubs, page 23

About the Authors: Jack first retired in 1981 as a U.S. Navy Commander but continued his professional career as a Telecommunications Systems Engineer and Program Manager until 1996 when he pulled his creden-tials from the marketplace. Jack and Sachiko, his wife of 54 years, resides in the country village of Alpine, CA.

Jack began his study of Bonsai with the international renown and award-winning bonsai artist, Harry Hirao, in 1992 and he and Sachiko made their first stone field collecting trip in 1993. Jack and Sachiko have made SUISEKI presentations in several venues in the USA and in Europe and conducted numerous bonsai workshops in garden clubs and local nurseries.

Jack and Sachiko are members of Aiseki Kai, Kofu Bonsai Kai, GSBF and are contributors to both the Huntington and Lake Merritt collections and the Bonsai and Stone Collections at the U.S. National Arboretum. Editorial Note: GS supports the many suiseki schools and their interpretation of suiseki classification without endorsing any one.


“The authors use of contemporary Japanese terms is to eliminate the slang/colloquialism/jargon language, in-so-far as possible, to facilitate wider understanding of the art.”

A Basic Classification Guide (Kihon Bunrui Shido)for

Decorative Viewing Stones (Kazari Keshiki-ishi)in the Japanese Artistic Style

To view this diagram at a larger resolution, go online at http://www.gsbf-bonsai.org/magazines/2010


Wisconsin Bonsai Enthusiast Daytrips at the Bonsai Garden at Lake MerrittOakland, California By Steve Carini

I am a very lucky man.

My son Andy and his wife Shawnee, along with their three children, live in a very beautiful and natural setting in the Shasta-Trinity National Forest, in northern Cali-fornia. Together, they own and operate Carini Winery. Because I have a severe case of “grandpa-itis,” I’ve made a commitment to visit them as often as I can afford to. It is a long trip, both in the air and the car. And some-times I only get a few days with them… and it is worth every minute.

I have been known to wander a tad... so on my visit to see the kids in the Fall of 2008, I spent a day attend-ing the Golden State Bonsai Federation’s Annual Con-vention in Modesto, California. There, I took a critique with Kathy Shaner. I had met Kathy before at a work-shop in Washington, DC and in this second meeting, I realized how much I enjoyed her style of discussing the trees in the show and her special way of finding the beauty in each composition and, of course, what must change.

After the critique, I introduced myself to her. I told her that I was from Wisconsin and was able to get out to California from time to time, and wondered if there might be a possibility that I could work with her on one of those visits. “Of course,’’ she said, ‘‘let me introduce you to Andrea. She will help you arrange a time to visit us at the Bonsai Garden at Lake Merritt. You could come out to Oakland, and donate a day or two in service to the Collection.’’ What follows is a journaling of my experience, on my first of fourteen days in service.

May 5th, 2009 - it is a rainy morning. Usually, the

garden is closed in the rain… not today I hope.

The alarm rang at six thirty. I am already awake. Kind of tossing for an hour or so. I am anticipating what the day might be like. I have never been to the Collection before but imagine tree after beautiful tree. I was right.

I arrive just after nine. I walk in and said hello to Kathy Shaner. I, of course, know who she is. She, I’m sure, does not remember me. I introduce myself as the volunteer from Wisconsin. She lights up with a welcom-ing smile and seems very grateful that I am willing to help the Collection. She suggests that I check in with Andrea and that she would show me around. Andrea, happy that I had followed through with my commit-ment, walks me down the crushed granite pathway that winds through the bonsai garden. It is still raining, but I don’t care. As she tells me about the trees, she apologiz-es (as I so often do when I show my trees to someone), about just how much work each tree needs. At that mo-ment in time, I only saw a wonderfully natural exhibit. Each tree is displayed on a stand with a single post, set in a bed of mulch with repeating plantings of varying ground cover species. It is all green, wet, lush and alive with beauty.

Others are beginning to arrive. Seiji from Los Gatos,

Mike from Castro Valley, and Donna from Redwood City. Donna is about to begin working on a three foot tall red-wood, tree #105, that had been damaged by either heat, cold, or fungus, in the Fall of ’08, on it’s way home from the National Exhibit in Rochester, New York. Kathy has been treating it with a copper spray and a mix of water and peroxide, both intended to kill fungus. Donna is to remove all the brown foliage to make it more present-able for the exhibit as it recovers. It looks a lot like mine does as I take them out of winter storage back home in Wisconsin. I had never thought of the browning as a pos-

GSBF District B Field Report


sible fungus. I just assumed it was because I was trying to grow coastal redwoods on the western shore of Lake Michigan.

Just off a multi-purpose room is a large area with trees packed closely together. I suspect I might be assigned to work on one of them, possibly to prepare one for exhibit, or for Kathy to see just what I could be trusted with. Kathy calls me, hands me an umbrella and explains that she will take me through the exhibit. We pass a Mendocino cypress and she tells me to break off a piece of foliage and roll it between my fingers. “Now smell it… you’ll never forget this smell.” She’s right - a very pleasant but strong citrusy aroma, like orange, lemon and grapefruit rind all together. Now we pass a Monterey cypress and she explains how this fragrance is much more subdued. I take a whiff and feel it has a slight soapy smell. I ask her if this is the species of tree that I see lining the coast, with long arms stretching up at 45 degree angles. “Yes,” she said, “I’m working on recreating that very look on this one. I think it is ap-propriate that we style our trees to look like they do out in nature.”

She asks me what kind of trees I have and feel comfortable working with. I share that I like decidu-ous trees best; maples being my favorite. “So,” she says, “what kind of trees do you feel you are the most weak with?” I immediately respond, “Junipers... I have four of them. I struggle most with species identification and feel least confident pruning them.” I’m sure now that she will pick out a less than ideal maple for me to work on while she observes my skills. Kathy thinks for a mo-ment and says, “Then, a juniper it will be.” She takes me to the far end of the Collection Exhibit. “This is a California juniper. It was a John Naka tree. It needs a lot of work and you will be here for two days. It will teach you well.”

Tripping on my lower jaw, which is now dragging on the crushed granite of the garden pathway, I head back to get a cart and three people to help me lift the tree and one to steady the cart. We move tree number 146 to the work area and set it on a stand that was creatively made from a piece of ply-wood attached to the base of an old hair salon chair. Just pump it up or down to set the perfect height and

you can reach any branch

you’ll need to. “To begin with” Kathy says, “don’t touch the top few branches. We’ll do these together. Spend the morning taking down all the extended new growth areas. Then call me.” And all morning it did take.

I pinched foliage for two and one-half hours while Seiji worked on a Japanese white pine behind me. Kathy explains how most all white pines are grafted onto black pine root stock to increase the speed of growth. Most grafts are very knobby and most have reverse taper. She uncovers the soil around the nebari to expose the graft, in the shape of a perfect mushroom. “We’ll work on that later.” Kathy gets up and walks away. Mike, next to me, is defoliating a variegated Ivy, preparing to repot it. When I look surprised that he is defoliating and repotting in the same day, he says, “Wait until you see her root prune this baby. You can’t kill these.”

Well, it’s twelve fifteen now, and I call Kathy to come check as I think I’m ready to use a shears to trim the under foliage. She leads me to a large, bright red, multi-drawer Sears & Roebuck tool chest. She pulls out one of at least 15 bags of tools. “Do you know how to sharpen tools?” she asks. Fearful of acknowledging that I can or cannot, I tell her I can always use a lesson on sharpening. Kathy finds the bucket full of sharpen-ing stones submerged in water. She picks up a large soft grey stone and sets it down on the bench. Next, she picks up a hard red stone and begins to rub one stone onto the other. She tells me this will assure that the harder red stone develops a perfectly flat surface. “You can tell it is flat when the two stone surfaces stick together” she said. Kathy turns the hard red stone over, sets it on the bench, picks up the shears and shows me where the bevel is. She demonstrates how to position it and strokes the blade over the stone. And, when fin-ished, she turns the shears over and removes the burrs which form on the opposite side of the blade. If not removed, each cut will mar the opposing blade and ruin all your effort. At home, I so rarely sharpen my tools. It seems to be that one step I never get to. She must have heard me “think” that thought because she excuses herself and, in a moment, walks back with a handful of shears. I thought for sure that this was about to become the “wax on-wax off” part of my apprentice sharpening lesson. There goes the afternoon, I thought. Lucky for me, she must have detected the panic in my eyes as she says, “...don’t worry Steve, I’m not going to make you sharpen all these. I just wanted to point out how the tips of the shears should just slightly pass each other when closed. I relax a little.

I spend the next two hours working on a few branches; I remove downward growing foliage, and again, trim the top of the pads. Kathy stops over and suggests rather than doing one area to perfect comple-tion, as is my tendency, it would be better to do all areas

John Naka CA Juniper, Tree #146


of the tree, little by little. This way I will not over prune one area and later find that the balance is off. I agree and tell her that I just want to be sure I am doing what she wants. She tells me to relax.

Kathy turns around and stops Mike from repotting and says she has a few adjustments to make on the roots. “A few adjustments,” I’ve found, mean she’ll reduce the roots by around eighty percent, and will most likely em-ploy the use of a ham-mer and chisel. Seiji, after removing the top 1/3 of soil which was hiding the Japanese white pine’s mushroom nebari that I mentioned earlier, calls Kathy over. She arrives and shows

us how she will fix the mushroom bulges on

the nebari. She studies the life lines and chisels out an area of bark and wood to give the convincing illusion of proper taper to the right side of the mushroom. The left side is remedied by removing layers of bark and with a smaller chisel, re-creating the flaking pattern of bark present on all other areas. She tells us tomorrow we will paint on lime sulphur which will accentuate the edges of each flake. The area is reddish brown right now, but she assures that it will age to match within one year. She spots the Naka juniper I’ve been working on and sug-gests three wiring changes for tomorrow.

Speaking of wiring, the juniper had been wired three years ago by Janice, a volunteer who loves to wire trees. Much of the perfectly placed wire has dug into the branches to varying degrees, some, in my humble opinion, to a destructive degree. I found some twist-ties in the utility drawer and marked the areas I was most concerned about. Mike, behind me, shared that Kathy feels sometimes on a juniper, the dug in wire adds to the character and appearance of age. I’ll see what she says tomorrow. Kathy, overhearing our comments, shared that she never allows wire to be cut off. She prefers that it always be unwound, so as never to inadvertently leave one loop in place.

Kathy’s attention is diverted to Mike who has prepared the pot for the Ivy. She helps pick the front of the pot by pointing to the darker area of glaze in one area that she feels gives the illusion of a shadow from

the lower branch. Mike has prepared the wire through the drain holes to secure the tree in the pot, and Kathy describes her technique of a four-way tie in, using two pairs of tie wires plus one extra half wire. Before she does this tie in, she shows us how she gently forces bonsai soil into EVERY possible air space around the roots and how she loosely holds the chopstick as not to damage the fine roots we try so hard to create. She discourages high pressure water rinsing of the roots, as she feels it can de-bark the roots. She suggests swishing up and down in large vat of water instead.

The meeting of the Bonsai Collection board of directors that has been going on in the background all afternoon, is now breaking up. Listening in while I work seems to affirm that all non-profit/club board meetings function quite similarly; some members are natural leaders, others ask questions and others are quiet participants.

It’s hard to believe the day is coming to an end and people are beginning to pack up. I uncork the bottle of my son Andy’s 2002 Kenific Ranch Merlot I brought to share. Many stick around to sample a taste. Cher-ries, chocolate, oak, and tannins, are all noted. Jerry, the newsletter editor, immediately wanted a steak. Another said it was such a distinctive merlot, he’d have guessed it to be a cab. I made sure Andrea took the rest home. I feel so proud of my son each and every time I open and share a bottle of his wine with new friends.

I end my day humbled to have been able to help out at this fine collection of trees. I am not only excited to have worked with a group of such com-mitted volunteers, I am thankful to have had the opportunity to work with such a knowledgeable, kind, and sharing teacher, Kathy Shaner.

I am indeed a very lucky man.

For all of you in the general area of the GSBF Bonsai Garden at Lake Merritt, you might consider contacting Andrea at the Garden. (415) 824-9315 There could be an opportunity for you to offer your help as well. Editor’s Note: In future issues we’ll rejoin Steve Carini at ‘The Garden’. Steve serves on The Milwaukee Bonsai Society board, and is a member of The Redding Bonsai Club in California.

Tree #146 after 2 days of care


John Wang Demonstration - Article & photographs by Michael Jonas

John Wang told me that he discovered Sakurai Sansai-en (Clear Mountain Nursery) by getting lost during his travels in Japan about five years ago. There he met Seiji Sakurai, the friendly owner of the nursery. John really liked what Seiji was doing with his trees. Seiji is what John calls a Bonsai Bushido (Bonsai Warrior). He uses techniques that are somewhat unusual in the bonsai community. For example, he described seeing Seiji use a 6 inch round steel pipe to bend large juniper trunks. The second time John returned to visit the

nursery, he worked with Seiji on shaping a tree and thereafter was invited to apprentice with him. This apprenticeship took a form that is more casual than the five or more years that some bonsai students spend at other nurseries. John says that the first year he spent 2-3 months at the nursery, but now spends a couple of weeks a year there, usually in November. John’s trees, especially his pines, are well-balanced with wonderful design structure, great branch development with consistently short, equal-length needles, regardless of the size of the tree.

It was a great pleasure for me to view John’s demo. John used a 15-gallon Prostata juniper, grafted with Kishu Shimpaku foliage, acquired from House of Bonsai in Cerritos, CA to show how jin and shari can be created without putting a tree at risk. After choosing the front and future planting angle, he said he was go-ing to create a bunjin-style tree. He had previously cleaned the trunk with a wire brush so the bark was a nice reddish-brown. Using a white wax pencil, John marked the extensive paths of the two future sharis. John said all living juniper branches have at least one lifeline, the corollary is true for all dead or removed branches - they have at least one shari line (deadline).

Placing a wire wheel on his die grinder, John quickly removed the bark down to the hardwood. The shari was continued to the top of the tree, ending at the bottom of a freshly cut large branch. When we create our own shari, John suggests we follow the grain and the curves of the deadline. A sharp knife was used to clean the edge of the new shari. At first, the cut off branches suggested a design with two shari lines separated by a live line of tissue.

After some reflection, John decided that he preferred to create a single wide shari to keep it simple and elegant. The shari ends short of contact with the ground to protect the base of the shari from rotting prematurely, due to contact with ground moisture. John wrapped a heavy branch at the top with wire and raffia which allowed him to twist it around to place many smaller branches at the top of the tree. He then used those branches to create a “hat” shape, the rounded top of an older the tree. Finally John set the angles of the dropping branches. John suggested the tree’s new owner, after quiet reflection, decide which additional branches to remove. There are at least 2-3 branches that should go or be shortened. As of June of this year, the tree was progressing well.


Golden State Bonsai Federation Convention 2010

New Face of Bonsai Convention

Registration News

The GSBF Convention registration is underway. Many of the workshops are filling fast because of the excellent materials and instructors. There were some startup problems with the online registration form. Sometimes, while we

were working out problems, the forms were not available or the 2009 form was displayed. If this occurred when you tried to register online, go back and try again since the problems have been worked out now.

Those that register online get a confirmation immediately. The confirmation of your registration is not valid until your payment is processed. The confirmation of your workshops and events will not be made until August 15th, the end date for early registration.

Individual meals are available and listed in the online Registration form. ‘Full Admission’ lets you make meal choices, if you choose ‘Alternate Admission’, you’ll see the prices for individual meals, and under ‘Dining Guest’ there is also a choice for complete set of extra meals (4) for a guest for $199.

Other options for finding prices and forms include: using the forms from the last issue of Golden Statements magazine, or downloading the Adobe PDF forms available on the registration page located at: www.GSBFConvention.com The PDF forms are available from the menu labeled as “Print the form” located on the left side of the online registration form. To be sure you will have the choices you want (if you have not yet done so), please send in your forms or register online now.

We have had some questions about the workshops and trips registration process. For insurance reasons registration is needed for the day of an event to participate. This includes collecting, bus tours, workshops, benefit drawings and auctions.

For those interested in attending the Suiseki Stone Collecting Trip to Eel River, the hotel cost at Willits, CA is $69.00. It was incorrectly listed as $59.00 on the registration materials.

Also, the Suiseki Panel Discussion Seminar has been opened to allow more than 25 participants. The correct Suiseki Seminar time is Saturday from 8:30 am until 12:00 noon.

Be sure to make your hotel registrations early to get the special GSBF rate of $99.00. On some of the registration forms the hotel address is listed incorrectly. The correct address:

Santa Clara Marriott Hotel2700 Mission College BoulevardSanta Clara, CA 95054phone: (408) 988-1500

I hope to see all of you at the convention,


Bonsai Bytes: Bonsai in the age of the In-ternet Sept/Oct 2010

Article by Joanie Berkwitz

Seeking the Niwa

What is a Japanese garden? The word niwa means the ‘pure place’, and it is used to describe a Japanese garden, with a Shinto undertone. We shall seek the niwa today, peeking over fences as we stand on our tip-toes, pulling aside a maple branch with blushing foliage to get a glimpse of moss covered stones, or even perhaps pushing open a gate... very quietly... so that our view of the immaculately raked rocks and gently dampened stepping stones is unobstructed.

The basic elements are obvious...stones, plants, and water. Combined in an understated, elegant and nuanced way, these elements are augmented as well by an intangible.

Time. As the garden passes through the seasons,

and the hours, and the minutes, it changes. No two people will experience a Japanese garden the same way, nor will the same view on a different day be identical. When the details are simplified, each change is meaningful. There will always be an element, in even the most controlled garden, that imparts randomness and lets Nature show a changing face.

So, even if you know a great deal about

Japanese gardens, follow me for a few moments and let us see what can be found in the labyrinth of the internet.

When our thoughts turn to the American Northwest, we tend to think of rain, mountains, and mighty trees. We don’t immediately think of a Japanese garden, but perhaps we should.

The warm, dry summers and temperate win-ters in Portland give the area a long growing season, and perhaps that is part of the success of the Portland Japanese Garden. Why are we looking at Portland? They have an impressive website, which is a great lure for us as we use our computers to travel here and there. Check it out at www.japanesegarden.com/, sipping your green tea in a gently steaming mug as you take the time to view all of their five gardens.

Yes, five gardens.... listed as the “Flat Garden”, “Strolling Pond Garden”, “Tea Garden”, “Natural Gar-den”, and “Sand and Stone Garden”. If you are looking at the website, click on ‘Learn More’ and then ‘The Five Gardens’, and you will be able to view photos of each one, along with some interesting insights into the particular elements of that type of garden.

Looking at the Flat Garden, we learn that it is a type of garden that is “meant to be seen from a single viewpoint either from within the Pavilion or from the veranda. The whole is framed by the sliding shoji doors if viewed from inside or by the veranda itself if viewed from outside. This framed view can be appreciated in much the same way we would appreciate a landscape painting...”

We can contrast that with our reading about the Strolling Pond Garden, where we find that being lead through the garden, following the soft pathways, is an important aspect of the way it is intended to be viewed. The Flat Garden is a painting, and the Strolling Pond Garden is a movie... to put it in a more American context. I leave it to you to discover what type of garden the Tea Garden is. Perhaps in the Tea Garden, most of all, your own perceptions are meaningful.


Which garden do you most yearn to spend time in? Before you leave the site, go back to ‘Learn More’ and check out the videos. Very nicely done! Photos of the Portland Japanese Garden in this article were taken by Phil Gilston (http://pgilston.smugmug.com) and are used with his permission. Visit his site to see many more gorgeous images.

It becomes more difficult when we wish to find a website about a garden in Japan. We are very fortu-nate, therefore, to find a site that encompasses mul-tiple gardens in and around Kyoto. Visit here: http://learn.bowdoin.edu/japanesegardens/gardens/intro/index.html and click on “Gardens” for the index of those gardens which are documented.

Each garden has its own page, including an over-view with a map, and a tour. How can we even begin to see them all? The author is Cliff Olds, and the site was made possible in part by grants from Bowdoin College and the Freeman Foundation. We can study “Elements”, “Origins”, and the “Glossary” using the navigation bar across the top of the page, so that as we look into the gardens, we can begin to delve into a more meaningful, and enhanced, understanding of what a Japanese Garden is. With this knowledge, in the next issue we can peek over a few more stone walls and catch glimpses of the beauty within. In researching this article, it was difficult to find photos from the Japanese gardens that were large enough to print well, and whose owners would give permission for use. However, there were two particularly talented photographers whose sites include inspiring images. Frantisek Staud’s site at www.phototravels.net/kyoto/zen-gardens-index.html is outstanding, as is Jen Jo-hansen’s www.pbase.com/jensfoto/nippon where there are gorgeous black and white images. While I could not secure permission to use these photos in the ar-ticle, I highly recommend that if you have the chance, that you take the time to view them.

If you are interested in furthering your education in person, there is a Japanese Garden Symposium in San Diego at the beginning of October. See www.japanese-gardens-assoc.org/ for more details.


An Artist’s Ap-

proach “Adams’ Cosmetic Trunks” ACTS From a Cutting

Bonsai Studio 4

Trunk

ANALYSIS

This idea first came to me when I saw small juniper bonsai with heavy trunks being toted for sale at truly astronomical prices. My sense of humor got the better of me (once again!) as I decided to offer a new idea to shohin and chuhin juniper bonsai fanciers everywhere: why not build your own?

1 2003. I began with a cutting of regular Chinese juniper - that is, the type: Juniperus chinensis.

The rooted cutting was grown in a growing bed for ten years or so when the trunk diameter reached the size seen in Photo 1: about 2.5 inches. Or, just buy one whose foliage you like! The photograph shows the slot that I carved to receive the first piece of jin protected with aluminum foil.

2 2003. I burnt the raw wood to calm the color down using a small butane torch.

3 2003. The first driftwood piece was saved from a student’s bonsai when he re-styled the trunk of a large tree. The piece was chosen to match the movement in the lower trunk, the slot was then carved to follow the grain movement and the driftwood was shaped to fit the slot in the trunk. The photograph shows the driftwood secured with Gorilla glue and wired tight. After 24 hours the wire was removed and excess glue was filed away. The joint was tinted with acrylic paint to blend it in.

4 2004. The tree is shown in a commissioned Gordon Duffett pot. The first piece of driftwood worked ok but …!

5 2004. Second and third driftwood pieces are added -- this time shaped from an old azalea root. The driftwood has been fixed, carved and tinted as before.


Branches

FUTURE PLANS:

6 2007. Seven more driftwood sections have been added over the intervening three year period. Each time Kate and I visited England we brought back pieces of wild juniper trunks and some were really old and brittle so fitting them together was quite delicate, but great fun. It was like a three dimensional jig saw puzzle. The pot is a black unglazed rectangle from Japan given to me by my good friend Jim Doyle.

7 2009. Another piece was added. The close-up shows something of the character of the new trunk that now measure about six inches across the widest part.

8 2009. The tree is growing well now and will need potting into something bigger.

9 2009. The tree at a new angle which is closer to that seen in photo 4. The pot is a larger drum pot, in a black unglazed finish, probably about the same vintage as the one from Jim.

10 2010. Tree after light reshaping. Still waiting for strong growth extension but it’s coming.

The branches “are on their way”, but this has not been a vigorous plant and growth extension has been slow to develop. The larger drum pot plus heavier feeding this year (2010) seems to be pushing growth at last.


The surfaced roots are developing well and the root mass itself is very strong. An aggregate based soil mix, good light and natural well water have made all the difference to this tree.

The pot is a coiled round nanban form in a dark finish. Dan Barton of UK is particularly good at pots like these

Light blue area. This area is divided into three branch planes and then sub-divided again. The forms of the branches are the elongated oval avoiding anything too pointy.

Red area. In the middle zone, the long line to the right moves the motion of the tree over to the right slightly. This plane features both front and rear branches.

Green area. This is a key branch, one that balances the whole design. The profile of the plane is quite deeply oval. An interesting thing in designing the tree on paper is how it allows one to figure out movements and balances using masses and voids in a dynamic way without recourse to any tools. Try it!

Blue arrows. Note how the curved line of the jin sets up a movement that passes over

Roots

Pot

Diagram

Drawing

About the Author

the green area and allows the eye to swing back over the light blue area, finishing on the terminal of the red area.

Orange area. This is negative space. The spaces underline the subtle differences in branch angle and length and have a beauty of their own that is worth exploring.

For some reason the process of adding any variation on a new trunk to an old piece of driftwood is frowned on, but the great thing about using the technique is that it makes it possible to replicate the look of an old driftwood trunk on a very small and possibly young tree, allowing people less physically able to enjoy a tree with an old driftwood trunk they can actually lift! My tree incidentally is 12” high. I have to say that people who have seen the juniper usually want it - and that says it all for me. Enjoy!

Peter Adams is an artist from England now resident in Washington state. He ran a top bonsai nursery dur-ing his fifty years in bonsai and most of the big names in British bonsai were his students. The Association of British Bonsai Artists lately presented him with their award for “raising the standards of British bonsai to that of an art form”. Peter Adams promotes the importance of western bonsai as the way of the future, using the media of his art, writing and teaching. You may email Peter Adams to arrange study with him or learn when he’ll be in your area: [email protected]


Bay Area Bonsai Associates 29th Annual ShowLakeside Park Garden Center, Oakland, CA March 13-14, 2010

Wisteria sinensis (Chinese Wisteria)

Acer palmatum (Japanese Maple)

Pinus thunbergii (Japanese Black Pine)

Elaeagnus, spp. (Silverberry)Carpinus coreana (Korean Hornbeam)

(1) Pinus thunbergii (Japanese Black Pine), (2) Malus sylvestris (Crab apple), (3) Juniperus chinensis var. sargentii (Shimpaku Juniper ‘Itoiga-wa’), (4) Diospyros rhombifolia (Princess Persim-mon), (5) Acer buergerianum (Trident Maple), (6) Juniperus rigida (Tosho / Needle Juniper)

Dwarf Asian Pear

Cupressus macrocarpa (Monterey Cypress)

Rhododendron indicum (Satsuski Azalea) ‘Kinsai’

Photographs by Carl Morimoto

1

2 3

4 5

6

GSBF District B Featured Club


The Japanese Art of Tokonoma Display – Creating Tokokazari

By Kathy Shaner and Larry Ragle

PART 1

As in any art there is always a lot of discussion about the inherent quality of any work. You can’t learn bonsai overnight and you can’t be expected to understand all the complexities of tokokazari the first time out. But it is a wonderful journey, one that will increase your pleasure and expand your horizons. Isn’t that what life is all about? And it never ends! Just as we are trying to help you with this… our understanding of the subject is also increased.

This first article will help you understand the feeling

behind the display (or at least it will present some of the complexity you might face.) A challenge? Difficult? Yes. But isn’t everything that’s worth doing? This has noth-ing to do with winning or losing. It’s about becoming better than you were the year before. It’s about under-standing the medium.

In the BeginningFrom the first inkling of a need for human expres-

sion, art has been a means of communicating and docu-menting mankind’s remarkable history. Perhaps those cavemen artists were simply showing off their unique skills with no intention of providing archeologists, centuries later, with a record of their day to day lives. Regardless of their intent, the result of their efforts has provided inspiration and incentive for generations of theorists.

Artists Haven’t ChangedToday’s artists continue to create and display their

work, conveying a message or making statements for

various reasons, to sell, or simply out of pride wanting to show off their work. They should be proud. A bonsai or suiseki convention is a playground for such purposes. A beautiful alcove display can be created by arranging one’s best bonsai or suiseki on a table, their best scroll hung properly and with some additional object, a potted flower, for example, to complete a triangle. And there is no question that it would be ap-

preciated by a gen-eral audience. This is a mechanical approach where everything fits nicely into place; however, to create a tokonoma display in the Japanese aesthet-ic, one should take a different approach, an emotional approach

suggesting a desire to communicate a senti-ment. When it works, the components together will convey that feeling. The view-ers sense the depth of the scene.

Typical displays

at conventions or at club events, such as weekend shows in California, more often feature table top dis-plays: hirakazari (hira- seat, kazari -decora-tion) - featuring either a bonsai, suiseki or kusamono - all pri-mary pieces standing alone, or sekikazari - a 2 item display of a primary piece with a complementary item, for example, a small plant sharing the table space. Some shows feature at least one alcove display - tokokazari - a 2 or

3 piece display with a primary piece, a complementary scroll and often, a complementary item. Although guided critiques are becoming common, show displays are seldom “judged” by awarding some form of recognition indicat-ing supremacy, for example, “Best in Show”. However for the past 2 years, the Clark Center in Hanford, California has held a judged tokokazari contest offering substantial mon-etary awards for the three “best” displays. This “contest” has been a stimulus to gain a greater understanding of the traditional use of a tokonoma.

“In the Japanese aesthetic, one should take a different approach, an emotional approach

suggesting a desire to communicate a sentiment.”

A typical tokonoma display. These are nice components but the space is too small (Source Google U.K)

Hirakazari display. A bonsai and shoku (table) make a nice display.(Source: Redwood Empire Bonsai Exhibition 2009) . Photo- Peter Macasieb)

Sekikazari display. Bonsai, shoku and complementary plant(Source: California Bonsai Society Exhibition 2010) Photo- Larry Ragle


Displays in TokonomaCreating Tokokazari

Note: The basis for a display begins when a primary piece is identified. From that moment on, the focus should be on creating the visual sense and emotion of a natural scene. What are you trying to convey? Finding a scroll, buying or borrowing it, that adds depth to the scene you are imagining, is essential. It is not a necessity to invest in antiques as long as the items you use are high quality and in the Japanese sensibil-ity. Emptiness, space-ma, within the tokonoma is as important as are the items and their placement.

If you are entertaining a guest in your home the se-lection of components should subtly suggest the display is prepared for them, reflecting your respect for them, or perhaps, a present or future event in their life. The ultimate goal is to position 2 or 3 components which, at first view, evoke a natural scene with the emotion of a specific season, perhaps. Spring may inspire thoughts of renewal. Autumn may bring on very different feelings. Try to express the season, holiday or a special event with 1, and only 1, of the components. Never indicate a past season or event. Seasons are often easy to represent. For example, deciduous trees have 4 seasons that are general-ly well defined. When evergreen bonsai are used, a scroll or complementary object should suggest the season.

Primary Components: Bonsai –Suiseki –Kusamono

Note: A bonsai, suiseki or kusamono are primary pieces and should not share the same tokokazari. It is common to see sekikazari – table top displays in Japanese publications featuring 2 bonsai and a complementary piece. The primary piece in these displays is a chuhin on an elevated table and the second tree is a shohin. There are no scrolls in sekikazari.

Bonsai as the Primary ComponentThe Japanese describe the ideal bonsai for a formal

tokonoma display as “time honored”, meaning the tree’s appearance is mature, styled and has evolved to the level where the “hand of man” is absent. There should be no remaining indication of training, no visible wires, no wire marks, no flat cut on living or jin branches nor any dry bark on areas of jin or shari. All jin and shari have been aged by passing of time or with chemicals, lime sulfur, for example, to a consistent natural tone. The tree should be at its best. Green moss, fine textured, should cover the soil without damage to the tree’s bark. The pot should be the appropriate style, well suited to the tree in shape, size, depth, color and with no visible flaws, chips, cracks or stains. The bonsai is positioned on a shoku (table), jiita

(flat board in any shape) or on a slab. The style/shape of the table should be appropriate for the style/shape of bonsai and container. If the table has margins (an outer frame) the pot must fit within all 4 sides. The style and color should be dark and subtle, avoiding the “see it first” effect of light colored heavy tables.

Slabs must be large enough for all of the legs of the

container and should be no thicker than 1/3 of the total height of the container and should be stained to a subtle dark color. The length of the table, etc., should be no longer than 1/3 the length of floor of the tokonoma. The depth of the table should allow for equal distance front and back with, ideally, no less than 6”of open tatami mat.

Note: Avoid any redundancy. Every item in the display should have a unique quality – species, shape, size and color. Colors of pots, tables, complementary plants and accessories and on scrolls should be subdued.

If you can get your hands on it, another resource for good information on this topic is Hideko Metaxas’s 4 part series on display in Golden Statements beginning in Jan/Feb 2007.

Tokokazari display(Source: Keido Katayama Ryu Textbook #1)

Part II of “The Japanese Art of Tokonoma Display – Creating Tokokazari ” will identify the items and their use and placement in the tokonoma.

Photos for this article were provided by Larry Ragle with sources acknowledged.

Editors Note: The 2011 Toko-Kazari Bonsai Display Competition will be held April 16th & 17th, 2011 at the Clark Center for Japanese Art and Culture in Hanford, CA.

“Never indicate a past season or event”


A visit to Tak Shimazu’s homeArticle & photos Michael Jonas

At the 2009 GSBF Convention in Riverside, CA, a group of us visited Tak’s home. Tak is well known for his elegant styling and excellent grafting techniques. He is comfortable working on everything from shohin to the largest-sized CA junipers. As a GSBF convention headliner in 2008, Tak created a memorable large CA juniper bonsai that was auctioned to a very appreciative audience. See Golden Statements Jan/Feb 2009.

All images are Copyright 2010, Michael Jonas. The Artist retains all rights and grants Golden Statements the non-exclusive use of the images for its Golden Statements print magazine and for use in its online magazine at GSBF-bonsai.org.


Healthy Bonsai - Start with Solid Foundationsby Mike Pistello

The fourth Sunday of every month, I teach a bonsai

beginners class at the GSBF Bonsai Garden at Lake Merritt in Oakland, California.

Although it was generally a little early to repot, I completed a potting demonstration at my Janu-ary 2010 session. February and March are excellent repotting months because most bonsai are starting to come out of dormancy and their roots are begin-ning to grow. I typically start repotting the second week of February. For my demonstration, I chose to repot this Japanese Black pine from my personal collection. The Black pine I used is approximately 40 years old and had not been re-potted in almost three years, so I felt it was ready for a root prun-ing and some fresh soil.

One might ask why repotting is so important? The roots of a bonsai are similar to the

foundation of a house. If you have a weak foundation, it will be hard to build a solid house. The same applies to bonsai. If you have a poor soil mix and weak roots, the tree will not be healthy and will not grow to its full potential. A bonsai’s roots are its life source and its primary way of obtaining nutrients. Therefore, the healthier a bonsai’s root system is, the healthier the bonsai’s foliage will be, presuming the tree is absent of the many insects that can plague our beloved trees.

How often should a bonsai be repotted? There is not a steadfast answer to this question. It all depends on your climate, type of tree, age of tree and how often you fertilize.

However, generally speaking, young bonsai (1 to 35 yrs) may be repotted every two to three years. Older bonsai, like this one, (36 and beyond) may be repotted every three to five years. Waiting more than five years to repot a bonsai usually will cause the trees health to diminish and getting it out of the pot can be very difficult.

What type of soil mix should I use? This is again a matter of personal preference and

what has worked for your bonsai in the past. For co-nifers I prefer to use the following mix; 1/3 Akadama, 1/3 black or red lava, and 1/3 Huga (Japanese Pumice). For Maples and other Bonsai that require a little more moisture I use 1/2 Akadama, 1/4 Huga and 1/4 black or red lava. I do not like using fir bark or any other types of organic soil in my mixes. Again this is a mix that has proven to be successful for my bonsai, in the climate I live in, and may not be what’s best for your trees. If you have been using a particular soil mix that differs from mine and your trees are healthy, then don’t change it. The old saying applies, “if it ain’t broke, don’t fix it.” Also, if you choose to use my soil mix, you must have a steady fertilizing schedule in place because the soil I use does not have many nutrients. For Satsuki Azalea varieties, I recommend 100% Kanuma. All of the afore-mentioned soils should be sifted prior to using them to get rid of the excess dust they produce. Jim Gremel at Deer Meadow Bonsai Nursery sells a pre-made bonsai soil from Japan that is perfect for conifer bonsai.

Why is it important to properly anchor your newly potted bonsai to the pot? After a bonsai has been repotted, usually 1/2 to 2/3 of the roots have been cut off. Therefore, the tree needs to be anchored with wire in order to keep it securely in the pot until new roots grow and fill the pot. If the tree is not anchored prop-erly, the elements of wind and water may cause it to move around and the tender new roots can be dam-aged. I always recommend a minimum of two wires to

Mike Pistello at the 2009 Bonsai Sekiyu Show in Sacramento Where he travelled to assist Sensei, Johnny Uchida with the Black pine Demo.

From District B


anchor a newly potted bonsai. One wire is not enough and will not pro-vide sufficient strength to hold the tree solidly in the pot. The procedure used to properly anchor a bonsai to the pot con-sists of securing all four corners of the bonsai’s root base. This is a little difficult to explain, but can be viewed in Boon’s re-potting video, which can be purchased on-line at www.bonsaiboon.com. I recommend this video to all bonsai enthusiasts. It covers all aspects of bonsai repot-ting and is very easy to follow and understand.

What type of care should I provide a newly repotted bon-sai? There is a common myth in the bonsai world that states newly repotted bonsai should be placed in the shade. This is false. Newly repotted bonsai should be placed in the sun. The sun warms the pot thus stimulating new roots to grow. There are no areas of California where the temperature is too hot in February or March to place newly repotted bonsai in the sun. What is important to remember is to not let the soil of newly repotted bonsai dry out. Also, protect newly repotted Bonsai from freezing temperatures (below 40 degrees).

I like to give a newly repotted bonsai a solution of Vitamin B1, HB101 or Super Thrive. For B1 and Su-per Thrive, I use one capful per one gallon of water. For HB101, I use 30 drops per gallon of water. This helps to stimulate new root growth and minimize shock to the tree. In hot climates you can put a thin layer of sphagnum moss on the base of a newly repotted bonsai to retain moisture. This is typically done with Shohin size trees and trees that require more moisture in the soil. Lastly, wait approximately one month after repotting before you begin to fertilize.

or use the mail-in Subscription/Renewal Form below Along with your check made out to Golden Statements, please provide your Name: _________________________________________ Address:________________________________________ ________________________________________________ Phone:_________________________________________ E-mail:__________________________________________ Primary Club affiliation:_________________________

Mail to: Cindy Peterson, Subscription Manager 7241 E. Rocky Ridge Drive Tucson, AZ 85750

Subscription Rates for one year (6 issue) • Regular - bulk mail (US $20) • First class in US, Canada, Mexico (US $35) • International via Air Mail (US $55) Call 520-299-5952 with any questions or email Cindy at: [email protected]

Subscribe to Golden Statements online at http://www.gsbf-bonsai.org/gsbfmag_subscribe.html


An Interview with Bonsai Instructor, Peter Tea

Where did you grow up, Peter?

I was born in Florida, but grew up in Southern California. I moved to San Jose when I was 16 and have been here ever since.

How did you get interested in bonsai?

In 2001, I started working at a Ford dealership fixing cars. I started out as an apprentice. At the time, my shop foreman did not like apprentices and would always give us a hard time. It was kind of his way of molding us into good technicians. One day I walked into his office and noticed that he had some Bonsai on display. As a way of getting on his good side, I started asking him questions about his trees, which made him really happy. After talking with him about Bonsai, I decided to try it out, unbeknownst to me, that put me on the path of where I am today. So, what started out as a way to avoid being yelled at so much by my shop foreman, turned into a life-changing hobby and career.

Your rapid trajectory as a bonsai artist makes

obvious your aptitude for bonsai. You have demonstrated success with styling, developing, refining and teaching bonsai. I know that you travel in California giving demonstrations and conducting workshops with groups of

students. What is that like for you? What do you love about teaching and what do you find challenging?

Traveling around California is great. I recently traveled to Texas too. I meet so many interesting people in Bonsai. I’ve always wanted to go to every state in the United States and perhaps Bonsai will help get me to a lot of them.

What I love about teaching is that I get to pass on good information. It doesn’t necessarily have to be about bonsai either. The other great thing about teaching is that I get a chance to help spread the art of bonsai and see it grow bigger and bigger in the U.S.When I first started teaching, the biggest challenge I faced was myself. Though I was told that I should teach, I was still unsure if I was ready to. There are plenty of people out there that teach, but not all of them are passing along good information. I didn’t want to be the average teacher that knew some things. I want to be the teacher that knows everything, the one that can answer any questions. I’m by no means a perfectionist in life, but it’s a different story when I work on Bonsai. Since I started teaching, I focused myself on learning everything I could and developing my bonsai techniques and skill including how to answer questions ranging from beginner to advance to the obscured.

How is your technique for working with junipers different from the ‘pinch, pinch, pinch’ technique many people were taught?

Through my own studies, studying with Boon and visiting Japan to see the great trees there, I have found that there is no such thing as the, “pinch, pinch, pinch” technique. People in the U.S. pinch way too much. The concept of pinching on Junipers is only performed on fully refined trees. That means it’s done only when all the branch structuring is finished. The only thing pinching does is promote density at the tips of the branch. When the tree has been over pinched, knobs will start to form causing the structure of the tree to degrade.

Bonsai in general is all about growing. About 80 percent of what we do in Bonsai is allowing it to grow. Even fully refined trees are allowed to grow. Branches should be wired and allowed to grow to gain proper thickness, then cut back to allow the branch

District B Rising Star -

Sierra Juniper - before styling Sierra Juniper, after Peter styled it

Peter Tea


to divide. Wire the new branches and allow them to grow to the proper thickness. Doing the “wire, grow, cut” technique over and over will develop proper taper and a good natural looking branch structure. Pinching is only done after the structure is complete; it’s also only done during a certain time-frame of the year, mainly March through May. The only thing pinching does is maintain the shape of the tree and pads. After a couple of years maintaining the tree, pinching will end and you will go back to the “wire, grow, cut” method. Branches are always going to be replaced. So essentially, pinching is only temporary and a small part of developing a juniper.

Rumor has it that Boon has been looking for a bonsai teacher for you to apprentice under in Japan. What are your plans for further study and where do you see yourself in 5 years?

I plan on heading to Japan sometime in 2011. Boon is helping me get connected with a Bonsai master there. The reason I decided to go to Japan to study is because I want to teach and practice bonsai full time when I get back. It seems that the best way to get good credentials is to go to Japan and learn from the professionals. Boon has taught me so much already. What I learned from Boon, has allowed me to teach currently, but even he says that I need to go to Japan to take my Bonsai to the next level. There is a saying that we have in Boon’s Intensive program. “When you finish the intensive program, it’s like getting your bachelors degree. When you finish your apprenticeship in Japan, it’s like getting your Ph.D.” I plan on studying in Japan anywhere between 3-5 years.After my studies, I see myself continuing teaching and practicing bonsai, but full time. It’s a very satisfying feeling when you see the light bulb come on over someone’s head when they learn something new. When you see that, you know that they will never forget what you have told them. Part of teaching Bonsai includes a lot of traveling. I love to travel around to different places and meet different people. I can’t believe how many interesting and diverse people I meet in Bonsai.

If I’m correct, based on your association with Boon, people most often look to you to learn wiring techniques and how to work with various pines. Is that a correct observation? Do you have a favorite species of tree, or style of bonsai?

People do tend to seek my help with wiring and

styling junipers and pines. Wiring is something that Boon really focuses on and made sure that I did well before moving me on to bigger and better things in Bonsai. What I learned about wiring is that once you

learn it, it’s only the beginning of bonsai. Without knowing how to wire correctly, it’s just about impossible to style a tree correctly and beautifully. When I work with my students I tend to be hard on them with wiring also. There is no such thing as, “good enough,” when it comes to wiring. It’s either correct or incorrect. Wiring is one of the most basic parts of bonsai.Junipers tend to be the most used

tree in Bonsai, and I believe it’s because it’s more instant bonsai then other trees. Black pines take a long time to develop, and deciduous trees take a lot of wiring and growing and cutting. If you have a bushy juniper, a lot of times, you can wire the tree and it’ll start to look like a bonsai quickly. My favorite trees to work on are Black Pines, Junipers, and Trident maples.

I have learned an amazing amount from Boon Manakitivipart.He’s a great teacher and a true Bonsai Artist. Boon is the only person that I can say, has really changed my life. I’ve gone from

having a 9 to 5 job, five days a week, to owning my own bonsai business, traveling to teach bonsai, and going to Japan to study. Bonsai has done this for me, and Boon has been the one teacher that showed me how artistic and beautiful bonsai really is.

Boon Manakitivipart


Milestones in Peter Tea’s Bonsai Career:

• 2003 – Started Bonsai

• November 2003 – Joined the Midori Bonsai Club

• June 2004 – Started Boon’s Intensive program

•January 2007 - Graduated from Boon’s Intensive program

• 2008 – Joined the Bay Island Bonsai Club

• July 2008 – Started my business, Peter Tea Bonsai

• September 2009 – Won both “Best in Show” awards at the 2009 Midori Bonsai Club Show

• November 2009 – Won 1st place at the 2009 Joshua Roth New Talent Competition

• November 2009 – First time as a Workshop leader in the GSBF Convention, Riverside

To contact Peter Tea or learn more about his: • Group Workshops• Private workshops • Study Groups• Demonstrations• Tree design and care.Visit his website: PeterTeaBonsai.comor email him at: [email protected] On a Related Note:

Peter’s Lemon Hill Juniper

Midori Bonsai Club 49th Annual ShowSaturday, October 2, 201010:00am – 5:00pmWesley United Methodist Church, Fellowship Hall566 N. 5th Street Jackson, Downtown San JoseBonsai demonstration by Peter Tea at 1pm. Demonstration juniper will be raffled at the end of the demo. Club contact, Larry White: [email protected].

Marin Bonsai Club – Exhibit At The County Fair Article and photos by George Haas

On July 1 - 5, 2010, the Marin Bonsai Club held its annual exhibition at the Marin County Fair, San Ra-fael, CA. The exhibit was located inside the Marin Veterans’ Memorial Auditorium.

More than 70 bonsai trees were displayed for fair visi-tors. In addition, accents plants and Japanese scrolls complemented the bonsai. Their program included demonstrations on specific days.

The bonsai exhibit showed off the members’ best trees. A wide range of tree species was carefully laid

out for viewing. Some of the species included: Redwood, Japanese Black Pine, Chinese Elm, Cali-fornia Juniper, Kingsville Boxwood, Satsuki Azalea, Blue Atlas Cedar, Fig, Chocolate Vine, Larch, and more. A table was set aside for Shohin bonsai display.

Members wearing their club hapi coats as-sisted as docents through-out the exhibition. The bonsai generated lots of interests and questions from the fair goers.

A special kids’ work-shop was conducted by Sensei Tim Kong with the help from volunteer members. Eight kids and one adult had a great time creating their own bonsai planting in a pot, including styling, wiring,

and watering. Each student got to take their bonsai home to further enjoy.

Redwood at the Fair exhibit

Japanese Black Pine on exhibit

CA Juniper at Fair exhibit


Send your Caption Entry for this photo of Nina Ragle to: [email protected]

• Long lasting • Organic based• Clean, no odor

(800) 473-1307www.gropower.com

“If you look reaaally close, you can see where I carved my initials.” -Ron Krause “Hmmm... let’s see, I know I left my mini-scissors somewhere.” -Ron Krause At the end of their dance the Bonsai Master and the Tree bow in agreement to enjoy tea together every other Wednesday- Jan Lewis Tickle tickle! - Janice Dilbeck

Say “ah” - Janice Dilbeck

As Kenji prepares to style, he assumes the traditional moyogi-sympathetic posture, becoming one with the tree. - Michael Jonas

Respectfully bowing to his opponent, Kenji none the less keeps a wary eye on him. - Michael Jonas With some apprehension, Kenji bravely pokes at the spider, hoping it will just leave. - Michael Jonas Fearing the worst, Kenji prepares to splint the fractured branch. - Michael Jonas After a long day of styling bonsai, Kenji finds sleeping in a chair to be very comfortable. - Michael Jonas

“Greetings, Grasshopper. I see you’ve come to play.” - Sue Chin

Got Caption?

Captions are in ...


Barrymore Scrolls pg. 34 Bassin’s Bonsai Tools pg. 4 Blue Oak Nursery pg. 32 Bonsai Fusion pg. 34 Chikugo-en Bonsai Nursery pg. 34 David Glaister Bonsai Jewelry pg. 31 Gro Better - inside front cover Gro Power pg. 29 Grove Way Bonsai Nursery pg. 34 GSBF Convention - back cover GSBF Convention pg. 34 Hisayasu Importers pg. 31 Joshua Roth Tools pg. 33 Kim’s Bonsai Nursery pg. 31 Marin Bonsai Club - inside back cover Maruyama Bonsai Nursery pg. 31 Mendocino Coast Bonsai pg. 25 Perfectly Built pg. 5 Reed’s Woodworking - inside back cover Ryerson Ceramics pg. 33 Shibui Bonsai, Inc. pg’s 25 and 30 Telperion Farms pg. 33 Wang Antique scrolls, stands, pots pg. 34 West America Import/Export pg. 33 Yamato Bonsai Kai - inside front cover

To Advertise: Contact Michael Jonas [email protected] Tel: 818-776-0813 • 1/8 page G 3.65 x 2.35 inches $30.00 • 1/4 page G 3.65 x 4.90 inches $60.00 • 1/2 page G Horizontal 7.50 x 4.90 inches $90.00 • 1/2 page G Vertical 3.65 x 10.0 inches $90.00 • Full page G 7.50 x 10.0 inches $160.00 • Back Inside Cover C 7.50 x 10.0 inches $290.00 • Front Inside Cover C 7.50 x 10.0 inches $320.00 • Back Inside Cover 1/2 page C Horizontal 7.50 x 4.90 inches $155.00 • Front Inside Cover 1/2 page C Horizontal 7.50 x 4.90 inches $170.00 • Back Outside Cover C 6.85 x 5.85 inches $215.00 (G=grayscale C=color) * Display of ads in color online magazine is free with a one-year, six-issue order. Call for more information. All trademarks are the property of their respective owners. All rights reserved.

Our list of Advertisers please patronize the companies that support GSBF by shopping from the companies listed below:


Welcome to Kim’s Bonsai Nursery

Website: www.kimsbonsai.comE-mail: [email protected]

One of the largest bonsai nurseries in California. (10 acres)

In business since 1988.

Open daily 7 am-6 pm (by appointment only) Closed the 4th Saturday of every month.

Kim’s Bonsai Nursery 8575-A Phelan Rd Phelan, CA 92371 Phone: 760-947-0409 Fax: 760-949-7500

1423 47th Ave • Sacramento, CA 95822

Maruyama Bonsai Nursery(916) 421-6888 (916) 421-8306

Collected

& cultivated quality trees. accent plants



West America Import and Export, Inc.

Japanese, Chinese and Korean bonsai pots.Japanese bonsai tools.

Display stands Akadama and black scoria

David and June Nguy 323-223-9102 email: [email protected]

1653 N. Main Street Los Angeles, CA 90012

Telperion Farms Dedicated to growing trees specially for bonsai

Featuring field-grown material:

• Japanese Black Pine • Scots Pine

• Shimpaku • Japanese Larch

• Maples • Chinese Elms

• Crabapples • Quince

• Imported Specimen Satsuki and 90 varieties of satsuki whips in development

Over 50 other species of trees available

We are a full-service bonsai resource offering pots, tools, soils & wire. Kanuma, aksdama, yamagoke, black lava rock.

Open to the public by appointment only

(503) 859-3697 (503) 881-1147

www.telperionfarms.com [email protected]



BONSAI FUSIONHand Crafted Bonsai Pots

635 North 13th Street San Jose, CA 95112Tel: 408 476 3112 Fax: 408 292 [email protected]

BONSAI

FUSION

BonsaiPre-bonsai

ToolsBooks

Japanese Pots& Accessories

Chikugo-En Bonsai Nursery18110 S. Western Ave. Gardena, CA 90248 tel/fax: 310.323.4011

email: [email protected]

For More Convention information:http://www.gsbfconvention.com/



BONSAI

FUSION

BonsaiPre-bonsai

ToolsBooks







BONSAI

FUSION

BonsaiPre-bonsai

ToolsBooks








BONSAI

FUSION

BonsaiPre-bonsai

ToolsBooks






October 2 Salinas, California

Salinas Bonsai Club: Annual Bonsai Exhibit will be held at

the Lincoln Avenue Presbyterian Church, 536 Lincoln Avenue.

Exhibit hours are from 11AM-4:00PM with a demonstration by

Katsumi Kinoshita at 1:30PM. A raffle of the demonstration

tree, and other bonsai related items will follow the

demonstration. Tea and cookies will be served, and there is

plenty of parking for group attendance. For more information

contact: Don White, 831-724-9283; e-mail:

[email protected], or Maggie Brubaker, 831-663-5044; e-

mail: [email protected].

October 2-3 Thousand Oaks, California

Conejo Valley Bonsai Society: 7th Annual Bonsai

Exhibition in the Resource Center at the Gardens of the World,

2001 Thousand Oaks Blvd. Hours are 9AM-4PM both days.

Demonstrations in the Bandstand at 11AM and 2PM. Free

admission. No sales of bonsai related items. For more

information call Ken Fuentes, 805-495-7480 or visit our

Website at: http:/www.cvbs-bonsai.org

October 9-10 Oakland, California

East Bay Bonsai Society: 49th Annual Bonsai Show at the

Lakeside Park Garden Center, 666 Bellevue Ave. Hours are

Saturday, 10AM-5PM, and Sunday, 11AM-4PM.

Demonstration on Sunday at 1PM by Dave DeGroot, followed

by a raffle of bonsai and related items. Large selection of

bonsai and related materials on sale throughout the show. For

more information contact Janice Dilbeck, 925-458-3845.

October 16-17 Union City, California

Yamato Bonsai Kai: 39th Annual Bonsai Exhibition at the

Southern Alameda County Buddhist Church, 32975 Alvarado-

Niles Road. Admission of $5.00 includes exhibit & sales areas,

demonstration and a raffle ticket for the demonstration tree.

Saturday hours are 2PM-9PM. For a small fee of $5.00 dinner

will be available on Saturday evening from 5PM-6:30PM,

followed by our first ever, evening demonstration at 7PM.

Sunday hours are 10AM-4:00 with an afternoon demonstration

at 1:30PM. Both demonstrations will feature Bonsai Master

Johnny Uchida. For additional information contact Tony

Hayworth, 510-289-5731 or [email protected].

October 23-24 Sacramento, California

Capitol City Bonsai Association: 11th Anniversary Show to

support the GSBF Bonsai Garden at Lake Merritt and the

Sacramento bonsai clubs. Location is the Shepard Garden and

Arts Center, 3330 McKinley Blvd. in McKinley Park.

Showhours are Saturday, 10AM-5PM and Sunday,

10AM-4PM. Demonstration both days at 1:30PM by sponsor

clubs with special bonsai raffle drawings to follow. Vendor and

club member sales areas. Contact is Gary Judd, 916-630-1340.

September 9-12 Rochester, New York

North American Bonsai Symposium: Airport Holiday Inn, 911

Brooks Avenue. Featuring: David Easterbrook, Mary Madison,

Ryan Neil, Marty Schmalenberg, William. N. Valavanis.

Demonstrations, lectures, workshops, exhibits, auction and

vendors, Hosted by International Bonsai Arboretum, William N.

Valavanis 585-334-2595 [email protected]:

www.internationalbonsai.com

September 21. Ross, California

Marin Bonsai Club: Annual Auction: Marin Art and Garden

Center, Livermore Room, 50 Sir Frances Drake Blvd. Viewing

at 7PM; auction starts at 7:30PM. Specimen bonsai, pre-bonsai

and everything in between, along with pots and bonsai related

items will be auctioned. Checks and cash only; no credit cards.

For more information, call Craig Thompson,415-472-6685.

September 25-26 San Diego, California

San Diego Bonsai Club: Autumn Bonsai Exhibition and Sale

in Room 101, Casa Del Prado, at beautiful Balboa Park. Hours

are 10 AM-5:00PM both Saturday and Sunday. Bonsai

demonstrations daily at 11AM and 2PM. Bonsai trees, suiseki

viewing stones, accent plants, bonsai stock, pottery and tools for

sale. FREE admission and parking. For more information, please

contact Maria Barbosa, 619-606-6523 or

[email protected]

October 2 San Jose, California

Midori Bonsai Club: 49th Annual Bonsai Show, ‎Wesley

United Methodist Church, Fellowship Hall, 566 N. 5th Street.

Saturday 10AM-5PM. A formal display of members’ bonsai

trees. Bonsai demonstration by Peter Tea at 1PM, with a raffle

after the demonstration. Show is in conjunction with San Jose's

‘Spirit of Japantown Festival.’ Admission to the festival and the

bonsai show is free. www.spiritofjapantownfestival.com.

Calendar of Events

List of GSBF Events, and

Bonsai and Suiseki Shows

GSBF EventOct 28-31 GSBF Convention XXXIII

Santa Clara, California

SEPTEMBER

OCTOBER & Later


Salinas Bonsai Club: Annual Bonsai Exhibit will be held at

the Lincoln Avenue Presbyterian Church, 536 Lincoln Avenue.

Exhibit hours are from 11AM-4:00PM with a demonstration by

Katsumi Kinoshita at 1:30PM. A raffle of the demonstration

tree, and other bonsai related items will follow the

demonstration. Tea and cookies will be served, and there is

plenty of parking for group attendance. For more information

contact: Don White, 831-724-9283; e-mail:

[email protected], or Maggie Brubaker, 831-663-5044; e-

mail: [email protected].


Conejo Valley Bonsai Society: 7th Annual Bonsai

Exhibition in the Resource Center at the Gardens of the World,

2001 Thousand Oaks Blvd. Hours are 9AM-4PM both days.

Demonstrations in the Bandstand at 11AM and 2PM. Free

admission. No sales of bonsai related items. For more

information call Ken Fuentes, 805-495-7480 or visit our

Website at: http:/www.cvbs-bonsai.org

October 9-10 Oakland, California

East Bay Bonsai Society: 49th Annual Bonsai Show at the

Lakeside Park Garden Center, 666 Bellevue Ave. Hours are

Saturday, 10AM-5PM, and Sunday, 11AM-4PM.

Demonstration on Sunday at 1PM by Dave DeGroot, followed

by a raffle of bonsai and related items. Large selection of

bonsai and related materials on sale throughout the show. For

more information contact Janice Dilbeck, 925-458-3845.


Yamato Bonsai Kai: 39th Annual Bonsai Exhibition at the

Southern Alameda County Buddhist Church, 32975 Alvarado-

Niles Road. Admission of $5.00 includes exhibit & sales areas,

demonstration and a raffle ticket for the demonstration tree.

Saturday hours are 2PM-9PM. For a small fee of $5.00 dinner

will be available on Saturday evening from 5PM-6:30PM,

followed by our first ever, evening demonstration at 7PM.

Sunday hours are 10AM-4:00 with an afternoon demonstration

at 1:30PM. Both demonstrations will feature Bonsai Master

Johnny Uchida. For additional information contact Tony

Hayworth, 510-289-5731 or [email protected].





Arts Center, 3330 McKinley Blvd. in McKinley Park.

Showhours are Saturday, 10AM-5PM and Sunday,

10AM-4PM. Demonstration both days at 1:30PM by sponsor

clubs with special bonsai raffle drawings to follow. Vendor and

club member sales areas. Contact is Gary Judd, 916-630-1340.

September 9-12 Rochester, New York

North American Bonsai Symposium: Airport Holiday Inn, 911

Brooks Avenue. Featuring: David Easterbrook, Mary Madison,

Ryan Neil, Marty Schmalenberg, William. N. Valavanis.

Demonstrations, lectures, workshops, exhibits, auction and

vendors, Hosted by International Bonsai Arboretum, William N.

Valavanis 585-334-2595 [email protected]:

www.internationalbonsai.com

September 21. Ross, California

Marin Bonsai Club: Annual Auction: Marin Art and Garden

Center, Livermore Room, 50 Sir Frances Drake Blvd. Viewing

at 7PM; auction starts at 7:30PM. Specimen bonsai, pre-bonsai

and everything in between, along with pots and bonsai related

items will be auctioned. Checks and cash only; no credit cards.

For more information, call Craig Thompson,415-472-6685.

September 25-26 San Diego, California

San Diego Bonsai Club: Autumn Bonsai Exhibition and Sale

in Room 101, Casa Del Prado, at beautiful Balboa Park. Hours

are 10 AM-5:00PM both Saturday and Sunday. Bonsai

demonstrations daily at 11AM and 2PM. Bonsai trees, suiseki

viewing stones, accent plants, bonsai stock, pottery and tools for

sale. FREE admission and parking. For more information, please

contact Maria Barbosa, 619-606-6523 or

[email protected]

October 2 San Jose, California

Midori Bonsai Club: 49th Annual Bonsai Show, ‎Wesley

United Methodist Church, Fellowship Hall, 566 N. 5th Street.

Saturday 10AM-5PM. A formal display of members’ bonsai

trees. Bonsai demonstration by Peter Tea at 1PM, with a raffle

after the demonstration. Show is in conjunction with San Jose's

‘Spirit of Japantown Festival.’ Admission to the festival and the

bonsai show is free. www.spiritofjapantownfestival.com.

Calendar of Events

List of GSBF Events, and

Bonsai and Suiseki Shows

GSBF EventOct 28-31 GSBF Convention XXXIII

Santa Clara, California

SEPTEMBER

OCTOBER & Later


information see our website at www.sandiegobonsaiclub.com or

call Joanie at 760-431-1014

September 19-20 San Mateo, California

San Mateo Bonsai Club 46th Annual Bonsai Exhibit at San

Mateo Central Park Recreation Center, 5th & El Camino Real.

Hours are Saturday, 12PM-5PM and Sunday 10AM-4PM.

Demonstration at 2 PM both days. Bonsai sale and raffle after

the demonstrations. Free Admission. For more information,

contact Sam Tachibana [email protected],

650-548-9470.

September 25, 26,27 Waikiki, Hawaii

Hawaii Bonsai Association: Bonsai Ohana II Convention at

the Pacific Beach Hotel. Featured demonstrators will be Bonsai

Master Tohru Suzuki of Japan and Bonsai Sensei Mel Ikeda of

California. Additional information and registration at

www.Hawaiibonsaiassoc.org and [email protected]

September 26 San Jose, California

Midori Bonsai Club: 48th Annual Bonsai Show at the

Northside Community Center, 488 6th St. Includes 18 separate,

2 and 3-point displays of fine bonsai. At 1:30PM, nationally

acclaimed bonsai artist, Boon Manakitivipart, will style a

bunjin Japanese Black Pine. Sales of trees, tools, pots and

bonsai accessories will be offered by Jim Gremel, Shibui

Bonsai, Inc., and others. Free styling help and advice for the

public from "Dr. Bonsai". Contact JT at (408)371-7737 or

[email protected]


Salinas Bonsai Club: Annual bonsai show at the Lincoln

Avenue Presbyterian Church, 536 Lincoln Ave. Show hours

11AM-4PM. Demonstration at 1:30PM by Katsumi Kinoshita.

A raffle of the demonstration tree and other items will follow

the demonstration. Tea and cookies will be served and there is

plenty of parking. For more information please contact Don

White, 831-724-9283; [email protected] or Maggie Brubaker,

831-663-5044; [email protected]


Conejo Valley Bonsai Society: 6th Annual Bonsai Exhibition

at the Resource Center at the Gardens of the World, 2001

Thousand Oaks Blvd. Hours are 9AM-4PM both days.

Demonstrations in the Bandstand at 11AM and 2PM, both

Saturday and Sunday. Free admission. No sales of bonsai

related items. For more information call Ken Fuentes, (805)

495-7480.

Web at: http:/www.cvbs-bonsai.org

October 16 Gardena, California

Dai Ichi Bonsai Kai: Annual Bonsai Auction at the Ken

Nakaoka Community Center, 1670 W. 162nd St. Doors open

for preview at 6PM and the auction starts at 7PM. Sale items to

include: bonsai trees, dais, accent plants and more. The

auctioneer will be Joe James and the public is welcome. For

more information call 310-539-9365 or visit us at:

www.gsbf-bonsai.org/daiichibonsaikai


Yamato Bonsai Kai: 38th Annual Bonsai Exhibition at (new

location): South Alameda County Buddhist Church, 32975

Alvarado-Niles Road. Hours are Saturday, 10AM-5PM and

Sunday, 10AM-4PM. Demonstrations both days at 1:00PM by

Johnny Uchida. Admission of $5.00 includes exhibit & sales

areas, demonstration, and a raffle ticket for the demonstration

tree. Additional information at www.yamatobonsaikai.org





Arts Center, 3330 McKinley Blvd. in McKinley Park. Show

hours are Saturday, 10AM-5PM and Sunday, 10AM-4PM.

Demonstration both days at 1PM by sponsor clubs with special

bonsai raffle drawings to follow. Vendor and club member sales

areas. Contact is Gary Judd at 916-630-1340.

November 5-8 Riverside, California

Golden State Bonsai Federation: Convention XXXII. (For

more information see ad on back inside cover.)

Nov 13-14... Ross, California

Marin Bonsai Club: Fall show at the Marin Art and Garden

Center, Livermore Room, 50 Sir Frances Drake Blvd. Hours are

Friday, 6PM-10PM, dinner, demonstration and raffle (TBA) and

Saturday,10AM-4PM. For more information call Craig

Thompson, 415-472-6685.

October 26 Sacramento, California

American Bonsai Association: Annual Auction at the

Shepard Garden & Arts Center, 3330 McKinley Blvd. Doors

open for preview at 6PM and the auction starts at 6:30PM.

Sale items to include bonsai in various stages of development

and many bonsai-related items, (i.e.,stands, pots, accent plants,

etc.). Only Club members are allowed to sell, but the public is

welcome to bid. For more information email:

[email protected]

October 28-31 Santa Clara, California

Golden State Bonsai Federation Convention XXXIII: “New

Face of Bonsai.” The “New Faces” will shape the Art of

Bonsai for years to come with the guidance and vision of these

new teachers, and the GSBF 2010 will be the able to receive the

new visions of bonsai and participate in the future of Bonsai.

For more information visit http://www.gsbfconvention.com

November 12-13 Ross, California



Friday, 5:30PM-10PM. and events include a dinner at $5 per

person, demonstration by Peter Tea, a silent auction and raffle.

Saturday hours are 10AM-4PM and include ongoing

demonstrations and raffles throughout the day, tree sales and

vendors. For dinner reservations or more information, call

Jeanette Arnold, 415-883-2651.

December 4 Fresno, California

Fresno Bonsai Society: Fourth Annual Bonsai Yard Sale.

Plants, pots and stones. Bring tables if you wish to sell, no fee.

Food and drink available. For address or more information call

Ray Thieme; 559-439-3420 or 559-352-8069.

October 26 Sacramento, California

American Bonsai Association: Annual Auction at the

Shepard Garden & Arts Center, 3330 McKinley Blvd. Doors

open for preview at 6PM and the auction starts at 6:30PM.

Sale items to include bonsai in various stages of development

and many bonsai-related items, (i.e.,stands, pots, accent plants,

etc.). Only Club members are allowed to sell, but the public is

welcome to bid. For more information email:

[email protected]

October 28-31 Santa Clara, California

Golden State Bonsai Federation Convention XXXIII: “New

Face of Bonsai.” The “New Faces” will shape the Art of

Bonsai for years to come with the guidance and vision of these

new teachers, and the GSBF 2010 will be the able to receive the

new visions of bonsai and participate in the future of Bonsai.

For more information visit http://www.gsbfconvention.com

November 12-13 Ross, California



Friday, 5:30PM-10PM. and events include a dinner at $5 per

person, demonstration by Peter Tea, a silent auction and raffle.

Saturday hours are 10AM-4PM and include ongoing

demonstrations and raffles throughout the day, tree sales and

vendors. For dinner reservations or more information, call

Jeanette Arnold, 415-883-2651.

December 4 Fresno, California

Fresno Bonsai Society: Fourth Annual Bonsai Yard Sale.

Plants, pots and stones. Bring tables if you wish to sell, no fee.

Food and drink available. For address or more information call

Ray Thieme; 559-439-3420 or 559-352-8069.

Could this be you?If you like the Calendar of Event’s section and think it might be something you’d be willing to take ownership for compiling, please step up and let yourself be known.

The volunteer job is pretty straight forward but takes someone willing to follow up on emails, and provide proofs primarily to various club liaisons. Once approved, a compiled list of events is prepared and provided to both the Editor of Golden State-ments and the GSBF Website Liaison by specified deadlines.

For the right person this is a great way to provide a needed service for GSBF and have your fingers on the pulse of bonsai and suiseki events throughout the state and beyond. Email Bob Hilvers: [email protected] to volunteer.

A special ‘Thank You’ goes to outgoing Calendar of Events Manager, Timm Johnson for doing an amazing job over the last 3 years working to get bonsai and suiseki events the publicity they deserve within the GSBF network. The Nov/Dec 2010 issue will be Timm’s last as C of E Manager.

Turning a Healthy Bush into an Aged Bonsai with Kathy Shaner - Article & photos: Michael Jonas

California Bonsai Society sponsored another Kathy Shaner workshop on July 11 at the Huntington Library and Botanical Gardens. As Kathy worked on Ray Blasingame's healthy, bush-like Shimpaku juniper, she described how to open up, define and show age in our trees. For many of us, this is one of the more difficult processes in bonsai, second only to growing healthy trees. Under the watchful eyes of organizers Larry and Nina Ragle, participants and observers, Kathy thinned to defined branch lines and created jinning on branches. Encountering straight branches, Kathy used a knife to cut out sections on alternate sides of the branch. This will cause the undisturbed areas of the cambium to swell and in time give the the illusion of branch movement. It's a good start to revealing a beautifully, aged tree.

CBS

golden statements, 2010, v33, sept/oct

Documents

online color

cover c

page g horizontal

page c horizontal

color online magazine

page g vertical

michael jonasfront cover

gsbf boundary