Page 62 - Tạp chí bonsai cây cảnh BCI 2014Q1

This project uses just cattails, moss and Yajima’s prepossessing container to syn-
ergistically convey “quiet elegance.” The artist profiles help the reader understand
how a vision fits in with a larger design aesthetic.
Figure 3 presents a landscape that focuses attention on a Japanese Andromeda
growing from a cluster of ground foliage (goldenthread, and Japanese mountain
moss). Kobayashi remarks: “This bonsai has presence—you can sense a powerful
life spirit.”
This remark is archetypical of the ethos of the book. It is intended to provide
the means of bringing something spiritually akin to traditional bonsai into liv-
ing environments. This objective may not appeal to the traditional bonsai artist
The author, Kenji Kobayashi, at work in his but the landscapes presented do relate directly to possibilities for kusamono and
studio. Photo courtesy Timber Press.
shitakusa. The use of moss is masterful. It has, in fact, stimulated a
personal interest in studying the cultivation of mosses in earnest.
I believe, though, that the greatest importance of Keshiki Bonsai is
as a means of introducing bonsai culture to a wider public. In this
regard, it is having impact and will continue to do so. It was one of
a small handful of books that was identified by Dominique Brown-
ing of the New York Times as being amongst the most important
horticultural books of 2012. A search of the Times archive showed
that Jonathan Singer’s Fine Bonsai was the only other bonsai book
to be mentioned in the Times in recent years. Browning states:
“…bonsai by any name is a lovely, gracious, soul-enriching enter-
prise. The charm of Kobayashi’s work is its quick payoff: his plant-
ings don’t take generations to mature, and they’re relatively easy
to create.” The essence of the Times review is appreciation of the
accessibility—accessibility for all ages, for those living in confined
space or with mobility issues, for those with little discretionary
income, and for those who simply want to take a fledging step into
the bonsai aesthetic—promoted by the book.
Keshiki Bonsai certainly is a book that bonsai teachers will want
to be aware of. It is welcoming to novices. Kobayashi writes with
a joyfulness that is infectious. Browning was so won over that she
remarks: “I’m ready to try my hand at one of the garden arts I had
considered beyond my ability.” I think that those interested in pro-
moting bonsai and its values can take notice of the fact that one of
the most important horticultural writers in North America just
might make a foray into doing bonsai because of this work. I also
believe that there is increasing interest in the traditional bonsai
community in kusamono and shitakusa in their own right and also
as part of more formal displays—Danilo Scursatone’s writings in
this publication are a case in point. Keshiki Bonsai may very well
stimulate traditional bonsai artists to give consideration to these
topics. The book also provides a motivation to think small which,
in an aging population, is a form of thinking that many of us will
have to consider. Since reading Keshiki Bonsai, I find myself visit-
Figure 3 – Japanese Andromeda, goldenthread, and ing, for example, the online work of the potter and mame artist
Japanese mountain moss are used in a landscape in Haryuosi <www.facebook.com/pages/Haruyosi/382984108464574>, the shohin
which the Andromeda is front and center. Kobayashi of Morten Albeck <www.facebook.com/pages/Morten-Albek-Shohin-bonsai-Eu-
remarks: “ This bonsai has presence—you can sense a rope-Albek-Bonsai-Studio/222792107788710>, and the pots and accent plantings
powerful life spirit.” Photo courtesy Timber Press.
of Dan Barton <http://danbartonbonsaipots.wordpress.com/> more frequently.
The ability to invite and the ability to stimulate are both very good. My opinion is
that Keshiki Bonsai, albeit not traditional, is a very good book indeed.

ABOUT THE AUTHOR: Michael Collins-McIntyre is a Canadian professor, psychologist, and writer. He
has recently become a Contributing Editor of BCI Bonsai and Stone Appreciation. His articles appear
quite regularly.

60 | BCI | January/February/March 2014