by Fred Aufschl

The Concept of Bonsai as Art While it is not the intent here to attempt to explain the full history and philosophy of the art of bonsai, it is likely that without some background this paper on bonsai containers may be intellectually unsatisfactory. An essay by the much respected Japanese bonsai master, Kyuzo Murata, differentiates between bonsai and Hachiuye, or potted plant:

“Bonsai is a living plant transferred to a pot or tray or rock or stone so that it can continue to live semi-permanently. It has not only a natural beauty of the particular plant but the appearance reminds people of something other than the plant itself. It could be a scene, a forest or part of a forest, a lone tree in the field, a seascape, a lake, a river, or a stream or a pond. It is also possible that a certain appearance reminds a person of the wind blowing through the branches.

In Japan, the meaning of bonsai is to create a natural scene on a tray, using plants as the main materials. When you take a Hachiuye, or potted plant, you can only see “prettiness of the plant or fiower”. It does not remind you of anything else...

Bonsai should not be a mere sketch of a scene, or a three dimensional exhibit from a photograph of a scene.

It is perfectly all right to use nature as the subject, but the goal should be a sketch which has been re. ned and trimmed in your mind before you start creating. Only then can you call it art...

Bonsai is a strange art wherein one can produce a feeling of the reality of nature by manipulation, over a long period of time, of trees, stones, rocks, trays or pots. And every bonsai is original. It goes on for ever and ever.”¹

As will be described later, it is important to note that the bonsai container, be it ceramic or stone is an integral part of bonsai. The tree cannot be called bonsai by itself. Nor can the container alone be bonsai.

The History of Bonsai

The precise origins of bonsai are unknown but it is very probable that ancient cultures in Egypt, India, Assyria, Greece, Rome, and notably, China, as long ago as 3000 B.C., practiced potted plant culture for food and medicinal purposes.² Other ideas regarding bonsai development propose that it was an extension of the garden planning practiced in the Hsia, Shang and Chou Dynasties (2205 -255 B.C.), and/or the rock landscapes in containers developed in the Tang (618 -907) and Sung (960 -1280) Dynasties.³

The names used to describe the culture of miniature trees and landscapes in the various Chinese dynasties has undergone many changes, and are the roots of the modern practices of pen jing (China), bun je (Korea) and bonsai (Japan) container culture. Undoubtedly, these containers were transported to Japan from China by way of Korea by Buddhist monks, merchants, ministers and students. The same written Characters in all three cultures refer to a tree or trees planted in a pot.⁴ The earliest documentation of artistic art trees was 1195 in Japan, and of artistic pot plants in China in 1280. (see Appendix A). The art form has developed inexorably to the current Chinese linguan (or clip and grow) method of training pen jing, and the Japanese method incorporating the philosophical principles of sabi and wabi.⁵ While this paper primarily is concerned with bonsai, it is evident from the literature that the development of the ceramic bonsai pot has paralleled and been an integral part of the development of ceramics in general. ⁶

The Tradition of the Bonsai Container

As indicated above, the Japanese term “bonsai” means literally “pot” (bon) and “living tree” (sai), or “tree in a pot”. Thus by de. nition, the container, whatever its form or composition, absolutely is necessary to complete the bonsai whole. In modern bonsai, and in pen jing as well, the container or pot is almost always ceramic. The few exceptions are when certain bonsai styles call for use of stone slabs or trees clinging to rocks.

Unlike most ceramic containers, designed to create an “internal space”⁷, the ceramic pot is rather designed to clasp its partner, the tree. The pot is always secondary to the tree, the former selected to complement and enhance the latter. The relationship is likened to that of a frame to a painting or clothing to people.^8,9 In bonsai, however, the relationship is much more symbiotic, as “the pot for the tree is naturally an integral part of a bonsai...¹⁰ The choice of container...is very much an aesthetic matter, inevitably governed to a large extent by taste and fashion.”¹¹

According to Stowell:

So what we have with bonsai pots is the possibility of great variation in shape, size and color, all the while complementing similar variations of bonsai trees. But unlike ceramic art in general where the medium is the artist’s only limitation of expression, the bonsai potter’s expressiveness is limited somewhat by the traditions of bonsai art. A sampling of these traditions follows (See Appendices B-F for detailed descriptions):

1. Colors acceptable for the majority of trees are brown, gray or terra cotta.¹³
2. Dull unglazed pots in subdued colors are best for most evergreens, but always may be used for deciduous bonsai.^14,15
3. Glazed pots are used mostly for deciduous or . owering trees, the color dependent upon the color of leaves, fruits, fiowers, berries, seed pods, etc.^16,17 Glazes may be whitish beige, chestnut, willow green, cobalt blue or even black,¹⁸ but there is great leeway here for the bonsai potter. Containers with bright glazes will complement brightly colored trees, while smoothness or roughness of bark point toward a corresponding pot surface.¹⁹

Tomlinson Writes:

• poured - least expensive
• press molded and thrown - medium to high priced
• hand formed- high priced
• antique- most expensive and dif. cult to identify. May be of Chinese, Korean or Japanese origin. 23 (See Appendix G)

It is worthwhile to mention here that there is a budding movement among some U.S. and European bonsai potters to open up the traditional concepts mentioned above. To the traditional observer these pots, if not the entire bonsai created with them, can seem truly bizarre and uninviting. Some, however,seem to have a creative spark worthy of further exploration (See Appendix H).

Practical Considerations

Because bonsai containers, whatever their composition, must be able to support the living tree within, some critical practical considerations must be taken into account by the bonsai artist, and, by inference, the ceramic artist who makes the pot. The following recommendations are taken from an excellent article on bonsai pots selection by Banting:²⁴

1. The pot must have at least one drainage hole, usually more.
2. The pot should have at least three feet, providing for drainage, air circulation and stability. Footed pots are preferred over arched cuts in the base.
3. There should be minimum warpage of the clay body, although some warpage is desirable for uniqueness or for complementing a particular tree.
4. The bottom of the pot should be level without raised dams around the drainage holes, so as to facilitate rapid drainage and prevent water from accumulating in the pot.
5. The pot should be made of stoneware because of its durability. Earthenware is susceptible to breakage by spalling due to ice in the clay body, and porcelain is too fragile and usually too ornate.
6. The pot should not have a chipped or cracked clay body so as to avoid distraction from the tree and the destruction of the roots of the tree growing into the cracks.
7. If the pot is glazed, it should be only on the outside and just inside and below the rim, not down the inside of the pot or the bottom of the pot. This provides porosity for water retention and some air circulation.
8. The thickness of the walls of the pot should be in proportion to the overall dimensions of the pot.

In summary, there is much to consider by the artist who is creating a bonsai container. This esoteric branch of ceramic art has deep roots in ancient cultures as does the ceramic vessel in general. However, in addition to deep roots, the total bonsai, tree and pot, is enveloped in the two fundamental Chinese and Japanese zen concepts of art - sabi and wabi. The potter who would pursue the creation of bonsai containers would do well by becoming familiar with these concepts and their characteristics.25 Once ingrained in the potter, these concepts, when applied and recognized in the completed bonsai pot, undoubtedly will add a signi. cantly enhanced appreciation of the bonsai. Successfully accomplished, the pot will communicate to the viewer in its own right, but never at the expense of the tree.

REFERENCES

1. Murata, Kyuzo, article written for Brooklyn Botanical Garden, New York, reproduced in Giorgi, Gianfranco, Simon and Schuster’s Guide to Bonsai (New York: Fireside, 1997), pp. 15-17.
2. Koreshoff, Deborah R., Bonsai, its art, science, history and philosophy (Brisbane, Australia: Boolarong Publications 1984), pp.1-4.
3. Koreshoff, pp. 1- 4. ; 4. Choi, Stephen, from lecture notes in course entitled Introduction to Bonsai, Anne Arundel community college, Arnold, MD, September, 1989.
4. Giorgi, pp. 12-13.
5. Koreshoff, pp. 40-2. 7. Illian, Clary, A Potter’s Workshop (Iowa City: Univ.of Iowa Press, 1999), pp. 8, 13.
6. Hull, George, Bonsai for Americans (Garden City, New York: Doubleday & Company, Inc.,1964), pp. 92-3.
7. Chan, Peter, Bonsai The Art of Growing and Keeping Miniature Trees (Edison, New Jersey: Chartwell Books, 1985), pp. 121,155.
8. Chan, Bonsai, p. 121.
9. Chan, Bonsai, p. 155.
10. Stowell, Jerald P., The Beginner’s Guide to American Bonsai (New York: Harper & Row, Publishers, Inc., 1978), p. 30.
11. Naka, John, Bonsai Techniques I (Los Angeles: Bonsai Institute of California, 1987) pp. 82-5
12. Naka, pp. 82-5. 15. Banting, Donna, “Selecting Bonsai Containers”, article written for New Orleans Bonsai Society, 1983, reproduced in Potomac Bonsai Association Clippings, 29.1, Feb/Mar 1999.
13. Naka, pp.82-5. 17. Owen, Gordon, Bonsai Identi. er (London: Quantum Books Ltd,1990),p 14
14. Samson, Isabelle and Rémy, The Creative Art of Bonsai (London: Ward Lock Ltd, 1986), pp. 25-4
15. Gustafson, Herb L., The Bonsai Workshop (New York: Sterling Publishing Co., Inc.; 1994), p. 89
16. Tomlinson, Harry, The Complete Book of Bonsai (New York: Abbeville Press Publishers, 1990), p. 52.
17. Naka, pp., 82-5.
18. Samson, pp. 23-4.
19. Tacktill, Phil, “Guide to Ceramic Bonsai containers”,in Potomac Bonsai Association Clippings, 29.1, Feb/Mar 1999.
20. Banting.
21. Chan, Peter, Bonsai Masterclass (New York: Sterling Publishing co.,Inc., 1995), pp. 12-17