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Designing a Bonsai I look at a tree and I can usually picture the development of the tree up to the present. It then becomes my responsibility to further develop the tree. I realize that I am only one person along a continuum who will care for the tree and I will try to do what is best for the tree, now and for its future development. In order to grow as a designer, one must continue to expand ones' ability to observe. Often, I was astounded that the tree in front of me on my worktable was not oriented correctly in the pot. At these times, I would ask my boss, Mr. Urushibata, "Why is it that these predecessors of mine could not see what I see in this tree?" His answer is indicative of his nature: "We all see the same thing, but our ability to observe differs. Some people have very little ability to observe while others have great capacities to observe and continue to expand their power of observation throughout their lives. Often, however, this ability stops developing at a certain point in time, as if frozen." I count myself lucky because I had a boss who continues to develop his abilities and is always open to suggestions and new techniques. Through his example, I hope to also grow over time by leaving myself open to new experiences. In his desire to improve, he invited one of the best semiprofessionals in Japan, Toema san and his family to live in the compound Tai Sho En. These two men were instrumental in my development as a practitioner of bonsai. Each man has extraordinary abilities in observation and yet their orientation is necessarily different. One, being a professional, is concerned with not only the philosophical, aesthetic, and horticultural considerations of bonsai but also with the daily responsibilities of running a business. The other pursues bonsai as a hobby that continually challenges him in terms of the philosophical, aesthetic, and horticultural aspects and is not constrained by responsibilities as a businessman. I had many opportunities to grow and to develop both at Tai Sho En and at other bonsai shops. Being an apprentice at Tai Sho En opened many doors for me that, otherwise, would have been closed to a foreigner. Mr. Urushibata's associates, both professional and amateur, were often enthusiastic teachers of new techniques and encouraged me to grow in terms of my abilities to observe. Up to this point, I have been trying to explain the environment in which I design, whether it is a bonsai, a pot for bonsai, or any other field of design that I have participated in professionally. Sensitivity as it relates to observation is paramount to producing good design. If you make the effort to develop your skills of observation you will not only be able to better appreciate good design but those skills will help you to create better design. If you conscientiously apply yourself, you will be rewarded with an ever-growing capacity to appreciate all that surrounds you daily, including bonsai. A question must be answered before we begin the redesign of the ponderosa pine. Should we attempt to improve the design of a gift to the bonsai collection at the National Arboretum or should the tree remain static from the day of donation, as if it were a sculpture? For me, it is a simple question, though for most others, it engenders lively debate. First, I believe trees that have been in training for many generations should not be altered from the time of donation to the National Arboretum. As an example, the Yamaki pine tree should not be altered. There are other trees in the Japanese and Chinese pavilions that also should not be altered because of their historical value. However, I believe that most bonsai are 'living works of art in progress' and, as such, lend themselves to continued improvement and refinement based on specific aesthetic considerations and horticultural practices valued by the separate cultures. The works of art in the Chinese pavilion should be nurtured according to Chinese precepts and the trees in the Japanese pavilion should be developed along the lines of Japanese precepts. The American pavilion poses a most interesting debate. Is there an American aesthetic and, if so, should we think along the lines of the argument promulgated for the Chinese and Japanese trees and only develop the trees using the said 'American Aesthetic'? After a few trips to the National Arboretum and repeated observation of the material in the American pavilion I have come to the conclusion that the material in the American pavilion lacks the necessary consistency to imply that there is a unique aesthetic developed by Americans. For years, I entreated American bonsai professionals to explain to me what they thought of as an 'American aesthetic' as it relates to bonsai. Sadly, they were neither clear nor consistent in their answers. The clearest answer I received was that the American aesthetic is some combination of Chinese and Japanese aesthetics principles. Seeing as how Japanese bonsai represents a combination of Chinese and Japanese aesthetic principles, I find this argument is not very enlightening. After looking at material throughout the country and at the national arboretum, I believe those American bonsai professionals meant that they liked the Chinese bonsai because they used pruning to develop the tree and relied less on wiring than the Japanese to create a more natural and less sculptural form than the Japanese. I found that most American material has a sort of 'laissez-faire' attitude toward what Bill Valavanis of the International Bonsai Arboretum calls 'Classical Bonsai'. Bonsai enthusiasts would say, "Oh, the branch isn't quite in the right place but it will do." or "Oh, the pruning got away from me this year and the branches don't have quite the nice taper or flowing lines but it will do." The American displays, themselves, refute the idea that there is an American aesthetic. The pots and stands are usually of Asian design and manufacture. More work needs to be done by American craftsmen to develop stands, pots, and accessory items that have a distinctively western influence and most important, create a good balance between the tree, pot, and accessory that is utilized in a display. I believe that not enough time has passed to imply that many of the trees in the American wing have been sufficiently developed to be referred to as completed works of art that should remain static as if they were sculptures. At this time, I reject the idea that there is an 'American aesthetic' and, instead, believe that the level of American bonsai is very low compared with that of Asia and Europe. I believe it is pride that keeps America lagging so far behind other cultures in learning the art of bonsai. Ask yourself, "Why is it even necessary that there be an 'American aesthetic'? I often hear Americans say that we should 'know the rules and learn how to bend them to create unique bonsai'. I contend that those same enthusiasts do not understand the rules and the reasons for the rules. There are no 'bending' of the rules. I believe that it is inaccurate to say that I 'bend' the rules. It is more accurate to say that I refer to the rules to guide me in creating a well-balanced composition. Americans should be more concerned with understanding the basics of good bonsai and concentrate on developing a lot of good, basic material. I also encourage those who are truly interested in creating bonsai and/or assisting others in the development of bonsai to stop applying the term 'master' to either themselves or to others. It does nothing to further the development of bonsai in America. Anyone who uses the term to represent their abilities should be avoided. They are either lying or, more likely, ignorant. Finding the front view of the tree:
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