Demonstration performed by Adriaan and Poppie Engelbrecht, owners of Fernvalley Bonsai Nursery.
It took me a while to write this blog post as it is a personal account of a part of my life that is quite personal. People that know me will know that this is not normally something that I will do, but I do think that the time is now ripe to do so.
I was diagnosed with stage 4 metastatic melanoma during 2016 (lower case letters are deliberate) and was very lucky to come through on the other side relatively unscathed. This blog post is not about cancer and how to fight it, it is more an account of my interaction with Bonsai trees during the healing time. Much is said and is written about meditation and its positive effects on the body and mind. There are also writings and accounts of the meditative encounters that people have while interacting with nature.
Although I do not specifically work on Bonsai trees for the sake of a meditative experience, I do believe that while working on a tree, and when totally focussed on the task at hand, it is very easy to find yourself “in the zone”. Whether this is a form of meditation, I am not sure, but it sure feels like it. Whether I am working on a smaller or a large tree, the effect is the same. I am more relaxed during and after the experience. In my mind this is due to the fact that I engage in a state of mindfulness. This is necessary as I need to respect the tree and am not in a position to make mistakes. Creative pursuits tend to ask for total mindfulness and a state of relaxed alertness to do justice to what nature has given you to work on. Without this mindfulness and focussed state, mistakes will be made and if in a hurry, wrong design decisions will be made. In Bonsai, these will take years to be corrected and can even lead to the death of a tree.
During my healing after surgery and especially during the radiation phase, I regularly interacted with my trees, and as it was during Spring and Early Summer, there was a lot to do. I did miss the repotting opportunity during that time as I did not think it was wise to work too much with soil-filled bacteria and other creepy crawlies around. Most of the work was around pruning trees, styling, inclusive of wiring and also removing wire. These are repetitive actions and on a large tree can take up to three hours. Due to the radiation effects, I had to break lengthy jobs up into shorter stints to not over burden myself. Smaller trees I could move myself, but my wife had to help with the larger ones. I had a wound drain hanging out of my side and this could become tricky with the plastic drain tube and very sharp pruning scissors snipping away.
For me, the time that I spent working on the trees, sometimes just studying the trees for future jobs and appreciating the beauty and form of trees, did impact positively on the healing process. It led to me being calmer, taking my thoughts away from the current situation and afterwards feeling satisfied with a job well done. It also forced me to be outside in fresh air. This led to a positive frame of mind which definitely helped to get me on my feet and looking forward to what the future holds.
On top of my interaction with Bonsai trees, the support of my wife, Susanna, was immense to help me through some pretty dark times and I will forever be in her debt for her support. So there you go, if something is wrong, work on your trees and make sure that you have great support around you, and you to will be up and running in no time.
It is generally accepted and published on various websites that an apprenticeship can take between 2,000 and 12,000 hours to complete. The same websites mention that it will take between two and four years to complete an apprenticeship. It is also common knowledge that Bonsai cultivation apprenticeships can take many more years to complete than an apprenticeship for an electrician or a plumber. In my field of work, it takes four years to be trained as a teacher. This normally includes a three year degree programme as well as a one year professional Diploma in Education.
What do we get for all of this? You normally walk away with a piece of paper that announces that you are a qualified professional, a person that can do a good job to a good standard in your chosen area of studies. You also earn a salary. I have read somewhere that a Bonsai apprenticeship could involve 10,000 hours of work and study, mainly hands-on work under the supervision of a master. We usually find that apprentices in other fields of work also work under the supervision of a specialist or a master, at least a qualified person with ample experience. Let us break 10,000 hours down to get some perspective on the time factor.
I have found all over the internet that an apprentice should not work for more than 40 hours per week. We also anecdotally know that Bonsai apprentices work for much longer hours, especially those who complete their apprenticeships in Japan. Michael Hagedorn has written about this in his book which discusses his experiences as an apprentice in Japan. If we take a normal working week as a 40 hour work week, 10,000 hours will equate to 250 weeks and if we work for 50 weeks per year, this equates to 5 years. This is hard, physical work and one wonders why it takes so much longer than other apprenticeships. The only thing that I can think of is that it is so much more than just the technical aspects of Horticulture that must be mastered. The artistic and cultural side of things probably takes a lot longer to master than the mere application of wire, watering, pruning, fertilizing and a whole host of other things that are needed to keep a tree alive.
I assume that it takes many years of cultivating Bonsai before one can be considered to be a Master Bonsai Practitioner. How many years? I have no idea. Must you go through an official apprenticeship to work towards Master status? Anecdotally, yes, but again, I do not know, but can guess that it is not necessary. In Japan these things are controlled by the Nippon Society and I can understand why. There is nothing like that in other areas of the World. Does an apprenticeship in Europe or the USA, under a practitioner who knows his business and has a proven track record, carry the same status as an apprenticeship done in Japan? A Bachelors or Masters degree from a well recognized university anywhere in the world do carry the same status. Most countries now have a Qualifications Authority which assess these things and recognize similar qualifications across the globe. Is it time that the same happens for Bonsai studies? In the mean time, where does this leave an enthusiast who just engages in his Bonsai as a hobby? Does it matter? No, I do not think so as these people (I am one of them with a little business on the side) cultivate Bonsai for reasons that have nothing to do with the commercialization of Bonsai. And that brings me to my summary.
Does the proliferation of Bonsai “courses”, both in residence as well as online, show us that Bonsai and the educational opportunities that do arise from the wider commercialization of Bonsai across the world is maturing into a world-wide commercial empire? If this is the case, then the management or control of what these courses look like, minimum requirements as well as qualifications achieved, will need a good look at and probably needs to be standardized. Out of these educational encounters, titles come to the fore. Who then is a Master, an Apprentice, a Technologist or a Hobbyist / Enthusiast?
I have decided to plant some trees in the ground over the next few years to aid their development. Here is the start of the project captured on video.
What to do on a wintry day with the wind howling outside, rain bucketing down and more to come judging by the Ruahine Ranges covered in dark, ominous looking clouds? One idea is to cuddle up and get a good book out, another to get a hearty soup on the go, but the one that I gravitated towards, was to work on a nursery stock, small Chamaecyparis obtusa standing on my Bonsai bench. It has been there for more than a year now, just waiting for a day like today.
The Chamaecyparis, also known as the Hinoki False Cypress, is native to Japan. It is a very slow growing tree and the nursery label on this little one states that it will grow to 60 cm high by 50 cm wide in 10 years. It has whorled branches of lovely dark green foliage and an upright habit with character and charm. Obviously not for long.
Before I start, here is some more information on the Hinoki Cypress. The foliage consists of evergreen, fine scale-like leaves, dark and shiny green above (adaxial) with glaucous margins between scales which form a distinct “x” shaped pattern beneath (abaxial). This species is monocious with small male reddish brown cones and slightly larger female flowers which are round and yellow-green in color. It bears fruit in late summer, but these are quite small. The bark is gray and scaly with long furrows of reddish brown inner bark which peels in long, narrow strips.
With this wind howling outside, I am going to let it influence my thinking and create a windswept (Fukinagashi) style shohin. I am sure that other styles will come to mind as I progress with this little tree.
Ask a room full of Bonsai artists about soil and you will probably get different perspectives from each and every one of them. Soil for Bonsai cultivation is widely discussed and opinions are easy to find. From those who can afford to import Akadama and other Japanese sourced mediums through to Cat litter soils and organic mixes, all serve a purpose. In the end it is probably better to talk about the “Growing Medium” rather than soil as some Bonsai trees grow in mixes that can hardly be classified as Soil when one goes with the “normal” definition of what soil is. Here in New Zealand we just refer to it as “dirt”, but that is probably not good English for what we use to grow our Bonsai in. One thing that is not very well considered when it comes to soil and soil types, is the pH of the soil for Bonsai.
Ph is a measure of the acidity and alkalinity of the soil and is expressed on a scale that goes from 0 to 14. ) is very acidic, 7 is neutral and 14 is very alkaline. Soil pH is largely determined by the type of rock or parent material that the soil originates from. Limestone for instance will produce soil that is more alkaline. Soils with a higher content of decomposing organic material normally lies on the acidic side.
The pH of the soil is important as it affects the control of the solubility of different minerals. Different minerals are available to plant roots at different pH levels. What is available and can dissolve at a low pH, will not be available at a high pH as the solubility of the mineral is effected. Soil pH also has an effect on soil structure and the activity of soil organisms.
Some plants do not have a big issue with pH levels, but others are very specific. In the Bonsai world, Azaleas and Camellias could be a good example. These plants prefer a slightly acidic soil. Fruit trees also produce more fruit in slightly acidic soil. This is not a major consideration for Bonsai artists as Fruiting Bonsai are not necessarily grown for its fruit. As a whole, pH is something to be kept in mind for Bonsai artists, especially for those pH specific trees, but our larger concern should be for the drainage capacity of the soil. Here-in lies another challenge. Due to the free-draining characteristics of most Bonsai soils, it is very easy for minerals to dissolve in the water and be washed out of the soil. It is therefore important to fertilize the trees and to ensure that a good mineral supply is available.
What do you water your trees with? Water you say. Yes, but not all water is created equally. Your water supply could contain different types of chemicals that can in turn be deposited in your Bonsai soil and over time, alter the pH of the soil. Areas where the air is highly polluted can acidify the rain water and this in turn can change the chemical composition of your soil. So, what to do?
Common sense and logic, although sometimes scarce, should prevail. Water your plants with what you have available. If it is rain water from an unpolluted source, you are winning Lotto. If it is town sourced, it could contain all sorts of things like fluoride. The main thing is to be aware of your water source and to act accordingly. Also know that regular watering will wash nutrients out, therefore fertilize and use mineral supplements. If you are worried or just inquisitive about the soil pH, get a digital tester or a testing kit and determine the pH. If there is a problem, it can be rectified by either a preventative strategy (like only use unpolluted rain water or do not use organic material in your growing medium) or use supplements that will get your soil to the ideal pH for the specific tree. My experience is that to not let pH become something that makes you lie awake at night, but to use the opportunity to get to know more about your tree, find out about its specific pH preferences and then adjust by either supplying minerals or changing your growing medium when needed.
Images are open source and the last one is from http://www.exoplexity.org.
It is said that a creative spirit needs inspiration. As Bonsai design is a creative activity, it is therefore important to be in touch with the sources of our inspiration. I have recently returned from a conference relating to Education where I was exposed to a variety of speakers. I was very aware that during and immediately after the conference, I was definitely more motivated to work on certain things in my main job. This came from listening to these powerful speakers and becoming aware of the latest trends in my vocation. This is the same for my Bonsai activities.
Exposure to other Bonsai people will lead to higher levels of inspiration and motivation. I live in an area in New Zealand where there are not that many other Bonsai enthusiasts and you sometimes do feel isolated. To overcome this, I have to make an effort to meet up with other Bonsai people. The local club, although very small, serves as a source of inspiration. I am the teacher here and other people rely on me for the advancement of their skills and knowledge. This places me in a position where I have to stay on top of my game. Through this I have also realised that I only know about the tip of the iceberg and that I need to learn as well. Again it comes back to people, as I can only get this knowledge and skills from others who are more advanced than me, or have produced resources that I can learn from. So, first of all people.
It is important that as a Bonsai artist, you realise that there will always be something new to learn or practice. I like the way that a lot of martial arts movements are set up. There is a clear line to follow from beginner level through to a very advanced level. I am not saying that we have to start different colour belts to show our proficiency in Bonsai, but the levels of training can be copied. A sensei at one dojo always learns from a more advanced practitioner somewhere else. This means you either have to go places or you have to get the masters to your place. This is already happening in Bonsai throughout the world and this has opened up many more opportunities for Bonsai professionals. As a side note, I do use the term Bonsai professional in a different context to Bonsai master. Not all professionals are masters and not all masters are professionals. More on this in later blogs. Back to the main thread of this blog. Where do we get inspiration from to excell in Bonsai activities? I have already established that it is mainly through the exposure to other people and preferably to more advanced practitioners. That means that you have to be a regular club member, be active in this club and teach at that level. The next step is to align yourself to an organisation or club where more advanced teaching takes place. From there it is important to attend shows, regional and national and even international teaching opportunities. Displaying your own trees is a big part of this. Immense growth takes place when you receive feedback from visiting judges once you get over the fact that you might get some negative input as well. Good teachers will make sure that this feedback is constructive and you can learn much from that. Just leave your ego at the door when you go into this type of situation, after-all, there is no ego in Bonsai as an art form.
Other forms of inspiration comes from man made resources. I find a lot of inspiration in my very large Bonsai library (wonder what the total cost of this is), which consists of books and many magazines. I currently hold a subscription to two international magazines and also receive our national production on a regular basis. Books come through online bookshops and I am now also in the fortunate position that I receive books from publishers and authors to review. Magazines keep me up to date with what is happening in the Bonsai world and brings the latest shows into my living room.
My next source of inspiration comes through good blogs. I follow about 25 blogs and find them informative and a major part of my everyday learning. My own education has increased immensely once I started my own blog (this one) up. I have to research every topic as there are always people out there who will catch you out if you talk nonsense. Try it, not the catching out bit or the talking nonsense bit, but the blogging bit. I also regularly visit websites dedicated to Bonsai activities and other related topics (suiseki and general horticulture).
Then there is You Tube. What a great learning tool. Here I am subscribed to at least thirty good quality channels and people who regularly post new material and from which I learn heaps. Just type Bonsai in the search area and you will find a great resources at your fingertips. While I am on internet based things, Facebook is exploding around Bonsai matters (probably lots of other things as well). One needs to be disciplined when you venture into this mosh pit of activity. Not everyone who has a presence here are noteworthy, but most of the “big” names in Bonsai are represented here.
I am very sure that there are many more sources of inspiration for Bonsai activities and I also know that what works for one person, does not necessarily work for everyone. The bottom line is that you cannot venture on this Bonsai journey on your own. You need other dedicated people around you and always be aware of the one-up principle, you need to learn and be inspired by people or a person who knows more than what you do.
Then there are my own trees. The moment I start to spend time with my trees (and the trees of other people), my motivation levels rise and there is no substitute for it. Yes, it can lead to frustration if you do not get it right, but overall it is invigorating and inspiring when you work with trees and realise the progress. Surrounding you with good people, good resources and good trees will always expose you to enough resources to keep going and to keep going at a high level.
In a previous blog, I had an attempt at giving a basic description of the different conifer type classifications. This led to a few questions and I realised that I could have given an overall view of the classification as well. Here is a table setting out where the different types of conifers fit in. In no way does this contain every conifer type that is out there.
Click on the link for the PDF document.
Conifers make up a large percentage of most Bonsai collections across the world. To me, one of the difficult things with conifers, is to identify the tree to the correct species level. The reason for this could be that my early Bonsai education was on broadleaves and not so much on conifers. Conifers as a large group are identified by the fact that they do not flower, but in the place of this, they produce cones that contain the seeds. This makes them part of the Gymnosperm taxa, along with ginkgo and cycads. These are some of the oldest known plants in nature.
It is not that difficult to identify conifers to genus level, as this can be done mainly on leaf type and shape. Here follows my take on what this looks like (An arrow points to the next table for that category).
Have scale-like or awl-like shaped leaves.
Have needle-like leaves
Have leaves that are flat and feather-like in arrangement and shape.
|Junipers and Thuja||Pines, Spruce, Fir and Douglas fir||
Leaves are scale-like or awl-like.
Fruit is a berry-like cone with scales fused together
|Leaves are scale-like or awl-shaped. The foliage is arranged around the branch, rather than flattened and cones are berry-like with scales pressed together.
|The leaves are small, scale-like and pressed to the stem. The foliage is flattened and plate-like in appearance. The cones are berry-like with thick scales.
Leaves are needle-like
|Needles sheathed at the base in bundles of two to five. Cones have thick scales and are woody with swollen tips.
|Short needles in tufts of ten or more and could be deciduous.
|Needles are flat in cross-section and quite flexible.
|The needles are square in cross-section and quite stiff.
|The needles leave an oval leaf scar and the bud tips are pointed. The cones have a three-pronged lobed tongue-like bract that extend out beyond the scales.
Douglas Fir (Pseudotsuga menziesii)
|The needles leave a round leave-scar and the bud tips are roundish. The cones grow upright on the branch and usually breaks apart before falling off completely.
From here the classification can be further refined to identify the specific conifer to species level. This will come in a future blog.
I currently have a few trees that do not look very refined. As a matter of fact, they look like shrubs and in some cases like Bonsai trees with one or two branches that were missed at the previous pruning. This is all done deliberately for very specific reasons. The sacrifice branch is a necessity in Bonsai growing.
Why do we need to do this? The main reason is to enhance growth in a specific area. The theory is that the branch that is allowed to just grow and increase in length will have more sap flowing through it, therefore more nutrients and in turn you get a much faster growth rate compared to regularly pruned branches. One specific case would be to thicken the main trunk. This could be either during the early years after a seed has germinated or a cutting has struck. The more side branches you have that can grow, the thicker the trunk will become. The leader is of importance here. Let this grow until you get to the desired thickness and then cut.
Another reason is to improve taper. If a branch or two are left on the trunk to grow out, the area below the branches will thicken more than the area above it. This leads to a thicker bottom half if the branches were left halfway up the trunk, compared to the top half of the tree.
Another reason for letting a sacrifice branch grow is to get a side branch to thicken in proportion to other branches. An example of this could be that a branch is needed lower down on a trunk and the branches above are all thicker than the lower one. The lower one is then left to grow until the desired thickness is attained and then it is cut back.
There are a few things to keep in mind when sacrifice branches are used. The first one is to remember that the sacrifice branch will create more shade than other branches and this could impact negatively on the growth patterns underneath this branch. A second point to remember is that sacrifice branches that are cut back, can leave quite large scars that will have to heal over time. For trunk thickening it could be best to use a branch at the back or in a place where the design of the tree will hide the scar. A third point to mention is that side branches will start to grow upwards. This growth needs to be controlled if the branch is suppose to be horizontal or even growing slightly downwards.
In the examples below, sacrifice branches were mainly used to thicken side branches to either fill a gap, create a new branch or to correct parallel branches.
Top left: There are two vertical branches parallel to each other growing from the main trunk as well as two bar-branches at the bottom.
Right: the one parallel vertical branch was removed and a new branch allowed to grow out at an angle, removing the parallel effect.
Bottom left: The sacrifice branch and the vertical branch in close up to compare the thickness. This is one season’s growth for this maple.
In an earlier post (https://wordpress.com/post/bonsaiplace.net/515), I have written about the germination of Pine seedlings. These seeds (planted on 26 January 2016) germinated very fast and are now large enough to change into cuttings. The reason why I do this is that it gets rid of the tap root early on and forces the seedling to grow new roots and the hope is that the new roots will develop radially for a really great nebari. That is theory.
I started off by making sure that I have all the tools needed to start the process. This included containers with seedling mix, a surgical blade, hormone rooting liquid as well as my trusty Rhizotonic.
The first step is to wet the seedling mix in the container with the Rhizotonic solution. Rhizotonic is a dynamic, organic root stimulator and stress reliever (wonder whether it works for humans?). I use it for everything that is re-potted, yamadori that are planted and especially for plants where a lot of roots have to be cut.
The next step is to very gently remove the seedlings from the original container. This phase needs to be accurate and quick as the seedlings cannot dry out during this time. The seedlings are placed on a cutting board and the tap roots are removed by cutting through the seedling where the stem and taproot meets. It is important that a very sharp blade is used as the stem cannot be bruised or crushed at this stage.
The seedlings are then handled by the leaves to further prevent bruising to the stem and it is placed in the rooting hormone. From here the seedlings are quickly planted in the seed raising soil. The seedlings are now watered in with the Rhizotonic solution and placed in a shady, but warm location. From here the seedlings will be sprayed with the Rhizotonic solution twice a day and if necessary even three times a day. Now the wait begins. The date today is 20 March 2016.
I truly believe that creativity and to create is not just a mental need that all people need in their lives, but it is also a physical need. To create takes one out of your comfort zone and puts you in places where you have not been before. My choice of Art that I use to feed my creative spirit is Bonsai creation. I will be the first to admit that I probably spend a lot more time on the husbandry, maintenance and redesign of Bonsai than what I do creating Bonsai, but that is part and parcel of what we do as Bonsai artists. One of the main reasons why I am involved in this Art form is that it is never complete. You are constantly searching, asking questions and probing for your creation to become a master piece. Does that ever happen? I have not seen it in my own work yet, but have so in others and I am driven to get my own artwork to that level.
To explore Creativity as a study area, means that I read a lot and get trapped into conversations about what creativity is, how we can develop our own creativity and the creativity in others (that is the educationist in me). I spend a lot of time with creative people and I also do believe that it rubs off on other people mainly due to the passion that is shared when creative get in contact with each other. It can be a very solitary pursuit and aloneness and mindfulness is important in the pursuit of higher levels of creativity, but I also do believe that it is a social activity. It needs to be shared and shown.
A good definition that I have encountered on this path of creativity that I have walked, crawled and sprinted on, comes from Doreen Marcial Paraba in her book “Unlocking your Creativity” (2015) where she states that “Creativity is initiating, activating, and complementing ideas that are original, unusual, useful, or innovative. The ideas may advance an existing concept or seemingly spring forth from nowhere”.
From this one can deduct that the end product should be useful and be put into action (a concept that the above mentioned author agrees with). Can that be applied to Bonsai? Most definitely it can! We start a tree from either a seedling, a cutting or raw material. We therefore activate the idea that we have and apply it to the tree. Real creativity is when we are original. In Bonsai there are “rules”, first started off by Chinese Bonsai practitioners and then taken further by Japanese artists. Out of these eras came many rules and conventions that should be applied to Bonsai for it to be Bonsai in its art form. Do these rules restrict us in our thinking? No, it does not. It serves merely as a guideline, a foundation to work from. These “rules” did come from a deeply ingrained sense of Art applied to plants and therefore is legitimate (based on history) in the world of Art and Creativity. Most art forms do have a history and a foundation level of skills and knowledge. We see the same in Bonsai, making it a legitimate art form.
Can we be innovative? The above mentioned definition emphasises originality and uses the words, unusual and innovative. This is not restricted to the Literati style of Bonsai. Every tree has different growing conditions, trunk shapes, branch structures and foliage patterns. Even trees within the same species show different characteristics. Just as one artist can paint many different paintings, Bonsai artists can design and create many different forms of trees either within one species or across many different species.
A lot of people that I encounter, do not think that they are particularly talented when it
comes to creativity. When asked whether they have explored it, the answer is usually negative, followed by a whole lot of different reasons of why it is not happening for them. It is interesting that out of these conversations a large proportion of people identify that they cannot remember them ever being creative and except for early drawings and fooling around with paint, this aspect of their lives were just never explored or developed. Many literature sources that I have encountered ask the question “Is Creativity Learnable or Teachable?”. The answers range from “it is in our nature to be creative” to “we use our imaginations all the time” to “”creativity skills are learnable with training”.
This training can take many different forms. I learnt first through exposure to watching my father work with his Bonsai, to helping him with some tasks, to starting my own Bonsai and later reading profusely and learning from other more advanced artists. We know that Bonsai professionals usually undergo a long apprenticeship period, but these days learning can take place wherever, whenever and at the pace of the learner. Advances in technology have made this possible and it is possible that one can advance to a very high level of understanding and expertise without having to go through a lengthy apprenticeship. I still do believe that some form of exposure to good technique, skill and understanding is important for one to advance your own level of artistry and creativity.
You will probably not develop a very high skill level by just reading or just watching other people engaged in the practice of Bonsai. Learning is an active process. You need practice, you need to do and you need to get feedback to enable you to learn. Another great way of learning is when you start to share your knowledge and skill with others. In other words, teaching. Learning is a very interesting area of science. It is all about establishing neural pathways within your nervous system. The more you do something or interact with it, the easier data flows along these pathways and it can become an automatic response. Can you imagine how hard it will be if you have practiced the wrong technique over and over again and then have to unlearn it to enable you to learn the correct one. This is another reason why we do need exposure to others to establish these neural networks. Learning is also a social practice.
In summary then. We are all creative, we all need an outlet for our creative spirit, Bonsai can provide that outlet and we can all learn to become more creative and to express this in Bonsai as an art form.
- Read profusely.
- Watch many videos.
- Get to know the foundations and rules of Bonsai (only to bend them later).
- Join a club.
- Visit and talk to other Bonsai artists.
- Create and maintain your own Bonsai.
Poreba, D.M. (2015) Unlocking your Creativity. New York: Penquin Random House (Alpha Books). 318p.
Fisher, D. & Frey, N. (2013) Better learning through structured teaching. Vancouver (USA): ASCD Press. 158p.
Wikipedia defines Tanuki Bonsai as a technique where a living tree is joined to an
interesting piece of deadwood to create a composite in the
driftwood style. It goes further to state that the deadwood usually has the form of a weathered tree trunk. The tree is attached to the deadwood by making use of screws, clamps or wire. Over time, the tree will grow into the channels created and in so doing will disguise the fact that it is a separate entity.
In Japanese folklore, Tanuki, the Japanese raccoon-dog. are shape-changing tricksters. It is also known as Phoenix-grafts in the West. Personally, I think it is a good artistic technique to either enhance a piece of deadwood or a tree. There is no difference in attaching a tree to a rock compared to attaching a tree to a piece of deadwood. I had to try my hand at this. My experience is written up below.
I first had to find the right tree. I decided on a young Juniper with a lot of flexibility. The next project was to find a suitable, characterful piece of deadwood. I managed to get a piece on the beach. A note of warning is needed here. If driftwood from a beach is used, it is important to get rid of all salt on and in the wood. I submersed the wood for three weeks in fresh water and regularly changed the water as well as used a high pressure stream of water and scrubbing on it. It was then left in the sun for another week. The third component was a pot selected from my pot collection.
The first job on the pot was to get enough tie wires in place as the deadwood and tree must be secured very firmly. It is wise to get a hardener on the deadwood. I treated it with lime sulphur as the bottom part will be in the wet soil. I have read that the end could also be placed on a solid object like a tile to minimise the part in contact with the soil. My first challenge was to drill extra holes in the pot. For the first time in my life, I had a pot which is so hard, that the drill bit did not even make an indentation on the pot. The tie wires therefore had to be attached through the drainage holes.
The next phase was to ensure a flat structure at the bottom of the deadwood to make it stand more solidly in the pot. This was done by simply determining the angle, marking the wood and using a handsaw to make the cut. Next I had to drill holes into the deadwood for the tie wires. Advice found was to use a router to create channels in the deadwood. This was not necessary on this piece as it had natural channels that could be used for the tree to be placed in snugly.
The tree was now prepared by preparing the roots and cleaning up the trunk. It was put in place starting at the bottom and fixing it to the deadwood with non-reacting (copper) thin screws. I pre-drilled the tiny holes as the tree is very thin in places and did not want it to split. Branches which came in the way of this process were removed. I decided to leave the growth at the top as is as I did not want to stunt the growth too much at this stage. The whole idea is that the trunk fattens up to secure itself into the channels and adhere to the deadwood. Branches were wired and now the maintenance work of feeding and watering begins. No pruning will take place until the two entities become one (hopefully).
Cheating or a legitimate technique? You decide! I found a reference on bonsainut.com that mentioned that Masahiko Kimura designed Tanuki and it also mentioned that John Naka once threw one out of a display and told the owner to go and get a real Bonsai. I will update this post as the Tanuki showed here progresses.
During a conversation with Noel Plowman at the National Bonsai Convention and Show in New Zealand towards the end of 2015, Noel made the statement that it is hard to get good Pine genetic material in New Zealand. Most of the seedlings propagated for the forestry industry is genetically engineered to grow straight trunks with no bark. Both of these factors are not really what Bonsai growers want. We then talked about the thousands of very old Pine trees all over New Zealand, mostly growing on farmland. The photo below shows such a scene, complete with good old New Zealand dairy cows.
This made me look at these trees in a different light and it did not take me long to go and scavenge on a farm (with the farmers permission) to find these original genetic material in seeds for propagation purposes. This I did knowing full well that I am germinating these seeds for the next generation and not myself. The main idea was to collect the cones from trees that show thick bark.
Cones collected, the next job was to get the seeds out of the cones. This basically ended up being a good solid shake of the cone and the seeds fell out. Quite a few seeds were harvested from each cone. The wings were removed from the seeds.
The next step was to find the viable seed. This is done by placing the seeds in a container with water. The seeds that sink are more viable and the ones that float, are discarded.
I left the seeds overnight and planted the viable seeds the following day. The seeds do have a pointy end and the seed is planted with this pointy end facing downwards. Now the long wait begins as it is known that these seeds can take a long time to germinate and that they do so in a haphazard way. I will update this post as the process unfolds.
The waiting is over. This was quick. Only three weeks from planting to germination.