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traditional potting of bonsai trees and the current display protocols for exhibition. More recently—and understandably—it is trendy and politically correct, to support local artisans and thereby promote locally produced, bespoke bonsai containers. It is as if it is the one pure way towards creating a more sustainable future while furthering the development of ceramic art for bonsai. (Figure 26)
However, if a contemporary bonsai artist wishes to honour the genuine, historical traditions of a classical Japanese bonsai, the following recommendations should be adopted.
Expand knowledge of Japanese bonsai and plant growing of the past few hundred years, especially through the use of search engines on ukiyo-e prints.
Collect as many pieces of old pottery and ceramic from the periods as possible, as it is currently unrec- ognized as being directly relevant to bonsai, and risks being lost completely.
Revive the use of traditional Japanese antique pots or modern equivalent versions to clearly represent early classical Japanese bonsai trees.
Seek to include the formal display of traditional bonsai in contemporary exhibitions, to share the historical context and further inform other enthu- siasts who are not familiar with the true history of Japanese bonsai and their pots. (Figure 27)
Surely, it is important to recall all of the historical elements of a traditional Japanese bonsai and that includes the revived use of old and uniquely Japanese bonsai pots before they are lost completely. There should be appropriate respect given to allow for tra- ditional bonsai to be displayed, and therefore appre- ciated, in the classical manner in contemporary exhibitions when this can be achieved. (Figure 28)
In the recent past, the revival of classical Chinese penjing has seen a respectful inclusion into the contemporary world view of bonsai, and the lost and mysterious Japanese traditions of potting and exhibition need to be considered as a similar quest.
About the Author: Bradley Barlow began creating bonsai in 1993 and with the generous support of local experts, won numerous styling awards at local, national
and international levels. He is a Life Member of BCI and participated in many conventions especially in the Asia Pacific. As well as having a deep interest in Chinese Viewing Stones, of which he has an extensive interna- tional collection. He has always been fascinated with the collection and adoration of bonsai pots. In 2014 he launched a small family business focused on creating Virtual Bonsai Trees and in procuring the elusive bonsai treasure from Asia to share with like-minded enthusiasts.
Further information on any related matter is most welcome and Bradley can be contacted on Facebook or directly by e-mail at virtualbonsaistudio@iinet.net.au
Top; Figure 26 – Meiji Period Imari Yaki, Japan. A very rare, large rectangular basin and masterpiece of porcelain. It is hand painted with distinctive omens for good fortune and future success, the Phoenix. Size 50cm wide x 33cm deep x 18cm high. Note, these pieces could be used to hold water based stones with plants
and bonsai growing as if cliff hanging.
Middle left; Figure 27 – Late Edo period Ko-Imari Yaki, Japan. A smaller round pot with drainage incorporating a traditional Asian Landscape in blue dye. The dimensions are 13.5cm diameter and 10cm high.
Middle right; Figure 28 – Meiji period Imari Yaki, Japan with the inclusion of bright orange to the traditional blue under- glaze. Natural drainage and
a medium sized pot at 19cm diameter x 15cm high.
Bottom; Bonsai Museum, Brisbane Australia. BCI members are most welcome by appointment to see all of the above items and many more in the new, more accessible, museum.
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