Bonsai Around the World: The Omiya Bonsai Art Museum in Japan

A panoramic view of the Omiya Bonsai Art Museum’s bonsai garden in May. All photos courtesy of Omiya. 

In August 2019, the National Bonsai & Penjing Museum established a historic Sister Museum partnership with the Omiya Bonsai Art Museum in Saitama City, Japan. For this edition of Bonsai Around the World, the National Bonsai Foundation is sharing the history and details of Omiya’s collections and staff members. 

We had the pleasure of speaking with one of Omiya’s curators, Dr. Fumiya Taguchi, who first learned about bonsai while receiving a doctorate in Japanese art history – specifically picture scrolls and ukiyo-e prints, a genre of Japanese art popular from the 17th to 19th centuries.

Taguchi had very little knowledge of the art form until one of his mentors, who became the first director of the Omiya Bonsai Art Museum, recommended that Taguchi take a test for a curator position at Omiya. He was hired as a curator in 2009 when the museum was first opening – his first true introduction to the art form. 

“I remember I was worried about what I could research because bonsai was an unknown field to me,” Taguchi said. 

He quickly became fascinated by, and still dedicates time to, exploring bonsai history from the perspective of Japanese art history. Taguchi loves to delve into how people have thought about, created, described and spread bonsai throughout decades of bonsai appreciation.

“Bonsai is the creation by human hands of the ideal form of a natural tree living in the deep mountains,” he said. “Since ancient times, East Asians have believed that, through bonsai, they can transcend the mundane world and immerse themselves in the free world of nature while remaining at home. In other words, bonsai is a symbol of spiritual freedom.”

A Japanese White Pine named “Higurashi” in the decoration room

Omiya’s extensive collection contains an impressive 125 bonsai pieces and grass bonsai, 342 bonsai pot and tray displays, 69 suiseki pieces, 74 table pieces, 174 hanging scrolls and ukiyo-e prints and 57 historical materials. 

Many bonsai are displayed in the museum’s indoor permanent exhibition hall along with suiseki, hanging scrolls, and nine seats, including traditional Zashiki decorations that change each week. About 60 bonsai are periodically displayed in the outdoor bonsai garden, while others are maintained in a backyard. Non-bonsai collections are found in a separate exhibition hall. 

One of Omiya’s most treasured bonsai is a Japanese white pine called “Higurashi” estimated to be 450 years old and in training since 1933. The pine has been passed down through 11 owners, is the most famous bonsai in Japan and is the symbol of the Omiya Bonsai Art Museum. 

Another famous Omiya bonsai is an ezo spruce named “Todoroki.” The spruce was collected on Kunashiri Island in Hokkaido in 1931 by Tomekichi Kato and his son Saburo Kato, the bonsai master known as the father of World Bonsai Day and one of the bonsai artists who opened Omiya Bonsai Village. The Kato duo’s spruce is estimated to be 1,000 years old and symbolizes the history of Omiya Bonsai Village. 

A 150-year-old Chinese quince at the museum also boasts several famous owners, including former Prime Minister Eisaku Sato and former Prime Minister Nobusuke Kishi, the second Japan Bonsai Association president and the Japanese representative at the bicentennial bonsai donation to the United States.

Left: A scene from the monthly kids bonsai workshop.

Right: Bonsai Curator Mr. Nakamura (second from right) and Mr. Saito (far right) repotting a large black pine tree

But Taguchi doesn’t manage this massive collection alone. He and Dr. Shinichiro Hayashi lead curatorial operations for non-bonsai materials and exhibitions. Shinta Nakamura and Masayuki Saito, two bonsai artists who trained at Seiko-en, are full-time curators in charge of bonsai cultivation and management, while a bonsai artist from Omiya Bonsai Village works as an assistant.

Rumiko Ishida handles publicity and education, while Miyuji Tateishi recently joined Omiya as a curator for exhibitions and education. About 30 volunteer staff members work as visitor guides and workshop assistants, but they do not care for the bonsai.

Taguchi said Omiya is the only public museum in Japan that specializes in bonsai as a living work of art. The museum is the only one in the world that displays bonsai in tatami rooms, or traditional Japanese viewing rooms with tatami mats for flooring. 

Omiya also produces specialized academic research on the history and culture of bonsai. The results are presented to the public through numerous historical and cultural materials.

The museum’s permanent indoor exhibition room takes visitors through more than 42 feet of a bonsai history panel display. The final section features a detailed explanation of the history of Omiya Bonsai Village. Trees from the village's garden are regularly displayed at the museum to expand local knowledge about the village and its bonsai.

The Omiya Bonsai Art Museum lobby

Taguchi added that the Sister Museum partnership between Omiya and the National Bonsai & Penjing Museum in Washington, D.C. helps to demonstrate the range of bonsai culture and interest to people in Japan. 

“As representatives of each country, it is important for our two museums to introduce the expansion of bonsai culture in the other country through core projects such as history, culture, educational promotion and volunteer activities,” he said. “By deepening our relationship through the ‘language’ of bonsai and joint public relations, we can enhance the value of bonsai, revitalize the bonsai community on both sides and gain support for both museums as institutions of global importance.”

Taguchi said Omiya hopes to partner with other bonsai museums and botanical gardens around the world to promote the value of bonsai.

“By maintaining not only personal connections but also lasting relationships between museums, we will be able to build friendships around the world through bonsai, just as Saburo Kato said,” he affirmed.

Learn more about our Sister Museum on their website and follow them on Facebook and Instagram. 

Left: the central part of the bonsai garden | Right: Curator Dr. Taguchi preparing for a lecture

Celebrating John Naka

Among all of the great bonsai artists, one stands out for his generosity, encouragement and approachable personality: John Yoshio Naka. 

Naka was one of the founding members of the California Bonsai Society and the World Bonsai Friendship Federation, advised the National Bonsai Foundation for many years and received various awards from both Japanese and American leaders and fellowship programs. A few of John’s trees are now on display at the National Bonsai & Penjing Museum, including the world-renowned “Goshin.”

On August 16, 2021, he would have been 107 years old. Please enjoy this digital archive to celebrate John Naka, his trees and his legacy.

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LEARN MORE ABOUT MASTER NAKA

John Naka was born in Colorado but grew up in Japan, where he studied bonsai under his grandfather. He moved back to the United States in his 20s and grew the bonsai movement largely from the West Coast. Learn more about John’s accomplishments, legacy and relationships with these entries from our Bonsai Blog. 

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THREE LINES OF WISDOM

In addition to his breathtaking bonsai work, Naka was known for repeating proverbs and writing poems. One of his haikus was featured in Volume 48 of the American Bonsai Society Journal by one of his dear friends and students Cheryl Manning who wrote, “John’s haiku is as beautiful as his bonsai. Three lines, fourteen words, seventeen syllables - creating a powerful image of renewal, hope, and enduring strength.”

Last leaf has fallen

Tree will sleep and I will dream

Spring is tomorrow

- John Naka

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JOHN NAKA’S SKETCHBOOK

For 50 years, Naka traveled the world teaching bonsai, sketching out unique drawings to guide people for the future development of their bonsai. The National Bonsai Foundation published a sketchbook that compiled nearly 100 of his sketches, which display Naka’s artistic talent and matchless sense of design. They also provide simple examples of a technique you can use to improve your own bonsai trees.

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EXPLORE NAKA’S WORK

The American Bonsai Society was kind enough to share content from Volume 48 of their journal, which celebrated John’s life.

• Please enjoy “John Naka’s Gift of Goshin,” written by Former NBF Co-Chair Felix Laughlin on the backstory of one of the most breathtaking and historic bonsai in existence. 

• You can also scroll through A Gallery of John’s Seven Trees, a compilation of his trees at the National Bonsai & Penjing Museum and the Pacific Bonsai Museum, created by former Assistant Curator Aarin Packard. 

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RESTORING NAKA’S GOSHIN II

In 2019 Ted Matson, the curator of the Bonsai Collection at The Huntington Library, brought long-time friend and past curator of the National Bonsai & Penjing Museum, Jack Sustic, to restore/recreate John Naka's Goshin III. Sustic was part of the original team that helped create Goshin III the first time with John Naka. This video highlights the reconstruction, fundamental forest creation techniques and funny John Naka stories! Courtesy of the California Bonsai Society.

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REMEMBERING MASTER NAKA

We invite you to join Jack Sustic and Jim Hughes in fondly remembering John’s incredible personality, teaching ability and bonsai skills by adding to the comments section below.

“John had the ability to be both a teacher and friend. He would see the artist in you and create an environment that encouraged creativity and confidence in your own talents. As a friend, he made you feel valued and appreciated. His friendship and teachings are enduring legacies.”

— Jack Sustic, Former Board Chair, NBF

“What I admired most about John was his ability to reach out to his students and inspire them to create bonsai and love the process of doing so. At his essence, he was a teacher. It was his core trait and an intangible gift he shared with bonsai enthusiasts from all over the world.”

— Jim Hughes, Board Chair, NBF

Museum Donor and Buttonwood Queen Dies at 91

The National Bonsai Foundation is saddened to hear that bonsai artist Mary Madison, a dear friend to NBF and donor to the U.S. National Arboretum’s collection at the National Bonsai & Penjing Museum, passed away July 28 at 91 years old. 

Known as the Buttonwood Queen for her revered work on buttonwoods, a species native to the United States, Mary was an icon in the bonsai world. She grew up in Florida, often traveling to the natural beauty displayed in the Florida Keys, which sparked her passion for horticulture. Her first taste of bonsai came in the form of photos from a former boyfriend who served in Japan after World War II who sent her pictures of bonsai, which spurred her to try tree training herself. Mary ended up studying under two world-renowned bonsai masters, John Naka and Ben Oki, until their deaths. 

Throughout her more than 60 years in bonsai, Mary served as a mentor to many rising and established bonsai artists, including Ryan Neil. In a moving tribute to Mary, Bonsai Mirai student and deadwood artist David Cutchin wrote, “Mary exemplified what it is to be a good person. She treated everyone with kindness and humility, her resolve was to do what’s right and forgive regardless of the situation… Quitting wasn’t a part of her vocabulary. She was a catalyst of human decency, hard work, and love to anyone she befriended.”

Bonsai Societies of Florida recently named their annual native species award the “Mary Madison Award” to pay homage to her immense contributions to the art of bonsai. 

Museum Volunteer LeeAnn Duling and First Curator’s Apprentice Sophia Osorio repotting one of Mary’s buttonwoods.

Two of Mary’s trees reside at the Museum, one being a buttonwood she donated in 1990. She was also the original collector of a buttonwood that ended up in the office of the Central Intelligence Agency before they gifted the tree to the national collection in 2019. 

NBF is grateful to have often crossed paths with Mary, as well as for her leadership as one of the first women in bonsai. 

“Mary embodied the spirit and authenticity of the Everglades and, with her warm and engaging personality, she opened our eyes to the beauty of tropical bonsai,” NBF Chair Emeritus Felix Laughlin said. “Like her good friend John Naka, she will always be remembered and celebrated as an iconic and beloved teacher who inspired the world of bonsai.”

NBF Chair Emeritus Jack Sustic said Mary’s kindness and eagerness to share her bonsai knowledge and passion inspired everyone she met.

“It was such an honor for me to care for Mary’s buttonwood while serving as curator,” Sustic said. “Mary's buttonwood in the North American Collection is a quiet testament to her love and passion for bonsai and will serve as a living legacy to a life dedicated to this wonderful art."

Historical Tree Spotlight / Donors and Their Trees – Al Nelson and His Coast Live Oak

Some bonsai just command presence. Such is the case for a coast live oak, or Quercus agrifolia, donated by Al Nelson to the collections at the National Bonsai & Penjing Museum. 

Nelson has become an expert in the care and training of coast live oak bonsai. He also has an oak at the Huntington Botanical Gardens in California. 

Nelson was first introduced to bonsai in the late 1970s during his lunch hour one day while working as a salesman. John Naka was giving a demonstration at a California Bonsai Society event, and Nelson was immediately hooked. He already gardened in his spare time, so he bought Naka’s newly published book on bonsai techniques and taught himself. 

“I attended various bonsai shows and took pictures of every single tree on black and white digital film, studied the photos and put them in a book,” Nelson said. 

After getting some feedback on his bonsai, he decided to take a hands-on lesson. Nelson began studying under Harry Hirao in the early 1980s and eventually became Naka’s student – a fantastic partnership that would last about 20 years – and joined his study group Nam Pu Kai. 

Nelson, Naka and Hirao spent many years collecting bonsai and scholar rocks together at Bixby Ranch in Santa Barbara County. There, Nelson fell in love with California oaks, which became his favorite specimen to work with and study. He has since collected hundreds of trees from the region. 

“They’re such magnificent trees to me because they struggle to survive,” he said. “They get blown over and all contorted.” 

The coast live oak at the Museum almost stayed hidden among the other gnarled branches and twisted trunks of Bixby Ranch. On one scouting expedition, Nelson spotted the tree, which was originally about 20 feet high with a beautiful base, but he decided digging it out would be too much work. After hunting around, he passed the tree again and gave in – he dug through rocky, tough soil for almost five hours to pull it from the ground. 

Nelson cut off the tap root, which was one-and-a-half times the tree’s height. He covered its base with wet rags and moss because, he said, the tree thirsts for water without the tap root. 

“The tree won’t get the water it needs, and you don’t want to dry it out,” Nelson said.

 Nelson with the coast live oak in 2005 (left) and 2016 (right)

The oak didn’t have a leaf on it when he brought it home, but a few sprouted after a couple of months, so he drove the tree to Naka’s house to see if it had bonsai potential. 

“John was really impressed,” Nelson said. “He said it was a magnificent tree and that one day it should be in the U.S. National Arboretum in D.C.”

Thirty years later, Naka’s proclamation came true. The oak has been housed in the North American Pavilion since 2016. Nelson has shown this oak at multiple demonstrations and, as the bonsai was 25 inches at the base at one point, Nelson had to lift it on and off tables with a hydraulic pump cart. 

He said one of the most common accolades for his coast live oak is how many “fronts” it has – the oak doesn’t necessarily need to be positioned a certain way to look like an excellent bonsai. Instead of selling his beautiful specimen, Nelson gives his bonsai to mentees or established institutions like the Museum.

“I want my trees to have a good home because it’s not about the money,” he said. “Even my students have their names on copper tags on my trees for when I croak. But I wanted to see this one in the Museum, especially since Naka praised it so long ago.” 

Former Curator Jack Sustic (left) with Nelson and the oak

Over the years Nelson has learned much about coast live oaks, like how they don’t grow well with wiring or that the branches grow down rather than out or up. 

Museum Curator Michael James said staff have been caring for the tree based on Nelson’s recommendations. The bonsai is kept in the Museum’s temperate greenhouse during the winter to simulate its native climate.

The oak receives a high volume of water and Miracid fertilizer, and the tree is almost completely defoliated after a healthy flush grows out in the spring.

“We might leave some leaves in the inner portions in weak areas and at the base of shoots,” James said. “We cut all the elongated shoots off and anything that is too straight or is not going in the direction that we want.”

He added that the haphazard drooping and arching branches seen on wild oaks can look incredible and he is trying to maintain a “billowy” appearance when training the tree. 

Nelson said he is thrilled that his oak at the Museum – his favorite bonsai – is looking strong. 

“I’m so happy it’s getting some nice and tender loving care,” he said.

Future of Bonsai: Jennifer Price

Bonsai and penjing masters like Saburo Kato and John Naka are recognized as icons who really advanced and expanded the ancient art of bonsai. Now, the next generation of artists is building on those legacies, putting down roots for many more decades of bonsai artistry.

In The Future of Bonsai blog series, the National Bonsai Foundation is highlighting up-and-coming bonsai and penjing pioneers who are next in line to spread the spirit of bonsai. Chicago native and bonsai professional Jennifer Price is one such artist. Get to know her through this recent interview with Sophia Osorio, the First Curator’s Apprentice at the National Bonsai & Penjing Museum.

Sophia Osorio: Can you give us a brief introduction of yourself and your relation to bonsai?

Jennifer Price: Well, I was really good at growing plants. A local nursery had some bonsai and I went over there. I learned that there was a club for this and that the meeting was that night and they needed a special events coordinator. So I became that. The following week, I found myself at Brussel's Bonsai Rendezvous, which is one of the biggest bonsai events of the year in the country. I was really thrown into it. I was very intimidated actually, trying to take all of these workshops. I couldn’t tell the front of the tree from the back of the tree, didn’t know how to wire or do anything. I was completely lost. I ended up teaching there in 2019, and I'm still involved in the local club quite a bit. I have a lot of friends there, and I try to give back some of the knowledge that I learned throughout my journey. It's been fun.

SO: When did you first become interested in bonsai?

JP: I was actually a professional ballet dancer, and as a ballerina I had always looked at movement. So the line of the trees fascinated me right from the get go. For example, when you see a Literati tree, it looks very tall and sinuous. I think I was attracted to that – I saw the movement within the trees, within the trunk line, and kind of just took it from there.  As silly as that sounds, I think all trees kind of dance.

SO: What encouraged you to pursue bonsai as a profession rather than a hobby?

JP: I never thought I would do bonsai as a profession. There are so few women in this art and I sort of just stumbled into bonsai, taking every workshop that one could get. I got very lucky in that first meeting when I went down to Brussel's Rendezvous because I met Jim Doyle who has a long-established bonsai nursery in Pennsylvania. I ended up taking his class, and we really hit it off. Jim was a professional tap dancer when he was young, so we had that dance connection, and he was very patient as a teacher. Plus, he was only a couple of hours away. Through Jim, I met Walter Paul who became a huge teacher and mentor to me in my life, and then I started going to Europe to teach more. Really, Jim gets all the credit. Bonsai wasn't anything that I started out thinking, "Wow, I really want to turn this into a career." It just slowly evolved that way. 

I'm still Walter's apprentice to this day. As long as Walter will have me, I will continue working with him. I’ve now made the decision to study with Ryan Neil of Bonsai Mirai, which was a big decision for me because Walter was much more naturalistic in his styling. I wanted to get a little bit more formal training, technical training, and of course Ryan's artistry is beautiful. Unfortunately, with COVID-19, I wasn't able to do much. But with bonsai, you always consider yourself a student. There's so much to learn. I don't think you can ever stop. For myself, I want to keep working with Jim, Walter, add that technical aspect with Ryan and keep going.

SO: What are your future plans with bonsai?

JP: I'd like to continue to travel quite a bit, I enjoy that. I really enjoyed my time in Europe. This year, I'm supposed to go back to Germany and Sweden for a bonsai retreat. I enjoy traveling, teaching workshops and meeting new people. It's really interesting to see how different countries approach bonsai and styling. And for my own self, I want that new component of studying with Ryan and kind of learning his techniques and his methods. It's a strange position to be in because there are not many women in bonsai, so it's almost like a niche thing. In some ways, I don't want to be the "token woman" in bonsai, so I feel like everything is wide open for the taking if that makes sense. 

SO: Absolutely. That being said, why should someone get into bonsai, either as a hobby or a profession?

JP: For most people, it's a wonderful stress reliever and a connection with nature, which all of us need in our stressful lives. As far as anyone becoming a professional, that is a difficult road. I've spent a lot of time talking to friends of mine who are professionals, and traveling does get really tiring. Flying across the country to teach workshops, to give demos, I don't think that's very easy. I'm very lucky in the fact that I am married. I have a husband here who has a good job and what not, so I don't have that pressure to make ends meet. I think Ryan Neil and Bjorn Bjorholm of Eisei-En are exceptions. At a very young age, they had the ability to go and study in Japan and take that knowledge and come back and, frankly, are able to monetize it. 

SO: I can definitely see that. What advice would you give to someone who wanted to take up bonsai as a hobby or a profession?

JP: If you’re pursuing bonsai as a hobby, you need to take as many workshops as you can. Join a local club. That has helped me tremendously over the years. I first started out just to have more people to ask about overwintering, care and get some help in different seasons of bonsai. In terms of becoming a professional, I think you need to seriously study with one person. Let's say you were going to study with Bjorn – you'd have to really dedicate yourself to three to five years of serious study, then go out and say, "Okay, I'm now going to pursue this on my own." 

While she is not on social media, keep an eye out for Jennifer Price’s bonsai blog, coming soon!
The National Bonsai Foundation funds and curates several programs to educate and train the next generation of bonsai, like the First Curator’s Apprentice position. To support our work, consider gifting today.

Help Us Gain Recognition for the National Bonsai Foundation and National Bonsai & Penjing Museum!

The Washington City Paper holds an annual contest to recognize the best local icons, groups and locations in the D.C. area. The Museum has earned the title of “Best Place to Take an Out-of-Towner” in this competition for three years in a row, as well as the runner-up spot for Best Place to Meditate in 2020! 

This year, the poll is different in two ways. First, we need to secure nominations to even get on the ballot. Secondly, we would like you to not only nominate the Museum for recognition but, for the first time, the National Bonsai Foundation as well! 

Will you take a moment to nominate us for the following?

• PEOPLE & PLACES – Best Place to Take an Out-of-Towner: please nominate the National Bonsai & Penjing Museum 

• PEOPLE & PLACES – Best Place to Meditate: please nominate the National Bonsai & Penjing Museum 

• ARTS & ENTERTAINMENT – Best Arts & Culture Nonprofit: please nominate the National Bonsai Foundation

Please share this information with your friends and family! Every day, NBF strives to uphold the beauty of the Museum and to promote its trees and historic objects – so more people can experience the beauty and tranquility found among the bonsai and penjing.

Nominations close August 1! If we make it on the ballot, voting for the final title will begin August 19. Thank you for taking the time to honor and share the Museum, an ever-evolving emblem of intercultural understanding and friendship. 

The Bonsai Board: Ann McClellan

Photo by Kenji

The National Bonsai Foundation’s Board of Directors comprises many talented individuals who are passionate about the art of bonsai. Ann McClellan is no exception, so we spoke with her about her contributions to the bonsai world. 

Ann has long been involved with the National Bonsai & Penjing Museum, but she joined the Bonsai Board in 2018. She said her work at the Smithsonian Institution and World Wildlife Fund provided her with an excellent knowledge base to be an ambassador for and to support the Foundation’s mission to promote bonsai and foster intercultural friendship. 

“I care so much about the trees and the Museum and Arboretum, and I felt I could both share useful info and be a conveyer of the NBF message,” she said.

Ann as a child, collecting sap from a sugar maple

Ann's connection to trees dates back to her childhood, having lived among the beautiful trees and glades at the Lawrenceville School in New Jersey. Her family first lived in a house on the school’s golf course.
“It was like living on a boat in the middle of an ocean of trees and grass,” she said. 

Ann said Frederick Law Olmsted, the landscape architect who designed the campus she grew up on as well as other famous outdoor respites, like Central Park in New York City, believed that people benefit from being immersed in thoughtful arrangements of land and plants. Growing up on the campus pay attention to trees her whole life – from the oaks and elms at Lawrenceville campus to the bonsai at the Museum. 

Ann studied history at Goucher College outside of Baltimore but has continued to pursue different subjects as a lifelong learner, including during her 16-year career at the Smithsonian Institution. She first worked in product development, searching for items in the collection that could be reproduced for Smithsonian shops and catalogues.

The Lawrenceville campus in the 50s or 60s, courtesy of Lawrenceville School

“I loved that I could learn about millions of objects including botanical specimens,” Ann said. 

Through this work, she met entomologists and botanists with whom she worked to educate the public about the different specimens and gardens seen throughout the Smithsonian collections. Ann then transitioned to a position at the World Wildlife Fund, where she helped spread crucial information about the value of wildlife conservation, including sustainable horticulture. 

Ann later worked as a freelance writer, which eventually led to her inaugural book called The Cherry Blossom Festival: Sakura Celebration, first published in 2005. She researched, wrote and assembled images for the beautiful ode to D.C.’s annual cherry blossom festival in just six months to meet the publisher’s deadline. 

“That was an intense learning period about trees because, in addition to festival facts and what cherry blossoms mean to the Japanese, I also had to learn about them as trees,” Ann said.

Seven years later, Ann worked with National Geographic to publish Cherry Blossoms: The Official Book of the National Cherry Blossom Festival, to honor the festival’s centennial celebration. With these authoring experiences, Ann was the perfect person to write about the National Bonsai & Penjing Museum, at the suggestion of former Museum Curator Jack Sustic. 

“I was so grateful for the opportunity, and I have loved learning about bonsai and connecting with the trees,” she said. 

Ann worked with Sustic, Museum Specialist Kathleen Emerson-Dell and then-Executive Director Johann Klodzen to produce Bonsai & Penjing: Ambassadors of Peace and Beauty. The book details the history of the Museum’s trees and their instrumental role in international diplomacy, world's fair exhibitions and bonsai interest in the United States. 

“There are lots of books on the market but many are not as beautiful as this one, so I’m grateful for all the people who had something to do with that,” she said. 

Ann has spent many years promoting bonsai and the Museum through her book and continues to garden clubs, plant lovers and the public about the trees and their remarkable stories. She personally connects with the art because the essence of each tree species is distilled into the bonsai. 

“In Japan I saw a 70-foot-tall red pine with the same curved trunk as the Imperial Pine at the Museum, which allowed me to see why the Imperial Pine has such a presence just in its 4 feet,” Ann said. “The fact that a series of people over generations have cared for each of these trees is a message worth sharing.”

Ann (center) with her bonsai book at a receptions for the 2019 American Public Gardens Association Conference  (Courtesy of Olivia Anderson Photography)

She aims to highlight how bonsai practitioners around the world so clearly connect with trees in a deep way – and her efforts don’t go unnoticed. In early 2021, Ann received an award from the Japanese government for her success in promoting Japanese culture and promoting friendly relations between Japan and the United States. 

“To be honored like this is profoundly moving,” she said. “My life has been dedicated to service in a way – nonprofit work, education, ‘edu-tainment.’ These are not things you do if you’re looking to see your name in lights. It’s more about improving other people’s experiences.”

Ann continues to be an active member on the NBF board and is thrilled about plans to renovate the Museum’s exhibit spaces and tree pavilions. 

“It’s exciting to be part of something that has a future, and such a bright one, which I think will make it easier for more people to connect with the trees,” she said. 

Learn more about Ann McClellan and her work on her website. 

Local Ikebana Chapter Hosts Modified Annual Exhibition

An ikebana display titled “Resilience” by the Sogetsu school

Ikebana International Washington, D.C. Chapter No. 1 held its first outdoor exhibit at the U.S. National Arboretum this spring. 

Ikebana, or the Japanese art of flower arrangement, has been a complementary art to bonsai for decades. Chapter One has held an indoor exhibit at the National Bonsai & Penjing Museum for more than 20 years, but this year’s exhibition needed a different venue due to the Museum’s temporary closure during the COVID-19 pandemic. 

While hundreds of schools dedicated to the art of ikebana exist, seven schools are represented in Chapter One. The group’s president and this year’s exhibition chair – Ursula Kondo and Jean Rieg, respectively – spoke with the National Bonsai Foundation.

A relative of her husband’s coworker first introduced Kondo to ikebana. While she has always loved flowers, Kondo was drawn to the asymmetrical design of Japanese arrangements, which are similar to the floral styles in her home country of Germany. Kondo originally joined the local Houston chapter of Ikebana International before moving and enlisting in the Washington, D.C. chapter. 

Rieg’s artistic roots are in teaching scrapbooking and cake decorating. She often took many trips to gardens around the United States and abroad due to her mother’s love of flowers. A friend introduced her to ikebana as another creative outlet, and Rieg started studying with Bruce Wilson, the lead of Chapter One’s Saga Goryu ikebana school. She also attended classes for three years at Saga Goryu Headquarters in Japan and will continue those trips once the pandemic ends

About one year after beginning classes, Rieg became the host coordinator of the annual exhibition, which led to her appointment as chair this past year. 

“Ikebana has become an important part of my life, and I find it an incredible artform,” she said. “A lot of people find great joy in seeing arrangements and understanding which schools they are derived from.” 

Rieg added that each group produced incredible pieces, especially considering that only one of the six schools that participated this year had ever worked on outdoor arrangements. 

Sogetsu team co-leader Marjorie Bauman (left) and member Catherine Macauley (right) work on an arrangement.

This year’s exhibition was both virtual and physical – two groups of 30 arrangements can be seen online, and 13 arrangements were available for viewing at the U.S. National Arboretum but are now online as well.

“We make sure to have arrangements from every school in our chapter so people can see the difference between the arrangements and styles,” Rieg said. 

The artists received basic directions on display details, like permitted dimensions, but the concept of each piece was largely left to individual inspiration. Most of the teams crafted arrangements to celebrate the anticipated end to the COVID-19 pandemic, titling their pieces with terms like “awakening” or “reawakening.”

Rieg said planning for this hybrid exhibition began in the fall of 2020. She saw a video exhibition that an ikebana chapter in San Francisco produced and thought a variation on that idea would work well for Chapter One. Rieg tested the concept with the chapter in a December Area Workshop with holiday arrangements. Teachers approved the students’ arrangements.

“We were worried how the public would react to the outdoor arrangements, but the exhibit was very well received, everyone was in awe of the arrangements,” Kondo said. 

“Breaking Out of the Pandemic” – Sangetsu school “Reawakened” – Ichiyo school

For the outdoor arrangements, the creators had to consider elements present in the natural environment when designing their prototypes and choosing their materials. Each display featured a QR code that viewers could scan with their phones to learn more about the ikebana schools, the materials used in the arrangements and general information on the art form.

“The Ichiyo school used a lot of bamboo stakes for their arrangement,” Kondo said. “The creators made notches in the bamboo and wired them together so it didn’t fall apart in the wind.”

While the design process took a couple of months, each exhibit was completely assembled on the Arboretum grounds in just one day. Rieg said the teachers conceived the original designs, but both students and teachers executed the projects. Each team comprised three-to-five students and could work in a designated 8-foot by 5-foot area.  

“We tried to position the arrangements so each could have its day in the light, and it was worth it because the whole exhibition was so well-received by visitors,” Kondo said. “Everyone was impressed with the exhibition and delighted with the opportunity to view it at the Arboretum.”

Rieg said Chapter One wanted the exhibition to demonstrate the period of transition the world is in as it slowly emerges from lockdowns and restrictions instated for safety during the pandemic. 

“We wanted it to be a reawakening and spark interest in viewers,” she said. “Every good effort has a good outcome. We succeeded because of the artistry and skill within the chapter and the great support we got from the Arboretum, so everything worked out very well.”

You can learn more about Ikebana International Chapter One on their website and follow them on Facebook.

The Ikenobo team (L to R: Valeria Shishkin, Reiko Royston & Team Lead Kyoko Peterson) next to their arrangement “Manifestation of Life and Beauty”

Arboretum Profiles: Scott Aker, Head of Horticulture and Education

Scott Aker, Head of Horticulture and Education

Some people don’t figure out their true passion in life for decades. But Scott Aker was hooked on horticulture from childhood after witnessing how a few iris plants his mother planted grew from dried-up rhizomes into blooming, show-stopping flowers in the spring. 

Aker grew up surrounded by nature in the Black Hills of South Dakota, and experiences like the irises’ transformation led him to pursue a bachelor’s degree in horticulture at the University of Minnesota and a master’s from the University of Maryland. Now the Head of Horticulture and Education at the U.S. National Arboretum, Aker works closely with National Bonsai Foundation and National Bonsai & Penjing Museum staff. 

“I’m one of those rare instances where I just always knew what I wanted to do – there was never much doubt really, so I’ve been fortunate to have that clarity,” he said.

Aker has always liked working outside, rather than in a lab or unpredictable academic spheres. After graduation, Aker pieced together a living by gardening for high-end clients, which he also did throughout college. Eventually he took a position as a horticultural extension agent for Howard County, Maryland, but the tumultuous economy of the early 90s put his job in jeopardy. 

A friend sent him a job announcement for an integrated pest management specialist at the National Arboretum. With previous training in this area, Aker applied for the job and was hired in 1992. His main task was to inspect the Arboretum’s gardens and collections, including the bonsai, for pests and diseases.  

“I loved the job because I could really roam throughout the Arboretum, and every day and season was a bit different from the last,” he said. 

Over the years, Aker reduced pesticide use at the Arboretum by 75 percent and conducted successful symposiums on integrated pest management and found he enjoyed teaching. When the gardens unit leader left in the early 2000s, he took over the job temporarily and was officially instated two years later. 

Scott Aker and National Capital Area Garden Clubs liaison Ellen Spencer celebrating the renovation of the back portion of the Friendship Garden and Arbor House hardscape, funded by National Capital Area Garden Clubs.  

Day to day, Aker takes care of bureaucratic duties like approving purchases, budgeting, property inventory, and planning and implementing Arboretum directives. He said the most fun part of the job is helping staff members with what they need to perform their jobs well. 

“I have a lot of conversations with them about what their obstacles are, how can I clear them, their ideas for where we should go and, when I can, interject my vision for what we can do and how we can manage things,” he said. “I aim to create a system where people can work efficiently and more productively while enjoying their work.”

Aker most enjoys looking critically at a collection or garden with staff members, discussing which methods and processes could best improve an area for visitors to enjoy that space more. He now also supervises the bonsai staff and collections and is always excited when a bonsai is nominated for inclusion in the national collection. Aker said working with the bonsai staff is one of his greatest pleasures.

“They are absolutely wonderful people, and I can’t be grateful enough for how hard they work,” he said. “It’s amazing to me what they produce and the beauty and tireless hours they spend doing some very tedious tasks. They’re cheerful and joyful about the whole thing so it’s great working with them.”

Aker also interacts with NBF leadership to plan fundraising, events and publicity efforts, and he often attends the NBF Board of Directors meetings. 

Aker raises the planting level of a hiba falsearborvitae to prevent fungal infection of the roots as an Integrated Pest Management Specialist in the mid-1990s.

“It’s always fun to talk to others in the community,” he said. “The board members are so important to keep the Museum and national collection going because they're so enthusiastic and so love what we have created there. They give us so much energy and so much positive affirmation.” 

Aker doesn’t have any plans to leave yet – he’s too excited about the potential still present at the Museum and Arboretum, like the upcoming renovations. 

“I’d hate to miss out on being a part of that, and I have much to contribute because, with my 30 years of experience here, I’ve really learned a lot,” he said. 

In his free time, Aker continues pursuing his passion by gardening at home and working with plants. His current project involves converting his front yard to be a fruit and vegetable garden. He also owns a shohin bonsai and arranges flowers for weddings and other special occasions.