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The Art of Listening to Trees

There are still no leads on the theft of Rosade Bonsai Studio’s azalea — a plant that had been trained for more than 60 years. The precious plant was lifted at the end of the Philadelphia Flower Show last May when exhibitors like Chase Rosade were tearing down their stands. Nor has there been any resolution to the 1995 theft at the Brussel’s Bonsai Nursery in Olive Branch, Mississippi. Nor does anyone know the fate of the 32 bonsai stolen that same year from the all-Japanese collection of the Brooklyn Botanical Garden in New York. While the hope of ever recovering these and other stolen plants have by now withered and died, the very occurrence of these crimes illustrates how firmly the craft of bonsai has taken root around the world.

Like many other Asian crafts, the art of pruning and shaping trees originated in China and traveled to Japan in the sixth century, where masters refined and codified its techniques, tools and aesthetics. After World War II, U.S. soldiers were among the first to bring bonsai to the West.

Several subsequent trends coincided to propel bonsai — or (ITAL) penjing, as it is called in China — to prominence. Ceramists discovered the subtle aesthetics of Japanese pottery, religious seekers adopted Eastern forms of meditation, and the martial arts made a big splash in American pop culture via the likes of Bruce Lee. Then it all came together in the popular 1984 film, “Karate Kid,” where a wise Japanese master uses the art of pruning, wiring and shaping trees to teach a brash American boy the value of patience, observation and respect.

Since then, an estimated 20,000 to 60,000 Americans have been “listening” to trees, understanding their “true nature,” and shaping their trunks and limbs to best express it. They have even coined a name for themselves: bonsaiists. And they spend anywhere from $100 to $20,000 a year, although there are notable exceptions like the casino owner who swept through Mississippi recently and dropped $100,000 on trained trees.

Forty years after the publication of “The Japanese Art of Miniature Trees & Landscapes” by Yuji Yoshimura and Giovanna M. Halford, the first book to present the art to Westerners, bonsai societies, clubs, associations and study groups have sprouted in virtually every large American city. This month alone, bonsai clubs are holding weekend shows in cities as far-flung as Asheville, North Carolina, and San Mateo, California.

Moreover, Americans are enthusiastically contributing their own styles to the art. Although they tend to mirror natural trees as opposed to creating stylized visual poems, in the U.S. “every practitioner does his thing,” according to master bonsaiist Dan Robinson. For Mr. Robinson, this means sculpting rather than shaping bonsai, applying such unconventional methods as “antiquing” trees by hollowing out their trunks with a chain saw. For others it may mean following the advice of the budding master Hal Mahoney, who advocates forgoing $40 imported Japanese tools in favor of such ordinary implements as nail clippers. And for many, doing one’s own thing means perpetually searching out indigenous, never-before- bonsaied species. (Yes, it has also become a verb.)

Whatever the method and whatever the plant, if the results are aesthetically pleasing and the execution masterful, the trees can command thousands of dollars. And this, everyone agrees, explains the thefts and the need to protect one’s bonsai. Increasingly, clubs and associations keep their membership lists under lock and key, articles featuring prized specimens identify their owners merely by state, and bonsaiists are tying down their trees with vinyl covered steel cables, buying fierce guard dogs or transplanting their bonsai to pots equipped with tiny transmitters.

People disagree, however, on what these thefts mean. Brussel Martin, who lost prized specimens in the July 1996 robbery in Mississippi, sees nothing more insidious than kids “who steal first and think later.” In this scenario, thieves fail to realize that bonsai are works of art that are perpetually in progress. To preserve their value the plants must receive constant and appropriate care — something Mr. Martin and others fear rarely happens. “Some people think they can make a quick buck,” says Chase Rosade who has headed the Rosade Bonsai Studio in New Hope, Pennsylvania, since 1970. “But,” he adds, “the trees probably all die.” Including his prized azalea.

Others, however, credit the thieves with more sophistication. Robert Mahler, who discovered the theft at the Brooklyn Botanical garden, says “the robbers knew what they were doing. They were selective, and they switched tags around,” making it hard to piece together which trees were missing. Asked how much the trees — some of which were 25 to 30 years old — were worth, Mr. Mahler refuses to answer. “That’s how it all started,” he says, explaining that the robberies occurred one month after a radio reported the worth of old bonsai.

As in numerous other cases, alerts with photographs posted in specialized publications and on the Internet produced no leads, leaving the question of what happens to these trees unresolved. A bonsaiist could give a tree what Mr. Mahler calls “plastic surgery.” A snip here, a reshaping there, a new pot, and even its former trainer would no longer recognize his bonsai. In the absence of any viable provenance system, such alterations would make it possible to resell even well-known trees to collectors.

Some collectors may be so keen to possess magnificent specimens that they ignore their origin. And, according to Phil Stephens, an active member of the Internet Bonsai Club with a private collection of more than 80 trees, this is exactly what happens. “There is a black market for bonsai just as there is for any other valuable artwork,” he says.

A nation-wide survey would probably show that most Americans do not consider small trees in pots art. As Mr. Martin says, “in Japan, a collector might buy a $1 million tree and sell it for $1.2 million. It is a good investment, and it appreciates like a good work of art.” By comparison, bonsai in the U.S. “is a hobby.”

Yet it is Washington, D.C., not Tokyo or Beijing, that boasts the world’s only National Bonsai and Penjing Museum. Part of the U.S. National Arboretum, the museum opened in 1976 with 53 prized trees of 34 different species, some of which are 300 to 400 years old. All were donated by Japanese bonsai associations and have since been joined by other donations and acquisitions. Today, the museum consists of a Japanese wing, a Chinese collection donated by Hong Kong collector and scholar Dr. Wu Yee-sun, as well as a North American pavilion named for the 83-year-old John Naka, the Japanese- born American master widely credited with having spread the art in the West.

Just as in other art museums, machinery regulates the temperature and humidity, security guards patrol the premises, and discreet wires connect each pot to a central alarm. In terms of the money involved, bonsai may still be a hobby in the U.S. But in terms of the treatment it receives, it has graduated to art.

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The Art of Listening to Trees

There are still no leads on the theft of Rosade Bonsai Studio’s azalea — a plant that had been trained for more than 60 years. The precious plant was lifted at the end of the Philadelphia Flower Show last May when exhibitors like Chase Rosade were tearing down their stands. Nor has there been any resolution to the 1995 theft at the Brussel’s Bonsai Nursery in Olive Branch, Mississippi. Nor does anyone know the fate of the 32 bonsai stolen that same year from the all-Japanese collection of the Brooklyn Botanical Garden in New York. While the hope of ever recovering these and other stolen plants have by now withered and died, the very occurrence of these crimes illustrates how firmly the craft of bonsai has taken root around the world.

Like many other Asian crafts, the art of pruning and shaping trees originated in China and traveled to Japan in the sixth century, where masters refined and codified its techniques, tools and aesthetics. After World War II, U.S. soldiers were among the first to bring bonsai to the West.

Several subsequent trends coincided to propel bonsai — or (ITAL) penjing, as it is called in China — to prominence. Ceramists discovered the subtle aesthetics of Japanese pottery, religious seekers adopted Eastern forms of meditation, and the martial arts made a big splash in American pop culture via the likes of Bruce Lee. Then it all came together in the popular 1984 film, “Karate Kid,” where a wise Japanese master uses the art of pruning, wiring and shaping trees to teach a brash American boy the value of patience, observation and respect.

Since then, an estimated 20,000 to 60,000 Americans have been “listening” to trees, understanding their “true nature,” and shaping their trunks and limbs to best express it. They have even coined a name for themselves: bonsaiists. And they spend anywhere from $100 to $20,000 a year, although there are notable exceptions like the casino owner who swept through Mississippi recently and dropped $100,000 on trained trees.

Forty years after the publication of “The Japanese Art of Miniature Trees & Landscapes” by Yuji Yoshimura and Giovanna M. Halford, the first book to present the art to Westerners, bonsai societies, clubs, associations and study groups have sprouted in virtually every large American city. This month alone, bonsai clubs are holding weekend shows in cities as far-flung as Asheville, North Carolina, and San Mateo, California.

Moreover, Americans are enthusiastically contributing their own styles to the art. Although they tend to mirror natural trees as opposed to creating stylized visual poems, in the U.S. “every practitioner does his thing,” according to master bonsaiist Dan Robinson. For Mr. Robinson, this means sculpting rather than shaping bonsai, applying such unconventional methods as “antiquing” trees by hollowing out their trunks with a chain saw. For others it may mean following the advice of the budding master Hal Mahoney, who advocates forgoing $40 imported Japanese tools in favor of such ordinary implements as nail clippers. And for many, doing one’s own thing means perpetually searching out indigenous, never-before- bonsaied species. (Yes, it has also become a verb.)

Whatever the method and whatever the plant, if the results are aesthetically pleasing and the execution masterful, the trees can command thousands of dollars. And this, everyone agrees, explains the thefts and the need to protect one’s bonsai. Increasingly, clubs and associations keep their membership lists under lock and key, articles featuring prized specimens identify their owners merely by state, and bonsaiists are tying down their trees with vinyl covered steel cables, buying fierce guard dogs or transplanting their bonsai to pots equipped with tiny transmitters.

People disagree, however, on what these thefts mean. Brussel Martin, who lost prized specimens in the July 1996 robbery in Mississippi, sees nothing more insidious than kids “who steal first and think later.” In this scenario, thieves fail to realize that bonsai are works of art that are perpetually in progress. To preserve their value the plants must receive constant and appropriate care — something Mr. Martin and others fear rarely happens. “Some people think they can make a quick buck,” says Chase Rosade who has headed the Rosade Bonsai Studio in New Hope, Pennsylvania, since 1970. “But,” he adds, “the trees probably all die.” Including his prized azalea.

Others, however, credit the thieves with more sophistication. Robert Mahler, who discovered the theft at the Brooklyn Botanical garden, says “the robbers knew what they were doing. They were selective, and they switched tags around,” making it hard to piece together which trees were missing. Asked how much the trees — some of which were 25 to 30 years old — were worth, Mr. Mahler refuses to answer. “That’s how it all started,” he says, explaining that the robberies occurred one month after a radio reported the worth of old bonsai.

As in numerous other cases, alerts with photographs posted in specialized publications and on the Internet produced no leads, leaving the question of what happens to these trees unresolved. A bonsaiist could give a tree what Mr. Mahler calls “plastic surgery.” A snip here, a reshaping there, a new pot, and even its former trainer would no longer recognize his bonsai. In the absence of any viable provenance system, such alterations would make it possible to resell even well-known trees to collectors.

Some collectors may be so keen to possess magnificent specimens that they ignore their origin. And, according to Phil Stephens, an active member of the Internet Bonsai Club with a private collection of more than 80 trees, this is exactly what happens. “There is a black market for bonsai just as there is for any other valuable artwork,” he says.

A nation-wide survey would probably show that most Americans do not consider small trees in pots art. As Mr. Martin says, “in Japan, a collector might buy a $1 million tree and sell it for $1.2 million. It is a good investment, and it appreciates like a good work of art.” By comparison, bonsai in the U.S. “is a hobby.”

Yet it is Washington, D.C., not Tokyo or Beijing, that boasts the world’s only National Bonsai and Penjing Museum. Part of the U.S. National Arboretum, the museum opened in 1976 with 53 prized trees of 34 different species, some of which are 300 to 400 years old. All were donated by Japanese bonsai associations and have since been joined by other donations and acquisitions. Today, the museum consists of a Japanese wing, a Chinese collection donated by Hong Kong collector and scholar Dr. Wu Yee-sun, as well as a North American pavilion named for the 83-year-old John Naka, the Japanese- born American master widely credited with having spread the art in the West.

Just as in other art museums, machinery regulates the temperature and humidity, security guards patrol the premises, and discreet wires connect each pot to a central alarm. In terms of the money involved, bonsai may still be a hobby in the U.S. But in terms of the treatment it receives, it has graduated to art.

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