page contents The little bonsai : November 2018

Growing and Caring for Bonsai Trees

Growing and Caring for Bonsai Trees

Lighting for Indoor Bonsai and House Plants

Indoor Bonsai on display during a cold winter day exposed to sunlight


Trees and plants have something in common, the location of your indoors and outdoors is crucial for it's survival and health in general. Both love bright spots but having said that it's just scratching on the tip of the iceberg. We can ask ourselves, why do certain trees reach centuries of lifespan and look healthy and thriving whereas others don't? Although the success of growing a Bonsai is not all about location, it's certainly an important aspect. An additional factor plays the species of your Bonsai, especially if it originates from a subtropical climate or otherwise. A tree in India might thrive better than equally in Europe or America and vice versa. 

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Different strokes for different folks, this rule of thumb applies not only to humans but also to plants and trees in general. Deciding on what is the best location to place your Bonsai tree can be hard, as several factors (local climate, time of year, tree species, etc.) should be taken into consideration. The best is to know what species of tree you have and to look for specific information about it.

Most outdoor trees are best placed on a bright spot, about half the day in direct sunlight, and protected from the wind. Indoor trees are best placed in a bright position as well; usually right in front of a window facing the South. Place indoor trees somewhere with a constant temperature. (See picture above) A typical indoor Bonsai can be a Ficus, Carmona or Chinese Elm whereas a typical outdoor Bonsai is a Juniper, Pine or Maple. 





Suitable amounts of light is critical for the survival and health of a plant. Low levels of light make a plant weak and susceptible to all kinds of pests and disease. Giving your plant the right 'strength' and 'colour' of light could make the difference between a vibrant or struggling bonsai... The first thing we have to do is identify the quantity of light that you’re looking at in the area that you’re going to put your bonsai. You use a little light meter for that. The light meter generally has a lux which tells you the density or intensity of light. On a good bright day, you could have around 100,000 lux outside in the bright parts of the world. In the tropical parts, maybe 6000K and on a cloudy day, it can go down to 4000 lux. On dark days, it can get even less. Indoors, the light levels vary quite significantly. The human eye can read at 198 lux, but even the plants that live in the undergrowth in the Amazon forest require at least 400 lux to survive. 

Ficus’ and other indoor plants can generally manage at that kind of light level. Bonsais, on the other hand, generally need a lot more light. 3500 – 4000 lux is a good reading to have. You need to then choose appropriate lighting for the area that you’re going to have. Sometimes you can have light that creates heat. HID – High Intensity Discharge lighting. Then there is metal halide lighting (MH) and there’s also HPS or High Pressure lighting. They use a lot of electricity for one but they also generate a lot of heat, and the other thing about this kind of light is that it’s a general spectrum, so it goes across the entire spectrum of light.




Most of the light, or 20% of the light is used by the plant. Using fluorescent light, which is the other type of light is more accurate and fluorescent lights are colour corrected. You can get very precise lighting for the plant depending on what your plant is doing, whether you want it to grow leaves and be used between 500K and 6000K. It is a blue light and then you have for flowering, you would use 2000 to 2700K which is on the red spectrum. There is a new mention in the plant light area, made from LEDS - light emitting diodes. They generally come in panels or in strips. They can be used right over the plant and sometimes, if it’s a long strip, can even put it within the plant to light up the area. It’s not advisable to run the light 24 hours a day because trees need to rest. Trees need to be dormant in the night. When you can feel the heat and light outside, that’s the best time to have your additional lighting or support lighting for the trees.




The Four Basic Things to Keep in Mind


  • How to position your Bonsai
  • Watering your Bonsai
  • Pruning and Shaping your Bonsai
  • Re-potting your Bonsai


Over watering or under-watering your Bonsai is the no. 1 Killer

Micro Automatic Drip Irrigation Kit Self Watering SystemThese factors play a crucial role in keeping your Bonsai healthy and stimulate growth. The positioning is crucial, as your bonsai should be kept away from direct heat or draft. The lighting is ideally in an area with plenty of sunlight. In addition, Bonsai's need humidity in order to keep their soil moist. Please always remember that the path to Bonsai longevity depends on your PATIENCE and dedication.

The number one cause of most bonsai tree deaths is under-watering. Because the soil layer is so shallow, it is prone to drying out very quickly. Bonsai trees should be watered right when the top layer of soil appears dry. Depending on the type and size of your tree, as well as the type of soil you use, the frequency of watering can differ and can even be once a day. Therefore, it’s best to water each of your bonsai plants individually, instead of sticking to a routine.

When watering your bonsai tree, the main goal is to fully saturate the root system with water. To ensure proper saturation, keep watering until water escapes through the draining holes. To allow for proper draining, many bonsai trees come with a tray to collect excess water.

Over watering can also be detrimental for your bonsai tree. Symptoms of an over watered bonsai include: yellowing of leaves and the shriveling of smaller branches. If a bonsai is over watered, its roots are drowning in water and are deprived of oxygen which prevents further growth to support the tree. Over watering can also result from poor-draining soil. Although sporadic watering may seem an easy task, well it is not. An automated water drop irrigation system helps to water your bonsai sporadically. 

To ensure that you are watering your bonsai properly, you’ll need to assess your bonsai tree daily. The rule of thumb is to water as soon as the soil appears dry.





Pruning is essential for keeping bonsai trees small and for maintaining their compact shape

There are two main types of pruning: maintenance pruning and structural pruning.

Maintenance pruning strengthens the tree by encouraging new growth. By cutting away young shoots and leaves it exposes the leaves underneath to air and sunlight which further strengthens the tree and benefits its overall health.

Areas that require maintenance pruning include the branches, buds, and leaves. Pruning away branches encourages the growth of smaller branches and allows you to control the shape of your tree. Pruning buds away from branches produces a more compact leaf growth which encourages the growth of smaller leaves.

Typically, you should prune your bonsai tree when you see new growth that’s starting to morph the shape of your tree in an undesirable manner. For flowering bonsai's, pruning should take place during the spring to encourage more flowers to grow the following year.

Structural pruning is a more advanced technique that should only be done when the tree is dormant. It involves the removal of the tree’s primary structural branches and requires the skills of a professional to ensure that the tree can recover.

Another way to properly shape your bonsai tree is to wire its branches. You can control the shape and growth pattern of certain branches by wrapping a thin wire around them. Wiring is best done during winter when the leaves of the bonsai tree have fallen off. Be sure to keep an eye on the branch’s growth and remove the wire when necessary. If the branch grows too fast, it can grow into the wire and cause scarring.


TO THE STORE
The secret techniques of Bonsai -  A guide to starting, raising and shaping bonsai by Masakuni Kawasumi II



Interesting Books on Bonsai can be found here:

The Complete Book of Bonsai --> I've been into bonsai for 25 years and this is the basic Bible for beginner and intermediate bonsai enthusiasts. It has an excellent section on techniques, including pruning, wiring and whatnot, and it has a large species-specific tree guide. If you're into bonsai and want only one book, this is it.

Indoor Bonsai The Great Selection --> Creating beautiful, healthy bonsai is a wonderful skill that anyone can learn, with a little time, patience, and this all-inclusive manual. With color photos and drawings to illustrate the points, it introduces all the cultivation techniques; offers expert advice on location, soil types, watering, and pest control; and provides intricate instruction on training the bonsai--including pruning, wiring and stretching it.

The Secret Techniques of Bonsai --> In The Secret Techniques of Bonsai, the author of the groundbreaking Bonsai With American Trees teams up with his son to offer not only the basics for creating perfect bonsai, but also secret techniques they’ve developed over years of careful work and observation.

Bonsai Survival Manual --> Problem solving when your Bonsai get sick. Expand your gardening repertoire as you create a captivating and exquisite miniature world. In this introductory guide, Colin Lewis covers everything you need to know to design, grow, and successfully maintain attractive bonsai.

Bonsai and the art of Penjing --> Bonsai & Penjing, Ambassadors of Beauty and Peace describes how Chinese penjing and North American bonsai were later added to the Museum, making its collection the most comprehensive in the world. Stories of individual trees and forest plantings are featured, as are the roles played by the skilled and talented creators of these living art forms people such as John Naka, Saburo Kato, Yuji Yoshimura, Harry Hirao, and Dr. Yee-Sun Wu.

Bonsai with Japanese Maples --> With their delicate foliage, seasonal color changes, and intricate pattern of branching, Japanese maples are among the most popular and suitable plants for bonsai design. In this long-awaited book, internationally renowned expert Peter Adams discusses both the specific horticultural needs of Japanese maples as bonsai subjects and illustrates proven techniques for creating and maintaining beautiful specimens.

The Modern Bonsai Practice --> The most current, useful information on growing Bonsai. Fresh, practical, definitive, comprehensive reference guide to the finest art of horticulture: growing miniature trees. Common sense bonsai answers separating myth from fact with depth and detail. Appropriate for both bonsai hobbyists and experienced practitioners.


More Bonsai articles can be found here:

Please click here for more information on --> Chinese Penjing Bonsai
Please click here for more information on --> The Origins of Bonsai
Please click here for more information on --> The Art of Saikei Bonsai
Please click here for more information on --> Japanese Tanuki Bonsai
Please click here for more information on --> How to Water a Bonsai
Please click here for more information on --> Bonsai Healing Methods
Please click here for more information on --> Bonsai Books Review


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The Art of Ikebana 生け花



The art of Ikebana has been forgotten in recent years. Ikebana is simply magic, the art itself is a distinctive attraction that many people around the world admire. The good news is that Ikebana is making a comeback for future generations. In ikebana, the Japanese art of flower arranging, blossoms, branches, leaves, and stems find new life as materials for art making.

In contrast to the Western habits of casually placing flowers in a vase, ikebana aims to bring out the inner qualities of flowers and other live materials and express emotion. Ikebana can be practiced by both amateurs and professionals, both of whom are able to achieve elegant results. However, like many other art forms, mastering the basics is fundamental to any practice, and only then can a person begin to experiment. If you are interested in the Japanese marketplace, ZenPlus offers Japanese craftsmanship and represents unparalleled craftsmanship.



Guided by precision, a core value of Japanese culture, beginners are taught basic technical skills like how to properly cut branches and flowers, how to measure angles in space for the correct placement of branches and stems, and how to preserve live materials along with the etiquette of maintaining a clean work station.

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Beginners are also taught how to sensitize their eyes to the materials, to be able to bring out their inner qualities, and understand how this changes with each arrangement. Beginner arrangements done in the Nageire and Moribana styles often make use of two tall branches and a small bundle of flowers. These pieces follow the three-stem system of shin, soe, and hikae elements that have traditionally represented heaven, man, and Earth, respectively. Now, on a practical level, they refer to the main stems that are employed. All other stems are called jushi, meaning supporting or subordinate stem.



How does Ikebana look like?

Ikebana arrangements are not unlike sculptures. Considerations of color, line, form, and function guide the construction of a work. The resulting forms are varied and unexpected and can range widely in terms of size and composition, from a piece made from a single flower to one that incorporates several different flowers, branches, and other natural objects.

In Japanese culture, most native flowers, plants, and trees are embedded with symbolic meaning and are associated with certain seasons, so in traditional ikebana, both symbolism and seasonality have always been prioritized in developing arrangements. Some of the most common elements used are bamboo grass year-round; pine and Japanese plum branches around the new year; peach branches for Girls Days in March; narcissus and Japanese iris in the spring; cow lily in summer; and chrysanthemum in autumn. Modern ikebana practices call for the same sensitivity to seasons, as well as to the environment in which an arrangement is being made.

Sometimes, practitioners of ikebana, or ikebanaists, trim flowers and branches into unrecognizable shapes, or they may even paint the leaves of an element. Plant limbs may be arranged to sprout into space in various directions, but in the end, the whole work must be balanced and contained. At times, arrangements are mounted in a vase, though this is not always the case.

In ikebana, it is not enough to have beautiful materials if the materials are not artfully employed to create something even more beautiful. Given a skilled maker, one carefully placed flower can be just as powerful as an elaborate arrangement.



Ikebana Shōka arrangement Floor Pillow


The Styles


Patterns and styles evolved, and by the late 15th century arrangements were common enough to be appreciated by ordinary people and not only by the imperial family and its retainers.

Ikebana in the beginning was very simple, constructed from only a very few stems of flowers and evergreen branches. This first form of ikebana is called kuge (供華).


Styles of ikebana changed in the late 15th century and transformed into an art form with fixed instructions. Books were written about it, "Sedensho" being the oldest one, covering the years 1443 to 1536. Ikebana became a major part of traditional festivals, and exhibitions were occasionally held.

The first styles were characterized by a tall, upright central stem accompanied by two shorter stems. During the Momoyama period, 1560–1600, splendid castles were constructed. Noblemen and royal retainers made large decorative rikka floral arrangements that were considered appropriate decorations for castles.

The Rikka (standing flowers) style was developed as a Buddhist expression of the beauty of landscapes in nature. Key to this style are nine branches that represent elements of nature. One of rikka arrangement styles is called suna-no-mono (砂の物; sand arrangement).

When the tea ceremony emerged, another style was introduced for tea ceremony rooms called chabana. This style is the opposite of the Momoyama style and emphasizes rustic simplicity. Chabana is not considered a style of ikebana but is separate. The simplicity of chabana in turn helped create the nageirebana or "thrown-in" style.

Nageirebana ("thrown-in flowers") is a non-structured design that led to the development of the seika or shoka style. It is characterized by a tight bundle of stems that form a triangular three-branched asymmetrical arrangement that was considered classic. It is also known by the short form nageire.

The Shōka ("pure flowers") style consists of only three main parts, known in some schools as ten (heaven), chi (earth), and jin (human). It is a simple style that is designed to show the beauty and uniqueness of the plant itself. Formalization of the nageire style for use in the Japanese alcove resulted in the formal shoka style.

In Moribana ("piled-up flowers"), flowers are arranged in a shallow vase or suiban, compote vessel, or basket, and secured on a kenzan or pointed needle holders, also known as metal frogs.

Jiyūka ("free flowers") is a free creative design. It is not confined to flowers; every material can be used. In the 20th century, with the advent of modernism, the three schools of ikebana partially gave way to what is commonly known in Japan as "Free Style". 
(Source of information: Wikipedia.org)



The Humble Beginnings of Ikebana 

The roots of ikebana in Japan are believed to trace back to either the ceremonial practices of the native Shinto religion or to a tradition of making floral offerings in Buddhism, which was imported from China in the 6th century.

The first known written text on ikebana, called Sendensho, was penned in the 15th century. In it, readers find a thorough set of instructions on how to create arrangements that are appropriate to certain seasons and occasions; its directives make clear that the practice of ikebana embodies the evolved appreciation and sensitivity to nature that Japanese culture is known for more broadly.

Around the same time, ikebana started to become a secular activity. The design of the Japanese home during this period reflects this transition: new homes were almost always built with a special recess called the tokonoma, which would contain a scroll, a precious art object, and a flower arrangement.

Amidst the muted colors and flat planes of the traditional Japanese home, the tokonoma stood out as the singular place for color and decoration, and deep consideration was given to the objects placed there. In keeping with the Japanese culture’s reverence for impermanence, tokonoma displays were rotated regularly, with the changing seasons and during festive occasions. Arranging flowers in this context paved the way for ikebana and its recognition as a distinct art form.


The Traditional Schools 

Ikebana Pin
Ikebana Flower Arrangement Pins
In the 15th century, with the sudden ubiquity of the tokonoma and teachings of the Sendensho, ikebana practices began to flourish. First came the rise of the Ikenobo School, whose name refers to a long line of priests in Kyoto who followed the Buddhist tradition of presenting floral offerings in the temple. During this time, Ikenobo Senkei gained fame for his skillful floral compositions; today, he is considered the first master of ikebana.

The secular style that Senkei practiced became known as Rikka, which means “standing flowers.” This type of ikebana is made with seven core elements (or sometimes nine), which are a mix of tree branches and two or three flowers—pine, chrysanthemum, irises, and boxwood are commonly used. These elements are combined, traditionally in an ornate Chinese vase, to create bursting, triangular shapes, with tall elements at the center and shorter ones shooting outwards. To be able to make the main elements stand upright without support requires a high level of technical skill. Rikka compositions are considered the most grand, but also the most rigid (even by today’s standards). They were originally intended for temples and later found in royal palaces and the stately homes of the rich.

At the same time, a more modest approach to flower arrangement was also gaining popularity as an extension of Zen Buddhism and the Wabi-Sabi and Tea Ceremony aesthetics that grew from its core tenets. Japan’s most famous tea master, Sen no Rikyū, introduced an appreciation for imperfect, modest aesthetics in his tea ceremonies, which included the use of flowers. Rather than constructing over-the-top Rikka-style arrangements, Rikyū preferred minimalist, single-stem arrangements, like one morning glory placed in a simple vase made by a local artisan. These ceremonies led to the formation of the second major style ikebana, which came to be known as Nageire, meaning “thrown in.”

In its early form, Nageire was free of the rules and formality that governed the Rikka style. As the antithesis to Rikka, flowers in Nageire arrangements were not designed to stand upright on their own and were instead placed in tall vases that supported the stems of the flowers.

Rikka and Nageire represent two opposing viewpoints. Rikka, though technically a secular style, concerns itself with the the cosmos, harking back to its Buddhist origins. In contrast, Nageire’s more organic approach focuses more directly on connections with nature.


The Transition to Modern Schools

Due to over 200 years of political isolation in Japan, there were no further innovations in ikebana until 1868, when the country reopened to foreign exchange. People were quick to embrace Western customs, and in the world of ikebana, this catalyzed a series of radical changes.

In 1912, the first modern school of ikebana, the Ohara School, was established. Its founder, Unshin Ohara, helped the art form evolve by introducing the Moribana style, and through it, implementing two major changes: the incorporation of Western flowers, and the use of a shallow, circular container to make flowers stand upright, with the help of the kenzan.

The flexibility and variation that the Moribana style allows for has made it a favorite and a staple in almost every ikebana school today. At the core of Moribana is a three-stem system, whereby three flowers are almost always fixed to create a triangle. Compositions that do not follow this triangle system are known as freestyle. Freestyle is also used to describe more creative and original approaches to ikebana, where the maker uses their knowledge of form, color, and line from previous practice to develop new arrangements that don’t necessarily adhere to traditions.

Changes continued with the creation of the Sogetsu School in 1927. Its founder, Sofu Teshigahara (whose father was also an ikebana master), is credited with elevating ikebana from a technical practice to an art at the level of sculpture, which is how it is has been viewed ever since.

Teshigahara’s approach called for greater freedom and the use of other live materials. For him, the forgotten parts of nature—like dirt, rocks, and moss—were just as ripe with expressive potential as flowers. He heartily believed that excellent ikebana is not divorced from the life and times of its creator, and that a flower is an irreplaceable, expressive tool that reveals the soul. With these innovations, the Rikka style began to fade. At present, Ikenobo, Ohara, and Sogetsu are the most popular styles, with around 400 of these schools operating today.


Japanese Snacks

Ikebana Today


In the mid-20th century, the internationalization of ikebana was spurred by the efforts of Ellen Gordon Allen, an American who studied ikebana while living in Japan. She saw ikebana as a means of uniting people from around the world. Beginning in 1956, Allen worked with the major ikebana schools to found a nonprofit organization called Ikebana International, which would propel a diplomatic mission: “friends through flowers.”

In the decades since, chapters for all the major schools have sprouted up on a global scale. In recent years, the practice has inspired contemporary artists like Camille Henrot and a wide swath of floral artists, who use the tenets of ikebana to develop new, original creations.

Anyone who practices ikebana today knows well that building relationships is at the core of the practice—relationships between materials, between students, and between teachers and their pupils.
In Japan today, the word kado, meaning “way of flowers,” is the preferred term for ikebana, as it’s believed to more accurately capture the spirit of the art as a lifelong path of learning. 

The impermanence built into this art, beginning with its dependence on nature’s seasons, lends itself to never-ending exploration and experimentation for ikebanaists. Teshigahara was firm in his conviction that a successful lifelong ikebana practice requires curiosity, not complacency. “We must strive to develop into artists with breadth and depth instead of remaining comfortable in our artistic niche,” he once said. “Our creations should vary. If we do not venture out we will never become outstanding artists.”


Interesting books on Ikebana

Japanese Ikebana for every Season - Authors Rie Imai and Yuji Ueno explain how to select flowers and containers from things that are already around—and then turn them into something special.

The latest book Exploring Ikebana - This book is a comprehensive introduction into the art and wants to unveil some of the secrecy and philosophical ideas projected into this ancient Japanese style of flower design. 

Poetical Ikebana and art of Haiku - The combination of Ikebana and Haiku is a more than successful one. The similarities between the arts go far beyond their Japanese origins. The seductive simplicity of Haiku, its subtleties and sparse use of words, its silences and depth of meaning, its rhythms and seasons.

Keiko's Ikebana Contemporary Approach - Keiko's unique approach to ikebana, the Japanese art of flower arranging, combines traditional techniques with modern tastes. Her influences—which range from sculpture to today's Western floral design—come together to create one-of-a-kind arrangements that are authentic and eye-catching, simple and graceful, and possible for anyone to achieve.

Sangetsu School of Ikebana - The way of Sangetsu is to express the inherent beauty of nature in a flower arrangement, allowing our own inner consciousness of beauty to unfold in the process. We invite you to participate in this healing art form that is guided by love of nature and humanity.