Bonsai | STORIES | JAPAN HOUSE

Bonsai

The conflict between artifice and nature

In contrast with potted plants that are appreciated only for what they are, bonsai (miniature potted trees) are works of art that human beings put time and effort into every day in order to recreate scenes from nature. If the creator nurtures a bonsai plant without understanding its essential qualities, it will wither away. On the other hand, even if the plant were left alone to grow wild and uninhibited, it will not come close to the ideal shape of a tree. Even if you have completed a beautifully shaped bonsai, human intervention is necessary in order to maintain that shape. In short, a bonsai is never completed. It is a creation that is constantly in confrontation with nature; like a garden, we can describe it as the conflict between artifice and nature. In the bonsai culture, the Japanese view of nature and aesthetics, which discovers an expansive nature within the small space of the bonki (plant pot), is manifested.

Before the bonsai

Bonsai is said to have originated from the culture of creating miniature natural landscapes by arranging soil, stones, moss, and plants on a tray, which has existed since ancient times. It was introduced to Japan from China during the Heian period (8c-12c). From the Kamakura to Muromachi period (14c-16c), the nobility, samurai warriors, and priests began to enjoy growing plants in pots, known as hachi no ki (potted trees) or hachi ue (potted plants), as well as creating sculptured bonsan to depict landscapes of hills and rivers by using mainly stones. From the Edo period (17c-19c), commoners began to visit the yards of gardeners who were contracted to design and maintain the gardens of samurai residences and the precincts of shrines. The art of growing plants in pots was no longer a hobby of the upper classes, but gradually became accessible to the common folk as well.

Kasuga Gongen Genki (from the National Diet Library collection)
This set of painted scrolls depicts scenes in the home of the nobleman, Fujiwara no Toshimori, during the Heian period (8c-12c).
On a table placed in the garden, we can see a bonsan created by spreading sand in a wooden frame. Two rocks are placed and flowering trees and pine are planted. Pots of sekisho (Japanese sweet flag) can be seen behind the bonsan.
Boki Ekotoba (from the National Diet Library collection)
This set of painted scrolls depicts the lifestyle of Kakunyo, the successor of Shinran, during the Kamakura period (12c-14c).
Left (first scroll): Bonsan with pine planted among rocks
Right (third scroll): A pot of sekisho is placed on the engawa (veranda-like porch)
Tayasuke Teienzu (from the National Diet Library collection)
A picture depicting “pot cultivation” in the garden Shurakukitaen of the Tayasu Tokugawa family, one of the three branches of the Tokugawa clan
The scene of a gardening stand at a night festival｜Flowers in the Four Seasons (from Omiya Bonsai Art Museum, Saitama collection)
Potted plants grown in blue and white porcelain pots are displayed on the two-tiered shelf set in the background

The birth of bonsai

During the Edo period (17c-19c) when gardening culture was thriving, tsukuri-matsu (styled pine tree), which involves bending the trunk and branches of the tree to shape it into the form of an old tree, was a popular way of creating the potted plants beloved by commoners. On the other hand, it was popular among the literati to hold sencha-kai (tea ceremonies). Potted plants, which were not often placed in tokonoma (an alcove in a Japanese reception room) until then, were treated as a decorative element for a tea ceremony room. Many of these had trees shaped like those depicted in the landscape paintings favored by the literati, so this style of potted plants came to be known as bunjingi (trees of the literati). As the sencha culture declined under the influence of the Sino-Japanese war at the start of the Meiji period (19c-20c), gardening enthusiasts began to pursue tree shapes other than bunjingi and tsukuri-matsu, giving birth to the word bonsai along with its culture.

Painting of a kofu-tsukurimatsu (pine tree shaped to look like an ancient tree)｜Sōmoku Kinyoshu (A pictorial book on brocade-leafed plants and trees) (from the National Diet Library collection)
Seiwan Meien Zushi (from the Waseda University Library collection)
We can see that the sencha tearoom is decorated with bunjingi bonsai.
Bunjingi
Goyomatsu (five-needle pine)｜Seikoen (Tree height 93 cm × Width 62 cm, Tree age: 100 years old)

Bonsai gardens

For politicians and businessmen during the Meiji period (19c-20c), having a taste for bonsai was regarded as the proof of one’s status. Hence, bonsai-en (gardening shops specializing in bonsai) developed from the gardeners that served the homes of important figures in the political and financial circles. Taking the opportunity of the Great Kanto Earthquake（1923）, Edo’s bonsai-en relocated collectively and created the Omiya Bonsai Village. Bonsai-en began spreading out across all parts of Japan, including one in Takamatsu City that produces approximately 80% of the domestic production of pine. There are also bonsai gardens managed by bonsai creators themselves, such as Uchikutei in Hanyu City, Saitama Prefecture, founded by Seiji Morimae, Hoshunin Temple Bonsai Garden, which was opened in 2021 in Daitokuji, Kyoto, as well as Shinji Suzuki’s Atelier in Obuse Town, Nagano Prefecture.

Left: Negishi Yanaka Nippori Toshima Atari no Zu｜The Dangozaka district (present-day Sendagi, Tokyo) where there was a concentration of gardening shops
Right: Musashi Hyakkei no Uchi Yanaka Dangozaka Kiku (“Chrysanthemums at Dangozaka, Yanaka” from the 100 Sights of Musashi Country)/Kobayashi Kiyochika ｜Painting depicting the yard of a gardening shop in the Yanaka and Dangozaka districts From the Omiya Bonsai Art Museum, Saitama collection
Map of major bonsai areas in Japan
Omiya Bonsai Village in the mid-1940s (from the Kyuka-en collection)
Amidst a growing shortage of large plots of land, quality soil, water, and air suitable for bonsai cultivation in the urban areas due to increasing industrialization and development of residential areas, some of the bonsai gardens that were damaged in the Great Kanto Earthquake（1923） relocated en masse to Omiya, creating the Omiya Bonsai Village.
Pine farm in Takamatsu City
The Omiya Bonsai Art Museum, Saitama｜World’s first municipal bonsai museum
The Omiya Bonsai Art Museum continues to promote the bonsai culture through displays of renowned bonsai and its collections of historical materials.
Uchikutei｜Founded by Seiji Morimae
A facility equipped with a reception room for enjoying authentic sekikazari (the displaying of bonsai), indoor exhibition galleries, a bonsai garden that incorporates a karesansui (Japanese dry garden) design, a temple dedicated to Kannon, and a cultivation area, among others.
Daitokuji Hoshunin Temple Bonsai Garden｜Managed by Seiji Morimae
A bonsai garden created in Hoshunin Temple of Daitokuji, which was founded by the Kaga Maeda clan.
Shinji Suzuki’s atelier
Features renowned plants from the Japanese bonsai circles and old trees going up to a thousand years old, as well as a lineup of valuable bonsai owned by prominent figures.

Shohaku and zoki

Bonsai can be divided into two broad categories: shohaku (coniferous) and zoki (deciduous). Coniferous trees, which always have green leaves growing, are a representative type of bonsai. Amongst these, matsu (pine) and shinpaku (Chinese juniper) are especially well-loved, thus giving rise to the name shohaku, a combination of the Japanese characters for these two trees. On the other hand, zoki changes with the seasons. Zoki include hamono bonsai (bonsai with leaves) like the maple, whose leaves change from green to red, hanamono bonsai (bonsai with flowers) like the Japanese wisteria with its beautiful blooms, and mimono bonsai (bonsai with fruit) like the fruit-bearing Chinese quince.

Shohaku
Goyomatsu (Japanese white pine)｜Shosetsuen (Tree height 70 cm × Width 105 cm, Estimated age: 80 years old)
Shohaku
Shinpaku (Chinese juniper) ｜The Omiya Bonsai Art Museum, Saitama (Tree height 89 cm × Width 90 cm, Estimated age: 300 years old)
Hamono bonsai
Yama-momiji (maple) named Musashigaoka｜The Omiya Bonsai Art Museum, Saitama (Tree height 89 cm × Width 133 cm, Estimated age: 150 years old)
Hanamono bonsai
Koshu Yabai (wild Japanese apricots of Koshu)｜Seikoen (Tree height 85 cm × Width 95 cm, Estimated age: 160 years old)
Mimono bonsai
Otokoyozome (Viburnum phlebotrichum) ｜Kyuka-en (Tree height 61 cm × Width 79 cm, Estimated age: 50 years old)

Classifications of jukei (tree shape)

Bonsai can be classified by the shapes of the trees, such as the number of trunks or the direction of growth. Like the kengai (cascade bonsai), which is made to look like a tree hanging off a sheer cliff and withstanding the harsh natural environment, we can say that jukei are models that humans have come up with to replicate the appearance of trees that endure and adapt to years and years of environmental changes such as rain, snow, and wind.

Goyomatsu named Maiko｜The Omiya Bonsai Art Museum, Saitama (Tree height 68 cm × Width 147 cm, Estimated age: 350 years old)
Kaede (Maple) ｜Fuyoen (Tree height 77 cm × Width 85 cm, Estimated age: 70 years old)
Goyomatsu named Shiraito no Taki (Shiraito Waterfall) ｜The Omiya Bonsai Art Museum, Saitama (Tree height 112 cm × Width 118 cm, Estimated age: 200 years old)
Wild kengai in nature
Shinpaku named Garyu (Reclining dragon) ｜Manseien (Tree height 62 cm × Width 83 cm, Estimated age: 700 years old)
Shinpaku｜Seikoen (Tree height 80 cm × Width 80 cm, Estimated age: 500 years old)
Wild shakan in nature
Goyomatsu｜Toju-en (Tree height 70 cm × Width 80 cm, Estimated age: 250 years old)
Wild sokan in nature
Keyaki｜Fuyoen (Tree height 90 cm × Width 100 cm, Estimated age: 100 years old)
Yama-momiji (maple) named Musashigaoka｜The Omiya Bonsai Art Museum, Saitama (Tree height 89 cm × Width 133 cm, Estimated age: 150 years old)
Wild kabutachi in nature
Keyaki｜The Omiya Bonsai Art Museum, Saitama (Tree height 60 cm × Width 72 cm, Estimated age: 45 years old)

The attractions of bonsai

The scenes of nature that are condensed in a bonsai pot are created not only through the features of the bonsai as a whole, but also through the roots, trunks, branches, and leaves. The spreading of the roots that have developed over the years, the rising up of the trunk from the roots to the very first branches, the structure of the branches that shape the contour of the bonsai, and the appearance of the leaves along with the trunk which affect how the bonsai looks—the elements that make up the bonsai are also a part of its attractions, and play a part in inspiring us to imagine the natural world.

Nebari (spread of the roots)
The spreading of the roots that have grown over many years, as well as their firm grasp of the soil, are signs of the tree’s strong hold on life.
Tachiagari (the rise)
The section of the trunk from the roots to the first branch is called the tachiagari. The upward spread and extension create the impact of a large tree.
Edaburi (shape of branches)
One of the criteria of a good bonsai plant is well-balanced large branches and no excessive branches.
For trees that lose their leaves in winter, branches that have finely split tips are also an attractive feature.
Ha (leaves)
Leaves have a significant impact on how the bonsai looks, and the leaves can vary even among the same tree species.
For example, goyomatsu have short and glossy leaves, while the momiji’s attraction is leaf colors that change by the season.
Jin (withered branches) and shari (withered part of trunk)
Jin is the tip of a branch that has withered and become stripped bare, while shari is a part of the trunk that has withered and has no bark on it.
The exposed white part of the trunk creates a beautiful contrast with the green leaves.

From bonsai, to BONSAI

Japanese bonsai is now attracting much attention from the world, and foreign tour groups, enthusiasts, and even state guests from around the world visit Japan to view bonsai. Approximately 120,000 visitors from more than 40 countries worldwide were present at the 8th World Bonsai Convention. Japan’s bonsai culture refines the traditions established by our predecessors, while at the same time, is beginning to become an even more approachable culture through the unique ideas of creators.

Demonstration of yose’ue-style maple
8th World Bonsai Convention (2017, Saitama City, Saitama Prefecture)｜Saitama Tourism and International Relations Bureau
Bonsai tour for foreign visitors to Japan｜Deeper Japan
AIR BONSAI｜Wabisabi
Bonsai created with a vinyl balloon, designed and produced as a novel Japanese souvenir.
The showy and impactful qualities of bonsai are expressed with a tinge of humor.
grid-bonsai｜nendo
A product that uses the bonsai as a motif while creating the enjoyment of a puzzle.
Seven tree shapes are available, all of which are completed by using a pair of scissors to prune the lattice-shaped leaves and shape the plant.
Iro no Rippotai (Cubes of Color)｜Shogo Kishino
An exhibit created by designer Shogo Kishino, for the Aoyama Mihoncho Showcase by specialist paper trader, TAKEO Co., Ltd.
Based on the theme of mosaics, several thousands of cubes assembled from fine paper were used to recreate bonsai through color compositions.
Air Bonsai｜Hoshinchu Air Bonsai Garden
This concept bonsai is made to look like a planet floating in space, to express the idea that a bonsai becomes weak and vulnerable if not cared for properly.
In January 2016, this innovative idea attracted close to 100 million yen of capital investment through crowdfunding and received a strong response both in Japan and abroad, including features by TIME and WIRED.
Bonsai no Hito (The Bonsai Person)｜chiba naomi
Taking the theme of “transformation,” this work was produced based on the idea that leaves would sprout and flowers bloom from the bonsai plant on the top of the man’s head.
Unveiled in 2010, multiple figures were then scattered around as a part of an art event hosted by Takamatsu City’s Marugamemachi Shopping Street in Kagawa Prefecture. Today, only one figure has not been dismantled and continues to be a well-loved installation among the residents, who sometimes even put clothing on it.
Herb bonsai｜BONSAI Tetsutoyama
BONSAI Tetsutoyama proposes a bonsai that fits the modern living space, actively incorporating foreign plants such as olives and rosemary.
The company advocates growing bonsai as a part of “life with a small garden,” and mainly sells small, palm-sized bonsai.
Arboreal Formation｜Chin Hoo
Morphological research on the major jukei (tree shapes) of bonsai. It aims to find a new morphological language based on the compositional principles of jukei. that have been classified in various ways.
Unlike abstract sculptures that embody views of nature such as gravity and wind, the act of “nurturing bonsai” is encompassed in the process of assembling the parts and adjusting the shape.