Commune with Sensei Sam

by Steve Pilacik

Steve Pilacik is a monthly contributor to the Potomac Bonsai Association Newsletter with his column Commune with Sensei Sam. I thought this short article was interesting when Steve says that he purchased several books written in Japanese even though his Japanese was very, very minimal. He purchased the books because of the sketches that the Japanese books contain, and from these sketches, he could learn better styling techniques. Perhaps we can all learn from sketches. Do you sketch out how you think the tree you are styling will look? Just something to consider– ED

Understanding Bonsai Material

Each one of us has very personal taste as to what we like in our bonsai material. Some people like that very strong collected juniper, some the graceful form of a Japanese maple, some a cascading pine, others that beautiful flowering or fruiting tree. That is one of the wonderful things about our art form, the INDIVIDUALITY!

When people keep learning and understanding the essence of Bonsai, their trees get better. One of the things I really enjoy as a teacher is seeing a student grow. Their trees move away from being mechanical sticks into things of beauty. As a student masters the techniques that are used, wiring, line, branch placement, choosing the container, their trees take on that new beauty. Now when we see those trees, suddenly we see an artist who is mastering his or her ART. I believe that is why we always look for that certain tree in a show or in a show book. Where has that artist taken the tree now? Since trees are living, they change. The artist is aware of that change and uses it to the tree’s advantage, always showing the tree in its best form.

The advantage the Japanese have over other countries is that they have been refining their trees for a long time. Most people in the world do not have that advantage. We do have the advantage of studying the trees. We do this with the journals and show books that the Japanese have to offer.

Many years ago I was very fortunate to find that there were “how to” books written by the Japanese. I went out on a limb and purchased many of these books. The titles were varied: Japanese White and Black Pine, Juniper, Azalea, Spruce, Flowering and Fruiting, Japanese Maple, Elm, Trident Maple. Many people did not understand why I would want a book that I could not read. The truth was my knowledge of the Japanese language was very, very minimal. HOWEVER, every one of these books had the most beautiful educational sketches you would ever want to see. Always, there was a number by the tree to indicate the month to perform the illustrated technique. Of course, you must make an adjustment for your climate, but you see what was done to that tree and when. Whether it be pruning, wiring, repotting, you can follow along. This initial learning period for me set in my mind the importance of understanding my material. I do not dare to think that I will ever master all the trees I use in bonsai; but I can get a better understanding of them, whether I visit a master grower, ask someone who grows that tree, or read a book. Recently I have ordered a relatively new set of Japanese books on Shohin Bonsai. Again I still cannot read Japanese, but the sketches are there. These books also are in volumes based on plant material. Hopefully I will understand more about the subject material.

I also believe that we must not limit ourselves to material used in Japan. We have many exciting plants in this country, just as the Europeans, South Americans, and people around the world have great materials. My challenge to all in the Bonsai world is to study and understand the material better.

World-class trees are not accidents. They occur because people have the artistic and horticultural skills needed to improve the trees. I think we focus so much on our techniques, we tend to forget that ever-important horticultural aspect. I always remember that bonsai is the only LIVING art form. And what better way to insure their lives than by understanding how they grow.