From the flower bed to the Tokonoma
An outskirts Juniper
Juniperus Old Gold
A long lasting workshop
The charm of Shari
Scheduled works on a Juniperus Chinensis
Yew : a splendid species
From the flower bed
to the Tokonoma
It often happens, during some
walk with the family, to see both in private houses and in public
gardens some junipers or pines of different species free to grow wild
and invade all the room around becoming an unshaped bush.
Meeting these wild bushes the Bonsai artist's mind immediately start
to imagine what could come out from that green and so, if possible,
he tend to ask the owner the permission to drew it out free of charge.
This is what happened to the Juniper herewith described: it has been
collected in the early spring of 1998 from the flower bed of a shop.
This raw material stimulate the bonsai artist fantasy, even if there
is no lack, obviously, of negative points.
In these trees you can find winding trunks with very important live
veins, characteristics coming from the free growing and the major
exposure of the green belonging to that lymphatic veins.
Onother advantaging point is the vigorous foliage that once put into
the pot and costantly pinched on the very final ends of the needles,
will allow to thick itself reaching good results in short time.
Talking about the possibilities we may met working on this material,
I think the great difficulties is to be able to keep the desired shape,
forcing ourselves to wire the tree several times during the cultivation
Some juniper species (Hitoigawa, Shimpaku,
Toshio, Chishio and some other) tend to grow slowly. The branches,
even the young ones, are stiff and strong so they can holde without
any effort the growing foliage coming out in upward compact tuft.
These helps in the maintenance because, during the growing period,
it will only need a few trimming operation, and once removed the wire,
the branches will keep the desired position.
This is not true for both the
nursery juniper and the collected ones, they grow in a very vigorous
way in all direction, so when you remove the wire the branches are
not able to hold the heavy foliage, losing their position.
Seldom it is possible to find on these materials natural shari and
jin: this will allow us, if necessary, to have fun making lines of
dead wood (shari) following our artistic inspiration, but always,
in full respect of the tree.
It's more and more difficult to see in recent years working nursery
trees, formerly very common, are now in fashion "Yamadori"
materilas and also the beginners adapt to this.
From my point of view this is not instructive, on the contrary it
is negative: using nursery materials you can hardly obtain masterpieces,
but being without bonsai characteristic they helps much more in expressing
our artistic vein, our sensitivity and creativity that among a good
technique let us to make a work of art worthy of a place into a "TOKONOMA".