The Bonsai Blog of Morten Albek

I invited a few friends to have a relaxed exhibition and workshop at my place, on a very Danish rainy and windy autumn day. The relaxed atmosphere and being together with dedicated and nice people made this a very good day, although the trees was a bit large for Shohin – but bonsai will do too

See the snapshots from this wet but wonderful day.

www.shohin-europe.com/Billeder%20DIASSHOW/2009%20unformal%20exhibition%20and%20workshop%20with%20friends%20at%20Morten%20Albek/index.html

Spring has been very busy this year. We moved to a new big house early April, and has been working on this project a lot. The bonsai shelter is under construction, and I we are currently working on the house. Weather has been very nice, so some time has been spent outdoors, delaying indoor decoration a bit.

At the annual AGM early May I was elected as new Chairman for the Danish Bonsai Society, so this also will keep me from doing foolish things for a while

I hope I can begin catching up on my bonsai within the next weeks, so they are not set back to much due to all the other activities. Although I did not have much time to prepare for the annual national exhibition, I still succeeded taking two prizes for my Shohin display. The runners up prize and a EBA merit award was given to the display seen below. Pictures from the show will be avaliable at www.shohin-europe.com

Regards, Morten Albek

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.

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.

Majesty 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
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“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.