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PERCEPTIONS and PERSPECTIVES in BONSAI DESIGN

(part of my article entitled: The Living Art of Bonsai)

By definition a bonsai is a miniature tree planted in a tray or dish, evoking the majesty and beauty of a venerable old tree in nature with all its attributes such as tapering trunk, all round branch spread and a ground – gripping root flare. The whole concept of designing a bonsai revolves around the central idea of developing a plant into a tree which will display all the above attributes albeit on a miniature scale.

But all trees in nature are not impressive enough; many of them are young & immature and not so shapely. Trees which merit the adjectives old, majestic or beautiful are seen to have a bole which emerges from a root flare which appears to grip the soil firmly giving the first inkling of old age; there is a gradual transition from the powerfully impressive bole to a trunk breaking out into spreading branches which become smaller and thinner as the trunk tapers gradually to an apex of small branchlets. The tree appears balanced and graceful in its given setting. That is the aim in creating a bonsai-a balanced, graceful yet mature tree on a miniature scale, created through art, horticultural science and patience.

At the core of the art of bonsai therefore, are two interdependent factors: the perception of a potential tree form in the raw material and the conversion of this raw material into a recognizable tree form by means of horticultural skills.

INSPIRATIONS FROM NATURE

Since the design of bonsai depends on the designs of natural trees it is necessary, in order to design a bonsai, to know what key factors influence the shape and design of trees in nature. All trees have genetic characteristics peculiar to their species and are recognized by the distinctions in the following physiological factors:

Trunk Definition: The shape, inclination and movement of the trunk defines and distinguishes the style which is basically a classification of the different genetic tree forms seen in nature – thus a tree with a straight trunk is stated as having a Formal Upright style, a curved trunk denotes the Informal Upright style, a tree with a downward slanting trunk is called a Semi-cascade style, a trunk plunging way down indicates a Cascade style, a tree with a slanting trunk has a Slanting style, no fixed trunk direction for a Bunjin style, a tree with a trunk amp; branches sweeping in one direction is known as having the Windswept style and a straight trunk with branches emerging from one point is called the Broom style – all these styles have a trunk line with specific shapes and movement which gives the tree its special character.

Branch Silhouette and Root Flare: The silhouette of the tree also depends on the spread and arrangement of the branches and their periphery denotes a specific outline. Formal Upright, Informal Upright, Slanting, Cascade / Semi-cascade and the Windswept style will have an alternate left-right branch arrangement and a triangular outline whereas the Windswept and Broom styles will have a more rounded silhouette. A tree with a straight trunk (Formal Upright style) will have straighter branches with an alternate left-right arrangement although they may be slanted at a downward angle and its roots will disappear into the soil sloping down conspicuously on both the right and left sides. The silhouette will therefore be triangular and flow along the left-right axis. A tree with a curved trunk (Informal Upright style) is more convincing if the branches are also curved and sweeping and the roots are slightly up-curved before they disappear into the soil. Again, the branch arrangement is seen along the left-right axis and the roots too are conspicuous on both the right and left sides. If the trunk of a tree is slanting (Slanting style) the branches should appear to reach out away from the tree as if they are doing a balancing act and the roots should also reach out to the side opposite the lean. The trunk & branches in the Windswept tree design follow the wind direction although occasionally the trunk may lean into the wind. The silhouette is therefore almost triangular but somewhat softer, its outline defined by the extreme unidirectional sweep of even the branches growing from the opposite side. The roots grow more prominently in the direction opposite its lean as the tree counters the wind pull by growing stronger roots in that direction. The Broom style will have branches growing in all directions and a root flare to match. In other words, in any style, a critical design balance is achieved because the trunk direction & movement, the arrangement and sweep & sway of the branches and the positioning of the roots are in perfect co-relation with each other. It is this co-relation and the perspective between the three physiological factors which differentiates the impressive trees from the ordinary ones.

On the other hand, a lack of unity between these three physiological aspects will not make for a convincing & impressive tree image but will look more like a quirk of nature. For example, when the tree has a wavy, swaying trunk which projects femininity, then straight perpendicular branches emerging at almost right angles to this trunk and stiff & straight surface roots will look utterly out of place; a straight trunk which projects a masculine image will look incongruous if it is coupled with wavy, undulating branches and wavy amp; thin or puny surface roots. Similarly, a tree in a parkland setting which does not have to compete with other trees will look incongruous unless it is complimented by a virtually symmetrical spread of branches and a strong surface root flare radiating in all directions. A tree with branches sweeping to one side will look odd if it does not lean into or away from the wind direction and the surface roots do not grow strongly in the direction opposite its lean. A tree with peeled bark and branches will rarely show lush, luxuriant foliage; its foliage will normally show the ravages of the forces in their shorter branching & sparse foliage and its roots will be visibly strong enough to withstand the strong natural forces. In other words, exceptions to lack of unity in these physiological aspects are a rarity than a regular feature in nature.

The shapes of trees in nature are defined genetically but their designs are influenced by their environment and by natural forces. Thus a tree standing alone in a parkland setting and in a moderate climate will have a staid form irrespective of its genetic shape; a tree which has to compete with other nearby trees for sunlight and water may have a curving trunk or a dwarfed stature; grouped trees have to grow in a naturally upright habit as the crowding of trunks does not allow trunk deviation except for trees standing on the periphery of the group which are inclined to swing outwards & away from the main body of the group. A tree under the constant pressure of strong winds or stormy weather will show the effects of these natural forces in its dynamic design with a swirling trunk and wind-lashed branches or in the peeled & stripped bark and gnarled trunk showing a lot of deadwood. So, genetics dictate the trunk configuration but the environment influences their design distinctions.

The human brain has unlimited capacity to store impressions of things which we see, hear or feel. Dynamics such as culture, learning, information, other aesthetic qualities & values, experience, as also religion and philosophy, etc., influence our perceptions of things allowing the human brain to perceive and interpret things accordingly. Trees with impressive physiological features i.e., trunk movement, placement of branches & their silhouette and exposed root flare seen in nature portray the universal precepts of majesty, beauty and gracefulness and such exquisite characteristics positively impress the sub-conscious and the impressions formed thereby are indelibly incised in the human memory and stored for future reference. When the dynamics of perception and imagination are applied to these images from memory, the physiological aspects are enhanced and impressive real-life images are employed by human endeavor to create idealistic versions of the natural tree images. In other words, the beauty and majesty in the tree forms seen in nature inspire the concepts of bonsai design and these are replicated by the bonsai artist by simulating the natural factors and settings using known and sometimes inventive horticultural skills and imagination.

 

QUEST FOR PERFECTION

Every tree, be it from a tropical or temperate climate is basically molded by its species and the special characteristics of its family. Bonsai are no exception to this generality. Strictly speaking though, bonsai are not blind copies of natural trees; rather, they are the distillation of the best and most beautiful attributes of the trees we see in nature. The artist employs his artistic ability and horticultural skills to exploit the perceived potential in the plant material to create a bonsai of his vision with all the physiological aspects in a scaled down perspective. It is the artists’ memory and skill which serve as tools in creating the ideal form in the bonsai in a given setting.

Given the physiological factors, the setting and the artistic ability of the artist, every bonsai has a story to tell; its style and setting will depict a history of either staid good fortune (reflected in its all-round and even growth) or of competition with other trees (reflected in frequent deviations in the trunk and/or unequal branches) or of harsh or stormy weather and turbulent times (reflected in windswept and/or whipped trunk and branches or peeled bark on trunk & branches and sparse foliage). But this will happen only when the bonsai, its container and setting move as a unit.

However, there are several factors which may go wrong in the planning of the bonsai design and bring about imperfections and inadequacies in the design of a bonsai:

Many a times a bonsai although it is designed conventionally with perfect branch arrangement etc., may not look perfect and the composition may lack beauty; a bonsai may sometimes fail to evoke any special feeling when we look at it. This may be because of a number of reasons: the bonsai may lack a focal point, its visual mass or silhouette and /or the trunk line direction & movement may be contradicting each other or its position in and articulation with the container might not feel correct. Sometimes the bonsai may outgrow its original design and grow in a way not envisaged by the artist, because, after all, it is actually Nature which grows the tree. Many a times a bonsai as a tree individually may be good to look at but the overall composition may still feel wrong if any one of the physiological aspects mentioned above is at variance with the style, taken together with its container and its setting therein.

Whenever a bonsai fails to make the visual impact it would make if all the aspects were in accord, its impression as a replica of a tree in nature is lost and it will appear to be less beautiful and less than perfect; a re-thinking of the design becomes necessary therefore, if the bonsai is to look beautiful & impressive and reach its full potential as a tree evokative of grandeur, majesty and to a degree, refined mysticism.

The following are suggested as possible design considerations for creating a perfect & beautiful bonsai. Of course, these are subjective and just suggestive, but they will help initiate re-thinking for a more suitable and possibly a better design of the bonsai. All factors and each individual case, however, should be considered in their overall perspective:

a) Creation of a focal point which catches the eye of the viewer; The focal point holds the attention and displays to advantage the strong points in the physiognomy of the bonsai. It may be anything: pecularities in the trunk, specific branch placement and ramification or in the case of conifers, the deadwood features. If a focal point already exists, it may need to be enhanced or displayed to its best advantage and full potential. The bonsai will appear impressive visually when its strong points are raised from obscurity and highlighted to their full potential.

b) The visual weight of branches and foliage mass which gives the bonsai its periphery & silhouette has to be adjusted suitably. For example, if the bonsai has a stormy setting, its visual mass cannot appear to be evenly distributed; some branches are bound to be shorter and some more volatile & explosive than others. If it is placed on a rock, its roots are bound to either hug the counters of the rock or flow down the slope of the rock and its branches are more likely to articulate with the counters of the rock as if they are affected and shaped by the lift of the wind, a factor which is of relevance in all mountainous landscapes. The visual weight of the foliage should be greater than the pot size but not so great that the bonsai will look like it will topple over any moment; at the same time the counters of the foliage should complement the trunk movement, size and placement.

The overall volume and structure of the foliage mass also depends on the type of the plant material, i.e., whether it is a conifer or a semi-deciduous / broadleaf evergreen. Further, coniferous varieties, especially those which are amenable to deadwood carving will look better with just the right amount of deadwood and just the right amount of foliage. Sometimes the deadwood can be overwhelming, overpowering and purposeless, looking as if it has been carved merely because the artist wishes to show deadwood; it gives a confused look to the bonsai. Deadwood features need to be arranged and carved suitably so that the bonsai portrays the image of a tree which has faced harsh climatic conditions & trying times. The volume of foliage and its structure also needs to be finely tuned and arranged suitably by careful wiring wherever necessary, to portray the particular image conjured by the deadwood.

In the case of semi-deciduous / broadleaf evergreen trees, which incidentally also sport powerful & heavy trunk/s, abundance of foliage will speak of a lush, rich and sometimes tropical climate and therefore such trees should be having ample masses of foliage and branches to portray that climate and the ramification would need to be heavy enough to justify the powerfully growing trunk and abundance of branches.

c) Many bonsai are seen to have the entire foliage in a single contiguous mass or with markedly defined branches bare of foliage for a short distance from the junctions but with foliage at their ends clipped in the shape of pom-poms. Such bonsai look artificial and unnatural. The foliage masses of trees in nature, when seen from afar may look contiguous, but viewed up close the gaps and de-structured nature of the foliage counters can be seen clearly. The bonsai, since they emulate natural trees and since they are viewed from near, should also have a de-structured look of naturally growing branches and foliage and although they are pruned whenever necessary to keep the overgrowth in control, they should not have bunched up pom-pom like foliage. Artificiality can thus be avoided.

d) A bonsai design is primarily a composition of the tree and its container. Both the tree and the container need to compliment and co-relate to each other in the first place. The placement and the angle of articulation also are important and therefore particular attention needs to be paid to them when designing/redesigning a bonsai. The container also plays an important part in the aesthetics of bonsai design. A visually heavier or bigger pot in comparison to the foliage mass has the negative effect of making even perfectly beautiful trees appear insignificant. The largest dimension of the pot whether its length or height, when they are visually smaller than the branch spread will display & highlight the dimensions of the tree. In most cases, a flatter pot is visually more appropriate than a deeper pot simply because it has a horizontal surface representing earth and again because it’s visual weight is reduced to the thickness or height of the pot and would automatically appear visually smaller than the bonsai. The suitability of the geometric shape of the pot in relation to the style of the tree also needs to be considered carefully. The placement of the tree too should have a say in the bonsai design. The centrally off-center placement of the tree enhances the stability and balance of the tree. The positioning of the tree & the angle of the trunk as it emerges from the pot has a specific articulation with the horizontal surface of the soil and has a vital role to play in defining the style of the bonsai and in the overall visual impression of the bonsai.

The artist’s efforts are to be necessarily directed to using his skills and his imagination to simulate the impression of a venerable old tree irrespective of its actual age. It is the skill of the bonsai artist which, through the application of refined horticultural skills and imagination puts all the relevant factors of the bonsai design in their proper perspective and reveals in time the innermost beauty of the bonsai and breathes the spirit of a natural tree into it. But the skill and imagination of the artist are a variable factor, differing from person to person and one environmental setting to the other. The bonsai artist therefore needs to constantly seek ways to improve and hone his skills and upgrade his knowledge to be able to impart the natural grace, balance and feel to bonsai which makes them beautiful and perfect.

To sum up, there should be an agreement between the following three vital physiological factors: – 1) trunk definition; 2) branch silhouette; and 3) root flare. The shape of the trunk which determines the style, the branching pattern which describes the silhouette of the tree and rootage flare indicating the transition of the roots into the trunk – all these have a role to play.

The words of Master John Naka, doyen of bonsai, saying “Do not make your tree look like a bonsai, make your bonsai look like a tree” are pertinent in this respect and in a nutshell, they reflect the quintessence and philosophy of bonsai design.

Bonsai are grown in small and mostly flat pots which contain a limited amount of soil. Like all living things they need the three elements of water, oxygen and sunlight. This means that they have to be kept mostly outdoors (they can be brought indoors for display for a brief period only) their growing medium or soil should be so suited as to provide anchorage, nourishment and good drainage and they have to be provided regularly with water in order to survive. The actual process of watering bonsai essentially involves the use of a watering can with a fine rose or a pipe hose fitted with a sprinkler attachment with which water is sprinkled on the bonsai in such a way that dust is washed off the foliage and the entire soil is also drenched thoroughly so that eventually excess water flows out of the drainage holes. Most of the books on bonsai and the internet information emanating from Japan and the western countries where the climate is cold and temperate speak of a watering practice which is apparently quite complex. The reason, in the first place, seems to be that due to the cold climate evaporation of moisture from the soil in a bonsai pot would be at a much slower rate than in the tropics where the climate is much more hot. Secondly, coniferous species which are a mainstay of bonsai in colder regions, appear to prefer a state of semi-dryness between consecutive watering, for which reason a specific or fixed frequency of watering cannot be prescribed for them. As there is a major temperature difference in the climatic conditions of temperate and tropical regions as also in the species of plants used for bonsai, watering bonsai in the tropics or watering tropical bonsai in ambient conditions is a different but much simpler prospect. The aquatic needs of tropical region bonsai is much greater than the needs of bonsai from the temperate regions. The guiding principle of watering bonsai in a temperate region on a need-based schedule therefore does not apply to tropical bonsai where, even in winter they need to be watered daily. In the hot tropical summer where the mercury often crosses the 40 degree celsius mark, bonsai need to be watered at least twice daily. In fact, just as bonsai in the temperate regions sometimes need winter protection during freezing amp; frosty temperatures, so also some species with delicate foliage need to be given protection from extreme sunlight in the tropics. Most tropical broad-leaf evergreen species especially ficus and other tropical species thrive on the combination of sunlight, moisture and humidity. This being the case, although a state of semi-dryness between waterings is sometimes tolerated, it is not appreciated. Out and out bone dryness is of course not tolerated in any climate, whether temperate or tropical. Tropical plants also grow much faster than temperate region plants probably because they have three growing seasons per year- the spring, the tropical rainy season and the brief period of heat prior to the onset of winter – as compared to only the spring growing cycle in the temperate regions. Therefore the watering needs of tropical plants in tropical weather is comparatively higher especially during the three growing periods adequate watering in summer. Most species, therefore, need watering twice daily in the summer months in the tropics. Even in the rainy season, a look-out has to be kept on the rainfall and on days when the rains are scanty, watering has to be done manually. Especially, bonsai with a dense canopy of leaves have to be checked regularly to see that they are watered manually if necessary on days when the rains are not adequate enough. To conclude therefore, care has to be taken to water tropical bonsai on a daily basis throughout the year and twice daily during summere considering the high temperatures and the special need of the broad-leaf evergreens predominant in the tropical bonsai circle.

A bonsai is distinct from other plants mainly by virtue of its tree-like shape and appearance. It should firstly have the common attributes of its bigger counterparts in nature. Bonsai are differentiated from ordinarily potted plants because to all intents and purposes they look like full grown trees, albeit on a miniature scale.

But to look like a tree, a bonsai should have the following characteristics of a tree –1) it should have a tapering trunk line;2) an abundance of branches reaching out in all directions; 3) a good spread of roots emerging from the base at the level of the soil disappearing into the soil gradually so as to denote stability and agedness; 4) a tree as natural looking as possible with reference to its species; and 5) a pot which is in aesthetic and visual proportion to the tree, neither too big nor too small, both together forming a harmonious unity.

The branches too should have a pattern: the first branch should emerge from about 1/3 rd of the trees height above the base, the second branch should emerge from the opposite side of the trunk but slightly from a level higher than the first branch,

the third branch again from the side of the trunk opposite the second branch; a branch growing from the back of the trunk away from the front (somewhere between the first and third branches) to give a third dimension to the tree. All other branches would then follow this pattern each emerging from a higher point on the trunk, the entire branch arrangement rising in a gentle spiral up the trunk. The branches, as they emerge from the trunk should reduce in thickness, length and development from the lowest to the topmost branch.

All the attributes mentioned above are equally applicable to bonsai created from plant species from the temperate as well as the tropical climates. However, most tropical plant species, because they have virtually three seasons per year to grow in, have a somewhat faster rate of growth then the temperate plant species which, in comparison, have only one growing season per year, Consequently, tropical plants most times do not have a triangular outline but have a more rounded appearance, with the branch lengths somewhat more extended than temperate climate trees, particularly the ficus family which also feature aerial roots which enhance the appearance of branch spread. The style classification is therefore not as rigid as they are for temperate plants.

 

There are things which are to be avoided in a bonsai design:-

Branches should not cross each other. They should not face in the direction of the front, i.e., the best viewing side of the bonsai.

Branches should not emerge from opposite sides of the trunk from exactly the same point on the trunk (called Bar branches).

Taper should be uniform, i.e., there should not be any reverse taper.

Extreme distortion of trunk or branches is deemed to be unnatural and therefore avoided.

Most tree species develop a form which has been genetrically determined. In fact the program for the germination, formation, shape and development of each tree is encoded in its seed (speak about natural microchip) The movement of its trunk has a distinction which forms the genesis for the shape, structure, stature and development of the tree and it is this trunk movement which is the basis of the classification of bonsai into various styles.

The five recognized styles of bonsai as defined by the Japanese are as follows:

1) Formal Upright (Jap: Chokkan)– where the trunk is absolutely straight from base to apex. (example: Ashoka tree; Latin Saraca Indica)

2) Informal Upright (Jap: Moyogi)- where the trunk the moves from side to side and from back to front (example: Gulmohor; Latin Delonix Regia)

3) Slanting (Jap: Shakkan)– where the trunk cants sharply at an angle of about 45 degrees to the base, either from the base or from about the level of the first branch. (example: any tree whose roots are unable to support its upright stature at some point of time onwards)

4) Cascade (Jap: Kengai and Han – Kengai)– where the trunk drops down from the base to the apex and the apex hangs below the base line of the pot (Cascade) or below the top line of the pot but above the base line (Semi-cascade) (example: any tree growing on a incline on a mountain-side)

5) Broom (Jap: Hokkidachi)– where all or most of the branches emerge from about more or less the same point on the trunk and fan out in all directions (example: Banyan or Vad; Latin Ficus Benghalensis)

Forest or Group plantings (Jap: Yose Ue) are a separate style category where a number of plants representing a grove of trees is planted in a cohesive arrangement in a single pot.

Apart from these five basic styles, there are other styles which emerge from the five basic styles:

1) Windswept style (Jap: Fukinagashi) – where not only the trunk but also the branches lean and sweep in one direction as if by strong wind action.

2) Clump Style (Jap: KabudachI)– where a number of trunks emerge from one root structure but still appear as separate trees.

3) Twin / Triple Trunk Style (Jap: Sokkan & Sankan) – where two or three trunks are divided at the base.

4) Exposed Roots (Jap: Neageri)– where the roots of the tree are exposed to a great extent before the trunk starts.

5) Bunjin Style (Jap: Bunjingi) – where the trunk is bare for most of the lengthy of the tree and the branches are sparse and almost at the top 1/3 rd of the tree.

6) Rock grown (Jap: Ishitsuki) – where trees are planted on a rock which acts as a pot

7) Root over rock (Jap: Sekijoju)– where the tree sits on the rock and the roots go down the rock and into the soil under the rock.

8) Twisted Trunk Style (Jap: Bankan) – where the trunk is very twisted, coiled and contorted.

9) Driftwood Style (Jap: Sabamiki/Sharimiki) – where the bark of the trunk is peeled off all along the length of the trunk (Sabamiki) or portions of the trunk or branches are peeled off (Sharimiki) to expose the dead wood underneath.

In the Forest style also there are variants, such as,

a) Raft style (Jap: Ikadabuki)– where a branches emerging from a single straight recumbent trunk assume the form of individual trunks but in a straight line, roots emerging from points along the original trunk.

b) Root Connected (Jap: Netsunagari) – where the trunk twists and turns along the horizontal axis and branches emerging along the line assume the form of individual trunks although they are connected by a single root system.

Probably the best reference books on styles as well as other aspects of bonsai are:

Bonsai Techniques Part I and II by John Naka and Bonsai by Yuji Yoshimura and Giovanna Halford.

As the art and science of bonsai cultivation remained the prerogative of a privileged few for a long time in Japan and China, bonsai was shrouded in mystery. It is not surprising therefore that a person who sees a bonsai for the first time looks askance at these diminutive trees and feels certain that some magic is involved. These persons are very much prone to form wrong notions about bonsai especially due to the half-truths and mis- interpretations propounded by self styled experts and even half-baked nurserymen out to make a fast buck out of a high price item like bonsai. The public is ignorant about the true nature of bonsai – the sound horticultural principles on which it is based. They are only aware of the final beautiful form, not the creativity, the painstaking care or the patience and skill acquired over the years by the bonsai artist.

It would be worth our while to have a clear perception of what bonsai is or is not.It would be better to differentiate between what is a mis- belief and misconceptions (born out of ignorance and what is reality (based on knowledge and fact). Let us examine the misconceptions objectively:

A] The main objection to bonsai is that plants are confined, pruned and are not allowed to grow. This is deemed to be unnatural; it is argued that bigger tree varieties especially should not be confined to pots
but should be allowed to grow unchecked in the ground where they belong.

This argument is senseless and unrealistic.

Firstly, it is not only bonsai that are grown in pots; plants are also grown in general in pots. It is Natures’ bounty that plants and trees can be grown in pots and that they display every characteristic that is seen in plants and trees grown in the ground. If plants should not be potted, then plant lovers the world over would be deprived of the facility of growing plants where they can. Nowadays the price of city dwellings is at a premium and the size of flats is reducing day by day. Concrete jungles are replacing natural flora #038; fauna everywhere, disturbing the ecology and resulting in global warming. The city dwellers are forced to breathe canned air as heat and pollution in cities is high. Potted plants, which act as natural air purifiers and oxygenators are a boon to city dwellers as they can maintain plants on balconies, window sills, patios, etc and somewhat restore the natural balance. Pot culture is able to satisfy the craving of plant lovers of indulging in the ability, nay, the passion for growing plants in their own homes. Bonsai are also potted plants in a way except that the shape of the pot is flat rather than bucket like and in most cases, more plants can be accommodated due to the small sizes of the pots.

Further, even ordinary potted plants require occasional pruning and repotting, in fact all the things that are objected to in the case of bonsai. Potting/repotting and pruning are necessary to maintain the health of plants. In bonsai, since the shape of the plant needs to resemble a tree in nature, pruning is all the more necessary. Actually, timely pruning results in more vigorous growth. Then why should there be any objection to the potting and pruning of bonsai?

B] It is said that the bonsai are stunted by deliberately depriving them of water #038; starving them to keep them dwarf.

This is absolutely incorrect.

All living things including plants require water. Bonsai are no exception. The water requirements of bonsai-just as that of other plants- may vary according to species as well as climatic conditions #038; season. In very hot weather they need to be watered maybe twice a day depending on the temperature and strength of sunlight. In winter, some plants may need water only on alternate days although most plants may need to be watered daily or at least misted on days when they are not watered. In temperate climates it is said that during cold freezes, plants may require watering only once every week or ten days. But this is a common practice for all potted plants, not just bonsai.

In case of flowering plants, watering is held back during flowering to induce profuse flowering, but that is also a standard practice, not confined to bonsai.

Generally speaking, no plant – be it bonsai or ordinary potted plant- can survive without water and therefore cannot be starved of water if they are expected to be healthy and remain alive for many years. Bonsai, being living ordinary plants are not deprived or starved of water in any condition; in fact, contrary to common misconception, they are always watered very well and fertilized from time to time in order to maintain optimum health.

C] It is argued that it is cruelty to tie bonsai with wire; their roots are cut often and also tied to prevent them from growing fast.

This is also untrue.

Although wire is wrapped around the trunk and branches of bonsai, it is as a means of bracing these parts in order to bend them to alter and conform them to a specific shape as planned by the bonsai artist. Wires are not expected to be kept permanently. In fact, wires are required to be removed before they cut or bite into the bark of the trunk and branches and before they scar the bark.

Further, the roots of bonsai are never wired at all, period. But sometimes, in case of planting tall trees in shallow pots or where the roots are inadequate and unstable to support a newly potted tree, or where small plants are placed in very small (mame) pots, the plant is tied into the pot for a brief period till its roots are well established to support the weight of its foliage.

As can be seen from the above mentioned points, there is no cruelty involved in the cultivation of bonsai. In fact bonsai fans are ardent lovers of nature and keep their plants in optimum health by the sometimes simple #038; sometimes complicated horticultural practices of pruning shaping repotting watering #038; fertilizing. If they are genuine bonsai fans then it is certain that they would take care of their bonsai like they would take care of their children or pets.