bonsai tree traditonal japanese home formal display arranged to represent a landscape

The Japanese art of bonsai originated from the Chinese practice of penjingFrom the 6th century onward, Imperial embassy personnel and Buddhist students from Japan visited and returned from mainland China. They brought back many Chinese ideas and goods, including container plantings.^[] Over time, these container plantings began to appear in Japanese writings and representative art.

In the medieval period, recognizable bonsai were portrayed in handscroll paintings like the Ippen shonin eden (1299).^[11] The 1195 scroll Saigyo Monogatari Emaki is the earliest known to depict dwarfed potted trees in Japan. Wooden tray and dish-like pots with dwarf landscapes on modern-looking wooden shelves also appear in the 1309 Kasuga-gongen-genki scroll. Dwarf trees displayed on short poles are portrayed in the 1351 Boki Ekotoba scroll Several other scrolls and paintings also include depictions of these kinds of trees.

A close relationship between Japan's  and the potted trees began to shape bonsai reputation and aesthetics, which were introduced to Japan from China. In this period, Chinese Chan (pronounced Zen in Japanese) Buddhist monks taught at Japan's monasteries. One of the monks' activities was to introduce political leaders to various arts of miniature landscapes as admirable accomplishments for men of taste and learning Potted landscape arrangements up to this period included miniature figurines after the Chinese fashion. Japanese artists eventually adopted a simpler style for bonsai, increasing focus on the tree by removing miniatures and other decorations, and using smaller, plainer pots.

Hachi no ki

Around the 14th century, the term for dwarf potted trees was "he bowl's tree This indicated use of a fairly deep pot rather than the shallow pot denoted by the eventual term bonsai. Hachi no Ki (The Potted Trees) is also the title of a circa 1383  play by , based on a story about an impoverished samurai who burns his last three potted trees as firewood to warm a traveling monk. The monk is a disguised official who later rewards the samurai for his actions. In later centuries, woodblock prints by several artists depicted this popular drama. There was even a fabric design of the same name. Through these and other popular media, bonsai became known to a broad Japanese population. 

Bonsai cultivation reached a high level of expertise in this period. Bonsai dating to the 17th century have survived to the present. One of the oldest-known living bonsai trees, considered one of the National Treasures of Japan, can be seen in the Tokyo Imperial Palace collection A five-needle pine known as Sandai-Shogun-No Matsu is documented as having been cared for by  The tree is thought to be at least 500 years old and was trained as a bonsai by 1610.

By the end of the 18th century, bonsai cultivation in Japan was becoming widespread and began to interest the general public. In the (1781–88), an exhibit of traditional dwarf potted pines began to be held every year in Kyoto. Connoisseurs from five provinces and neighboring areas would bring one or two plants each to the show in order to submit them to visitors for ranking

Classical period for bonsai

In Japan after 1800, bonsai began to move from being the esoteric practice of a few specialists to becoming a widely popular art form and hobby. In Itami, Hyōgo, Japanese scholars of Chinese arts gathered in the early 19th century to discuss recent styles in the art of miniature trees. Many terms and concepts adopted by this group were derived from the Jieziyuan Huazhuan (Manual of the Mustard Seed Garden in English; Kai-shi-en Gaden in Japanese). The Japanese version of potted trees, which had been previously called hachiue or other terms, were renamed bonsai. This word connoted a shallow container, not a deeper bowl styl^] The term "bonsai", however, would not become broadly used in describing Japan's dwarf potted trees for nearly a century.

The popularity of bonsai began to grow outside the limited scope of scholars and the nobility. On October 13, 1868, the Meiji Emperor moved to his new capital in Tokyo. Bonsai were displayed both inside and outside Meiji Palace, and those placed in the grand setting of the Imperial Palace had to be "Giant Bonsai", large enough to fill the grand space. The Meiji Emperor encouraged interest in bonsai, which broadened its importance and appeal to his government's professional staff.

New books, magazines, and public exhibitions made bonsai more accessible to the Japanese populace. An Artistic Bonsai Concours was held in Tokyo in 1892, followed by publication of a three-volume commemorative picture book. This event demonstrated a new tendency to see bonsai as an independent art form. In 1903, the Tokyo association Jurakukai held showings of bonsai and ikebana at two Japanese-style restaurants. In 1906, Bonsai Gaho became the first monthly magazine on the subject. It was followed by Toyo Engei and Hana in 1907The initial issue of Bonsai magazine was published in 1921, and this influential periodical ran for 518 consecutive issues

Bonsai shaping aesthetics, techniques, and tools became increasingly sophisticated as bonsai popularity grew in Japan. In 1910, shaping with wire rather than the older string, rope, and burlap techniques, appeared in the Sanyu-en Bonsai-Dan (History of Bonsai in the Sanyu nursery). Zinc-galvanized steel wire was initially used. Expensive copper wire was used only for selected trees that had real potentialIn the 1920s and 1930s, toolsmith Masakuni I (1880–1950) helped design and produce the first steel tools specifically made for the developing requirements of bonsai styling. These included the concave cutter, a branch cutter designed to leave a shallow indentation on the trunk when a branch was removed. Properly treated, this indentation would fill over with live tree tissue and bark over time, greatly reducing or eliminating the usual pruning scar.

Prior to World War II, international interest in bonsai was fueled by increased trade in trees and the appearance of books in popular foreign languages. By 1914, the first national annual bonsai show was held (an event repeated annually through 1933) in Tokyo's Hibiya Park Another great annual public exhibition of trees began in 1927 at the Asahi Newspaper Hall in Tokyo.^] Beginning in 1934, the prestigious Kokufu-ten annual exhibitions were held in Tokyo's Ueno Park The first major book on the subject in English was published in the Japanese capital: Dwarf Trees (Bonsai) by Shinobu Nozaki.

By 1940, about 300 bonsai dealers worked in Tokyo. Some 150 species of trees were being cultivated, and thousands of specimens were shipped annually to Europe and America. The first bonsai nurseries and clubs in the Americas were started by first and second-generation Japanese immigrants. Though this progress to international markets and enthusiasts was interrupted by the war, by the 1940s bonsai had become an art form of international interest and involvement

Following World War II, several trends made the Japanese tradition of bonsai increasingly accessible to Western and world audiences. One key trend was the increase in the number, scope, and prominence of bonsai exhibitions. For example, the Kokufu-ten bonsai displays reappeared in 1947 after a four-year cancellation and became annual affairs. These displays continue to this day and are by invitation only for eight days in February. In October 1964, a great exhibition was held in Hibya Park by the private Kokufu Bonsai Association, reorganized into the Nippon Bonsai Association, to mark the 1964 Tokyo Olympics.

A large display of bonsai and suiseki was held as part of Expo '70, and formal discussion was made of an international association of enthusiasts. In 1975, the first gafu-ten (elegant-style exhibit) of shohin bonsai (13–25 cm or 5–10 in tall) was held. So was the first sakufu-ten (creative bonsai exhibit), the only event in which professional bonsai growers exhibit traditional trees under their own names rather than under the name of the owner.

The First World Bonsai Convention was held in Osaka during the World Bonsai and Suiseki Exhibition in 1980.^[] Nine years later, the first World Bonsai Convention was held in Omiya, and the World Bonsai Friendship Federation (WBFF) was inaugurated. These conventions attracted several hundreds of participants from dozens of countries and have since been held every four years at different locations around the globe: 1993, Orlando, Florida; 1997, Seoul, Korea; 2001, Munich, Germany; 2005, Washington, D.C.; 2009, San Juan, Puerto Rico. Currently, Japan continues to host regular exhibitions with the world's largest numbers of bonsai specimens and the highest recognized specimen quality.

Another key trend was the increase in books on bonsai and related arts, being published for the first time in English and other languages for audiences outside of Japan. In 1952, Yuji Yoshimura, the son of a Japanese bonsai community leader, collaborated with German diplomat and author Alfred Koehn to give bonsai demonstrations. Koehn had been an enthusiast before the war, and his 1937 book Japanese Tray Landscapes had been published in English in Peking. Yoshimura's 1957 book The Art of Bonsai, written in English with his student Giovanna M. Halford, went on to be called the "classic Japanese bonsai bible for westerners" with over thirty printings.

The related art of saikei was introduced to English-speaking audiences in 1963 in Kawamoto and Kurihara's book Bonsai-Saikei. This book describes tray landscapes made with younger plant material than was traditionally used in bonsai, providing an alternative to the use of large, older plants, few of which had escaped war damage.

A third trend was the increasing availability of expert bonsai training, at first only in Japan and then more widely. In 1967, the first group of Westerners studied at an Ōmiya nursery. Returning to the U.S., they established the American Bonsai Society. Other groups and individuals from outside Asia then visited and studied at the various Japanese nurseries, occasionally even apprenticing under the masters. These visitors brought back to their local clubs the latest techniques and styles, which were then further disseminated. Japanese teachers also traveled widely, bringing hands-on bonsai expertise to all six continents^[

The final trend supporting world involvement in bonsai is the widening availability of specialized bonsai plant stock, soil components, tools, pots, and other accessory items. Bonsai nurseries in Japan advertise and ship specimen bonsai worldwide. Most countries have local nurseries providing plant stock as well. Japanese bonsai soil components, such as Akadama clay, are available worldwide, and suppliers also provide similar local materials in many locations. Specialized bonsai tools are widely available from Japanese and Chinese sources. Potters around the globe provide material to hobbyists and specialists in many countries

Bonsai has now reached a worldwide audience. There are over twelve hundred books on bonsai and the related arts in at least twenty-six languages available in over ninety countries and territoriesA few dozen magazines in over thirteen languages are in print. Several score of club newsletters are available online, and there are at least that many discussion forums and blogs There are at least a hundred thousand enthusiasts in some fifteen hundred clubs and associations worldwide, as well as over five million unassociated hobbyists Plant material from every location is being trained into bonsai and displayed at local, regional, national, and international conventions and exhibitions for enthusiasts and the general public.

Bonsai cultivation and care requires techniques and tools that are specialized to support the growth and long-term maintenance of trees in small containers.

Material sources

All bonsai start with a specimen of source material, a plant that the grower wishes to train into bonsai form. Bonsai practice is an unusual form of plant cultivation in that growth from seeds is rarely used to obtain source material. To display the characteristic aged appearance of a bonsai within a reasonable time, the source plant is often mature or at least partially grown when the bonsai creator begins work. Sources of bonsai material include:

• Propagation from a source tree through cuttings or layering.
• Nursery stock directly from a nursery, or from a garden centre or similar resale establishment.
• Commercial bonsai growers, which, in general, sell mature specimens that display bonsai aesthetic qualities already.
• Collecting suitable bonsai material in its original wild situation, successfully moving it, and replanting it in a container for development as bonsai. These trees are called yamadori and are often the most expensive and prized of all Bonsai.

The practice of bonsai development incorporates a number of techniques either unique to bonsai or, if used in other forms of cultivation, applied in unusual ways that are particularly suitable to the bonsai domain. These techniques include:

• Leaf trimming, the selective removal of leaves (for most varieties of deciduous tree) or needles (for coniferous trees and some others) from a bonsai's trunk and branches.
• Pruning the trunk, branches, and roots of the candidate tree.
• Wiring branches and trunks allows the bonsai designer to create the desired general form and make detailed branch and leaf placements.
• Clamping using mechanical devices for shaping trunks and branches.
• Grafting new growing material (typically a bud, branch, or root) into a prepared area on the trunk or under the bark of the tree.
• Defoliation, which can provide short-term dwarfing of foliage for certain deciduous species.
• Deadwood bonsai techniques such as jin and shari simulate age and maturity in a bonsai.

Small trees grown in containers, like bonsai, require specialized care. Unlike houseplants and other subjects of container gardening, tree species in the wild, in general, grow roots up to several meters long and root structures encompassing several thousand liters of soil. In contrast, a typical bonsai container is under 25 centimeters in its largest dimension and 2 to 10 liters in volume. Branch and leaf (or needle) growth in trees is also of a larger scale in nature. Wild trees typically grow 5 meters or taller when mature, whereas the largest bonsai rarely exceed 1 meter and most specimens are significantly smaller. These size differences affect maturation, transpiration, nutrition, pest resistance, and many other aspects of tree biology. Maintaining the long-term health of a tree in a container requires some specialized care techniques:

• Watering must be regular and must relate to the bonsai species' requirement for dry, moist, or wet soil.
• Repotting must occur at intervals dictated by the vigor and age of each tree.
• Tools have been developed for the specialized requirements of maintaining bonsai.
• Soil composition and fertilization must be specialized to the needs of each bonsai tree, although bonsai soil is almost always a loose, fast-draining mix of components.
• Location and overwintering are species-dependent when the bonsai is kept outdoors as different species require different light conditions. Few of the traditional bonsai species can survive inside a typical house, due to the usually dry indoor climate

A bonsai display presents one or more bonsai specimens in a way that allows a viewer to see all the important features of the bonsai from the most advantageous position. That position emphasizes the bonsai's defined "front", which is designed into all bonsai. It places the bonsai at a height that allows the viewer to imagine the bonsai as a full-size tree seen from a distance, siting the bonsai neither so low that the viewer appears to be hovering in the sky above it nor so high that the viewer appears to be looking up at the tree from beneath the ground. Noted bonsai writer Peter Adams recommends that bonsai be shown as if "in an art gallery: at the right height; in isolation; against a plain background, devoid of all redundancies such as labels and vulgar little accessories."

For outdoor displays, there are few aesthetic rules. Many outdoor displays are semi-permanent, with the bonsai trees in place for weeks or months at a time. To avoid damaging the trees, therefore, an outdoor display must not impede the amount of sunlight needed for the trees on display, must support watering, and may also have to block excessive wind or precipitation As a result of these practical constraints, outdoor displays are often rustic in style, with simple wood or stone components. A common design is the bench, sometimes with sections at different heights to suit different sizes of bonsai, along which bonsai are placed in a line. Where space allows, outdoor bonsai specimens are spaced far enough apart that the viewer can concentrate on one at a time. When the trees are too close to each other, aesthetic discord between adjacent trees of different sizes or styles can confuse the viewer, a problem addressed by exhibition displays.

Exhibition displays allow many bonsai to be displayed in a temporary exhibition format, typically indoors, as would be seen in a bonsai design competition. To allow many trees to be located close together, exhibition displays often use a sequence of small alcoves, each containing one pot and its bonsai contents. The walls or dividers between the alcoves make it easier to view only one bonsai at a time. The back of the alcove is a neutral color and pattern to avoid distracting the viewer's eye. The bonsai pot is almost always placed on a formal stand, of a size and design selected to complement the bonsai and its pot.

Indoors, a formal bonsai display is arranged to represent a landscape, and traditionally consists of the featured bonsai tree in an appropriate pot atop a wooden stand, along with a shitakusa (companion plant) representing the foreground, and a hanging scroll representing the background. These three elements are chosen to complement each other and evoke a particular season, and are composed asymmetrically to mimic nature.^] When displayed inside a traditional Japanese home, a formal bonsai display will often be placed within the home's tokonoma or formal display alcove. An indoor display is usually very temporary, lasting a day or two, as most bonsai are intolerant of indoor conditions and lose vigor rapidly within the house.