Bonsai Display in Japan

kakejiku

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I have read some of the threads about the Artisan's cup. I think that the aim of the Artisan's Cup actually is following the trends of major Japanese bonsai exhibitions. In a discussion by email I had with a Japanese bonsai artist confirmed that there are diverging trains of thought.
1. Most of the major shows focus on the tree, with maybe an accent and very few scrolls.
2. Those bonsai practitioners who focus more on the display side, seem frustrated that the major shows only focus on the grandest, most highly stylized tree...and not the overall story.

Seems pretty similar to some of the complaints on that thread. Now, with that being said, I can also understand the reasoning behind setting up Artisans Cup this particular way, and it is to support those trying to make a living as bonsai professionals. What I worry about is perhaps the lack of spreading out those dollars to the many bonsai professionals.

Does anyone know if there were any trees worked on by artists such as Owen Reich, Bjorn, Tyler Sharrod or others who also spent many years apprenticing in Japan at the Artisans Cup? Did their trees win awards?

I hope Bill Valvanis keeps his event in the format he designed it, because I really enjoy seeing the stories created and told by the artists. (Granted I nitpicked some of the finer details of the displays themselves, but that doesn't mean I did not enjoy seeing the diverse stories told by everyone.)

Just my 2 cents.
 

Smoke

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I think your talking about two separate issues and trying to combine them into one. Maybe the names of some of the bonsai displays in Japan you are comparing to what we do in America would be helpful.
 

DougB

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Am I correct is thinking that we will only have true American (Bonsai) when nothing is imported from Japan and no-one goes to Japan to study?

But then what about Indonesia or the Caribbean or South America or the Philippines or Europe. Would they then import from America and come to study here?
 

Chuah

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We have a bonsai event recently focusing on bujin. Only bujin is allowed for the display. I showed a mame Chinese elm literati in a toko-kazari display, the smallest tree in the show. Many people like it, thought is is cool, cute, peaceful, serene etc. , and want to know the meaning of the calligraphy, accent and distant mountain stone, and how combining them tell the story of the tree. I wrote a blog to explain their significance to literati. I also showed several alternate arrangements and why I chose this one. A good exercise and thoughts putting into the preparation.
IMG_1503-001.JPG
The blog "Preparing a Dmall Bonsai Display For Show" in https://bonsaipenjing.wordpress.com/
 
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dick benbow

Omono
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I quess I fall under the topic #2 in Maples-sans' initial post. In video or still photograps, the emphasis is always on the tree as if the other elements (that tell the true story) are a distraction.
Back in the day when I used to post my tokonoma pictures, I'd do an overall and then individual close up pictures of all the elements so everything was revealed. It's a lot of work to tell a story with minimal artifacts. Always felt if someone put a scroll and maybe kusamono or companion plant in their display, it would be nice to see them so you'd know what the originator had in mind. It doesn't take long when good coverage of all elements can give you the truth of whether they know what they're doing or if they have no idea of what the kanji in the scroll says or if the high mountain companion goes with the lowland willow bonsai or not.

Tokonoma display can really be challenging. I'm continually working on the japanese way and also a way when non-display folks visit (friends,neighbors) to still be able to be understood.
I wish there were more folks really into it....
 
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LuxBonsai

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I like the style of japanese bonsai display. It help viewers focus on the whole art-work
 
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