Apprenticeships in Japan?

[rockm]

This may be a difficult question as it may be a multi faceted answer.

What constitutes a Bonsai Master?

My only framework for this concept is Martial Arts and the business world.

In the U.S. all you have to do is say you are one.

 

[rockm]

The longer answer is that there are no "official" programs to follow when pursuing bonsai at higher levels. There are no standardized systems for progressing, like in the martial arts--no "black belts" are awarded because you've completed and mastered X Y and Z.

That said, there are programs, as mentioned here, run by westerners that offer extremely high level instruction on bonsai.

However, just because someone says they're a "master" doesn't make it so. The best way to tell is to look at their trees. No substitutions there. Also, what may not be impressive to you as a beginner will change as you get more knowledgeable about bonsai--the turn of a trunk, the density and order of ramification, the subtle choice of container, etc. Those, and a list of others, take time to realize and appreciate.

 

[JudyB]

Also, what may not be impressive to you as a beginner will change as you get more knowledgeable about bonsai--the turn of a trunk, the density and order of ramification, the subtle choice of container, etc. Those, and a list of others, take time to realize and appreciate.

There is truth here.

 

[Adair M]

The longer answer is that there are no "official" programs to follow when pursuing bonsai at higher levels. There are no standardized systems for progressing, like in the martial arts--no "black belts" are awarded because you've completed and mastered X Y and Z.

That said, there are programs, as mentioned here, run by westerners that offer extremely high level instruction on bonsai.

However, just because someone says they're a "master" doesn't make it so. The best way to tell is to look at their trees. No substitutions there. Also, what may not be impressive to you as a beginner will change as you get more knowledgeable about bonsai--the turn of a trunk, the density and order of ramification, the subtle choice of container, etc. Those, and a list of others, take time to realize and appreciate.

Let's not forget health. There are some who may be good at styling, but their trees are on death's door.

 

[chicago1980]

The longer answer is that there are no "official" programs to follow when pursuing bonsai at higher levels. There are no standardized systems for progressing, like in the martial arts--no "black belts" are awarded because you've completed and mastered X Y and Z.

That said, there are programs, as mentioned here, run by westerners that offer extremely high level instruction on bonsai.

However, just because someone says they're a "master" doesn't make it so. The best way to tell is to look at their trees. No substitutions there. Also, what may not be impressive to you as a beginner will change as you get more knowledgeable about bonsai--the turn of a trunk, the density and order of ramification, the subtle choice of container, etc. Those, and a list of others, take time to realize and appreciate.

I am a bit confused as I thought Japan has an official program?

My ignorance caused me to misunderstand the process. I had assumed all masters had some lineage to a particular Master or Grandmaster from the east.

 

[chicago1980]

I now understand why I hear the term Japanese trained so often.

 

[Adair M]

I am a bit confused as I thought Japan has an official program?

My ignorance caused me to misunderstand the process. I had assumed all masters had some lineage to a particular Master or Grandmaster from the east.

There is, in Japan. There's an Association that gives a certificate after the apprentice has served his time, and his work is judged to be of sufficient quality.

 

[chicago1980]

There is, in Japan. There's an Association that gives a certificate after the apprentice has served his time, and his work is judged to be of sufficient quality.

Thank you Adair. I have been very focused on understanding basic horticulture over the last 18 month that I failed to realize the larger global community of Bonsai.

 

[rockm]

I am a bit confused as I thought Japan has an official program?

My ignorance caused me to misunderstand the process. I had assumed all masters had some lineage to a particular Master or Grandmaster from the east.

As bonsai grows internationally, this can be a very cramped way to look at who is a "master."

It is true that Japanese-trained instructors offer advanced skills that can be considered the "gold standard" for bonsai around the world .HOWEVER, that can be an extremely limiting view of bonsai in the larger global picture. The Japanese work with only a handful of the thousands of tree species used across the globe. What works for a Japanese maple, will kill an American oak or bald cypress.

In the last few decades, regional and national "styles" have emerged to a certain extent, based on more "western" tastes and more importantly, species. Do a search on Walter Pall, Vaughn Banting, Dan Robinson, Nick Lenz, Kathy Shaner, Mary Madison and Ryan Neil. All of those folks are considered "masters" by most western bonsai folks. Not really because they know Japanese techniques (some are considered masters because they IGNORE Japanese techniques and esthetics in favor of a more Western taste), but because they've learned how to use new species, adapt techniques to them and, not least, make extremely fine bonsai images.

There are noted traditionalists that DO have a direct link to Japanese masters, however.

Bill Valavanis was taught by legendary Japanese bonsai master Yuji Yoshimura back in the 1970s. Yoshimura was the co-founder of the Nippon Bonsai Society. Apparently his father had been a samurai in Japan and also a famous garden designer.

Bill's firm grasp of bonsai and Japanese techniques and esthetics has had a huge influence on U.S. bonsai and has a direct connection to Yoshimura.

Not long ago, we had John Naka on the west coast who was tireless in promoting bonsai around the world. Although he was Nisei (second generation American) of Japanese heritage and studied in Japan for a time, he was an irreverent "master" who just liked good bonsai. He was granted a National Endowment for the Arts fellowship in the U.S. in 1992 and Japanese Emperor Hirohito awarded him The Fifth Class of the Order of the Rising Sun in 1985 for his work with bonsai and spreading the word. His influence, like Yoshimura's, is long and very deep in the U.S.

 

[JudyB]

As bonsai grows internationally, this can be a very cramped way to look at who is a "master."

It is true that Japanese-trained instructors offer advanced skills that can be considered the "gold standard" for bonsai around the world .HOWEVER, that can be an extremely limiting view of bonsai in the larger global picture. The Japanese work with only a handful of the thousands of tree species used across the globe. What works for a Japanese maple, will kill an American oak or bald cypress.

In the last few decades, regional and national "styles" have emerged to a certain extent, based on more "western" tastes and more importantly, species. Do a search on Walter Pall, Vaughn Banting, Dan Robinson, Nick Lenz, Kathy Shaner, Mary Madison and Ryan Neil. All of those folks are considered "masters" by most western bonsai folks. Not really because they know Japanese techniques (some are considered masters because they IGNORE Japanese techniques and esthetics in favor of a more Western taste), but because they've learned how to use new species, adapt techniques to them and, not least, make extremely fine bonsai images.

There are noted traditionalists that DO have a direct link to Japanese masters, however.

Bill Valavanis was taught by legendary Japanese bonsai master Yuji Yoshimura back in the 1970s. Yoshimura was the co-founder of the Nippon Bonsai Society. Apparently his father had been a samurai in Japan and also a famous garden designer.

Bill's firm grasp of bonsai and Japanese techniques and esthetics has had a huge influence on U.S. bonsai and has a direct connection to Yoshimura.

Not long ago, we had John Naka on the west coast who was tireless in promoting bonsai around the world. Although he was Nisei (second generation American) of Japanese heritage and studied in Japan for a time, he was an irreverent "master" who just liked good bonsai. He was granted a National Endowment for the Arts fellowship in the U.S. in 1992 and Japanese Emperor Hirohito awarded him The Fifth Class of the Order of the Rising Sun in 1985 for his work with bonsai and spreading the word. His influence, like Yoshimura's, is long and very deep in the U.S.

Well said.

 

[Lazylightningny]

He didn't.
horrible winter last year. I lost 132 trees to voles.

Those pictures were heartbreaking

 

[Lazylightningny]

Is there any masters in the New York area? I would love to study under one

http://bonsaishinseiny.com/shinsei-school-of-bonsai/

Michael Pollock runs classes and intensives up in Westchester. I've been to his studio but have not taken any classes from him.

 

[chicago1980]

As bonsai grows internationally, this can be a very cramped way to look at who is a "master."

It is true that Japanese-trained instructors offer advanced skills that can be considered the "gold standard" for bonsai around the world .HOWEVER, that can be an extremely limiting view of bonsai in the larger global picture. The Japanese work with only a handful of the thousands of tree species used across the globe. What works for a Japanese maple, will kill an American oak or bald cypress.

In the last few decades, regional and national "styles" have emerged to a certain extent, based on more "western" tastes and more importantly, species. Do a search on Walter Pall, Vaughn Banting, Dan Robinson, Nick Lenz, Kathy Shaner, Mary Madison and Ryan Neil. All of those folks are considered "masters" by most western bonsai folks. Not really because they know Japanese techniques (some are considered masters because they IGNORE Japanese techniques and esthetics in favor of a more Western taste), but because they've learned how to use new species, adapt techniques to them and, not least, make extremely fine bonsai images.

There are noted traditionalists that DO have a direct link to Japanese masters, however.

Bill Valavanis was taught by legendary Japanese bonsai master Yuji Yoshimura back in the 1970s. Yoshimura was the co-founder of the Nippon Bonsai Society. Apparently his father had been a samurai in Japan and also a famous garden designer.

Bill's firm grasp of bonsai and Japanese techniques and esthetics has had a huge influence on U.S. bonsai and has a direct connection to Yoshimura.

Not long ago, we had John Naka on the west coast who was tireless in promoting bonsai around the world. Although he was Nisei (second generation American) of Japanese heritage and studied in Japan for a time, he was an irreverent "master" who just liked good bonsai. He was granted a National Endowment for the Arts fellowship in the U.S. in 1992 and Japanese Emperor Hirohito awarded him The Fifth Class of the Order of the Rising Sun in 1985 for his work with bonsai and spreading the word. His influence, like Yoshimura's, is long and very deep in the U.S.

I am new to Bonsai and therefore limit my opinion on what would constitute a Master. As Bonsai grows on the international level which seems to be encouraged I would believe that a firm understanding of the foundations that have been established through years of theory/application by the east need to be understood and then advanced or evolved in the new regions/taste (large assumption).

As a newer Bonsai enthusiast it is very difficult to separate the eastern influence from the western style. I do enjoy the resurgence Bonsai is having today, and believe that I am very fortunate to revisit Bonsai at this point in my life. 20 years ago I did not experience the synergy or access to Bonsai in today's world.

I love the work that many of the Spaniards and Italians are producing today.

I apologize for the lack of understanding, what is "western taste"?

Thank you from a Bonsai enthusiast.

These conversation help my understanding and honestly in today's western market I would hope to have a greater understanding of who is and who is not a Master. The cost to study with a Master at workshops, study groups, privates can be extremely costly.

An american master wants $500 to speak on the phone for an hr. Another wanted $75. One wanted $800 for a days work for private another wants $200 an hr. It can be daunting for new less established enthusiast.

 

[Adair M]

As bonsai grows internationally, this can be a very cramped way to look at who is a "master."

It is true that Japanese-trained instructors offer advanced skills that can be considered the "gold standard" for bonsai around the world .HOWEVER, that can be an extremely limiting view of bonsai in the larger global picture. The Japanese work with only a handful of the thousands of tree species used across the globe. What works for a Japanese maple, will kill an American oak or bald cypress.

In the last few decades, regional and national "styles" have emerged to a certain extent, based on more "western" tastes and more importantly, species. Do a search on Walter Pall, Vaughn Banting, Dan Robinson, Nick Lenz, Kathy Shaner, Mary Madison and Ryan Neil. All of those folks are considered "masters" by most western bonsai folks. Not really because they know Japanese techniques (some are considered masters because they IGNORE Japanese techniques and esthetics in favor of a more Western taste), but because they've learned how to use new species, adapt techniques to them and, not least, make extremely fine bonsai images.

There are noted traditionalists that DO have a direct link to Japanese masters, however.

Bill Valavanis was taught by legendary Japanese bonsai master Yuji Yoshimura back in the 1970s. Yoshimura was the co-founder of the Nippon Bonsai Society. Apparently his father had been a samurai in Japan and also a famous garden designer.

Bill's firm grasp of bonsai and Japanese techniques and esthetics has had a huge influence on U.S. bonsai and has a direct connection to Yoshimura.

Not long ago, we had John Naka on the west coast who was tireless in promoting bonsai around the world. Although he was Nisei (second generation American) of Japanese heritage and studied in Japan for a time, he was an irreverent "master" who just liked good bonsai. He was granted a National Endowment for the Arts fellowship in the U.S. in 1992 and Japanese Emperor Hirohito awarded him The Fifth Class of the Order of the Rising Sun in 1985 for his work with bonsai and spreading the word. His influence, like Yoshimura's, is long and very deep in the U.S.

Rockm, of that list, only Kathy Shaner is a "certified" bonsai master. She has her Certificate. Boon does, too. Ryan should, but Kimura didn't want to bother with the paperwork since Kimura knew Ryan would be doing his work in the US where it wasn't required.

I'm sure that Bjorn will get one if he hasn't already. Tyler Shorrad just received his after studying with Shinzo Suzuki. Danny Coffee is continuing his apprenticeship with Mr Tanaka. That's where Juan Andrade and Peter Tea studied. There are several others whose names don't come to mind right now... (it sux getting old!). Matt Ouwinga was an apprentice several years ago.

We are suddenly getting a wave of guys who have recently come back from Japan armed with advanced skills that we just didn't know about in the past.

Big time bonsai in Japan is largely a family cottage industry. Family owned. Past down from generation to generation. Usually what would happen is two masters who were friends would trade sons for a few years when they reached a certain age. They would go work at their father's friend's place a few years. Then return home. This tradition still continues. Shinzo Suzuki's son just completed his apprenticeship with Kimora. So, in this way, as masters traded sons around, the best techniques became spread around. Each family retained their specialties, of course.

But in the past 20 years or so, the sons haven't wanted to go into the bonsai business so much. Or the masters started having fewer children, I don't know. So, there's been a shortage of apprentices. It's hard work. Low, if any, pay. Little time off. Late nights. High pressure. New apprentices don't work on trees. Maybe they get to water them. They pull weeds, mix soil, sweep the grounds, lift heavy objects, clean dirty pots, spray poisonous chemicals...

So. There's a shortage of apprentices. The master needs grunts to do the dirty work. HIS son won't do it! So, they finally started to let foreigners become apprentices. (Holding their noses as they did it! Lol!!!). As a matter of fact, I've heard that Kimura is in need of apprentices. Poor Shinji's son is commuting back and forth from his Dad's place to Kimura's! Working two places!

Now, all that said, the Japanese are clever! They have realized that silly Americans will PAY to come over to Japan and help do some of this work! So some gardens are offering "tourist apprenticeships". They would be something like the Intensive classes I've had with Boon, just 24 hours/day, and for longer periods of time. Any where from a week to several months.

There, that's about all I know to tell you about apprenticeships in Japan.

 

[AZbonsai]

David Nguy runs a bonsai school in California called Bonsai Jidai. He is one of the teachers for the Phoenix Bonsai Society. http://bonsaijidai.com/

 

[Adair M]

I thought of some more...

The apprentice is taught the techniques to mimic the master's techniques. After all, the client wants the master's skills applied to his tree. Right? So, only once the apprentice is taught to mimic his master is he then allowed to develop his own style.

As an example, Mr Tanaka visited a friend of mine's garden. My friend has trees he's worked himself, some by Boon, some by Danny Coffey, and some by Bjorn. Mr Tanaka was able to identify the Bjorn trees immediately!

(I have some limited ability to see that myself. I can identify Ryan's wiring and Bjorn's wiring. Now, it's very hard for me to distinguish between Boon's, Daisaku Nomoto's and Akio Kondo's as they were all apprentices of Kamiya.)

 

[M. Frary]

Those pictures were heartbreaking

I don't have them anymore. I deleted them because they were heartbreaking.

 

[Wilson]

Has anyone on here done classes with Colin Lewis? He seems like he would be a fun teacher.

 

[kakejiku]

I do not think that most replies are answering questions to OP's question. How does one go about getting an apprenticeship in Japan.

From what I see, most are suggesting studying with an American Master, getting a reference and introduction from them and then acceptance.

I can tell you how I went about learning scrollmaking from a Japanese master in Japan though. I was fascinated by wallscrolls (kakejiku)
and with the aid of my wife found a studio that taught classes.
Before I went to learn I was required to read an entire textbook (in Japanese),
and had all my classes conducted in Japanese when I arrived.

It is a long term commitment, and a good start would be to start learning Japanese if you want to study bonsai there.

 

[kakejiku]

So. There's a shortage of apprentices. The master needs grunts to do the dirty work. HIS son won't do it! So, they finally started to let foreigners become apprentices. (Holding their noses as they did it! Lol!!!). As a matter of fact, I've heard that Kimura is in need of apprentices. Poor Shinji's son is commuting back and forth from his Dad's place to Kimura's! Working two places!

Maybe they are just trying to ensure that the apprentice is truly committed. Living in another culture can be very stressful, and they want to be ensured that the person making this commitment won't throw in the towel after 6 months...what we view as a superior attitude or holding their nose may actually be a very strict vetting process.

Or maybe Japanese bonsai has become so specialized that the son doesn't feel they can support their future family by relying on their father's clientele, and this is why they do not go into the business. I wonder if they have destroyed the little market for it as a hobby...