Bci 2015 Q4

Bonsai
promoting
international friendship
through bonsai
& Stone
Appreciation
Q4
2015
2015 Bonsai Clubs International

Convention and Exhibition:
The Infinity of Bonsai & Viewing Stones;
A Cultural Voyage from
Canton to the World
The Stone Exhibition
at BCI 2015 in Guangzhou;
A Judge’s Point of View
The Artisans Cup in Portland Oregon
Creating a Black Olive
From Nursery Material
Review of Literati Penjing:
Chinese Bonsai Masterworks
by Zhao Qingquan
2015 BCI Photo Competition
Results
A Ying stone from Guangzhou, China,

on exhibit at The Infinity of Bonsai & Viewing
Stones; A Cultural Voyage from Canton to
the World, 2015 Bonsai Clubs International
Convention and Exhibition.
Photo by Budi Sulistyo.
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President’s Message
T
his is my third year as president to report to our
clubs and individual members about the status of our
organization, Bonsai Clubs International (BCI), and
the progress we have made in the last twelve months. We
continue to make significant progress on several important
fronts due to the efforts of our board members, the
dedication of our editor, Joe Grande, and business manager,
Carole Roske, and many volunteers. One of our many
accomplishments achieved this year was raising the visibility
and awareness of BCI worldwide. This was done through a
multi-pronged effort using social media, publications and
increased presence at meetings in different countries.
Our new BCI web site launched this year, resulted in a
sharp increase in the number of visitors that are spending Today, September 10, 2015, the BCI bank balance is
more time exploring the site, rich in new content with more
to be added every month. Likewise, the increased popularity
$130,262. This has been achieved, in part, by having board-
of our BCI Facebook page has been extraordinary. Earlier approved operating budgets for each of these years and
this year, I asked former board member, Rosemarie Voelker, specific efforts to increase income.
to take a leading role in posting photographs on our website.
Many of her excellent photographs are now attracting from
with the largest number of bonsai hobbyists in the world.
8,000 to 22,000 views each as compared to just several
Thanks to great internal leadership, BCI-China has grown
hundred views in the previous years.
to approximately 380 members in just two years and BCI is
Our flagship publication, Bonsai & Stone Appreciation
becoming much better known in China.
Magazine, continues to grow in stature and importance
When I became President of BCI three years ago, our
in the world wide bonsai community. We are successfully
financial situation was precarious. Thanks to the help of
completing our first full year in expanding our magazine
many board members and others, we have reversed that
to 72 pages per issue instead of 64 pages as in previous
situation and now BCI is in a strong financial position.
years. This is due to our improved financial situation, to
This is the result of broadening our sources of income—
the efforts of our editor and editorial committee, and to
conventions, auctions, and book sales. In April, 2011, BCI
many authors who contribute articles and news events. This
had a bank balance of just $23,543. That bank balanced
year, we welcomed three new authors to our contributing
increased to $37,759 by the end of 2012, and by August
writers. I am grateful to the many positive comments I have
13, 2014, that balance had increased to $85,000. Today,
received from our members concerning the improvements
September 10, 2015, the BCI bank balance is $130,262.
in our publication. One long-standing member even made
This has been achieved, in part, by having board-approved
a notable contribution to BCI in recognition of the efforts of
operating budgets for each of these years and specific efforts
our editor, Joe Grande.
to increase income.
We are in the process producing our second book, Bonsai
We still have important challenges ahead. BCI must
and Viewing Stones from BCI Members’ Collections 2015,
provide better services and products to our clubs and
resulting from our biennial photographic contest. Earlier
individual members. Our improved conventions, magazines,
this year, we had a member’s contest and 207 photographs of
and web site are important; but we must look at developing
trees and 86 photos of stones were received. A panel of three
new educational materials, more online information and
judges was selected for each category, one from Europe, one
more creative ways of disseminating quality information to
from Asia and one from North America. They rated the
our members. Our improved financial situation gives us the
entries and the highest scoring entries will be published in
opportunity to invest in these areas to benefit our members.
our new book. Our new book will have photo representing
By providing better member services, we can also focus
trees and stones from nineteen countries. This book
on another challenge facing BCI. In the last three years, we
containing photos of 120 trees and about 60 stones will be
have stopped the decline in membership and have begun
available in early 2016. This gives us another opportunity to
the process of building our membership base. That progress
recognize internationally the artistic efforts of our members.
must continue as we seek ways to retain existing members
I, along with several of our board members, participated
while adding new ones. We are truly an international
in major bonsai events in various regions of the world. We
organization and our membership should reflect the global
have disseminated our magazine, presented BCI Medals of
demographics of the world’s bonsai and stone appreciation
Excellence, and promoted BCI. As a result, we are seeing
enthusiasts.
growth in our organization in countries like the Philippines,
Malaysia, and Vietnam. In 2013, Helen Su and Glenis Bebb
Tom Elias, President
and I signed an agreement with the Chinese Society of
Bonsai Clubs International
Landscape Architecture to establish a BCI-China program.
Prior to this, we were very poorly represented in the country
October/November/December 2015 | BCI | 1

You are invited to be a part of the BCI Vision.
We are raising funds for the future of BCI!
Any donation you can make, will help.
Remember BCI in your will, your trust, your future!
For more information contact:
Thomas S. Elias; [email protected]
Message from the Editor MISSION STATEMENT
T
his is a good time of year to reflect on the last four that I have edited and BONSAI CLUBS INTERNATIONAL
designed this magazine and to thank all the contributors of articles and Bonsai Clubs International, a not-for-profit educational
photos. Without exception, it has been a pleasure to work with every organization, advances the ancient and living art of bonsai
one of you—many have become very good, long-distance friends. and related arts through the global sharing of knowledge. We
I am reminded that BCI’s Bonsai & Stone Appreciation magazine is very educate while promoting international friendship and solidify
unique among bonsai and viewing stone publications. Firstly, our subscribers world relationships through cooperation with individuals and
are also members of BCI (Bonsai Clubs International), a not-for-profit organizations whose purpose is consistent with ours.
organization governed by a group of enthusiastic and capable volunteers.
BCI offers an awareness, understanding and appreciation of how others OFFICERS DIRECTORS
practice these art forms around the world, bringing us together in friendship, Thomas S. Elias, President Massimo Bandera, Italy
revealing both our differences and our similarities. In this regard, BCI California, USA [email protected]
offers our members the opportunity of tourism, where our members can [email protected] Gudrun Benz, Germany
participate in international events and experience first-hand the practice of Glenis Bebb, 1st Vice President [email protected]
bonsai and viewing stone art in other countries. Queensland, Australia Vic Ceballos, Philippines
Secondly, authors who contribute to BCI, do just that, contribute. They [email protected] [email protected]
are not remunerated for their work; their reward is to be published, allowing Nikunj Parekh, 2nd Vice President David DeGroot, USA
them to share their insights and experiences with like-minded people around Mumbai, India [email protected]
the world. This issue is a good example of their fine work and worth a read. [email protected]
Thirdly, because BCI is not-for-profit, your enjoyment as a reader isn’t Min Hsuan Lo, Taiwan
E. Les Allen, Treasurer [email protected]
inhibited by noisy, intrusive advertising. This approach extends to the BCI Pennsylvania, USA
website that works in concert with the magazine. Largely funded by your [email protected] Frank Mihalic, USA
membership dues and from other sources of income, such as auctions, [email protected]
Robert Kempinski, Immediate Past
conventions and donations, BCI does not depend on advertising revenue to President Carlos Morales, Puerto Rico
provide members services. What little advertising there is in the magazine, Florida, USA [email protected]
is bonsai or stone related and offers BCI members trusted suppliers of goods [email protected] Ing Suan Ng, Malaysia
and services and experienced organizers of events, conventions and tours. Helen Su, Executive Director [email protected]
Our relatively new, digital world has imposed changes in the way we Taiwan, R.O.C. Budi Sulistyo, Indonesia
consume information and has challenged other media such as print. BCI [email protected] [email protected]
has adapted by publishing a website that is a complimentary resource to the BCI CLUB NEWSLETTER BCI BUSINESS OFFICE
magazine for information that can be viewed in non-linear fashion and in Frank Mihalic, Editor, USA Carole Roske, Business Manager
amounts that usually satisfy a short-term need—information that instructs, [email protected] PO Box 40463
guides and counsels—a quick in and out. In contrast, a magazine is something Bay Village, OH 44140-9998 USA
you own, providing the unique experience of holding, viewing and engaging [email protected]
at your own pace and in the location of your choosing, disseminating ideas
and information in a format that is a permanent record. BCI strives to TO JOIN BCI OR RENEW
engage you with both; meaningful print and digital experiences to help you
advance. And we do it through the work and dedication of volunteers, from
YOUR MEMBERSHIP
the capable people who serve on the board and committees, to the talented New members, go to www.bonsai-bci.com and
click on “Join BCI Today” button. Renewing
and expert authors and photographers who contribute to the magazine and members, log in to your account and go to
website. Manage My Profile/Renew My Membership.
The art of bonsai and viewing stones is prospering all over the world
Join or Renew Online, by Phone,
thanks to people like these, who donate their time and skills, and contribute by E-mail or by Mail.
to the evolution of the art of bonsai and viewing stones everywhere. www.bonsai-bci.com, PO Box 40463,
[email protected], Bay Village, OH 44140-9998
—Joe Grande, Canada ([email protected])
phone 440-871-4797, USA.
2 | BCI | October/November/December 2015

EDITOR
Bonsai
Joe Grande: [email protected] promoting
Box 85, Group 20, RR2 through bonsai
Ste. Anne, MB Canada R5H 1R2
& Stone
MAGAZINE ADVERTISING
Helen Su, Asia: [email protected]
Dick Anderson, USA & Other:
[email protected]
CONTRIBUTING EDITORS
Massimo Bandera, Italy & Spain
Appreciation
VOLUME 54 NUMBER 4
Gudrun Benz, Germany bonsai-bci.com
inside Q4
Michael Collins-McIntyre, Canada OCTOBER/NOVEMBER/DECEMBER
Thomas S. Elias, USA
Kath Hughes, UK
Min Hsuan Lo, Taiwan
Danilo Scursatone, Italy
Budi Sulistyo, Indonesia
Alan Walker, USA
“BCI,” “Bonsai Clubs International” and 2015
Bonsai & Stone Appreciation Magazine are TOURS, EXHIBITS AND CONVENTIONS
trademarks of Bonsai Clubs International, Inc.,
© 2015 BCI (All Rights Reserved). Editorial ma- The Infinity of Bonsai & Viewing Stones; A Cultural Voyage from Canton to the World
4
terials contained in this publication do not nec- 2015 Bonsai Clubs International Convention and Exhibition
essarily reflect the views of Bonsai & Stone Ap- By Tom Elias and Rosemarie Voelker
preciation Magazine, its publishers, editors or the
Executive Board of Bonsai Clubs International. 14 BCI Excellence Awards at Guangzhou
Neither BCI nor any person acting on its behalf 16 On Exhibit at Infinity of Bonsai and Viewing Stones
may be held responsible for the use which may
be made of the information contained therein. ARTICLES
No part of this publication may be reproduced,
stored in a retrieval system or transmitted in any The Stone Exhibition at BCI 2015 in Guangzhou; A Judge’s Point of View
24
form, or by any means—electronic, mechanical, By Lindsay Bebb, Australia
photocopying, recording or otherwise—without The Artisans Cup; Advancing the American Bonsai Identity
30
permission in writing from the Editor. By Paul Pikel, USA
Bonsai & Stone Appreciation Magazine (ISSN 1068-
6193 USPS 901-680) is published quarterly by
Budi’s Bucida; Creating a Black Olive From Nursery Material
40
Bonsai Clubs International, Inc., at 26003 Lake By Budi Sulistyo, Indonesia
Road, Bay Village, OH 44140, USA, & is sent to its 45 Bonsai Care: Bucida sp.
members. Annual membership dues include a
1-year subscription to the Magazine. Back issues are
Searching for Stones in Puerto Rico
54
available from our business office. Periodical post- By Budi Sulistyo, Indonesia
age is paid at Cleveland, OH, the USA, and addi-
tional mailing offices. This issue is printed in U.S.A. PEOPLE & COLLECTIONS
Postmaster: send address changes to Bonsai & Stone Photo Essay; BCI VIP Tour to Inner Mongolia and Ningxia
27
Appreciation Magazine, P.O. Box 40463, Bay Village,
OH 44140-9998 . By Anthony and Malou V. Gedang, Philippines
My Bonsai are Getting Older …and so am I
58
Advertising, Editorial Policy and Deadlines: By Lew Buller, USA
For advertising space or rates, please e-mail adver- Mark and Ritta Bring Kokonoe Home; Importing bonsai trees from Japan to Europe
60
tising representatives listed above.
By Kath Hughes, UK
The Magazine reserves the right to edit all ma-
terials accepted for publication. Articles requiring
REVIEWS
extensive editing will be returned to the author with
suggestions from the editorial staff. Manuscripts, Literati Penjing: Chinese Bonsai Masterworks by Zhao Qingquan
46
drawings & photographs, with clear identification By Michael Collins McIntyre, Canada
for captions, should be provided in digital format,
on disk, or by e-mail or internet. NEWS
Digital images must be provided at 300 dpi resolu-
tion for an 8 x 5 inch size minimum. 37 2015 BCI Photo Competition Results
Authors are requested not to submit articles Bonsai & Stone News: BCI Awards at the 2015 Convention, Guangzhou, China;
66
simultaneously to another publication. Canadian bonsai artist Norm Haddrick recognized for his many years of volunteer
PUBLISHING SCHEDULE service; BCI Awards at the 11th Crespi Cup, Italy; A Year in Malaysian Bonsai; Register
Issue Month Closing Date for Bonsai in the Garden Learning Seminars in Michigan; All India Bonsai Summit Held
Q1 J/F/M November 1 at Bhopal; Rocknockers of the World Unite at Annual Symposium.
Q2 A/M/J February 1
Q3 J/A/S May 1
ON OUR COVER: A Ying stone from Guangzhou, China, on exhibit at The Infinity of Bonsai & Viewing Stones;
Q4 O/N/D August 1
A Cultural Voyage from Canton to the World, 2015 Bonsai Clubs International Convention and Exhibition.
Photo by Budi Sulistyo.

The Infinity of
Bonsai & Viewing Stones
A Cultural Voyage from
Canton to the World
2015 Bonsai Clubs International
Convention and Exhibition
By Tom Elias and Rosemarie Voelker
Photos by Gudrun Benz, Tom Elias, Budi Sulistyo, and Rosemarie Voelker.
Top; Sun Yat-Sen Memorial Hall

in downtown Guangzhou.
Bottom; Exhibition of penjing
on the courtyard in front of
Sun Yat-Sen Memorial Hall.

O
n September 16th and 17th, 320 foreign
guests and over 1,000 Chinese penjing
professionals and hobbyists converged on
the ancient two-thousand-year-old city of
Guangzhou in southeastern China for the
2015 Bonsai Clubs International (BCI) Convention
and Exhibition that took place September 18 to the
21st. The meeting, The Infinity of Bonsai and View-
ing Stones: a Cultural Voyage from Canton to the
World, was a joint affair with the Asia-Pacific Bonsai
and Viewing Stone Association (ASPAC). This major
event was organized by BCI, ASPAC, and the People’s
Government of Guangzhou Municipality with addi-
tional support from six significant sponsors and four
co-organizers. This was a grand affair because of the
broad-based support from organization such as the
Administration of Forestry and Gardening of Guang-
zhou Municipality, the Chinese Society of Landscape
Architecture, the Guangzhou Penjing Association,
BCI-China Program, and the Guangdong Provincial
Viewing Stone Association. The strong financial and
logistical support of the municipal government and
societies contributed to the success of this joint con-
vention.
The venue was the Sun Yat-Sen Memorial Park and
adjacent Provincial Science Museum. The impressive,
Qing dynasty-style, eight-sided Sun Yat-Sen Memori-
al Hall served as a backdrop for the outdoor bonsai ex-
hibition on the patio in front of the Hall. Photographs
of many of the winning bonsai from the 2015 BCI
photo contest were also displayed on the patio. The
opening ceremony was staged in the Hall’s 3,000-seat
auditorium. Vendors, offering live plants, pots, stones,
and crafts lined both sides of the walkway leading
to the Hall. Bonsai styling demonstrations, lectures
Right column; Views of
on viewing stones, and the large display of viewing individual trees in the
stones, mainly from Guangdong Province, were held temporary exhibit on the main
in the Provincial Science Museum directly across the courtyard of the Sun Yat-Sen
street from the Sun Yat-Sen Memorial Park. Memorial Hall.
Most foreign guests stayed in the nearby Guang- Bottom; Photographs of many
of the award winning trees
dong Hotel within close walking distance to the park
and stones in the 2015 BCI
and science museum. Lunches and dinner banquets Photography Contest. These
were held in the Guangdong Hotel. Eliminating the photographs and others will
need for bussing people to and from a venue site was appear in the soon to be
one of the many features of this year’s convention. published Best of BCI-2015 (see
back cover for details).

Top four photographs; Banquet
for convention officials
and officer hosted by Mr.
Chen Chang, President of
the Guangzhou Penjing
Association.
Top left;
Left to right; Mr. Konishi and
Mr. Fukuda, Nippon Bonsai
Association; Mr. Mak Paiman,
President, Asia Pacific Bonsai
and Suiseki Association; BCI
President Tom Elias and his
wife Hiromi; Mr. Chen Chang,
and I.C. and Helen Su.
Bottom five photographs;

Officials and officers of BCI
assembling in a VIP room in
the Sun Yat-Sen Memorial Hall
prior to the formal opening of
the convention.
Bottom left two photos; BCI
President Tom Elias with
Guangzhou Executive Vice
Mayor Chen Rugui.
Bottom right three photos; BCI
directors Budi Sulistyo, Glenis
Bebb and Helen Su with their
spouses.
Bottom right, second from
bottom; left to right; Penjing
Masters Zhao Qingquan,
Hu Yun Hua, Tom Elias, and
another penjing artist.
Bottom right; Tom Elias with
Guangzhou Vice Mayor Shi
who coordinated activities
with BCI and the Chinese
associations who participated
in the convention.

All four photographs; Opening
ceremonies at the 2015 joint
BCI/ASPAC convention held
in the main auditorium of Sun
Yat-Sen Memorial Hall.
A benefit auction of 26 Chinese viewing stones, Viewing Stones of North America. He was followed
paintings, calligraphy, and two antique pots were by an illustrated lecture on Guangdong Ying Stones by
auctioned following lunch on the first day of activi- Mr. Zhou Guo Xin (China). The third and final view-
ties. The auction was arranged by Huang Jui Wei who ing stone lecture of the day was by Dr. Michal Sebo
also capably served as the overall local coordinator of (Slovakia) who spoke on European stones.
the convention. The proceeds of the auction, $10,000, Both sides of the hallway that circled the huge au-
were given to BCI at the end of the convention. ditorium on the first floor of the science museum
were lined with fine viewing stones, primarily from
The Exhibit, Lectures and Guangdong Province. This outstanding exhibition
Demonstrations: of numerous stones was arranged by the Guangdong
The four-day, joint convention and exhibition was Provincial Viewing Stone Association. Some fine ex-
divided into two parts. The first two days, September ample of the relatively new colorful Ruyuan stones
18th and 19th were devoted to an opening ceremony and the dark ebony colored Black Mountain stones
and viewing exhibitions of trees and stones, followed were displayed. Except for their Yellow Wax Stones,
by a series of bonsai styling demonstrations by Chi- Guangdong viewing stones have been in the shadows
nese and foreign bonsai masters. Concurrent demon- of the well-known and more northerly Lingbi and
strations by Asian bonsai masters Wong Chau Shing Taihu stones. After the first day of demonstrations
(Hong Kong), Zhao Qing Quan (China) and Matsuda and lectures, the evening was capped with a dinner
Mitsuo (Japan) took place on the first day in an au- cruise on the Pearl River.
ditorium packed with observers. Fortunately, a large Attendees returned to the Science Museum on the
screen projection of the demonstrations aided observ- second day of activities to see the next set of bonsai
ers in seeing detailed aspects of the styling techniques. stylists demonstrate their skills. Chen Jian Liang (Tai-
Mr. Zhao masterfully completed one of his famous wan), John Wang (USA), and François Jeker (France)
rock and tree penjing arrangements, while Wong and were on stage in the large auditorium. Wang, with
Matsuda styled individual trees. Also on stage of the amazing speed made a fine example of a “break down”
first afternoon of demonstrations was Gong Linmin style of modern bonsai; while Jeker, demonstrated the
(China), master ceramic artist, who skillfully crafted technique that has made him famous—his fine wood
Zisha bonsai pots for the audience. carving skills. Returning to the stage for a second day,
Lectures on aspects of stone appreciation took place ceramic artist Gong Linmin continued his pot making
in the amphitheater located on the first floor of the technique before another huge audience. Both days
Provincial Science Museum. The first lecture was by of demonstrations were excellent and captivated the
BCI President, Tom Elias (USA) who spoke on the large crowd.

Top photo; Bonsai styling
demonstrations during
the first two days of the
convention. François Jeker
from France (far left) and
Lo Min Hsuan from Taiwan
(center).
Bottom left; Bonsai
demonstration by Japanese
artist Matsuda (right) and
assisted by Mr. Konishi Yukihiko
(left).
Bottom right; Zhao Qing Quan
(China) creating one of his
famous rock and tree penjing
arrangements.
Mr. Kobayashi Kunio (Japan) started the day’s lec- public demonstrations consisted of artists from dif-
tures series on stones with an excellent overview of ferent countries working on small- to medium-sized
Japanese suiseki. He was followed with a detailed lec- trees. Mr. Hu Yun Hua from Shanghai explained to
ture by Dr. Qiu Zhili on Chinese Lingnan Wax Stones. the crowd of observers the various processes and tech-
This completed the series of informative lectures on niques being used to make bonsai. A group of young
viewing stones to an enthusiastic group of hobbyists students from a local primary school were also dem-
and professionals. Mr. Chua Dato (Malaysia) volun- onstrating their newly learned Lingnan style method
teered to moderate and translate the lectures for the of creating bonsai. Both sets of demonstrations served
audience into Chinese and English, depending upon as the portion of the convention that was open to the
the lecturer’s spoken language. public, free of charge.
Bonsai styling techniques moved out of doors to Awards were presented for the outstanding trees
the East patio of the Sun Yat-Sen Memorial Hall for and stones on exhibit during the convention. BCI
a series of demonstrations for the general public. awarded three Medals of Excellence to bonsai art-
Prior to this, the demonstrations had been restricted ists and three additional medals to people who dis-
to the people who registered for the convention. The played outstanding stones. These were presented at

Four other awards were presented—the BCI Merito- Top three photographs; Public
rious Service Award, the BCI Artist, Writer and Pho- penjing and bonsai styling
demonstrations by various
tographer Award, and two Certificates of Appreciation. artists from different countries
This year, the Meritorious Service Award was given to and by young bonsai artists
BCI President Tom Elias; while the BCI Artist, Writer from a local Guangzhou
and Photographer award was given to Michael Collins school.
McIntyre. A Certificate of Appreciation was presented Upper left; Mr. Dien Liang
to Mr. Chen Chang of Guangzhou for his leadership in assisted by Tuan Vough
represented the USA in this
the closing banquet by BCI President, Tom Elias, First the development of the BCI-China program and for his demonstration on the East
Vice President, Glenis Bebb, and Executive Director, support of the 2015 convention. A second Certificate of courtyard of the Sun Yat-Sen
Helen Su. BCI director, Lo Min Hsuan served as BCI Appreciation was given to Rosemarie Voelker for her Memorial Hall.
judge for the bonsai and Lindsay Bebb served as judge many contributions to the BCI Facebook page. See the Upper right; Mr. Hu Yun Hua
for the viewing stones. News section on page 66 for more information. served as moderator for the
afternoon public bonsai
demonstrations.
Bottom four photographs;

Upper left; Certificate and BCI
Medal of Excellence being
presented to recipients.
Lower left; BCI Certificate of
Appreciation being presented
to Rosemarie Voelker for her
sustained contributions to the
BCI Facebook page.
Upper right; Delegation from
India led by BCI Director Nikunj
Parekh making a presentation
to promote the 2016
December BCI convention in
Mysore, India.
Lower right; Mr. Chen Chang
(left) with Mak Paiman (second
from left) and representatives
from Taiwan proposing a toast
at evening banquet.

Top left, right and middle right;
The first day brought the
group to Panyu Chu Kong
Pipe Co. Ltd, Jin Long Bonsai
garden in the Pearl River Valley.
Acres and acres of subtropical
bonsai trees in training and
an enormous display and
exhibition area awaited the
group.
Middle left and bottom right;
Peihong Primary School, base
of Guangzhou Lingnan Bonsai
Intangible Cultural Heritage.
Students of all ages welcomed
the group and presented their
skills. It was a unique place
of education, preservation
and future of the bonsai arts
involving, calligraphy, painting,
kung fu, philosophy, history
dance, music, architecture and
creation of penjing.
The Chinese Society of Landscape Architecture and

Guangzhou Penjing Association also awarded certifi-
cates for outstanding bonsai. A panel of judges evalu-
ated the trees prior to the opening of the convention
and presented their awards at the opening ceremonies
for the convention.
The second part of the convention was devoted to
tours—one bonsai-related tour that attracted a major-
ity of registrants and a second viewing stone tour to
Yindge in Guangdong Province. The Yingde region is
the source of the famous Ying stones, one of the four
most famous stones of China. The cost of the tours was
included in the registration package.
Bonsai Tour:
The bonsai tour organized during the 2015 Bonsai
Clubs International Convention and Asia Pacific Bon-
sai and Viewing Stones Exhibition included visits to
the Lingnan Bonsai Gardens.

Top left, right and middle left;
Pinsonqiu Pine Garden in the
rain. For some in the group,
it was a second trip in five
years to revisit this wonderful,
well tended exhibit. The rain
seemed to have added an
extra sparkle to the pines.
Middle right, bottom left and
right; In the afternoon we
were treated to an excursion
to Liu Hua West, the home of
the Guangzhou Bonsai Group.
An old mansion, filled with
exquisite bonsai, viewing
stones and ceramics was the
entry to an enchanted garden
with lakes and fabulous trees.
The first day brought the group to Panyu Chu Kong

Pipe Co. Ltd, Jin Long Bonsai garden in the Pearl River
Valley. Acres and acres of subtropical bonsai trees in
training and an enormous display and exhibition area
awaited us. As far as the eyes could reach, extraor-
dinary examples of Lingnan style penjing were dis-
played. Their beauty and variety was overwhelming
and the time was too short to see them all.
In the afternoon we visited Peihong Primary School,
base of Guangzhou Lingnan Bonsai Intangible Cultural

Top four photos; Zhenyangfang
Tourist Town near Yingde.
This is a relatively new
development near the Beijiang
River. The complex contains a
series of tourist-oriented shops
including five or six nice shops
that are devoted to viewing
stones, especially the local
Ying stones.
Bottom; Tour participants Heritage. Students of all ages were welcoming us to The outstanding hospitality, generosity, friendship
borded a large ship at the present their skills. It was a unique place of education, and the beauty of the bonsai displayed will be a mem-
Zhenyangfang Tourist Wharf preservation and future of the bonsai arts involving, cal- ory to cherish for years to come.
for a pleasant scenic cruise of
the Zhenyang Gorge. They had
ligraphy, painting, kung fu, philosophy, history dance,
music, architecture and creation of penjing. Even the Viewing Stone Tour:
an opportunity to rest while
observing large limestone rain could not stop the enthusiasm of the students. A bus load of viewing stone enthusiasts left Guang-
rock formations that yields the The following day, in a drizzling rain, brought us to zhou early on the morning of September 20 for the two
famous Ying stones. Shunde with Pinsonqiu Pine Garden. For some of us it and one-half hour ride to Zhenyangfang Tourist Town
was a second trip in five years to revisit this wonderful, near Yingde. This is a relatively new development near
well tended exhibit. The rain seemed to have added an the Beijiang River. The complex contains a series of
extra sparkle to the pines. tourist-oriented shops including five or six nice shops
In the afternoon we were treated to an excursion that are devoted to viewing stones, especially the local
to Liu Hua West, the home of the Guangzhou Bonsai
Group. An old mansion, filled with exquisite bonsai,
viewing stones and ceramics was the entry to an en-
chanted garden with lakes and fabulous trees.

The next morning, we travelled by bus to the Yingde This page; Yingde Stone
Stone Garden and Galleries outside the city. Here, we Garden and Galleries outside
Yingde city where the group
enjoyed a large outdoor exhibit of hundreds of large enjoyed a large outdoor
Ying stones. A walk along a circular path took us to exhibit of hundreds of large
a huge building still under renovation. This facil- Ying stones.
ity houses the owner’s extensive collection of indoor
viewing stones. A walk back to the entrance provid-
ed us with the opportunity to shop in several well-
stocked stone galleries. Sadly, the beautiful large Ying
stones are too heavy and too fragile to buy and try to
take back to our respective countries. However, small-
er stones proved to be irresistible. The owner of the
Yingde Stone Garden provided lunch for our group.
During lunch, he was showing us one of his prized
Qing Dynasty Ying stones in his personal collection.
After lunch, we travelled by bus back to Guangzhou
in time to prepare for the closing banquet. This was
the time to give out our BCI awards and to begin the
process of saying farewell to so many friends that had
travel far to come to our convention. It is always pleas-
ant to see old bonsai and stone friends and to meet
new ones. Another great BCI convention and exhibi-
tion came to a close.
Ying stones. This stop did not disappoint us. We saw

many very nice small- to medium-size Ying stones.
One shop specialized in smaller Ying stones, some
only 2 to 5 cm (about 1 to 2 inches) high. A set of
these tiny stones was displayed at the convention site
in Guangzhou. These miniature stones attracted con-
siderable attention.
After visiting several shops and having lunch, host-
ed by the mayor of Zhenyang, we boarded our bus and
departed for a short trip to the Zhenyangfang Tour-
ist Wharf where we took a large ship for a pleasant
scenic cruise of the Zhenyang Gorge. This gave us an
opportunity to rest while observing large limestone
rock formations that yields the famous Ying stones.
Then, we proceeded to the Ren Xin Hotel in Yingde
City for the evening.

BCI Excellence Awards
The Infinity of Bonsai and Viewing Stones:
a Cultural Voyage from Canton to the World,
Guangzhou, China, 2015
Bonsai
Awards
These three superb and iconic penjing were awarded
the BCI Medal of Excellence by BCI Director Min
Hsuan Lo, Taiwan: Two Land/Water Penjing and
one Tree/Rock Penjing.

In an on-going effort to recognize excellence in bonsai and stone art around the world, BCI Directors can award a
beautiful medal and certificate to deserving trees and stones at major exhibits. The medal, designed by BCI Director,
Guillermo Ramirez Castaño, of Mexico, is awarded at the discretion of the BCI Directors in attendance.
Stone
Awards
BCI asked stone collector and educator Lindsay
Bebb from Australia to judge the stone exhibition
and award the BCI Medal of Excellence to three
stones.
First Prize went to a Guangzhou Touch Stone.
Second place went to a very interesting Laibin Stone
from Guangxi.
Third place went to a group of miniature Ying Stones
arranged on a circular stand.
(Read Lindsay Bebb’s article on this interesting

exhibit on page 24)

On exhibit at Infinity of Bonsai and Viewing Stones:
a Cultural Voyage from Canton to the World, Guangzhou, China, 2015
Photos by Gudrun Benz, Germany; Budi Sulistyo, Indonesia; Rosemarie Voelker, USA

The Stone Exhibition at BCI 2015 in Guangzhou
A Judge’s Point of View

Text and photos by Lindsay Bebb, Australia
T
he viewing Stone Exhibition at the BCI Convention
Guangzhou in September occupied several rooms and
was about half stones from Guangdong Province and
the others from other regions of China. I was asked
to judge the exhibition for BCI and select the three
best stones to receive Medallions and Certificates. This is usually
a good job in China because of the great variety and quality of
stones in most exhibitions and this one was no different.
Guangdong is not as rich in Viewing Stones as say, Guangxi, but
it does have a very large variety, including the historically famous
Ying Stones, a local variety of Yellow Wax Stones and an extremely
interesting group of Chrysanthemum Stones. There was a good
variety of these and other stones on exhibit.
I was also very pleased to learn about one stone type that I had
not heard of before. I have one in my private collection but did not
know what it was, namely a Guangzhou Touch Stone. I awarded
one of this type First Prize in the Awards and it is shown at the top
left of the facing page. I awarded second place to a very interest-
Top left and right; Guangzhou has a very large variety of stones, including the ing Laibin Stone from Guangxi as shown below. I found this to
historically famous Ying Stones, a local variety of Yellow Wax Stones, shown on facing be one of those stones that absorb you… the more you look at it,
page, and an extremely interesting group of Chrysanthemum Stones, shown at the the more you get immersed in its detailed character, as opposed
end of this article. to the smooth, calming character of the Guangzhou Touch Stone.
Facing page, top left; First Prize in the Awards. I hope I get to see this stone again one day.
Facing page, top center; Second place went to a very interesting Laibin Stone from Third place went to a group of miniature Ying Stones arranged
Guangxi for its detailed character. Photo by Gudrun Benz, Germany.
on a circular stand. Unfortunately these were displayed in a glass
Facing page, top right ; Third place went to a group of miniature Ying Stones arranged
case (understandable) making it difficult to photograph. The de-
on a circular stand.
tail in this arrangement was spectacular, right down to the wood
Larger photos of the stones awarded the BCI Excellence Award are on page 15.
bases.

The sheer quantity, quality and variety of stones to assess is what makes
the difference in China.

The two Chrysanthemum Stones I have shown here
are vastly different to what you might currently be fa-
miliar with. The darker stone has yellowish, sharply
formed “flowers” of very good quality but how unusu-
al is the cream colored one? I like the way it is so tightly
packed with “flowers” on the self-colored matrix.
Judging Viewing Stones in China is a complicated
task, especially with large exhibitions, because trying
to compare a landscape stone with a color stone or an
object stone is so subjective and there is such excellent
quality within each group, more so than in any other
country. The sheer quantity, quality and variety of
stones to assess is what makes the difference in China.
In this judge’s opinion, I think the only fair way to
judge such exhibitions is to have separately judged cat-
egories with all stones types that can be judged simi-
larly, in the same category. For example, Landscape
Stone Award, Object Stone Award and so on. This
is not ideal of course, because how do you compare
an excellent Water Pool Stone with an excellent Near
Mountain Stone for example, but it may be better than
the normal current system. I think it is an exercise
Top left and right; The darker stone has yellowish, sharply formed “flowers” of very good quality and
worth exploring by an international group of special-
how unusual is the cream colored one?
ists, involving the wider international stone collecting
Bottom; Another fine example of a Laibin Stone with a silky patina, a sinuous shape and a beautifully
carved base. community.

PHOTO ESSAY
BCI VIP Tour to Inner

Inner Mongolia
Ningxia
Alashan
Mongolia and Ningxia

C
H
I
N A
By Anthony and Malou V. Gedang, Philippines
W
e cannot hit upon a single word to describe our holistic experience throughout the BCI VIP Tour
to Inner Mongolia and Ningxia last September 22-29, 2015, following the BCI convention in
Guangzhou, except that it was mind-blowing, awe-inspiring, and truly amazing.
Domo Stone Culture

Exhibition
More than 1,000 vendors
from all regions of the
Gobi Desert come to
Alashan for the annual
stone festival. We were
among the international
delegates who were
determined to acquire
rare finds and who
tirelessly viewed big and
even bigger stones in
Alashan’s new 34,000-
sqm museum.

Tengger Moon Lake
The Tengger Moon
Lake boat ride was a
quick “refresh” from
the long bus ride and
a short respite for
the next most heart-
pounding activities that
followed— a camel ride,
a paraglide, and a dune
buggy experience.
Bottom left;
Alashan
Experiencing the charm
of the Gobi by SUV
sand dune rides was
as exciting and just as
frightening for us.
Bottom right;
Xi Xia Mausoleum
Often called the
“Pyramid of the East,”
this royal mausoleum of
the Western Xia Dynasty
is the largest and most
preserved in China. But
for me, the best part was
being able to buy some
sculpted, brass horse
and camel artifacts from
the Han Dynasty for
my own museum back
home.

Helan Mountain Rock
Painting
The rock paintings
(petroglyphs) in Helan
Mountain are really an
art gallery of ancient
human culture and the
panoramic view of the
“Father Mountain”…
truly fantastic!
Shapotou
Shapotou is one of the
best tourist destinations
in China. They say it is
where the Yellow River
meets the Gobi Desert.
We rode the cable car
uphill and then I sand-
surfed all the way down!
We are back home now,

viewing the pictures
Malou captured… both
with very happy smiles.

THE
ARTISANS
CUP
Advancing the
American Bonsai Identity
By Paul Pikel, USA
Photographs by Paul Pikel, Louise Leister and Rhys Lynn
T
he inaugural Artisans Cup was held at the Portland Art
Museum in Portland, Oregon from September 25-27,
2015, and I was fortunate enough to be included as an
exhibitor for this event. This was a show like I’ve never
experienced before and I’m not sure it could ever be du-
plicated; though, I am sure many will try.
The build up to the show continually grew, as many of us have
been waiting since its first mention in 2011. The three months prior
to the show, the energy and anticipation amongst the bonsai com-
munity had swelled to nothing short of a child’s joy on Christmas
eve. This was the show to take bonsai in America in a new direction,
and we have been waiting for this for a long time.
The amount of thought and planning that went into this show
was impressive. Ryan and Chelsea Neil produced a cohesive and
polished event by directing a professional team of architectural de-
signers, photographers, graphic designers, marketers and fabrica-
tors. The undertaking was huge and the pressure was immense but
Ryan Neil Collection, Engelmann spruce, Picea engelmannii. This large tree made
an indelible impression on visitors leaving the main display area. This massive
you would never see it on their faces. The Neils offered only smiles,
composition measured over two meters in width. warm handshakes and sometimes a hug as they greeted each guest
to the show.

Top left; A photo shoot had
been organized to photograph
the trees prior to placing them
on display. Ryan insisted that
the owners be present for the
shoot to ensure that the photo
captured the artists’ vision in
their trees.
Far left; Five obelisks illumi-
nated from above with state-
ments and quotes regarding
the exhibit and the bonsai on
display.
Right column, top to bottom;
A drum line thunderously
proclaimed the opening of the
exhibit.
One of the judges for the
Artisans Cup, bonsai artist and
teacher, Boon Manakitivipart
with his student Barbara
Wilson.
My first encounter with Ryan was the day of the
set up. A photo shoot had been organized to photo-
graph the trees prior to placing them on display. It was
a bit of organized chaos as trees, stands and accents
where shuffled around for their professional photo to
be taken. Ryan insisted that the owners be present for
the shoot to ensure that the photo captured the artists’
vision in their trees. Ryan of course, in work clothes
and most likely exhausted, kept the team and the trees
moving along.
The next day was opening night of the Artisan’s Cup:
a huge amount of people were already queued in long
line which travelled out the door and along the side of
the building. Before the doors opened, a loud rumble
began! A drum line began to play drums so loudly
that I could feel the vibrations in my chest. My level
of excitement only grew with every bang of the drum.
Just then, the doors of the exhibition opened. At the Left to right; Louise Leister,
entrance were Ryan and Chelsea, once again taking Mark Arpag, Les Allen, Lutiza
Bernstein, Judith Fister, William
a moment to greet and individually thank everyone
Valavanis and Kora Dalager.
for coming.
Bill Valavanis, show cospon-
As I walked through the doorway I must admit I sor, exhibitor and a renowned
was quite emotional and wasn’t sure why. We entered American bonsai pioneer, adds
a long darkened and quiet hallway, I learned later that the finishing touches to his
designers intentionally made it this way so the patrons trees on exhibit.
would slow down and enter the exhibit in calmer state.
There were 5 obelisks illuminated from above with
statements and quotes regarding the exhibit and the
bonsai on display. To the left were statutes from the
museum and cut out windows from which you could

Top left, top right, middle left
and bottom left; The vendor
area at the Cup offered visitor
top quality trees, interesting
display accessories and unique
works or art.
Middle right; Artisan Cup hosts
and organizers, Chelsea and
Ryan Neil
Bottom right; Ryan and Chelsea
Neil award The Artisans Cup
trophy to Randy Knight for his
Rocky Mountain Juniper.
sneak a peak of the trees, but I refused to look. For me, to me. I immediately remembered the first time I ever
the walk was more like walking across the stage at my saw a bonsai and all the magic and wonderment that I
graduation, like watching my bride walking down the felt. The trees had been professionally lit with narrow
aisle, or seeing a child take their first steps. For me, this spots to artistically showcase each individual tree.
show was going to be like those first steps after which They practically glowed on their stands; giving the
bonsai was never going to be the same again, nor feeling of walking through a high canopy forest with
would I. As I turned the corner the exhibit opened up filtered sun and beams of sunlight softly landing on

each of the trees, thru the branches, casting beautiful The stage has been set. Now is the time to take what
shadows. we have learned from Ryan Neal and move forward
Speaking of the trees, they were awe-inspiring, and to showcase what makes bonsai in the United States
as you would expect, each one was even more impres- unique and our own. As we emerge from the shad-
sive and massive than the one before it. The exhibitors ows of Japanese traditions we branch out to our own
are to be commended for what they presented and unique style. We have much to offer the world and I
although there were awards given, there were no los- for one, am looking forward to being part of the move-
ers in this bunch. This was truly the best of American ment that will define American Bonsai.
Bonsai on display. Many of the photos, videos of the events and panel
On the final day, The Artisans Cup was celebrated at discussions will be available in time on the <www.
an awards brunch on the roof top of the Nines Hotel. TheArtisansCup.com>
The view was spectacular and a fitting location to an-
nounce the award winning trees. Ryan spoke about The Awards:
his journey to this point and how he started this path First Place: Randy Knight’s Rocky Mountain
the 4th year into his apprenticeship under Mr. Kimura Juniper
in Japan. The realization that he was now speaking Second Place: Tim Priest’s Sierra Juniper
at the Artisans Cup and achieving that dream many Third Place Tie: Amy Blanton’s Rocky Mountain
years later, caught up with him, bringing him to tears, Juniper (with Mike Blanton in memoriam) and to
as he thanked everyone for being there to celebrate Konner Jenson for his Japanese White Pine.
this achievement. The Artisans Cup was truly a world- Best Companion Piece: Randy Knight’s
class event. Companion Plant with Coastal Redwood
Following are the trees owned by BCI members that were selected from about
300 entries from all over the USA to be exhibited at the Artisans Cup in Portland.
Paul Pikel Collection, Buttonwood, Conocarpus erectus, Pot made by Rob Addonizio, Amy Blanton Collection, (with Mike Blanton in memoriam), Eagle’s Landing, Rocky
stand made by Mark Rynes, photo by Paul Pikel. Mountain Juniper, Juniperus scopulorum, 91.44 cm, antique Chinese container.
Photo by Rhys Lynn.

Top; Seiji Shiba Collection, California Juniper; Juniperus
californica. This juniper was collected 17 years ago in Palmdale
California just before the hill got leveled for a subdivision. It
is 37 inches tall 40 inches wide and estimated age is 1200 to
2000 years. Photo by Rhys Lynn.
Bottom left; Cheryl A Sykora Collection. “This is a Ponderosa
pine, Pinus ponderosa, that I have had since 2009. It was
in the 2010 BIB show in San Francisco Bay area, and the
national show in 2012. It is collected. I bought it from Boon
Manakitivipart who did not identify the collector or where
it was collected. Probably somewhere in the South Dakota/
Wyoming area. Originally the very bent branch stuck straight
out. In 2007, I worked on bending the branch and performing
the initial styling. It has filled out considerably since its original
exhibition in 2010. Probably because it likes Wisconsin climate
better than California climate. The pot is a Ron Lang pot.”
The tree won best of show in at the state fair around 2010.
This photo by Cheryl was submitted to the Artisans Cup for
the selection process.
Bottom right; Dan Robinson Collection, Mountain Hemlock,
Tsuga mertensiana. About 1000 years old. In a very old Chinese
glazed pot, displayed on ancient juniper gnarly snag. Photo
by Dianne Robinson.

Top left and right; William Valavanis Collection, Koko Hime and
Shishigashira Japanese Maples, Acer palmatum. These are
recent photos by WN Valavanis, submitted to the Artisans Cup
for the selection process.
Middle left; Eric Schikowski Collection, Mountain Hemlock,
Tsuga mertensiana, measuring 26” high and 47” wide, at the
widest point. It was collected from an already felled tree
stump, about 8 years ago, at around 4,000 feet elevation, from
the East slope of Mt. Hood.
Middle right; Jim Gremel Collection. Juniperus chinensis,
This kishu shimpaku was grafted on an unknown species
of juniper. Jim started the trunk from a cutting about 25 to
30 years ago. It was field grown for many years, then dug
and grafted approximately 10 to 15 years ago. Photo by Jim
Gremel.
Bottom; Melvyn Goldstein Collection, Chinese Elm, Ulmus
parvifolia. Here is a recent photo of the elm before it was
prepared for a big show. Melvyn imported this plant on his
return from Beijing in August 1997 as excess baggage. The pot
is by Sara Rayner. Photo by Melvyn Goldstein.

Top left; Roger Snipes Collection, Korean Hornbeam, Carpinus turczaninowii,
26” tall x 29” wide, approximate age is 35 years, time in training is 12 years, pot
is Tokoname ware by Kataoka Katsushi. Photo by Roger Snipes.
Top right; Louise Leister Collection, Japanese Black Pine, Pinus thunbergii,
estimated age 20 years, grown from seed, container by Sara Rayner, stand by
Sean Smith. Photo by Louise Leister.
Bottom; Todd Schlafer Collection, Colorado Blue Spruce, Picea pungens,
Estimated Age is 200-plus years, pot is Nakano Gyuozan (Japanese), stand is
by Jerry Braswell. Photo by Hannah Bowden.

2015 BCI Photo
Competition Results
T
hank you to all who have sent their entries to
the Best or BCI 2015 Photo Competition. All
entries were prepared for judges from around
the world to choose the Competition Finalists
to be exhibited at the grand BCI Convention
in Guangzhou, China in 2015 and to be published in
a photo album.
We are in the process producing our second book,
Bonsai and Viewing Stones from BCI Members’
Collections 2015, resulting from our biennial
photographic contest. A total of 207 photographs of
trees and 86 photos of stones were received. A panel
of three judges was selected for each category, one
from Europe, one from Asia and one from North
America. They rated the entries and the highest
scoring entries will be published in our new book,
photos representing trees and stones from nineteen
countries. Containing photos of 120 trees and about
60 stones, the 200-page book will be available in early
2016. This gives us another opportunity to recognize
internationally the artistic efforts of our members.
We are pleased to offer pre-publication discounts to
contest finalists, members and clubs. See back cover
or the BCI website for more details and order form.
Here, we present stones and trees awarded the
highest scores and the list of finalists selected for
publication.
Top; Sam Edge, USA. Country

of origin; Japan, Place of origin;
Neo Valley, Material; Peacock
Chrysanthemum, W x H x D: 14 x
17 x 8 cm,
Bottom; Kang Hee Jung, Indone-
sia. Country of origin; Indonesia,
Place of origin; Padang, West
Sumatra, Poetic name; Lakes and
Mountains, W x H x D: 24 x 15
x 16 cm

Finalists in
alphabetical order
by first name entered
on the form.
STONES:
Alan Walker
Anthony V. Gedang
Benz Gudrun
Budi Sulistyo
Daniel Bui
Dato Chua Kok Hwa
Edd Kuehn
Felicidad S. Gupit
Frank Kelly
Hanne Povlson
Hiromi Nakaoj
Huang Jiuwei
Ian Lawson
Joe Grande
Joseph A Gaytan
Kang Hee Jung
Lindsay Bebb
Lo Lai Kuen
Lorenzo Sonzini
Manuel Martinez
Margono N.
Nigel Atkinson
Paul Collard
Paul Gilbert
Top; Robert Mckenzie, USA. Country of origin; USA, Place of origin; Cache Creek, Material; basalt and quartz, W x H x D; 24 x 10 cm, Base by R. Mckenzie, cherry, 2006.
Peter L. Bloomer
Peter McCloskey Bottom; Wang Feng Quan, Taiwan. Botanical Name; Hibiscus tiliaceus, Designer; Wang Feng-Quan, Height; 83 cm
Ralph Bischof
Ralph Johnson Facing page, top; Li Man Nan, Taiwan. Botanical Name; Premna obtusifolia, Designer; Li Man-Nan, Height; 92 cm
Robert Mckenzie Facing page, bottom; Ying Fu, China. Various species, Designer; Huang Ying-Fu, Height 21 cm
Sam Edge
Scott Lee Luke
Selby and Tess Simpson
Shen Boping
Song Jae Sun
Sue Aziz
Tom Elias
Tony Ankowicz
Trevor Simmons
Vito Di Venere
Yvonne Graubaek
TREES:
Bedes Pierre
Budi Sulistyo
Carole Waller
Chanda Agrawa
Chen Chang
Chen Cong Bo
Danilo Scursatone
Dato Chua Kok Hwa
Deng Kongjia
Denis J Case
Du Jian Kun
Eliezer Varon
Enrique Castaño
Frank Mihalic
Fu Yan Tong
Hart Isaacs
He Shi Wu
He Yong Yu
He Zhi Xiong
Herden Pedrajas
Hong Huan Zhong
Hua Ng Si Shan
Huang Jiuming
Huang Jiuwei

Huang Si Shan
Jiang Jin Cun
Jiang Qi Ping
Jiang Zhi We
Jose Luis Rodriguez
Kathleen Ebey
Laura Lorena Gutiérrez
Les Dowdell
Li Man Nan
Lin Jiang Liang
Liu Guangming
Liu Ling Huan
Liu Ling Yun
Liu Sheng Zhang
Liu Xiugen
Louise Leister
Low Ah Seng
Luis Vallejo García
Mauriño
Luo Zhi Jie
Marcel Calungsud
Marco Tarozzo
Mauro Stemberger
Min Hsuan Lo
Mrs. Mangala Rao
Nacho Marin
Nelson Hernandez
Ng Ing Suan (I S Ng )
Ng Shing Fat
Nikujn Parekh
Norberto Jim Agad
Peter Hanrahan
Ranu Kapoor
Ravindran Damodhar
Robert P. Gopiao
Ronald Helmy Lazuardi
Sam Lee
Seiji Shiba
Shankar Chanda
Shashwat Pathak
Soeroso Somopawiro
Su Jia Xin
Su Wen Hong
Su Yan Yi
Sue Aziz
Susan C. Lee
Tang Nuo
Teddy Lim
The Blanton Collection:
In Memory Of Mike
Blanton
Tobie Kleynhans
Tony Bebb
Tri Djoko Endro Susilo
Vaclav Novak
Wang Feng Quan
Will Kerns
William N. Valavanis
Xi Youshan
Xian Jiaju
Xiao Jian
Xu Xong Shan
Yayat Hidayat
Ying Fu
You Zhen Qian
Zhang Jing Yao
Zhang Na
Zhao Qingquan
Zhong Zhiyong

Budi’s Bucida
Creating a Black Olive
From Nursery Material
By Budi Sulistyo, Indonesia
C
Bottom left; The plant as reating a bonsai from a raw material is something very enjoyable. You can enjoy every step of the pro-
purchased from a nursery in cess when the tree is formerly shaped, how it grows and your choices to make it a good bonsai in the
Puerto Rico.
future. You really can express your dream and your sense of beauty in creating the bonsai. Our sharp
Bottom right: Budi asked for a
eyes are really needed to decide which plant to choose for our future bonsai. You can go to a nursery or
saw and proceeded to cut off
the top of the tree. a place where people collect plants from the wild. Here is one of my experiences with a Bucida spinosa.
I was in Puerto Rico in 2009 after visiting the BCI convention in New Orleans. Puerto Rico is a tropical island
in Central America that has so much similarity in climate with my home town, Java, Indonesia. I went to a
nursery to find some small trees to bring home to be trained as bonsai. Fortunately among so many choices I
found a tree of my dreams: a nice black olive or Bucida spinosa. I could not find such species in my country.
Bucida spinosa is a shrub originating from tropical areas of the

Americas. It has tiny, shiny leaves that make it nice to be a bonsai.
The plant was about 50 cm in height with around 3 cm thick on the
bottom. Here is the tree I got on August 9, 2009.
I chose the tree due to the curving shape of the bottom portion of
the trunk. It had good potential to be a nice tree in the future. After
purchasing the tree, I asked for a saw and I cut the top off the tree.
The sales person was surprised to see me turn this tall plant into a
15-centimeter stump, or about half-a-foot high.

Top; The plant was now small
enough to pack into a suitcase
for the flight home.
Middle right: the Bucida was
potted into a large container
to facilitate growth.
Bottom left; The olive was
allowed to grow undisturbed
for a few months.
Bottom right; a branch was
selected to be the new apex
and the trunk was further
carved and reduced.
Top right is the shape of the tree after cutting. It was

small already, so that it would be easy to clean the
soil from the roots, wrap the roots in wet moss, and
package it to travel in my suit case on my flight to
Indonesia.
After arriving home I changed the pot to a larger, flat

container so that the tree will grow faster. I put it in
a rich and porous soil mix containing of tropical lava
(70 %), some humus (15%) and a bit top soil (15%).
It was very important to let the plant to grow without

much disturbance for some months, so that the roots
that has been cleaned during the transportation from
Puerto Rico to Jakarta would stabilize and grow.
Luckily there was a new growth on the lower part, very

close to the bending part of the trunk. A branch was
selected to become the new apex of the bonsai. Below
is how it looked in January, 2010.

Above and below, June 2011. The lowest branch is allowed to grow long and thicken.
Some wiring was applied,

holding the branch tip in a
vertical position to make the
tree grow faster.
Further cutting and carving was done to the trunk,
so that the line of the shape was clear that the trunk
would go to the right side towards the branch that
would be the new apex. The branch was raised up
to create a new line of the trunk. Our job now is to
thicken the new upright branch, so that it will be in a
good proportion with the trunk thickness at the base.
The plant grew vigorously in my garden. The high hu-

midity in Jakarta is quite suitable for the requirements
of black olives.
Below, December 2011.
Below, January 2013.

Top left and top right: July 2014
Middle right; July 2014, pruned
and shaped.
Bottom right; The olive has
been wired to further enhance
the overall shape.
Let the lower branch grow long, so that it will thicken

as it lengthens. The branch to the right also kept grow-
ing long as the line of the trunk design was growing
to the right.
The photo at top right, facing page, shows the trunk

was getting thicker in a relatively short time.
Some wiring was applied, holding the branch tip in a

vertical position to make the tree grow faster.
In 2013, the leading branches are allowed to grow to

make the trunk in the lower part thicken. They will
be cut off later on.
Top left, is the shape of the tree in July 2014. The up-
per trunk was getting thicker and almost in the good
proportion with the bottom.
Middle right photo shows some pruning has been

done to make the outline more clear to the desired
form.
Bottom photo. Branches are wired and positioned to

further enhance the overall shape. It was quite clear
then the flow of the tree is to the right.

On may 2015 the tree was ready to put in a special
bonsai pot I selected just for this tree.
And here is the final composition. A nice bonsai about

33 cm, created in almost 6 years that has a great future
as it matures and becomes more refined.

Bonsai Care
Bucida sp.
Common Names:
Black olive, Dwarf geometry tree,
Ming tree, Prickly tree, Spiny black olive,
Brier-tree.
Copyright © 2008 by D. L. Nickrent
General information:
Though commonly called black olive tree, this native wood ones will, but one rarely gets a soft wood cut-
of the upper Florida Keys (some consider it native, ting longer than 2 inches.
others do not) is not the edible olive we know and They can be grown from ‘tip’ cuttings (two or three
love, but does produce a small, black seed-capsule. clusters of leaves from the end of the branch). How-
Black olive is a 40- to 50-foot-tall evergreen tree with ever, tip cuttings are best grown with an automatic
a smooth trunk holding up strong, wind-resistant mist system. Even then, many do not survive.
branches, forming a pyramidal shape when young Propagation from seed. The tiny flower progresses to
but developing a very dense, full, oval to rounded green seeds, then tan and then brown in about two
crown with age. Sometimes the top of the crown will months. Gather the seeds as soon as they fall, for
flatten with age, and the tree grows horizontally. The they are more vital and willing to germinate in the
lush, dark bluish-green, leathery leaves are two to first ten days after they ripen. Seeds should be plant-
four inches long and clustered at branch tips, some- ed in large community pots in a well drained mixture
times mixed with the 0.5 to 1.5-inch-long spines of vermiculite, peat and loam, and allowed 25 to 35 Courtesy Wigert’s Bonsai Nursery
found along the branches. days for germination. Be patient, for they grow very
Bucida spinosa are a protected
Bucida comes highly recommended by Paul slowly. When they are 2 inches tall, transplant them species, harvesting from the
Lesniewicz, who says, “This delicate tree from Florida from the community pot to individual pots. Cover wild is prohibited in many
and the Caribbean grows into a bonsai almost by each pot with a plastic bag for 5 days and put in the areas.
itself.” An unusual bonsai subject which may increase shade. Keep in the shade for 3 to 4 weeks, being Above is a typical specimen
in popularity as an indoor tree. It is very salt tolerant, careful to keep them moist, but watch for and avoid in a 8-inch pot grown by
making it a good choice for bonsai lovers by the sea. powdery mildew. Once they are growing well, if you nurseries for the bonsai
market.
Family: Combretaceae wish to force them to grow faster and taller than
Lighting: Full sun. Its natural environment is the their usual 2 inches a year, bend down the branches
hottest parts of Florida and the Caribbean. lower than the growing tip. (Quoted from page 20,
Temperature: Grows well in zones 10B through Vol 4, No. 4 of “Florida Bonsai” magazine.)
11. Do not expose to freezing weather or better According to tropical bonsai grower, Mary Miller,
yet, temperatures below 40 degrees. A tender plant “The best way to grow them from seed is to allow
which has been grown successfully as an indoor the seed to drop directly from the tree into a tray of
bonsai. soil without touching the seed.”
Watering: Likes to be well-watered and should not Repotting: In the tropics most people wait until
be permitted to stay dry. May or June to root prune and repot Bucida. The
Feeding: Likes frequent fertilization which pro- key to timing is longer days and warm nights. Use a
motes vigorous growth. fast draining bonsai soil with a high sand and lime
Pruning and wiring: New shoots need to be short- content.
ened only by a little. It is best to pinch them back. Pests and diseases: No pests or diseases are of
In nature, the Bucida is generally windswept, which major concern but occasionally bothered by sooty
makes this an excellent choice for bonsai style. The mold and bark borer. Eryphide mites cause galls but
plant’s natural growth makes it ideal for bonsai. It no control is needed.
changes direction at every internode, making a bend Some species suitable for bonsai: Bucida buceras,
of 25 to 35 degrees, which can be incorporated into Bucida spinosa
the styling. Bibliography: “Florida Bonsai” magazine, Vol 4, No.
Propagation: From ‘tip’ cuttings, as seeds are dif- 4, page 20. USDA Fact Sheet ST-102, Mary Miller,
ficult to germinate. To propagate from cuttings, hard South Florida.
wood won’t work, even under a mist system. Soft

Book Review
Literati Penjing
Chinese Bonsai Masterworks
By Zhao Qingquan
By Michael Collins McIntyre, Canada
Photos courtesy Zhao Qingquan

Z
hao Qingquan (fondly and commonly known by his English
name, Brook Zhao) is a truly distinguished, internationally
recognized master of the Chinese art of penjing. His mastery
appears in his writing and teaching and, movingly and
compellingly in his artistic creations. In his writing—most
notably in Penjing: Worlds of Wonderment: A Journey Exploring an
Ancient Chinese Art and Its History, Cultural Background, and Aesthetics
and in his more recent Penjing: The Chinese Art of Bonsai: A Pictorial
Exploration of Its History, Aesthetics, Styles and Preservation—Brook
weaves all three dimensions of his mastery into a coherent whole. His
books are about penjing to be sure—they also immerse the reader in the
culture from which the artistic creations evolve. Both are classics. His
present work, Literati Penjing: Chinese Bonsai Masterworks (Figure 1),
follows in this tradition and will too become a classic. I find that Literati
Penjing surpasses the earlier works. This might reasonably be expected
as the present work builds on the two earlier classics. I find it surpassing,
though, not so much as a reflection of a linear progression from work
to work but because of a deeply personal chord that resounds again and
again throughout the book. Perhaps, we should not find this surprising.
Some years ago Brook was asked in an Art of Bonsai Project interview:
“When creating literati, what must the artist consider and if you could
only teach one thing about literati, what would it be?” Brook Responded:
“One’s own feeling.” In the preface to Literati Penjing Brook asserts that
literati are not necessarily reflective of natural tree forms but are rather
Figure 1, Literati Penjing: instances of highly personal artistic expression. They are seen as related
Chinese Bonsai Masterworks to the minimalistically eloquent brush painting, to the subtly evocative
by Zhao Qingquan,
and expressive poetry, and the calm realm of Zen. Literati penjing are
Better Link Press.
anchored in these aspects of culture in a profoundly important way. In
what follows, a brief description of the literati in Chinese culture will
provide a foundation for a discussion based upon a written interview
with Zhao Qingquan. These two sections will be followed by a discussion
of the merits of the book, which are many and varied.
The literati in Chinese culture were learned civil servants who had
passed rigorous literary examinations. Most wrote poetry as a means
of self-expression. Many fewer literati were accomplished painters than
were poets. Robert Eno, a scholar of Chinese history at the University
of Indiana, lectured on the literati. He observed that throughout China
there were always many literati who either painted on the side, while
playing the role of scholar-officials, or who, through wealth, could afford
to devote themselves fully to the art of painting. The notions of integrity,

Figure 2, “A Noble Scholar,” Five needle pine. Designed by Zhao Qingquan.
Figure 3, Drawing of pine from the Mustard Seed Garden Painter’s Manual.
Figure 4, “Out of Mountain Passes.” Sargent’s juniper. Designed by Zhao Qingquan.
nobility, and simplicity are characteristic of literati culture. These

same characteristics are often found in literati penjing and inform
the present work. The centrality of literati virtues is sufficiently
important that the penjing chosen for the cover photograph
is named “Sharp Sense of Integrity.” The penjing depicted in
Figure 2—“A Noble Scholar” is also expressive of the literati ideal.
In his lecture, Eno goes on to observe:
“Literati painting was conceived as a mode of painting
through which the Confucian junzi (noble person) expressed
his ethical personality. It was much less concerned with techni-
cal showiness. Literati painters specialized in plain ink paint-
ings, sometimes with minimal color. They lay great emphasis
on the idea that the style with which a painter controlled his
brush conveyed the inner style of his character—brushstrokes
were seen as expressions of the spirit more than (they) were
matters of composition or skill in realistic depiction.”
Consider the simplicity of the rendering in Figure 3. It depicts a

pine and was taken from the culturally iconic Mustard Seed Garden
4
5 7
Figure 5, A favorite calligraphy of Brook’s from the calligrapher,

Huai Su.
Figure 6, A favorite painting from the artist Ma Yuan.
Figure 7, Plum inspired by the poem: “Tens of thousands flow-
ers come into my eyesight; two or three pieces only touch my
heart.” (Ode to the Plum, by Li Fangyin, Qing Dynasty (1644-1911).
Designed by Zhao Qingquan.
Figure 8, “Exploring in Mist,” Chinese red pine. Designed by Han
Xuenian.
Figure 9, Brilliance in Autumn” Japanese firethorn. Designed by
Zhao Qingquan. Deciduous trees are not used as frequently as
conifers in literati. As this tree illustrates, they may be used and
have breathtaking results.
8
Some years
ago, Brook was
asked in an Art
of Bonsai Project
interview:
“When creating
literati, what
must the artist
consider and if
you could only
teach one thing
about literati,
what would
it be?” Brook
Responded:
“One’s own
feeling.”
10
Manual of Painting. Such drawings can easily be seen phy. Brook’s mentor, Mr. Xu Xiaobai, was well-versed Figure 10, “Companionship”
to inspire penjing. There is an abstract structural in classic Chinese arts and culture as well as penjing. Five needle pine. Designed by
Zhao Qingquan.
relationship to the penjing depicted in Figure 4. The He freely acknowledges that both of his mentors had
deeply personal dimension of the present book is one a profound impact on him. Brook learned to appreci-
of its strengths. Examining some of Brook’s thoughts ate penjing at the same time he was developing pref-
on this personal connection is revealing. erences in other artistic domains. He recalls that his
The author, William Gibson, asserted that who first encounter with the literati style forty or more
we are, who we become, and what we produce, is in years ago was in a book illustration of the monk
large part the combinatorial product of the people SuRen. He was intrigued by the ultra-simplicity of
and ideas with which we surround ourselves. Brook that rendering, which suggested an underlying rich-
would certainly include poetry and art within the ness. Brook reports that he has always pursued sim-
embrace of Gibson’s thoughts. Brook’s father was al- plicity in literati and in other styles of penjing.
ways extremely fond of penjing, and other Chinese For example, Brook reports a particular fondness
traditional arts such as poetry, painting, and calligra- for the calligraphy of Huai Su—a wonderful example

chapter provides a discussion of penjing aesthetics
similar to that provided in previous works. Similar
but different. The principles are the same but they
are applied exclusively to literati. Somehow, this
sharpens the focus. Figure 8 depicts a Chinese red
pine designed by Han Xuenian that Brook uses to
illustrate the use of space in literati. He describes
a “proud loneliness” and points out that the
simplicity of the style has nothing to do with the
lack of sophistication as is patent from the example
provided.
The tightness of the perspective provides a very
nuanced and sensitive discussion of aesthetic
criteria that was beyond expectation. I expected
overlap, however, the shared elements were greatly
overshadowed by the focus. The familiar aesthetic
criteria were distilled in a way that revealed their
true essence. This is a valuable chapter indeed.
I shall skip over the second chapter until the end
of the review. The remaining chapters are practical,
dealing with Basic Techniques, Projects, Display
Techniques, and Care and Maintenance. I typically
find chapters similar to these to be of lesser interest,
as there is substantial redundancy with other works.
However, with the present work the tight focus on
literati offers significant insight into methods and
issues most pertinent to this style. Some of these
techniques are not part of the “standard curriculum”
I find myself eager to collect some specimens and
to begin learning some of the techniques presented.
These chapters also allow Brook the opportunity
to demonstrate his astonishing artistry as his trees
are often used to illustrate didactic points. See, for
11 example, Figures 9, 10, and 11. I believe two things
Figure 11, “Dancer” Five of which is seen in Figure 5. He counts as a favorite that stand out in these chapters, beyond the focus on
needle pine. Designed by the painting of Ma Yuan presented in Figure 6. a single style, deserve comment. Brook has provided
Zhao Qingquan.
Poetry is part of the equation too. Brook provided an an extremely useful species guide for tree species
Figure 12,
example that I found particularly evocative, actually suitable for the literati style. This had me thinking of
A. 2006. B. 2013. C. 2014.
spiritual. It involves a short poem that he translates some species in ways that were novel to me. Secondly,
“Heaven Ascent” Sargent’s
juniper, Designed by Zhao “Tens of thousands flowers come into my eyesight; I particularly benefitted from the fourth chapter—
Qingquan. Presented at three two or three pieces only touch my heart.” (Ode to Projects. It offers a chronicle of the development and
times. the Plum, by Li Fangyin, Qing Dynasty (1644-1911) styling of twelve different trees. I recall when I first
Brook remarks that although the poem is attributed encountered the progressions presented by Walter
to the flower, it carries transcendent meanings that Pall. They offered such insight. I spent countless
go well beyond the plant. The aesthetic of simplicity hours pouring over these progressions. The twelve
in this poem applies to all literati style penjing— progressions that Brook provides are beautifully
especially with the plum that Brook offered as an illustrated and fully described. Figures 12 a, b,
illustration of how poetry inspires his art Figure 7. and c present three stages in the development and
The intimate relationship between the poem and refinement of “Heaven’s Ascent.” There is something
the tree compellingly illustrates how penjing derive of the concept of critical mass here. Most books that
from a cultural tradition and are transformed from present progression seek variety. The presentation
the representational to the evocative and original by of progressions for twelve trees—all literati—has
the artistry of the master. a powerful yet refined impact. This is a chapter to
Literati Penjing: Chinese Bonsai Masterworks is study.
a remarkable work within the bonsai literature in Chapter 2 is a tour de force. My career has largely
that it deals with a single style or genre. It illustrates been as a professor. This chapter on the Cultural
surpassingly well the cultural foundation supporting Origins of literati penjing would be at the top of
artistic transformation. It is copiously illustrated and my required readings list. Many of us who are in
the reader/viewer receives an astutely constructed the thrall of bonsai know that they originate in
immersion course in the literati style. The first particular cultures and that cultural influences are

synthesized and transformed by the artistry of the
master. What results is an original and evolving
artistic expression. There is a core of invariance—
the deeply held cultural values—amidst the change
in artistic expression. In correspondence, Brook
observed that as time passes, modern literati are
never again the same as their historical counterparts.
The art works cannot be identical. However, they can The presentation of progressions for twelve trees, all
and do share a commonality of style, and similarity
of temperament and aesthetic emotions. Chapter 2 literati, has a powerful yet refined impact.
12 A
12 B 12 C
He was intrigued
by the ultra-
simplicity, which
suggested an
underlying
richness. Brook
reports that
he has always
pursued
simplicity in
literati and in
other styles of
penjing.
13
Figure 13, “A Distant Gaze” presents the cultural origins of literati in a manner the names given to the literati create wholes greater
Japanese black pine. Designed that is erudite yet accessible and engagingly than the sum of their parts. Consider Figures 13 and
by Zhao Qingquan. educational. It illuminates the cultural core not as 14, “A Distant Gaze” and “Pine Whisper on Moonlit
Figure 14, facing page an anchor but as a springboard. In correspondence, Night.” Knowing the names—given so poetically—as
“Pine Whisper on Moonlit Brook was asked, “What one thing about the literati we contemplate the artistic expression of the trees,
Night” Japanese black pine.
Designed by Xu Haa.
style would you want to communicate to a child is an enriched experience. The richness reflects
studying penjing?” He replied, “Penjing is not the values and culture of the literati scholars. The
merely a re-production of nature; it is seen more as a scholars and the culture provide shoulders for those
statement of artistic aspiration.” Brook aspires to the with artistic aspiration to stand upon. In his penjing
artistic. His book is extraordinarily informative—it and his writing, Brook has stood on these shoulders
reflects depth, learning, and wisdom. and his reach has been exceedingly high.
The illustrations do not simply accompany the
words—they magnify them in the same way that

14
Searching for
Stones in
Puerto Rico
By Budi Sulistyo, Indonesia
P
uerto Rico is a small island in the Caribbean
with a tropical climate just 18 degrees above
equator. The eastern part gets a lot of rain and
gradually gets less and less, becoming a dry
region in the west. It is very unique to see such
a dramatic change, even though from east to west it is
only around 100 miles, whereas from north to south it
is 35 miles.
Last May I went to Puerto Rico for a bonsai convention
and workshop and I had a chance to explore the island.
From my previous visit I have known that there are a lot
of good stones in Puerto Rico. I really wanted to see the
place where collectors look for prized stones. Fortunately
my friend and stone collector, Omar Rojas, offered to
take me there. After a short drive, we were in stone col-
lectors’ paradise, on a sea shore in the south of Puerto
Rico not far away from the city of Ponce.
Here are some of the stones from this trip. Some were
given to me by Puerto Rican friends and others are shown
with finished bases or presented in trays.
Top; I walked along the coast to look for nice stones for almost four
hours.
Bottom; There are countless stones along the beach

Top left; A pattern stone found
at that time.
Top right; A happy moment
finding a nice stone on the
beach
Middle left; A “parrot” or could
be a phallic stone, given by a
friend in Puerto Rico
Middle right; A gift of a nice
small hut from Mr. Omar Rojas
Inset, lower left; A cave stone on
a suiban
Bottom; A long range of high
land

Facing page, top; An interesting ship
Facing page, middle; Mountain on a plateau in a
suiban
Facing page, bottom; A dry waterfall flowing out
from the hole of the mountain
Top left; A small house

Top right; Note the small bridge connecting the
first peak with the second one
Middle; An interesting shelter under the peak
Bottom; A nice black mountain stone with a
beautiful patina

My Bonsai are
Getting Older
…and so am I
By Lew Buller, USA
T
The history of he story is told that when Justice Oliver to the next generation to take care of. I spent a week
Wendell Holmes was 90, he was walking volunteering at the National Bonsai Arboretum in
bonsai culture in down the street and saw the nice ankles of Washington, DC and had the opportunity to work on
a woman wearing a flared skirt. He com- a 300-year old pine. It was a gift from the people of
Japan has been mented “I wish I was 70 again.” While I’m Japan. Over three feet tall (it couldn’t be kept small
only 81, I understand how he felt. forever), it reflected the care bestowed on it by more
not to let the The expression “Old age is not for sissies” gives than 10 generations of bonsai artists.
only a general idea, not the specifics of the problem. Clearly, I had an obligation to pass my trees on to
trees die, but Old age brings not only infirmities, but also painful someone who could take care of them and continue
decisions. In my case, one of the decisions was what to their development. After considerable discussion with
rather to transfer do about the bonsai that were becoming increasingly my wife, she was in agreement that it was time to pass
difficult to care for. Mixing soil had become a problem; them on. I asked a long-time acquaintance who runs a
them to the next physically lifting a heavy bonsai out of the pot had nursery in the greater Los Angeles, California area to
become an impossibility, and I was faced with the take all but a few of my favorites. I expected him to sell
generation to question of whether I should let them die with me or them, but I also knew he would set a price that would
make some other arrangement. discourage beginners, and perhaps some intermediate
take care of. The history of bonsai culture in Japan has been hobbyists from bidding on them.
not to let the trees die, but rather to transfer them
Top left; I spent a week

volunteering at the National
Bonsai Arboretum in
Washington, DC and had the
opportunity to work on a 300-
year old pine.
Bottom left and right;
This Ficus benjamina ‘Little
Lucy’ clump that is 22 years
old, was already started in a
small round ceramic pot when
I bought it in 1993. When I got
around to photographing it in
1999, it had grown a bit.
The photo on the right shows
what it looked like in October,
2015, 29” tall and 23” wide.

Top left and right; This photo of the tiny informal What will happen to them when I can no longer
upright boxwood appeared in a bonsai magazine care for this small number? In recent years a bonsai
in 2000. In October, 2015, it is still only 10” tall
enthusiast 40 years younger than I am has been help-
from the top of the pot to the top of the tree.
Aren’t bonsai supposed to look like survivors? ing me and learning. That’s where they’ll go.
This one is. Look at the bark and you can see the If I were to make only one suggestion, it would be to
fissures are much deeper. make arrangements to pass your bonsai on to some-
one else. A woman acquaintance of mine in Santa Bar-
bara, California did this by inviting her friends over to
choose a bonsai from her collection and take it home.
It solved two problems: how to reduce her work load
and how to make sure her bonsai lived on.
Henry Rand Hatfield, an early theorist in Accoun-
tancy, said “All machinery is on an irresistible march
to the junk heap.” So are we. Most of us don’t like to
think about that, but there’s no sense in being like the
proverbial ostrich and burying our heads in the sand.
If you have the forethought to plan for a will, then plan
for the future of your bonsai.
The second suggestion would be not to get in over
your head. A man here in San Diego liked bonsai but
had no ability to grow them. So he bought them. He
paid high prices for good bonsai but had no idea what
to do with them. Thieves helped him get rid of some
of them so he had cages made that would keep the
remainder safe. He hand-watered them as long as he
could but when I offered to set up an automatic wa-
tering system, he declined the offer. The result: the
collection died.
I did not want to get in over my head. My skills
never progressed beyond the intermediate level. Al-
though I live in California where California junipers
are available, I never attempted to dig one or own one.
Leaning how care for a new species inevitably runs the
risk of killing one or more and I couldn’t see doing that
to these old trees that can live to be far more than a
hundred years old.
When the time comes to pass your bonsai on to
another enthusiast, you may want to take photos of
them to remember them by. Or better yet, take annual
If it is kept trimmed back Ultimately, my wife and I concluded that any bonsai
hard, the leaves will reduce to
photos and use them in a PowerPoint presentation if
materials I did not expect to use in the near future
about the size of the ‘Morris you have the software. If you haven’t done it yet, buy a
should also go. That meant pots, stands, slabs, wire,
Midget’. The small size is the camera and learn to use it. Digital cameras now cap-
and everything except my books. They went. If you
result of restricted root space, ture the date and time of the photos taken, eliminating
infrequent transplanting, and are thinking I was standing there crying to see them
the need to add them to the caption on the photo. It
strong pruning. The top could go, you’re wrong. I was filled with a great sense of relief
be shortened an inch.
will improve your designs as you can look at your trees
that someone else would get to enjoy them and that
Middle left and right; The other
without being distracted by the foliage.
I would not have to struggle and stagger around to
boxwood, acquired in 1984, My wife and I have used the most photogenic
water them or put them in the recycle bin if they died.
appears on the back cover of bonsai—a different one for every year—on our
The few trees that I kept are at the left end of our
Saikei and Art. On the right is Christmas cards. Here’s our card for 2015.
how it looks in October, 2015. deck, take no more than 5 minutes to water, can be
Both the informal upright trimmed readily with scissors, and can be trans-
and the slant style are Buxus planted by cutting wedges out or by coring around
microphylla japonica. the roots. All of them have appeared in articles in one
bonsai magazine or another. None of them are show-
ready at the moment. From smallest to largest, they are
two small boxwoods, a 26-year-old bougainvillea cas-
cade, an Orange King bougainvillea tanuki, the top-
dominant chorisia speciosa started in 1986 that I have
fought with for at least 25 years, and a ficus benjamina
‘Little Lucy’ clump that is 22 years old.

Mark and Ritta Bring
Top left; Keiichi Fujikawa is the
second generation owner of
Fujikawa Kouka-en and is one
Kokonoe Home
of the most respected bonsai
nurserymen in the Kansai area
of Japan.
Importing bonsai trees from

Top right; A view of Taisho-en,
November 2012, where Mark
and Ritta met Maarten van der
Hoeven, the owner of Bonsai
Plaza in Delft, Netherlands.
Japan to Europe
Bottom left; Kokonoe and Ritta,
November 2012, Kouka-en.
The first time Mark and Ritta
saw their tree.
By Kath Hughes, UK. Photos courtesy Mark and Ritta Cooper, UK
I
t was in November 2012 that Mark and Ritta privately visited Fujikawa Kouka-en Bonsai Nursery for the
first time. Keiichi Fujikawa is the second generation owner of Fujikawa Kouka-en and is one of the most
respected bonsai nurserymen in the Kansai area of Japan. Fujikawa’s nursery is located not far from the
town of Ikeda, which is north of Osaka, and is usually home to several foreign students of bonsai. Keiichi
Fujikawa’s reputation was already well known to Mark and Ritta, and they had admired his trees for many
years prior to their first visit to Kouka-en. They had always been impressed by how well his trees were presented
for sale in the sales area of Taikan-ten, a show held in Kyoto annually, which they had visited many times before.

Taikan-ten is their favorite bonsai show in Japan, and
in their eyes only surpassed by Kokufu-ten. They
had spoken many times at past exhibitions to two of
Fujikawa’s students from the USA, Bjorn Bjorholm
and Owen Reich.
Both were very excited at the prospect of visiting
Kouka-en for the first time during their planned trip
in November 2012. The day of their visit was sunny
with crystal clear blue skies…perfect! They travelled
by train and taxi to the nursery. On arrival, and after
saying their hellos to everyone, they began to look
at the trees. As in many bonsai nurseries in Japan,
numerous clients’ trees were being cared for in a
dedicated area. The number and variety of species
of bonsai for sale was impressive, as was the range of
sizes.
They were particularly impressed by several goyo-
matsu (Japanese white pine or Pinus parviflora), and
two were moved indoors for them to take a closer look
at. One tree in particular, a Kokonoe—a variety of were for the next few days. Oddly enough, Maarten Kokonoe was put on display
Japanese white pine—greatly appealed to them both, was planning to visit Mr. Fujikawa at Kouka-en the at Kouka-en in anticipation of
for our second visit in January
however these trees were not available for export yet following day. Mark and Ritta said that they had
2013.
as they hadn’t completed their two years of quarantine visited there just the day before and had seen some
in the nursery; in any case they thought it was not great trees, and explained their plight regarding the
possible to arrange export to the UK. export of bonsai from Japan into the UK. To their
Nonetheless they spent a thoroughly enjoyable day surprise and delight, Maarten said that he may be able
at the nursery and eventually, as daylight was fading to help, and invited them to visit Kouka-en with him
it was time to return to their hotel. During the train the following day, and maybe he could sort something
journey back to the hotel in Kyoto, with the images of out. Was this fate playing its part here?
the trees they had seen at Kouka-en still fresh in their They immediately changed their travel plans for the
memory, they began to think how they could, maybe, following day, and plans were made to meet up with
possibly, arrange to get a tree home from Kouka-en in Maarten in Osaka and to travel together to Kouka-en.
Osaka to the UK. A few long distance phone calls to They all arrived at Kouka-en after a short taxi ride
the UK were made to see if it was possible to import from the local station. Mark and Ritta were mindful
a bonsai to the UK privately. It transpired that it that the prime purpose of Marten’s visit was to buy
certainly wasn’t going to be easy, nor cheap. special trees for his business. So whilst Maarten
Many bonsai hobbyists perhaps don’t appreciate focused on business, Mark and Ritta took the oppor-
that Japanese bonsai nurseries must have a license tunity to have another look around at the bonsai and
to export bonsai, and not all bonsai nurseries in to explain to Keiichi Fujikawa’s team why they had
Japan have this. So, although the process of buying returned just two days after their previous visit! Once
and importing a tree may sound straightforward, it Maarten had completed his business, he spoke with
certainly isn’t. Mr. Fujikawa to explain what Mark and Ritta wanted
to do. The good news was that in principal this was all
A chance encounter with a Dutch friend possible. Great!
However the thoughts of a previously scheduled Green tea, a white pine and Taikan-ten
visit to one of their favorite nurseries the following
day, the famous Taisho-en in Shizuoka owned by They had both agreed that their favorite tree was
Nobuichi Urushibata, were beginning to loom large still the goyomatsu, a Kokonoe, which they had seen
in their thoughts. They had visited there many times two days previously. Maarten confirmed that this was a
before. Many shohin bonsai enthusiasts will know of very good choice too. After further and careful inspec-
Taisho-en, but Urushibata San and his son Taiga keep tion, much discussion, and several cups of green tea,
a wide range of bonsai from mame to large trees. a price was agreed with both Keiichi and Maarten.
On arrival at Taisho-en, they noticed that a bonsai The tree needed to remain in Japan for a further year
friend of theirs from the Netherlands was already at to complete its quarantine period. They agreed that
the nursery, Maarten van der Hoeven, the owner of the tree would be left at Kouka-en for the following
Bonsai Plaza in Delft, Netherlands. Of course Maarten year, 2013, and then it could be exported in 2014 by
speaks Japanese which is an important skill if you want Bonsai Plaza. There would be a modest fee for the care
to do business in Japan. of the tree during this time in Japan.
They chatted with Maarten about what they had It was soon after this discussion and with some
done so far on that trip to Japan, and what their plans translation help from their friend Bjorn Bjorholm

that Mr. Fujikawa suggested to Mark and Ritta that
they should consider submitting the tree for exhibit
at Taikan-ten in 2013.
This came as a pleasant and unexpected surprise to
them both, that Mr. Fujikawa considered the tree to be
of high enough quality. The details and costs of doing
this were discussed. Mark and Ritta thought that this
would be a once in a lifetime experience for them, and
they quickly agreed to do this.
In Japan, the exhibitor has to pay a fee to exhibit a
bonsai at a top show, and these fees can often run into
hundreds of dollars. They also felt it would provide a
good excuse (if one were needed!) to visit Japan and
Kouka-en again!
They left Japan later that month after visiting the
32nd Taikan-ten show 2012, with the exciting thought
of seeing their tree in the 33rd Taikan-ten exhibition in
November 2013. A few months passed, and in January
2013, it was time to visit Japan again. The prime
Top; Ritta preparing the purpose of this trip was to visit the famous Gafu-ten
kusamono to accompany the shohin bonsai exhibition in Kyoto (held in the same
Kokonoe at Taikan-ten exhibit.
venue as Taikan-ten), and to go to the Meifu-ten show
Middle; Mark meticulously
in Nagoya as well. Of course they scheduled in a visit
cleans the pot.
to Kouka-en to see their white pine and to see Keiichi
Bottom; The Kokonoe on
display at Taikan-ten.
Fujikawa and his team. On arrival, they were delighted
to see that their tree was displayed in the tokonoma in
the reception area. Despite it being early January, it
was a surprisingly sunny and pleasant day.
During the coming months of 2013, Mr. Fujikawa
kept them up to date via Bjorn, and Bjorn sent them a
photo of the tree after repotting.
As an enthusiastic and very competent couple, they
always carefully prepare their trees for show them-
selves, and they both thought it would be something
special for them to have input into the preparation
of their tree for Taikan-ten. They weren’t entirely

sure how well this request would be received by Mr.
Fujikawa, as customers do not normally participate
in this part of the process. In Japan it is the norm for
professionals to prepare trees for exhibitions, find
suitable pots, arrange transport, and often, to organise
things like display tables and companion items. They
discussed this idea with Bjorn who then discussed
this with Keiichi Fujikawa. This was all OK, and Mark
and Ritta fixed a date for them to visit the Kouka-en
nursery prior to the Taikan-ten exhibition which was
scheduled for the last weekend in November.
A few days before Taikan-ten they spent a whole
day at Kouka-en preparing their tree for the show.
The first discussion with Mr. Fujikawa concerned a
proposed display design. This involved the choice Top; Maarten van der Hoeven
of table, careful consideration of the “direction” of Bonsai Plaza with Mark, Ritta
of the tree, and choosing a companion planting. and Kokonoe at Taikan-ten.
After a little experimentation and some discus- Middle; Exhibit goers are
sion, a final display layout was quickly agreed upon. curious about the gaijin or
foreigners exhibiting at Taikan-
The next steps were thoroughly cleaning and lightly
ten. Exhibit labels informed
oiling the pot (with camellia oil), carefully applying viewers of their nationality,
moss to the whole of the soil surface with moss their phonetic names, and a
creating a nice flat “lawn” of moss, and then strate- description of the tree/pot and
gically adding some lichen to the nebari. Of course companion item.
the tree’s foliage received a few final detail “tweaks” to Bottom; Yuri Hayama, Kuoka-en
apprentice, at the Kuoka-en
ensure that the foliage pads looked their best. Owen
sales stand at Taikan-ten.
Reich helped and advised us during the day, but they
were always under the watchful and avuncular gaze
of Keiichi Fujikawa who politely guided and advised
them. Bjorn occasionally took some video which
subsequently appeared in his “Continuum” DVD.
A proud moment and a warm reaction

Soon it was time for the show, and as Mark and
Ritta were staying in Kyoto only a short subway
journey and a short walk to the venue, the Kyoto
International Exhibition Hall, Miyakomesse. The
venue is close to the famous Heian Jingu Shrine.
At the show entrance they showed their entrance
tickets kindly provided by Keiichi Fujikawa and
they made a beeline for their exhibit, number 128.
They were delighted and proud. It looked great!
Every item on exhibit had an information label written
in Katakana characters. Mark and Ritta’s exhibit
labels informed viewers of their nationality, their
phonetic names, and a description of the tree/pot and
companion item. All the trees are carefully watered
and cared for at the exhibition by professionals.
It surprised Mark and Ritta how many compli-
mentary comments they received from Japanese
hobbyists, particularly as it is so unusual to see an
exhibit owned by gaijin (foreigners). In fact, they were
amongst a very small handful of foreigners who have
ever exhibited at Taikan-ten. It was at a Taikan-ten
exhibition some years ago that Mark and Ritta first
met Mike and Amy Blanton from Tennessee, USA,
who were exhibitors there. Thinking back to that time,
Mark and Ritta were impressed and inspired by Mike
and Amy’s achievement, but sadly Mike is no longer
with us.

Mark and Ritta The show ran for four days, which for Mark and more than a month now, must be nearing its destina-
Ritta went very quickly. In the afternoon of the last tion. They received a message from Maarten that he’d
received a day, they had to leave the show to travel back to Tokyo been advised by his shipping company that the voyage
to catch their flight home to the UK. They said their had encountered unusually bad storms, and that some
message saying farewells to everyone they knew, and of course their sea containers were badly damaged and a few had even
thanks and appreciation to Keiichi Fujikawa, Bjorn, been lost overboard! The boat would also be making
the voyage had Owen, Maeoka, Yuri and Dario. an unscheduled stop to assess the damage. Thankfully,
it transpired that all was well with the Bonsai Plaza’s
The long and risky voyage from Japan to
encountered the Netherlands
container that Mark and Ritta’s tree was in. The tree
eventually arrived safely in the Netherlands and it was
unusually bad Christmas 2013 and New Year’s Day soon came placed with all the other evergreen species in Bonsai
and passed, and during the early weeks of 2014 they Plaza’s specialised quarantine facilities where it stayed
storms. Some kept in touch with Maarten regarding the progress of for the months legally required.
their tree’s proposed export from Japan via a refrig- In early summer 2014 Mark and Ritta visited
sea containers erated sea container. This is not a risk free process. Maarten in Delft to collect their tree. Fortuitously,
Most bonsai hobbyists aren’t aware of the risks that Taiga Urushibata was in Europe at this time and they
were badly buying and exporting bonsai entails. For Mark and arranged to attend a private workshop with him at
Ritta there were risks (albeit small) associated with Maarten’s home at the same time. Son of Nobuichi
damaged leaving a living tree in Japan for a year, also the risks Urushibata, Taiga is the second generation of
associated with transportation and care whilst at Urushibatas working at Taisho-en, the family nursery
and a few had the show, and then the journey from the nursery to in Shizuoka, Japan.
licensed exporters premises. After that it would be The Kokonoe pine was in good health and many
even been lost transported to the docks, packed into a sea container new shoots were evident. They took the opportunity
with many other trees, and travel by sea to Rotterdam to do a little light trimming work on the tree with
overboard! in the Netherlands, taking many weeks at a time of Taiga’s guidance, made plans for its future. The idea
year renowned for storms. Finally it would be taken of entering the tree for the Noelanders Trophy in early
by truck to Bonsai Plaza. 2015 was planted. This exhibit is viewed by many as
The following weeks slowly passed, and Mark and the premier show in Europe.
Ritta realized that their tree having been at sea for
Left; Taiga and Kokonoe. In

2000 Taiga Urushibata became
apprentice to Mr Masahiko
Kimura and in the six years he
worked with the great master,
Taiga went on to develop skills
at a very high level. Indeed Mr
Kimura always rated Taiga as
one of the best apprentices
he had ever had. Mark and
Ritta were able to attend a
private workshop with him at
Maarten’s home.
Right; Mark and Taiga defoliat-
ing an elm.
Bottom left; Ritta’s turn to
remove some leaves.
Bottom right; Mark and
Maarten loading the Kokonoe
for the trip to the UK.

The following day the Kokonoe pine was loaded into
their car for the final stage of its journey. It was care-
fully driven the 450 miles back to the home of Mark
and Ritta in the UK via the Eurotunnel, the undersea
train tunnel that connects Folkestone in southern
England with Calais in northern France. The tree
was fed and nurtured during the following months
by Mark and Ritta, and then late in 2014 they decided
to apply to enter this tree into the 16th Noelanders
Trophy, be held in Belgium in February 2015. They
also applied to enter a five-tree shohin display.
Both their proposed exhibits were accepted, and
subsequently they took their trees to Belgium in
February to the show at its new and bigger venue.
A happy ending
The good news was that both their exhibits won
awards! Mark and Ritta were surprised and delighted!
Their shohin display won the First Prize for Shohin,
and their Kokonoe white pine won a prestigious
nomination award too. This was the second time in a
row that they had won the top prize for shohin at this
event, despite the high standard of the entries.
The tree is now in their care at their home in the
UK and growing well. It will be re-potted next spring
into a Gyozan pot.
Having managed the task of importing a tree to
the U.K. they have since found other trees in Japan
that they have imported via Bonsai Plaza. This great
experience to acquire a treasured possession was well
worth the effort, for the rewards were many, and the
memories are priceless.
Top; Certificate acknowledging

Kokonoe’s nomination.
Right; Mark and Ritta’s first
prize 5-tree shohin display at
Noelanders Trophy. Photo by
Willie Evenepoel, Belgium.
Bottom; Kokonoe and com-
panion plant at the Noeland-
ers Trophy, Belgium. Photo by
Willie Evenepoel.

promoting
Bonsai & Stone News

through bonsai
BCI Awards at the 2015 Convention,

Guangzhou, China
Certificates of Appreciation
Two certificates of appreciation were awarded at the 2015 BCI convention in
Guangzhou. The first one was presented to Rosemarie Voelker of Gulf Breeze,
Florida for her leadership in managing the social media BCI Face Book page.
Rosemarie is an excellent photographer and frequently travels worldwide to bon-
sai events. Her many postings on the BCI Facebook page have resulted in greatly
increasing the number of visitors and raising the awareness of BCI worldwide.
The second certificate of appreciation was awarded to Mr. Chen Chang of
Guangzhou, China. Mr. Chang is President of the Panyu Chu Kong Steel Pipe
Co., Ltd. and also President of the Guangzhou Penjing Association. Mr. Chang
was a major supporter of the joint BCI/ASPAC convention in Guangzhou, a leader
in the BCI-China program, and a major collector and artist of Chinese penjing.
Meritorious Service Award
This award is given to an individual or club that has contributed significantly
to BCI over many years. Thomas S. Elias, President of BCI was the recipient this
year in recognition of his service as president during the last three years and for
his long-term contributions to the BCI Bonsai Magazine and the Bonsai & Stone
Appreciation Magazine. As president, Tom implemented a board-approved annual
budget along with realistic income projections. He also worked to increase income
through auctions, donations, and sales of books. A surplus of income over expens-
es in BCI operations in the last three years has greatly improved BCI’s financial
position. Tom worked with others to improve the BCI website and make better
use of social media to promote BCI. He, along with several board members have
succeeded in reversing the decline in membership and is growing BCI individual
and club memberships in several areas of the world, especially in Asia where the
largest number of bonsai hobbyists are located. Tom was also the recipient of BCI’s
Writer, Photographer and Artist Award in 2001. He has been a regular contributor
since 1999 of over 25 articles plus several books reviews and news items to Bonsai
Magazine and its successor Bonsai & Stone Appreciation Magazine.
BCI Artist, Writer and Photographer Award
The recipient of this award is Canadian bonsai enthusiast Dr. Michael Collins
McIntyre for his many excellent articles in BCI Bonsai & Stone Appreciation Maga-
zine over the last three years. Mike loves telling a story as much as our readers enjoy
hearing a good one. Through his engaging accounts, Mike has written about fine art,
reviewed important books and has covered the work of bonsai artists. Here, in his
own words, is his reaction to this award—another story we think you’ll appreciate.
“It all started with won ton soup; actually, its absence. I had gone to Winnipeg’s
Top; Rosemarie Voelker receiving a BCI Certificate of Appreciation historic Exchange District on a cold, raw day for some of the glorious and warm-
for her leadership in managing the social media BCI Face Book ing won ton soup offered at Ken Hong Restaurant. It was closed for renovations. I
page from BCI President Tom Elias.
was disconsolate. I decided to make the best of things and browse the area. I came
Middle; The second BCI Certificate of Appreciation was awarded
across a gallery that I didn’t know—Pixel’s 2.1—and inside encountered some
to Mr. Chen Chang of Guangzhou, China—a major supporter of
the joint BCI/ASPAC convention in Guangzhou, a leader in the absolutely stunning photographs of Huangshan. My first thought was that the
BCI-China program, and a major collector and artist of Chinese bonsai community needed to see these photographs. I contacted the artist, Tse Li
penjing. Luk, and told him what I had in mind. He agreed to supply the photographs. BCI
Bottom; BCI 1st Vice President Glenis Bebb and BCI Executive Editor, Joe Grande, accompanied me on a second visit and was receptive to the
Director Helen Su present Thomas S. Elias, President of BCI, idea of my submitting an article. It was accepted. I enjoyed the writing immensely.
the Meritorious Service Award in recognition of his service
Writing has been something that, as a psychologist and professor, I have loved for
as president during the last three years and for his long-term
contributions to the BCI Bonsai Magazine and the Bonsai & Stone my entire career. More than the writing though, I loved the friendship that Tse Li
Appreciation Magazine. and I developed. It has been the friendships and the stories told by great artists that

have captured my heart and ignited a desire to I have been taught much in all kinds of ways.
share them with the bonsai community. I gravi- Tom Elias’s consummate scholarship has shown
tate to narrative. I love stories and think they are how much can be known about the cultural and
able to communicate the emotional connections historical dimensions of bonsai and of viewing
that make true art come alive. I have had the op- stones. Walter Pall offered, by personal example,
portunity to write about wonderful work in the how to allow trees to express their own identity
essays and reviews that I have had published. and Jim Doyle demonstrated compellingly how a
Interviewing to find the story behind the work community can develop that both embraces and
involves genuine interaction and openness—at challenges each member.
times, intimacy. Artistic aspirations are, after all, I want to express gratitude to my editor, Joe
close to the heart. Seeds of friendship have been Grande. The layouts illuminate and magnify
sown and have taken root. content and elevate the impact of the articles.
I have to mention my deep friendship with I also would like to thank BCI and the editorial
Jonathan Singer. Jonathan is giant of man who board for the latitude I have enjoyed. Each article “I have had the
towers over most scenes. He is also bigger than has somehow provided the impetus for the next.
life—one minute brash and, perhaps, beyond Potential articles now extend toward the hori- opportunity to write
confident, the next tender. He plays life large, it zon. Writing has been fun, it has been enrich- about wonderful
would be difficult to invent a fictional character ing, it has been its own reward. I am, however,
of his many dimensions and remain credible. He deeply touched and warmly appreciative of re- work in the essays and
is a dear friend—I enjoy the ride. The two books ceiving the BCI Artist, Writer, and Photographer reviews that I have had
of his and his collaborators that I have written Award. Recognition for doing what one loves is
about Fine Bonsai: Art and Nature and Spirit special. Behind this special recognition there is published. Interviewing
Stones: the Ancient Art of the Scholar’s Rock are a very special group of people who share in this to find the story behind
monumental. They provide compelling evidence award. I first pursued bonsai early in the process
of Jonathan’s artistry and have brought me into of recovery from nearly complete paralysis. The the work involves
contact with many others who are involved in his members of the Bonsai Society of Winnipeg not genuine interaction
story. I remember, for example, quite vividly Bill only welcomed me, they held me with kindness
Valavanis’s stories of guiding Jonathan through and generosity. I am truly grateful for their gifts and openness—at
Japan. I also had occasion to listen Kemin Hu of friendship, acceptance, and encouragement. times, intimacy.”
describe her love of stones as entailing a deep There just has to be a story here!”
devotion to family history. Without my writing, —Michael Collins
I would not have had these experiences. I feel McIntyre
privileged and grateful both to have had them
and to share them in print.
Canadian bonsai artist Norm Haddrick

recognized for his many years of
volunteer service
By Joan Greenway, Canada
Through the Japanese Canadian Cultural Centre, the Toronto Japanese

Garden Club President, Arthur Ikeda, nominated Norman to the Ministry of
Citizenship, Immigration and International Trade, and Ontario Honours and
Awards Secretariat, in recognition for 20 continuous years of volunteer services,
and membership to the Toronto Japanese Garden Club.
This was directly related to his bonsai promotional efforts with Toronto Japa-
nese Garden Club and the Toronto Bonsai Society, since he joined in 1969.
On June 18, 2015 at a Volunteer Service Awards Ceremony, Norman was pre-
sented with two certificates, and a 20 year lapel pin, by The Honourable David
Zimmer, Member of Provincial Parliament, who was acting for the Honourable
Michael Chan, the Ontario minister. This event should stimulate others to share
their love of the Art of Bonsai with others.
Norman is also a past member of BCI and has contributed as teacher and
artist to many of BCI activities.

BCI Awards at the 11th Crespi Cup, Italy
The Crespi Cup continues to be one of the premier bonsai
events in Europe, promoting bonsai, suiseki and other Japa-
nese art forms such as origami, the tea ceremony and taiko
drums. Crespi Bonsai is a major bonsai nursery offering all that
a bonsai enthusiasts could want; bonsai trees, tools, containers,
workshops and much more. The nursery houses the Crespi
Bonsai Museum and Garden, founded in 1991, and features
many important trees and ancient pots. This year’s Crespi Cup
offered participants free access to all the technical demonstra-
tions, lectures and shows as well as access to the nursery.
BCI Director Massimo Bandera was in attendance and
awarded the BCI Excellence Award to Lorenzo Agnoletti for his
elegant Black Pine and to Igor Carino
for his evocative viewing stone.
Top left and right; Lorenzo Agnoletti and his

Black Pine, Pinus thunbergii
Middle left; Award-winning viewing stone, Igor
Carino Collection.
Middle right; Luigi Crespi, Igor Carino and
Massimo Bandera
Vacancy Announcement—BCI Business Manager

Bonsai Clubs International (BCI) is searching for a part-time Applicants should send a resume along with a written
contract business manager to handle many day-to-day statement regarding their skills and experiences in writing,
aspects of the operation of this non-profit organization. communications, and knowledge and use of MS Word, and
Additional information on the basic requirements, skills proficiency in MS Excel software.
needed, and the specific duties for this position are available
from BCI Secretary, David De Groot. The successful contract is expected to begin work on
January 1, 2016. The contractor will be paid $450 per month
Please note that the incumbent must live in the United for the first six months of service. If the work is determined
States. This individual serves as an independent contractor to be satisfactory, the monthly contract payment will
to BCI. increase to $500.
To Apply: promoting
Please send your resume and written statement to David international friendship
De Groot, BCI Secretary, at [email protected]. through bonsai

A Year in Malaysian Bonsai
By Wong Wah Hung, Malaysia
Our society, Malaysia Bonsai and Suiseki Society

(MBSS), would like to share with our bonsai brothers
and sisters all over the world the beauty of tropical
plants.
Indeed, A Thing of Beauty is a Joy Forever!
Here are some photos of prize winning bonsai at the
various shows held by our affiliates in the respective
states held this year. Enjoy!

Register for Bonsai in the Garden
Learning Seminars in Michigan
By Pauline Muth, USA
On May 12 to 15, 2016, The American Bonsai

Society (ABS) and the Frederik Meijer Gardens and
Sculpture Park in Grand Rapids, Michigan, show their
commitment to teaching with a weekend of bonsai
knowledge and fun. Come and join your bonsai
friends at this seminar and learn from some of the
most experienced bonsai teachers in North America.
Expert instruction and lectures will be provided
by Ted Matson, James Doyle, Jerry Meislik, Martin
Schmalenberg, Julian Adams, Andrew Smith, Frank
Mihalic, Doug Hawley and David Hodgetts.
There are many classes at all levels offered, from
novice to advanced. Choose from numerous classes
and workshops to select your four classes for the
learning seminar weekend. Admission to these classes
is by pre-registration only. Registration covers the cost
of these four classes/workshops.
Vendor areas, Michigan All State Bonsai Show, New
Talent Contest, ABS Awards, John Naka Design Award
and Ho Yoku Design Award round out the event. For
detailed information and registration forms, visit
www.absbonsai.org.
All India Bonsai Summit Held at Bhopal

By Reva Jain, India
Recently, Bhopal had its first All India Bonsai Anthony de Sa, Chief Secretary of Madhya Pradesh.
Summit from 2nd to 4th October 2015 to celebrate Indian masters and masters from different parts
the Silver Jubilee Year of Bonsai Club Bhopal, and of the globe gave demonstrations and shared their
to mark this journey, 25 trees were planted at Red knowledge to widen the scope of learning. Different art
Cross Society. The exhibition was inaugurated by Shri forms like suiseki, saikei, forest, formal and informal

styles were demonstrated to develop the skills and also Rocknockers of the World Unite at
to learn how to use their knowledge with a different
perspective. Also, under the patronage of Master Budi Annual Symposium
Darmono Sulistyo, the Lake City Bonsai Association
and Bonsai Club Bhopal launched Suiseki Foundation Stonework Symposium 2016 is the 14th annual
with Indian Bonsai Society, Mumbai. It was like a gathering of stonemasons, artists, professionals,
festival celebrating Peace and Prosperity beyond the patrons and enthusiasts hosted by the Stone
borders since 2nd Oct was also the Birth Anniversary Foundation. All are invited to participate in this
of Mahatama Gandhi. event—part conference, part workshop, part family
Major attractions were the Kokedama weighing reunion—dedicated to the Stone Foundation’s
50 kg and Bonsai Haat to bring a common platform mission: To Honor Stone, Stonework, and Stone Art.
from pre bonsai material, ceramics to complete bonsai Stonework Symposium 2016 is a dual venue event,
plants for sale. Apart from this, there was On Spot beginning in San Francisco January 14-17 and
Bonsai Making Competition and the winners among continuing in Gualala, on the Mendocino Coast for
different categories were awarded. Also, to appreciate hands on workshops January 18-28.
the efforts made by the gardeners, gift hampers were The focus of the Program while in San Francisco is
given to them as a token of appreciation. Bonsai lovers the Theory of Stonework in the public realm with an
not only loved plants but also loved to enjoy life at its emphasis on Design & Appreciation. Venues include
fullest. Totally different side of artists came up during the venerable DeYoung Museum and Scottish Rite
their Cruise trip, visit to Sanchi and also they there Temple. Attendees will then travel north on California’s
filled with joy when they saw the different folk dances Highway 1 to Gualala where the program focuses on
of Central India. In the end, the club has been awarded the Practical Application of Techniques, new and old,
with the Best Exhibited Bonsai by Bonsai Study Group with an emphasis on Building & Community.
on Indo-Japanese Association, Mumbai. Experience, enjoy and learn from interesting and
There were around 12 States that attended our informative presentations and demonstrations, tours,
summit and they were namely: Madhya Pradesh, workshops, informal discourse, communal dining,
Chhattisgarh, Karnataka, Tamil Nadu, Orrisa, competitive games, and camaraderie. This event is
Andhra Pradesh, West Bengal, Uttar Pradesh, Gujarat, cosponsored by the Stone Foundation and Gualala
Maharashtra, Assam and Rajasthan. Arts Center. More information can be found at www.
stonefoundation.org and www.gualalaarts.org.

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MARCH 17-20, 2016
2016 Philippines-BCI Regional
Convention And Exhibition
Ayala Triangle Gardens, Ayala Avenue cor Paseo de Roxas Makati City, Philippines
INTERNATIONAL BONSAI
& STONE HEADLINERS:
Dr. Tom Elias (USA)
Peter Huang (China)
Min Hsuan Lo (Taiwan)
Shinichi Nakajima (Japan)
Xu Wen Ren (Taiwan)
William Valavanis (USA)
Ricky Wu (Hong Kong & China)
Other Highlights:
• Special display with competition
of over 350 Philippine Bonsai & Suiseki
• Bonsai Lectures & Demonstrations
Organizer: Philippine Bonsai Society, Inc.
The Natural Stone Society of the Philippines by international bonsai masters and
Secretariat: FMSG Building 9 Balete Drive corner seasoned Filipino bonsai artists
3rd street, New Manila, Quezon City, Philippines 1112 • Interactive Bonsai Workshop
Telephone: (63) 2 571-7818
Email: [email protected] (Simultaneous Hands-on workshop of
Website: www.philippinebonsaisociety.org Philippine trees guided by International
bonsai masters.)
• Philippine Fiesta Bazaar
• Also featuring Philippine Handicrafts
and Souvenir items
BCI 2015 PHOTO Order Now
ALBUM NOW for Pre-
Publication
AVAILABLE Discounts
Reserve your copy now!

Bonsai & Viewing Stones from BCI Members’ Collections
Hard cover, 200 pages, full color,
250 mm x 247 mm/9.84 x 9.72 inches
dust jacket and case, limited edition.
Pre-publication cost: $50.00
Anticipated Publishing Date:
January 2016
BCI is honored to showcase our

members’ best trees and stones. The
finalists from our biennial photographic
contest, 120 trees and 60 stones, will
be presented in a keepsake photo album,
representing trees and stones from nineteen countries.
Spread the word in your local club, help us promote
the treasures in the BCI world and promote international
friendships.
• Pre-publication cost: $50.00
• Anticipated Publication Date, January 2016 Order Form is
• Single copy: Full retail price plus shipping available on the
• Participants in contest who order 2 or 3 copies: 20% discount BCI Website/Home Page/
plus shipping to same address Photo Contest: Best of BCI 2015
• Drop shipments of 100 copies or more at the time of printing:
30% discount plus shipping to same address For personalized service and pre-publication
• BCI Clubs who orders 6 or more copies at one time: 20% dis- discount information, send an email to
count plus shipping to same address [email protected], or phone 440-871-4797.
• Wholesale (for resale by legitimate businesses): 50% discount
on orders of 6 or more copies per order
promoting
Below; A limited number of prints selected from the finalists of viewing stones and bonsai trees through bonsai
from all over the world were debuted at the grand BCI Convention in Guangzhou, China in 2015.

Bci 2015 Q4

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Bonsai

2015 Bonsai Clubs International

A Ying stone from Guangzhou, China,

You now have more options. NEW!

For more information

Joshua Roth — where

October/November/December 2015 | BCI | 1

Message from the Editor MISSION STATEMENT

2 | BCI | October/November/December 2015

October/November/December 2015 | BCI | 3

Top; Sun Yat-Sen Memorial Hall

4 | BCI | October/November/December 2015

October/November/December 2015 | BCI | 5

Bottom five photographs;

6 | BCI | October/November/December 2015

October/November/December 2015 | BCI | 7

8 | BCI | October/November/December 2015

Bottom four photographs;

October/November/December 2015 | BCI | 9

The Chinese Society of Landscape Architecture and

10 | BCI | October/November/December 2015

The first day brought the group to Panyu Chu Kong

October/November/December 2015 | BCI | 11

12 | BCI | October/November/December 2015

Ying stones. This stop did not disappoint us. We saw

October/November/December 2015 | BCI | 13

14 | BCI | October/November/December 2015

(Read Lindsay Bebb’s article on this interesting

October/November/December 2015 | BCI | 15

16 | BCI | October/November/December 2015

A Judge’s Point of View

24 | BCI | October/November/December 2015

October/November/December 2015 | BCI | 25

26 | BCI | October/November/December 2015

BCI VIP Tour to Inner

Mongolia and Ningxia

By Anthony and Malou V. Gedang, Philippines

Domo Stone Culture

October/November/December 2015 | BCI | 27

28 | BCI | October/November/December 2015

We are back home now,

October/November/December 2015 | BCI | 29

30 | BCI | October/November/December 2015

October/November/December 2015 | BCI | 31

32 | BCI | October/November/December 2015

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34 | BCI | October/November/December 2015

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36 | BCI | October/November/December 2015

Top; Sam Edge, USA. Country

October/November/December 2015 | BCI | 37

38 | BCI | October/November/December 2015

October/November/December 2015 | BCI | 39

Bucida spinosa is a shrub originating from tropical areas of the

40 | BCI | October/November/December 2015

Top right is the shape of the tree after cutting. It was

After arriving home I changed the pot to a larger, flat

It was very important to let the plant to grow without

Luckily there was a new growth on the lower part, very

October/November/December 2015 | BCI | 41

Some wiring was applied,

The plant grew vigorously in my garden. The high hu-

Below, December 2011.