Page 26 - Tạp chí bonsai cây cảnh BCI 2013Q4

Mr. Kawabe also holds Bonsai are an integral part of nature. In creating a
the belief, shared by bonsai, we are carrying out a spiritual exchange with
many in Japan, that the the tree. The extent to which a tree is left unfinished is
tree also has a spiritual dependent on the condition of the tree—one takes the
dimension. In develop- development of the tree as far as is reasonable during
ing a bonsai from the a particular session. Another essential point concerns
basic material, we need the plans for the tree’s development as a bonsai. Once
to share this spirit. work commences on the tree, it is important not to
He admitted that sadly, allow someone else to come in with alternative ideas
in a number of instances, on how the tree should evolve; if possible advise an-
bonsai are ‘forced,’ that is, other person who might take on the responsibility of
too much work done on the tree in the future as to what is intended for it. In
them in a single session Japan, the creator of a bonsai often works on trees on
or having the style of the behalf of nurseries or a specific client. Mr. Kawabe’s
tree created in such a way view is that the tree should go to the “right” person.
that was never intended One of his regrets is that often, people only appreciate
the techniques that achieve a bonsai rather that what
Top three photos; The tree, in nature. This was often a result of the demonstrator a bonsai is. It can sometimes be less of a challenge to
created by Mr. Kawabe 30 having an ‘ego-trip’, a matter of showmanship. This
years ago, had been collected always caused him to feel guilt. The emphasis should transform a tree compared to ensuring it’s health and
from the region of Japan since be on making the life of the tree as good as is possible, wellbeing over subsequent years.
devastated by the tsunami to allow it to live as it should, albeit in a pot. The tree At this point, Mr. Kawabe moved on to expressing
of 2011. The devastation was
such that most of the trees itself can inform the person working on it what needs his personal views on various techniques used in
from that area that have sur- doing at that moment in time and, in a similar man- the creation of bonsai, some of which reflected the
vived now only exist as bonsai. ner, inform us what should not be done. Any bonsai differences observed in the West as compared to his
Above; Mr. Kawabe’s workshop professional should understand that it is the health own approach involving older, more mature materials
and wellbeing of the tree that is important, not the available to him.
person’s ego.
What is often advantageous to have at a demonstra- Use of lime sulphur:
Mr. Kawabe does not to rely on the use of lime sulphur.
tion, are a few trees each of which is at a different stage Old junipers such as those he owns already demon-
of development, thus providing the demonstrator with strate a natural whiteness following long periods of ex-
the means to explain the different techniques that can posure to the elements. Lime sulphur becomes more
apply at each of those stages. of a necessity when:

His speciality is working with Juniperus chinensis, a 1. Jin and shari are sculptured or created by the artist,
species of which he is very fond. The specimen he often on material which is young and has not aged
was working on at this event was a collected tree aged sufficiently to have natural deadwood features.
approximately 400 years. It had been worked on and This ignores the process whereby natural drift-
developed as a bonsai over the last 30 years, and his wood effects have had time to develop on old, old
wish was that the tree would be of benefit to others for trees.
many years in the future.
2. Lime sulphur can accentuate and enhance natural
driftwood created by nature over time.

24 | BCI | October/November/December 2013