A discussion that had its focus on how to exhibit a Shohin-display (the one showed here was the case of the discussion) made me writing this column, because I find it is important to separate “rules” from guidelines.

A point was made that it is not a good thing to use four items in a display, because four is a symbol of death in Japan for some. I do not know how many Japanese that takes the symbol of 4 to their hart, but as it is with many other things, we have different approaches. Secondly I have seen several displays making use of four items, so some seems not to care so much.

An argument can be made that in Japan there are “bad” displays made by people not so trained, or just not having the right trees at hand when setting up the display; having to reach a compromise to be able to make the display. Trees placed in wrong directions i.e., in poorer quality and so on. So do we in the west for the same reason I suppose. In the purpose of training, seeking, developing and trying.

The case is that some also not follow the so called “rules” rigidly, not by ignorance of the traditional guidelines, but by well considered choice (I have to state it is guidelines, not rules as misunderstood by many). The only rules used, are the ones used on exhibitions, and are about the size of the display area and heights of trees if necessary. The rest is guidelines to help understand and appreciate the art of displaying.

Like when “rules” are teached about how to style a bonsai. Also in this case only guidelines are present, helping to understand and guide; not to hinder creativity.

Different teachers teach different ways of displaying, as well as different ways of styling bonsai. In Japan as in the west, you will sometimes find almost opposite instructions or approach to subjects. You will find more or less formal displays, creative use of the display, or very traditional and formal examples. Some are very rigid in the way things are done, others far more relaxed. This makes displays as well as bonsai interesting and less uniform.

Some will teach that using an equal number of bonsai in a Shohin display is totally wrong; others will not care as long as it works. I follow the last school; although I am very aware that using an uneven number of items makes it far easier to achieve harmony. So when appropriate for me, I use a number of trees that expresses what I want, not counting them. Focusing on the feeling and the overall expression.

Some teachers will appreciate that all trees in a Shohin display are of same volume, others will preach the use of more or less difference in the trees size or volume. This all depends on personal references, taste i.e.

I love the classic way of Japanese bonsai, but I do not want to be very formal in my approach to the art. The word art is important, because this symbolises our personal influence in the way we accomplish this art form, not just following a book of “rules” that doesn’t exist. Nothing is prohibited, but guidelines help to understand. Looking at the Japanese way also opens the eyes for different ways of developing the art. There are variations in Japan, as there obviously are big variations in the way westerners approach the art. As long as quality is part of the goal we all have to do it with our personal references and with feelings put into the work. If we just cling to “rules” rigidly the art will decline and not develop. All in respect to the origin of the art. These years the Japanese bonsai scene also develops and artists seek new creative expressions. This may not be very visible in the west because Bonsai Focus magazine e.g. mostly shows the work of a few classic Japanese teachers of Shohin-bonsai i.e.

Everybody then sees this as the only and right way to perform the art, not showing the different directions of the art actually present. Even in his late years Japanese master Saburo Kato set up a unique landscape of Ezo Spruze on display, not seen like this before in Japan. We have not seen this work represented in the west, so we think this doesn’t happen.

Having travelled in Japan and seeking guidance by Japanese bonsai and Shohin-bonsai artists I believe I know there is not only one truth, but many directions and personal approaches that makes the art live and develop. My point is to teach the importance of understanding and appreciate the classic art of Shohin-bonsai, but not rigidly following guidelines that are not meant to be followed rigidly, but only guiding.

Please notice that I tell what I think, and not tell what you should think. My hope is that you will grasp a little from these thoughts and find a path that fits you, and maybe not me. What’s important is the feeling and expression of the artist, shown in the art work.

Sometimes it is necessary to take a rest. And with what better company (except the women and children you love) can it be, than with your bonsai. For some years my focus has been on developing, collecting, and replacing i.e. good and worse bonsai, finally having a collection that will need fewer changes in future. I periodically go through my bonsai, and only take new specimens in when I also am available to dismiss a bonsai. So I seek keeping a certain number of bonsai I can cope to care for, not over collecting the stuff. I do not always succeed keeping the numbers equally down I must admit, but find it worthwhile seeking to maintain a certain amount of bonsai, so I do not fall in the trap of just collecting. A too large collection will simply entail that I can not keep them all at a satisfactory level, disappointing me and my bonsai.

Among other things, I therefore have decided to put on hold going travelling to do demonstrations and leading workshops for a while. Only a few national events will still be kept going the next period, but I really need to put some time into my own trees, and not only other peoples bonsai. I really enjoy teaching, but the time is limited, and it is so easy to get caught in the nest of travelling around. I am not doing bonsai full time (only in my head), but have a normal job that also takes some time. So writing my book, several articles for Bonsai Focus i.e., teaching and so on takes time from my own bonsai.

Next summer I hopefully am able to move to a new house with my girlfriend and our kids, so time and focus is limited if also websites, my board membership of the Danish Bonsai Society i.e. shall not be neglected. Priorities that is needed, so I can enjoy my bonsai, my life, and gradually enhancing the health and beauty of my bonsai collection. This is not big, but big enough to need a lot of time, which seems limited these days.

Now I look forward to enjoy some carving of deadwood this coming winter. The dormant period doesn’t mean I have to go dormant, just my bonsai.

Spring has so far been wonderful in Denmark. Not only has the winter gone, and spring is here; but also my book, “Shohin Bonsai, Majesty in miniature”, has been released. So far the comments coming in has been very positive, and I am happy that this first book totally dedicated to Shohin and Mame-bonsai has been very well received. It has been hard work (admitted) to write a book like this one, but also very satisfying, because I hope it will help a little to develop the interest in this beautiful part of bonsai.

This past weekend, I had the pleasure to sign some copies, when Nordic Bonsai Center arranged a fine release”party” with free workshops with Shohin, and I truly enjoyed the interest and teaching this sunny day.

Now I look forward to the growing season, already in full speed, with warm weather and sunny days. The British Shohin Association once again proved that they are dedicated to develop Shohin-bonsai, with another great event (late winter) I have been told. Good luck, and keep up the spirit my British friends ;-)

Now we just need some bigger events in Europe or/and the US dedicated to Shohin. They really deserve it….

Regards, Morten Albek

dsc01075.jpgMy favourite time of the year is close

Spring time. The fresh leaves that opens, buds swelling, new growth and flowers. Can it be better, together with rising temperatures; not the global warming friends, but the normal degrees and the warmth from the sun, the light that makes you feel better together with the joy of a new happy and busy bonsai season?   Remember to enjoy your bonsai. Do not only strive for better quality through dedicated hard work and competitions; but please do lean back, watch and relax with peace in mind, just viewing the beauty of branches, trunks and leaves. The true beauty and joy of bonsai is not only exhibiting, although it is one of the key features in this art form, but it is also to sit and closely study all details of the tree €“ slowly and with peace in mind. This part is my favourite. I do not need anything else in some moments, than being among my tree-friends, observing and enjoying their company. One of the legends in the world of bonsai, Japanese Saburo Kato (who deceased a short while ago) used his bonsai to remember his father. He found peace in mind and joy when he was sad, just by sitting and looking at his Ezo Matsu, Spruce bonsai, once collected at the Russian coast with his father. The trees made Saburo Kato remember the happy moments, and this is some of the power bonsai possesses, besides being a beautiful art form. And spring brings forward new life and another year of development and peaceful moments in my garden. Please enjoy yours too. Happy growing.

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2007 Cotoneaster horisontalis, Mame-bonsai

Winter time shows the beauty of the almost naked branches, with only few leaves and some nice red berries left from fall. It has taken almost ten years from the tree was started from raw nursery material.

Still a few seasons are needed to develop the branch structure more. This is a more complicated task now, because some areas are ready to be maintained as they are, or need slightly to be restored, and others need further development and refinement.

The left side of the tree is developed as I want it, but the right side lacks refinement. So the trimming of the two areas are essential to gain success, pushing more energy to the right side of the canopy, without taking out the growth too much of the left.

Winter time is a perfect time to study the naked branches in detail, thinking of the work to come in early spring and later on, planning what to do in future. Winter may seem as a dead period, dark and cold (at least here in Northern Europe), but at this time of year many Shohin looks fantastic without leaves. Naked is good, also when it comes to trees. :-)  I moved to a new house in the fall. I am now building up a new bonsai area to maintain and enjoy my bonsai. I am looking forward to the spring repotting, but will use these winter days to study some of my bonsai closer and make small adjustments where appropriate.  

b1sho.jpgMajesty in Miniature, Shohin Bonsai
Unlocking the Secrets of Small Trees

by Morten Albek
with Wayne Schoech

This is the add shown at publisher Stonelanterns website

Special order now and prepay and save $5.00 at www.stonelantern.com/booksbonsai.html Softcover. 7.5″ x 9.5″
198 pages
B1SHOHIN $24.95 - prepaid order $19.95

“Shohin bonsai cost less, take less time to develop, take less space, are easier to move, are less apt to be overwatered, and are a delight to behold. This thorough and beautiful exploration of the art of small bonsai is for experienced bonsai enthusiasts and daring beginners. If you already practice Shohin, it will deepen your understanding. If you don’t now is the time to unlock the secrets of small trees.”

Stone Lantern expect to have the book in February. 

August has been a wet wet month, just like July. The trees are growing slow, so development is not progressing very much at the moment. Well, it gives me more time to work on my house, paint some rooms, and remodelling the kitchen a little. Nothing to do with bonsai, but things that also has to be done. Furthermore my main pc is broken, so my websites suffers a bit. No updates there at the moment. Hopefully the pc will be running again in September. Some articles are stuck there fore Bonsai Focus, so Farrand Bloch has to be a bit patient with this. The Shohin-bonsai book progresses now, and I look so much forward to see it published. I will let you know as soon as I know when it is released. Praying for some warm weather and to see the sun a little in the late part of the growing season.

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Entering July is with a record of rain from June. June was the wettest month in more than 100 years, so only few times it has been necessary to water all trees. Some trees, especially the small Mame-bonsai, has leaves covering all the pot area, and therefore the rain do not always reach the soil. Therefore my neighbours probably has been shaking their heads, watching me watering when it was pouring down from above. One of my great joys of bonsai is seeing the results of earlier tasks, showing to succeed. The pleasure of getting results of work done weeks or months before are very rewarding.  

The development of most trees has been satisfying, and I do look forward to the next period of growth hopefully having good results of leaf trimming i.e.

 

Exhibition, competition, board meetings

At the moment I am preparing some Shohin and one large bonsai for exhibition in midd August. A work that has to be started at least one or two months before a show, depending on the specimens. I have accepted to be a judge on the Brazilian Shohin-bonsai competition again this year, and is also a judge at the Knowledge of Bonsai / Bonsai Focus magazine styling contest this fall.

This weekend I go to the board meeting in the Danish Bonsai Society, hopefully starting some new projects pushing the association forward to a brilliant future. Another busy bonsai year it is, but also a lot of fun. 

 

Book and magazineI have just finished the last two articles of a series of six in a row for Bonsai Focus magazine with case stories of styling Shohin-bonsai.

These days the layout of my new book about Shohin-bonsai is finished, and I am awaiting the result with excitement. Hopefully the book will be printed this month, ready for sale soon. I will keep you updated on this here. Have a nice summer holiday and do not forget to water your small treasures.

 

Regards

Morten Albek

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The Shohin-bonsai book, Less is more (name changed later - see the post from November 2007 and later) is on the way to the public.It has taken a long time but progression is done quickly now, and the book will be printed in July.

Right now the text part is finished with the final editing, and the layouter is preparing the book. A process that will take about a month.I look forward very much to the release of the book, that has been delayed some.

I hope it will meet the requirements of both beginners and more experienced Shohin enthusiasts.

The book will describe different techniques well suited for Shohin and Mame-bonsai. I also focus on some of the different issues about displaying Shohin-bonsai, hopefully succeeding to spread out the knowledge of this special part of the art.

A lot of pictures are included, and I have tried also to include other artists in order to show different kind of works for inspiration.

I will of course keep you updated of further news about the release, how to purchase the book, prize i.e. here and at www.shohin-europe.com

Regards, Morten Albek

 

dsc00201.jpg Demo raw material, Shinpaku juniper dsc00070.jpg Final result after four hours of work Working under brazilian subtropical trees  

I had the pleasure travelling to Ribeirão Preto in Sao Paolo, Brazil, in late May. Kind Mario A. G. Leal hosted the Bonsai 2007 event focusing on Shohin-bonsai. As head demonstrator at this event I had the privilege to work on some very good material. The Shinpaku Juniper presented for me I must admit looked extremely difficult at first, but after a closer examination it proved very talented.

I found the fellow Brazilian demonstrators very enthusiastic, and also very talented. There really are some potential in South America. Furthermore the growing season is very long which makes it possible to shorten the time reaching results by almost the half of what is needed here in Northern Europe. Japanese black pines and the Shinpaku juniper grows very good under this hemisphere, allthough the big differences of climate must be taken into account, Brazil stretching over an enormous area, from cold south to hot north regions.

Four hour of works later, assisted by Charles White, a talented Brazilian bonsai artist, it was possible to present a future good and powerful looking cascade bonsai in Chuhin size (app. 45 cm high), assisted by another work done at the same time, a native Brazilian Cherry, Cerejeira. Also a number of Shohin-bonsai I styled for some participants, giving me good training and the fun of styling some native species I normally do not get my hands on. In the evening good talks, local music jazzed by Mario, his son brother and friends made this week in Brazil a very good one.

Thank you Mario my friend, Bergson, Charles, family, friends and all you enthusiastic and nice people participating in the event, for the pleasant stay.    

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