Page 24 - Tạp chí bonsai cây cảnh BCI 2015Q1

presence in the US and around the world, and to show
that there need not be a trade-off between knowledge
and having a good time doing what we all love. We
all initially begin bonsai because it’s fun and brings a
certain level of joy to our lives—I hope to continue to
share in this collective experience with those in the
larger bonsai community around the world.

When will you accept apprentices or will this model
work in the US?
I think the traditional Japanese apprenticeship model
will translate very well to the US, with a few modifica-
tions of course to adjust for cultural differences. But
in general, the principle of a 5-year formal appren-
ticeship will translate well in the US. I am currently
finishing up work on my side-project PhD in Business
at Osaka University, so once that is complete I plan
to return to the US—most likely in the Southeast—
to open a bonsai school and nursery, at which time
I would like to accept an apprentice or two. While
there isn’t an overarching certifying institution like
the Japanese Bonsai Association in the US, I think
individual nurseries can operate in the US to provide
formal, long-term education to apprentices who wish
to undertake such a task. In my opinion, this type of
formal education is one of the best ways to truly pro-
mote professionalism in bonsai art and to increase the
quality level of western bonsai.

A gallery of Bjorn’s work follows.

Top; Kouka-en apprentices preparing the exhibit space at Taikan-ten under Keiichi’s supervision.
Middle; after the show is closed to the public, all exhibits are moved to one or four photography
stations by an army of volunteer apprentices where formal photos of the show catalogue are taken.
Bottom; After the Taikan-ten exhibition is over, Keiichi treats the apprentices to a road trip to the
Adachi Museum of Art in Yasugi to view and explore the magnificent gardens and exhibits.

22 | BCI | January/February/March 2015